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1
Dayneko, Tatyana V. "Songs of Maslenitsa in Belarusian traditions of Siberian existence: structural and rhythmic typology." Sibirskiy filologicheskiy zhurnal, no. 2 (2022): 9–28. http://dx.doi.org/10.17223/18137083/79/1.
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This paper presents the results of the author’s typological study of the tunes of the ritual songs of Maslenitsa of Belarusian settlers of Siberia and the Far East. The study material includes archival and published recordings of songs of Maslenitsa made in the main regions of the settlement of Belarusians (Novosibirsk, Kemerovo, Omsk regions, Krasnoyarsk and Primorsky territories). The focus is on the most important aspect for calendar songs - the structural and rhythmic organization of tunes. The results of studying the song tunes of the resettlement tradition were found to correlate with the tunes of Maslenitsa songs of the metropolis presented in the classifications of Belarusian ethnomusicologists Z. Ya. Mozheiko and V. M. Pribylova. The analysis of the resettlement Belarusian tradition of Siberia and the Far East allowed identifying the groups of Maslenitsa songs correlating structurally with tunes identified by Belarusian researchers. It was revealed that despite there being a relatively small number of songs, the Siberian tradition features the tunes of type IV ves.-masl. (according to Z. Ya. Mozheiko; = IIb according to V. M. Pribylova), as well as tunes not only of the main types I, III, and IV according to classification of V. M. Pribylova, but also ones of their local varieties. In addition, a number of tunes of Siberian songs prove to have a non-typical structure.
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Dayneko, Tatyana V. "Spring songs of Belarusians of Siberia and the Far East: structural-rhythmic typology." Sibirskiy filologicheskiy zhurnal, no. 1 (2023): 9–25. http://dx.doi.org/10.17223/18137083/82/1.
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The paper presents the results of the typological study of the tunes of the spring songs of Belarusian settlers of Siberia and the Far East. The author has analyzed the archival and published recordings of spring songs made in 1970–1990 in the major regions of the settlement of Belarusians (Novosibirsk, Kemerovo, Omsk regions, Krasnoyarsk, and Primorsky territories). The analysis focused on the structural and rhythmic organization of tunes, considered the most important aspect of calendar songs. Studying the tunes of the songs of Belarusian settlers of Siberia and the Far East allowed the author to divide the spring songs into groups, correlating by their structure with the types of tunes identified by the Belarusian ethnomusicologist Z. Ya. Mozheiko. It was found that the Siberian collection contains tunes of type III ves., as well as, in a modified form, VI rus. and IX ves.-kup. (according to Z. Ya. Mozheiko). The spring ritual songs of Belarusian settlers were found to be based on other typical rhythmic formulas from the Belarusian classification: “arrow,” “stream,” and the rhythmic formula of the main type of carol songs. One group of songs was identified to be based on the verse structure “kolomyika,” common to the East Slavic peoples. The tunes of some songs cannot be classified as typical, although they do have the features of formulaicity. Seasonally timed songs tend to be based on the same verse structures and rhythmic formulas as the ritual ones. Of particular importance are round dance songs.
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Mazuryna, N. G. "MANIFESTATIONS OF VARIANCE IN THE BELARUSIAN CALENDAR AND RITUAL TRADITION (ON THE EXAMPLE OF THE SPRING SONG “VOL BUSHUE – VIASNU CHUYE”)." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 63, no. 3 (August 25, 2018): 348–54. http://dx.doi.org/10.29235/2524-2369-2018-63-3-328-354.
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The article is devoted to the study of the variation of the Belarusian calendar-ritual songs on the example of the ancient and widespread spring song “Vol bushyе – viasnu chuye”. Dozens of tunes and lyrics of songs recorded in various places of Belarus at the end of the 19th and the beginning of the 21st century were analyzed. In modern folklore, variation is understood as a specific feature of folklore which manifests itself in the existence of works of folk art in variants. The method of comparing options has become one of the main ones in the process of revealing the features and patterns of the existence of song folklore in variants. As a result of the research, the facts of the existence of a variant set of Belarusian folk songs “Vol bushyе – viasnu chuye”, differences of local styles and traditions, revealed a number of reasons that influence the occurrence of song variants (place, time, form of being, age and individual abilities of performer and other). The rich material made it possible to draw some conclusions about the structural and semantic laws of the existence of variations of songs, the nature of metrorhythmic, melodic types, modes, plot variants. Variation, as one of the primary features of folk art in the cycle of Belarusian ritual songs and directly in the spring songs has its own characteristics. The peculiarity of rhythmics and melodies give the songs plasticity, drama, perfectly convey the emotional states that artistically combine with the plot-shaped system of spring song-calls.
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Dashuk, Volha. "The Land of the Sad Songs: Belarusian National Identity through Polish Documentary films in the 1930s." Panoptikum, no. 30 (December 28, 2023): 33–50. http://dx.doi.org/10.26881/pan.2023.30.02.
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Belarusian national identity is a taboo subject in Belarus nowadays, unless identity is understood in a Soviet/Lukashenko way. So for Belarusians, who have gone through national destruction more than once, this issue is not just a usual research topic but a crucial question that can contribute to national survival. In the 1920s-30s a part of Belarusian lands belonged to Poland and Polish filmmakers shot some documentaries there, which turned out to be the sole materials since whatever was taken in Soviet Belarus at this time, got burned later. This research aims to determine what these visual materials communicate, how they can add to the Belarusian identity and why it is important for modern Belarus and its cinema.
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Voloshyna, Iryna. "The Songs of Old Europe—Ancient Belarusian Folk Songs." Journal of American Folklore 135, no. 537 (July 1, 2022): 377–78. http://dx.doi.org/10.5406/15351882.135.537.26.
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Kazanina, Viola. "Ценные предметы в белорусских народных песнях с родины Адама Мицкевича." Białorutenistyka Białostocka 13 (2021): 329–40. http://dx.doi.org/10.15290/bb.2021.13.21.
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The article provides a description and an analysis of the literary context of valuable items in the well-known lyrics of national folk songs of the Belarusian Ponemania. A romantic poet Adam Mitskevich (1798–1855) was born in the land of Ponemania, not far from the town of Novogrudok and Lake Svityaz. In his poems, he borrowed a lot from local folklore – fairy tales, legends, and songs. The article aims to characterize the valuable items described in Belarusian folk songs, recorded in the homeland of Adam Mitskevich, from the perspective of the history of art and antiques.
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Dayneko, Tatyana V. "Subregional Calendar Traditions of Belarusian Settlers: Stable, Mobile and Unique Components." Critique and Semiotics 10, no. 2 (2022): 224–40. http://dx.doi.org/10.25205/2307-1737-2022-2-224-240.
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The article deals with the ritual and song components of the subregional calendar traditions of Belarusian settlers from the Omsk and Novosibirsk regions, Krasnoyarsk and Primorsky territories (records of songs and descriptions of rituals of the 1970s–2010s). It has been established that the subregional traditions of Belarusian settlers differ from each other in the composition of calendar rituals, the presence or absence of a song component in them and the number of song samples. The author comes to the conclusion that the annual calendar cycle of Belarusian migrants includes stable and mobile folklore and ethnographic complexes. Stable ones are developed in all the studied subregional traditions, in them the ratio of “rite-song genres” is balanced. Mobile ones may be present / absent in different sub-regional traditions or have different weight in their ritual-genre systems, the ratio of rituals and songs in such complexes is, as a rule, unequal. In addition, there are a small number of unique elements that distinguish any tradition from a number of others. The most stable is the winter festive folklore-ethnographic complex. It is present in all sub-regional traditions in sufficient completeness and safety. Only the Omsk subregion has a striking difference, where there is also a uniqat – the Christmas ritual game “Tereshka’s marriage”. The second stable component is the stubble ritual-labor complex with song genres related to it, including ritual ones and those dedicated to the season. The features of mobile folklore-ethnographic complexes are considered. The unique features of each subregional tradition are revealed.
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Hulak, Anastasia A. "Soviet heroic characters in the Belarusian war folklore." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021): 152–65. http://dx.doi.org/10.37816/2073-9567-2021-62-152-165.
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Based on materials collected by Belarusian Soviet folklorists in the first and later post-war expeditions, the paper examines manifestations of folklorization as part of assimilation and reinterpretation of different texts by the oral tradition. It focuses primarily on non-canonical war folklore, the examples of which are clustered around the three elements of the character code of Soviet heroics. Common songs about Kolya the Tractor Driver belong to the semantic field of the myth of the so-called “fiery tractor driver” — Pyotr Dyakov. They demonstrate that official art that could meet popular ideas of the war as a social and personal trauma were mostly open to folklorization. Folk songs about Zoya Kosmodemyanskaya vividly embody the motifs of suffering and demonstrate an expressive shift of the genre and content boundary from Soviet heroics to late traditional ballad forms. They substantively reveal the tragedy of human collision with the world of war. Songs about Zaslonov, popular among Belarusian partisans are derived from a productive ballad story about the death of a soldier. They steadily retain the semantics of the hero — people's defender. The revitalization of plots with such heroes — nation`s protectors is characteristic of the oral tradition of the period of social cataclysms. Songs about Zoya Kosmodemyanskaya and Konstantin Zaslonov are among the few that retained elements of their characters’ personal features in spite of being a part of the popular repertoire of the post-war period.
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Yakimenka, Tamara. "Landscapes of the Belarusian ethnic music of archaic layer: aspects of study (based on publications of ethnomusicological works of young musicologists BSC / BSAM 1991–2013)." Ethnomusic 16, no. 1 (2020): 170–88. http://dx.doi.org/10.33398/2523-4846-2020-16-1-170-188.
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Digests of articles by young musicologists of the Belarusian State Academy of Music, devoted to revealing the landscape panorama of the Belarusian ethnomusical culture of ritual genesis, are examined [1–5]. It’s shown that the considerations of young researchers published in the ethnomu- sicological editions of 1991–2013 aim at studying the autochthonous and historically deep phenomena of the Belarusian folklore fund, at revealing the features of ethnic song and instrumental melos in ritual complexes of calendar-farming and life cycles. A significant part of the research is devoted to the disclosure of typology, melo- geography, functional load, intonational, structural-rhythmic-compositional and eth- nophonic characteristics of song-ritual and instrumental practices of different regional and local traditions. In the subject spectrum of the articles the important issues are the sound world of ethno-song archaic layer considered in the aspect of mytho-sound-poetics [5], the pitch, articulation and ethnophony of the ancient melos, conditioning thereof by the signal-communicative sound activity as a factor of stability of ritual sound standards in the musical consciousness of carriers for many centuries. The ‘song territories’, which, as a result of placement on the borderland of his- torical-ethnographic and ethnocultural areas, are marked by a variety of linguistic in- fluences, the coexistence of diverse anthropological types in the autochthonous popu- lation (with the appropriate difference in beliefs, ritual practices and lifestyles) found their study in the issues of the ethnomusicological series. The ethno-song loci of various scales and levels – from their intraregional spe- cies (‘local’, ‘special’, ‘island’) [4] to status ones for ethnomusical cultures (the so- called ‘regional borderland’) [5] are studied. An ethnopsychological consideration is reflected in a number of articles [4]. Among the objects studied by young musicians there are significant ones in the ethnomusic culture of Belarusians song forms of the ‘Valachobny’ (Easter) and St George Day ancient rituals [1], congratulatory visiting rituals of the Carol period and the ‘Yashchar’ roundelay-game action assigned to the time of the Philippe post (Ad- vent) [2], childbirth and narrative (ballad) songs [4], groups of ‘Rajok’–‘Sparysh’– ‘Dazhynki’ (end of the Harvest) and ‘Aviasets’ (autumn) songs of Poozer’e (Lake district) [4], song traditions of the Maslenitsa (Shrovetide) ceremonies [4], the lead of the ‘Arrow’, ‘Rusal’, spring swings [5]. In the series of ethnomusicological collections of 1991–2013 landscapes of the ancient ethnomusic culture in its ‘Belarusian’ area on the territories of the Western Dvina basin, the upper course of the Dnieper, Dnieper–Druts–Berezina interfluve, Po- nemanje [1–5] were disclosed from the positions corresponding to the leading direc- tions of modern ethnomusicology. 187 The perspective of the researches carried out by young musicologists, their level and directly the potential of scientific problems were confirmed later in ethnomusico- logical dissertations [6–10], audio collections of the ‘Audio Atlas of the Traditional Musical Culture of Belarus’ and monographs [11–13].
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Dayneko, T. V. "Volochebnye Songs in the Belarusian Tradition of Siberian Existence." Critique and Semiotics, no. 2 (2023): 250–71. http://dx.doi.org/10.25205/2307-1753-2023-2-250-271.
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Danilovich, Nastassia. "Calendar-song tradition of Middle Shchara in the context of the ethnographical borderland." Ethnomusic 14, no. 1 (2018): 74–86. http://dx.doi.org/10.33398/2523-4846-2018-14-74-86.
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The article considers a calendar-song tradition of Middle Shchara – an ethnocultural area, located at the crossborder region of the Western and Central Polesye, Belarusian Ponemon’e and Central Belarus. Ethnomusicological field research recordings of the Belarusian State Academy of Music to Lyahovichskij (1982 – headed by V. Soltan, 1993 – headed by L. Kostyukovets), Ivatsevichi (2004 – head by T. Berkowitz), Baranovichi (2015 – headed by L. Barankiewicz) districts, Brest region, were mainly used for typological research. The correspondence were found in the winter repertoire of Middle Shchara between the existence of the old Kaliada tunes as well as clearly defined Kaliada game type “Goat” tunes. Notably children's round dance-games are used as Kaliada (Christmas) and Spring games. Valachobny tunes were used not only as a part of Vyalikdzien (Easter) greetings but also as general Spring and St. George's tunes. The existence of special “Yurovy” (St. George?s Day) round dance tune were discovered in the Middle Shchara locus. The special unique performing manner of local midsummer (Kupala) tunes were elaborated. The notable tinge of style of this region are Stippling fixations and variety of reaping tunes with interweaving manifestations song styles of Polesye and Ponemon’e. The Middle Shchara autumn repertoire, is elaborated as of notable accordance to the time of harvesting of flax songs of love or family domestic subjects. Peculiarities of the calendar-song tradition of Middle Shchara described as pertaining of the ethnoregional borderland, which is manifested in combination of attributes not only of Polesye (Western, Central and even the East) and Ponemon’e, but also the Central Belarusian song areals.
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Danilovich, Nastassia. "Calendar-song tradition of Middle Shchara in the context of the ethnographical borderland." Ethnomusic 14, no. 1 (2018): 74–86. http://dx.doi.org/10.33398/2523-4846-2018-14-1-74-86.
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The article considers a calendar-song tradition of Middle Shchara – an ethnocultural area, located at the crossborder region of the Western and Central Polesye, Belarusian Ponemon’e and Central Belarus. Ethnomusicological field research recordings of the Belarusian State Academy of Music to Lyahovichskij (1982 – headed by V. Soltan, 1993 – headed by L. Kostyukovets), Ivatsevichi (2004 – head by T. Berkowitz), Baranovichi (2015 – headed by L. Barankiewicz) districts, Brest region, were mainly used for typological research. The correspondence were found in the winter repertoire of Middle Shchara between the existence of the old Kaliada tunes as well as clearly defined Kaliada game type “Goat” tunes. Notably children's round dance-games are used as Kaliada (Christmas) and Spring games. Valachobny tunes were used not only as a part of Vyalikdzien (Easter) greetings but also as general Spring and St. George's tunes. The existence of special “Yurovy” (St. George?s Day) round dance tune were discovered in the Middle Shchara locus. The special unique performing manner of local midsummer (Kupala) tunes were elaborated. The notable tinge of style of this region are Stippling fixations and variety of reaping tunes with interweaving manifestations song styles of Polesye and Ponemon’e. The Middle Shchara autumn repertoire, is elaborated as of notable accordance to the time of harvesting of flax songs of love or family domestic subjects. Peculiarities of the calendar-song tradition of Middle Shchara described as pertaining of the ethnoregional borderland, which is manifested in combination of attributes not only of Polesye (Western, Central and even the East) and Ponemon’e, but also the Central Belarusian song areals.
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Aleksiayevych, H. V. "Czech borrowings in the Old Belarusian and Old Ukrainian written languages." Movoznavstvo 317, no. 2 (April 20, 2021): 36–54. http://dx.doi.org/10.33190/0027-2833-317-2021-2-003.
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The article assesses the role of the Old Belarusian and the Old Ukrainian languages in the development of Czech-Eastern Slavonic linguistic relations in the 14th–18th centuries. There were both direct and indirect ways of Czech language influence on the Old Belarusian and the Old Ukrainian written languages. The 15th century saw favourable conditions for military-political alliance between the Grand Duchy of Lithuania and Bohemia. The emergence and development of these relations was accompanied by diplomatic activity: for instance, Grand Dukes Vitovt and Svidryhailo had correspondence in Latin and Old Czech with the Czech Hussites. Contacts in the military-political, socio-religious and cultural-educational spheres contributed to the development of Czech-East Slavic language ties. Translations of the Czech written texts into Old Belarusian and Old Ukrainian («The Life of Alexei the Man of God», «The Story of Apollo of Tyre», «Lucidarius», «The Song of Songs», «The Tale of Toadal», «The Tale of the Prophetess Sibylline», «The Trojan Story»), use of the Czech legal texts in writing Galicia-Volyn letters in the 14th and early 15th centuries. The use of Czech legal texts in Galicia-Volyn monuments (Norman Statute of 1438–1439, Statutes of 1529, 1566, 1588, Lithuanian Metric Acts) contributed to the direct penetration of Bohemianisms into the Old Belarusian and Old Ukrainian writing. Although there were channels through which Czech linguistic elements could be directly borrowed into Old-Belarusian and Old-Ukrainian, the main channel for their penetration was Polish. Through the Polish mediation Bohemian loanwords were borrowed from various lexical-semantic groups, mainly from religious, military, socio-political and economic, everyday life vocabulary. The similar conditions of borrowing of Bohemianisms in Old Belarusian and Old Ukrainian are obviously the main reason why Bohemianisms in both languages are close in number and chronology of written fixation. This similarity is especially noticeable against the background of Old Russian data, where bohemisms were recorded later and in smaller numbers
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Myasnikova, S. A. "Poetic formulas of Belarusian carol and volochebnye songs. Problems of correlation of Irtysh region migrants' and maternal traditions." Languages and Folklore of Indigenous Peoples of Siberia, no. 37 (2019): 33–40. http://dx.doi.org/10.25205/2312-6337-2019-1-33-40.
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The article analyzes the poetic formulas of the Belarusian carol and volochebnye songs recorded in Omsk Irtysh region. The poetic formula is stable and repeatable, like the motive, but it does not have the motivation and the structure of the sentence, most often it is expressed in a quotation from the song text, which is absolutely not characteristic of the motive. The isolation and analysis of the poetic formulas of text corpora can provide a visual representation of a particular tradition. The aim of the study is to demonstrate the folk material recorded in the Irtysh through the prism of comparative analysis with the material of the maternal tradition. To isolate poetic formulas, the author has compiled a systematic, informative catalog that does not allow the full scope of the article to be published. But for clarity, the work demonstrated selected groups reflecting the architectonics of songs and containing their classification and systematization sections. The study resulted in conclusions that, on the one hand, the classification and systematization of regional Omsk records demonstrates a significant degree of loss of resettlement material. This is manifested in a small number of selected poetic formulas (in comparison with the place of outcome of the tradition), in the fragmentaryness and loss of textual elements, as part of subject groups. On the other hand, there is a strong connection with the maternal tradition which is reflected in the presence of typical ritual formulas, their full or partial coincidence with the formulas of а Belarusian texts.
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T. V., Dayneko, and Leonova N. V. "Genres of Belarusian calendar songs of Siberia and the Far East." Sibirskiy filologicheskiy zhurnal, no. 67 (2019): 27–38. http://dx.doi.org/10.17223/18137083/67/3.
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Mazurina, N. G. "Variance in Belarusian rites spring dance songs “Oj, nie rasci, kropie”." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 64, no. 3 (August 16, 2019): 339–45. http://dx.doi.org/10.29235/2524-2369-2019-64-3-339-345.
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Fedorovič, Irena, and Miroslav Davlevič. "Determinants of Regionalism in the Collection of Stories by Helena Romer-Ochenkowska Tutejsi (1931)." Slavistica Vilnensis 67, no. 2 (December 30, 2022): 96–109. http://dx.doi.org/10.15388/slavviln.2022.67(2).98.
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The object of research is a collection of short stories by Helena Romer-Ochenkowska (1875–1947) titled Tutejsi (Warsaw 1931). It is the third series of short stories by a famous Vilnius writer, poet and journalist, which is devoted to regional issues. The protagonists of the stories are native inhabitants of the Lithuanian-Belarusian border, people of different nationalities (Poles, Belarusians, Lithuanians, Jews) and of various origins (wealthy and poor nobility, peasants, officials). The stories takes place during the years of World War I and in the interwar period, when some of the Lithuanian-Belarusian territories became part of the Second Polish Republic. The indigenous people of the borderland were shown in opposition to “strangers” – German soldiers and former Russian officials and clergy. The most important determinant of regionalism, as exemplified by the collection of Tutejsi stories, is linguistic distinctiveness, visible in the author’s narrative and in the characters’ individualized language. There are regionalisms and dialectisms in the language of the heroes typical of the North-Borderlands Polish language. Based on the methodology of cognitive linguistics, the authors of the article also distinguished several other concepts that characterize regionalism, which are: local territory / patriotism; landscape; customs / traditions; games / songs; costumes. The results of the research confirm the correctness of the scholars’ opinion that people of the borderland tend to position themselves as locals and maintain a sense of their own separateness.
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Кутырёва-Чубаля [Kutyriowa-Czubala], Галина [Galina]. "Белорусская песенная строфика как предмет лингво-музыкальной диалектологии." Acta Baltico-Slavica 36 (July 26, 2015): 93–112. http://dx.doi.org/10.11649/abs.2012.009.
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Belarusian stanzaic prosody as a topic of the lingua-musical dialectology Stanzaic prosody of ritual songs detects both synchronous as well as polymorphic or bistructural correlations of the two song components – poetic text and tune. Tune often has its own actual segmentation (which does not match the text) and its own syntagmatics. Therefore, the verse-quantitative (according to number of verses in the strophe) classification of song forms accepted so far in musical folklore is unproductive and slightly informative. Paradigmatics of melodious forms is more complex and diverse. The same poetic text in tunes of various internal architectonics has different tension, euphony and semantics. This article discusses four of them: 1) repeating, 2) reprise-symmetrical forms, 3) polymorphic forms based on bistructural properties (opposition) of text/tune, 4) implicative forms, variations of question-and-reciprocal ones. Each of the structural-compositional paradigms has its spatial distribution (areal) and is located in the chronological order of forms.
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Гулак, Анастасия Анатольевна. "The Traumatic Discourse of Captivity in the Songs of War Prisoners." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 3 (September 25, 2022): 60–70. http://dx.doi.org/10.26158/tk.2022.23.3.004.
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В центре внимания автора оригинальные архивные материалы послевоенных экспедиций белорусских ученых и некоторые публикации песен, бытовавших во время Второй мировой войны в среде пленных и «восточных рабочих» Третьего рейха. Существенно уточнено определение термина «песни пленных», обозначены те социально-исторические факторы, которые с конца 1940-х годов способствовали изоляции этой уникальной части фольклорного наследия военного времени в исследовательской парадигме науки ХХ в. и значительному сокращению ее источниковедческой базы. Доказано, что травматический опыт, пережитый или усвоенный носителями исследуемой песенной традиции, выражается в напряженной эмоциональности песен пленных, характерной им своеобразной открытости высказывания, которая на языковом уровне реализуется через высокую эмотивность. Художественную специфику песен пленных составляют реалистически описанные картины лагерного быта, на идейном уровне предметом художественной рефлексии выступает социально-личностный аспект плена. В широком фольклористическом контексте прослежены рецептивные траектории некоторых наиболее распространенных песен пленных. Показана неоднородность их стилистики, которая явилась результатом взаимодействия в устной среде сюжетов крестьянского фольклора, позднетрадиционных романсово-балладных форм и произведений профессионального творчества. This article analyzes archival materials from post-war expeditions of Belarusian scholars and songs that were sung during WWII by prisoners and Ostarbeiters (“eastern [slave] workers”) of the Third Reich. It considerably refines the definition of the term “prisoner songs” and outlines the socio-historical factors that have contributed to the isolation of this unique part of the wartime folklore heritage. The author demonstrates that the traumatic experience of the bearers of the song tradition in question manifests itself in the songs’ intense emotionality and a characteristic frankness of expression. In artistic terms, prisoners’ songs present realistic pictures of camp life; on the ideological level, the social and personal aspect of captivity serves as the subject of artistic reflection. The article also traces the reception of some of the most common prisoners’ songs in a broad folkloric context. It demonstrates the heterogeneity of their style, due to interaction with plots of peasant folklore, traditional romance-ballad forms, and songs by professional singers.
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Ursegova, Natalia A. "WEDDING MUSICAL AND POETIC FOLKLORE OF RUSSIAN POPULATION OF THE SOUTHERN URAL." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 258–67. http://dx.doi.org/10.37816/2073-9567-2020-58-258-267.
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The paper displays the results of research of musical and stylistic features of the repertoire of the Russian wedding recorded in expeditions of the 90-ies of the 20th century in mining villages of the Beloretsk district of Bashkortostan by students and teachers of the Magnitogorsk state University. The author uses comprehensive approach in the analysis of ritual texts, taking into account the results of philological, ethnographic and musicological classification, which allows systematizing the repertoire of the Belarusian wedding, and distinguishing two musical-style groups — lament-singing and song-and-dance. The musical-style group combines a part of the wedding repertoire, which is characterized by a certain set of typical features that reflect the specifics of the form, genre, and content of songs in their direct relationship with the condition and place of performance in the rite. The analysis of musical and stylistic originality of Russian wedding songs and lamentations is carried out at the level of verbal, syllabic, and pitch parameters of chanting organization. Regularities specified for the first time led to a conclusion about the musical and stylistic unity of local ritual and non-ritual folklore genres, which ensures not only the preservation of the corpus of wedding songs and wedding rites, but also the vitality of the local singing tradition as a whole. The paper also suggests that search for the origins of the local folklore tradition should be carried out in the Northern Russian European region, which is characterized by a lamenting (dramatic) type of the wedding ritual.
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Myasnikova, S. A. "Belarusian summer rituals and songs recorded in the Omsk Priirtyshye. Characterization of archival materials." LANGUAGES AND FOLKLORE OF INDIGENOUS PEOPLES OF SIBERIA 49 (2024): 105–16. http://dx.doi.org/10.25205/2312-6337-2024-1-105-116.
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The article focuses on analyzing archival materials from Omsk that pertain to the summer period of the Belarusian resettlement calendar. The analysis covers various sources, including the folklore and ethnographic funds of Omsk, such as the Omsk State Pedagogical University Folklore Archive, the regional Fund of Folklore and Ethnographic Materials of the State Folk Art Center, the Museum of Archaeology and Ethnography of Omsk State University, and personal archives of traditional culture researchers and regional publications. The author meticulously reviewed and considered all the available records, encompassing the period from 1951 to the most recent expedition materials of 2010–2021. The specific regions in the Omsk Priirtyshye, where recording and living traditions are found, have been determined. Additionally, the areas where Belarusian settlers came from (Chernigov, Vitebsk, Mogilev, Minsk, and Vilna provinces) have also been identified. The study presents numerical indicators of the documented Priirtysh fixations, including seasonally scheduled summer customs and songs (Trinity, Ivan Kupala, and Petrov Day), occasional rituals, mythological tales (featuring fortune-tellers and witches during Ivan Kupala, the legend of the fern flower, mermaids, beliefs about the cuckoo, and summer divination). The Omsk archival material is evaluated in terms of its content quality, representativeness, and potential for in-depth analysis using textual, musical-typological, dialectological, and areal criteria. Previously unreleased archival texts that illustrate the described tradition are being introduced into scholarly circulation. This article is an introduction to a series of extensive studies on the summer calendar of Belarus, which were documented in the Omsk Priirtyshye region.
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Sheremeta, Iryna. "UKRAINIAN-BELARUSIAN CULTURAL TIES IN THE 1920S ON THE EXAMPLE OF COOPERATION OF THE MAGAZINE «MUZYKA» (“MUSIC”) WITH YULIAN DREJZIN." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 182–97. http://dx.doi.org/10.34064/khnum1-58.11.
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The study of Ukrainian-Belarusian cultural ties has significant research potential due to typologically similar processes of cultural and national formation of the two neighboring nations, which was especially pronounced in the 1920s. One of the important factors in this was the Bolshevik strategy of indigenization in the national regions of the Soviet Union. Almost simultaneously, there was a surge in literature and art in both republics. The lack of special studies that would cover these joint processes in the field of music culture, actualized the disclosure of this topic. The purpose of the article is to study the peculiarities of cooperation between the editorial board of the magazine «Muzyka» (“Music”) (publisher – a determining factor in the development of Ukrainian musical culture of the 1920s – Mykola Leontovych All-Ukrainian Music Society) and a leading Belarusian musicologist, one of the founders of Belarusian historical musicology Yu. Drejzin and explore their correspondence as an example of close UkrainianBelarusian cultural ties in the 1920s. To achieve this goal, historical, biographical and source research methods were used. In the autumn of 1924, P. Kozytsky, the editor of the Music, and Yu. Masyutin, the secretary, took the initiative to establish contact with Belarusian artists. The following year, communication began with Yu. Drejzin. His works include the study «Music and Revolution» (1921), the dictionary «Musical Terms» (1926), the libretto of M. Aladov’s opera «Taras on Parnassus» (1927), scholarly and critical articles, a huge number of Belarusian translations from ancient Greek literature, as well as texts from Western European vocal works. Ukrainian musicologists of that time were interested in similar tasks. Cooperation with Ukrainian colleagues coincided with the beginning of Drejzin’s active critical and journalistic activity. His investigations into Belarusian music and the work of contemporary composers were published in the Ukrainian magazines “Muzyka” (1925) and «Radians’ka Muzyka» («Soviet Music») (1933), and in the Kyiv newspaper “Proletars’ka Pravda” («Proletarian truth») and the Belarusian magazine “Polymya” (“Flame”) (both in 1926) – posts about the existence of Belarusian songs in the repertoire of the band “Dumka”. According to the correspondence, Yu. Drejzin was initially irritated by misunderstandings that occurred in his collaboration with magazine “Muzyka”. He complained about the delay of magazines with his articles, had complaints about the amount of royalties. However, after the secretary of the magazine told him in detail about the catastrophic financial condition of the publication, Yu. Drejzin completely changed his mind: he admired the fantastic dedication of the editorial board and even envied the ideology of Ukrainian artists. The collaboration of the Ukrainian magazine “Muzyka” with the Belarusian musicologist Yu. Drejzin is an organic part of the Ukrainian-Belarusian cultural cooperation, which was significantly intensified during the national upsurge of the 1920s. Drejzin’s interest in the cultural ties between the two republics was reflected in the magazines of the time, in which he published his musicological research. Peculiarities of Drejzin’s cooperation with the magazine “Muzyka” are documented in correspondence with the secretary of the magazine Yu. Masyutin. The value of these letters lies both in their factual content and in reflecting the evolution of the Belarusian scientist’s attitude to Ukrainian colleagues and his willingness to borrow the professional experience of Ukrainians.
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Klymenko, Iryna. "Six-metre rhythms as a polyethnic melogeographic system (of rhythm-syllabic fragmentation in spring songs and fast sung verses of Ukrainians and Belarusians)." Problems of music ethnology 17 (November 17, 2022): 111–29. http://dx.doi.org/10.31318/2522-4212.2022.17.270934.
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In the education of academic musicians, the 6-bar measure is not mentioned as an object worthy of special attention – from an early age children are taught to count mainly in 2-bar and 3-bar measures. School science is unaware of the fact that in the folk music of Ukrainians and Belarusians a significant number of works are "served" by the 6-bar meter, which is well suited for both moving dances and choruses, as well as for lyrical musical expressions.
Ethnomusicologists, analyzing thousands of archives of recordings of rural (indigenous) melodies of two neighboring ethnic groups, found huge arrays of songs based on the 6-meter monochronic model. The lion's share belongs to the wedding qi-class (more than 9 thousand), a smaller one – to the spring (1300). Both cycles created quantitatively and geographically powerful arrays of moths.
Vesnyanky densely occupied the expanses of Podillya and Pripyat Polissya (I. Klymenko. Atlas of ritual melodies of Ukrainians, vol. 2, map A19). Instead, among Belarusians they are found locally in the eastern zone.
Wedding songs formed a huge polyethnic macro-array that united Ukrainians and Belarusians (ibid., maps A46-47). 5700 wedding samples belong to tyradic forms, 3500 are strophic forms.
In other cycles 6-dole formulas are found only locally (winter, Kupala, harvest). In the lyrical layer its popularity is insignificant (for example, the Ukrainian story "I had one daughter"). Choruses in 6-measure are also known (well-known Ukrainian "Choboty", "Yakiv", Belarusian "Lyavonikha", "Kamarynska" and others).
The original rhythm formula is very simple (in conventional digital coding it is | 2 2 2 2 2 2 2 ||, where 2 is equal to a quarter duration). But it gave a bunch of derivative variants, formed mainly in two ways - rhythmic-syllabic splitting of initial positions (| 1111¦2 2 2 2 || = V44 and other variants) and prolongation (lengthening) of individual positions, more often end positions (| 2 2 2 2 4 4 || and other less common variants).
The range of various forms developed within wedding songs is relatively well studied - several articles were published in a special issue of "Problems of Ethnomusicology-8" (2013). Instead, vesniankas derived from the 6-dole model are described only in some regional varieties (Podillia and Polissya) – therefore they became the main analytical object of the article (with musical illustrations). The chorus pieces of 6-bar base are also commented. The conclusions about the polystadiality of rhythmic modifications of the model, caused by the drumming algorithm in different genres and regions, are made. Correlations between verbal accents and the choice of rhythmic figures are observed.
The conclusions present a general genre picture of this typological group of melodies and outline the areas of their distribution, emphasize the prospects for in-depth study of ritual meloforms as arguments of the "archaeological type".
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Кутырёва-Чубаля [Kutyriowa-Czubala], Галина [Galina]. "Лексика песенных зачинов в белорусской свадьбе: семантика, структурные трансформации (на примере одной группы текстов)." Acta Baltico-Slavica 40 (December 28, 2016): 291–309. http://dx.doi.org/10.11649/abs.2016.012.
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Lexical Forms of Song’s Incipits in Belarusian Wedding Cycle: Semantics, Structural Transformations (an Example of One Type of Texts) In the context of the study on dynamic typology and dialectal features of Belarusian folk songs, the paradigm of texts relating to the episode when the Bride parts with her parents is considered here. Such texts have the same lexical and poetic basis; are characterized by common type of incipit in different variants. All of these texts depict an dramatic for the Bride moment of “intrusion” into her backyard “an alien” family – the Groom’s family. Different versions of this incipit have been noticed within the large territory of Belarus and on the frontier (Latvia, Poland). Structural transformations of this type of incipits are manifested by reduction or, quite the opposite, by adding (affixation) syllables in verses. It is conditioned by non-verbal semantics expressed through vocalic rhythmic – the superiority of recitation elements or motor and somatic dynamics. Expansion of an incipit verses by adding to the initial word its rhymed synonym is also a typical phenomena.Diachrony of a given paradigm texts is also revealed by comparing the texts related thematically to the wedding moment mentioned above. A large number of these texts are abridged versions (a middle and a final part) of full texts of paradigm in question. A song in the abbreviated version begins with the culminative part and omits the metaphorical and descriptive initial part (such transformations can be observed in the periphery districts of a radical area). Accordingly, in such a case a different stanza fulfills the incipit function. The method of dynamic typology is applied while analyzing various texts that belong strictly to the same syllabic and rhythmic paradigm. It is a promising approach to study on linguo-musical dialects and diachronic changes in folk song language. Leksyka incipitów białoruskich pieśni weselnych: semantyka, transformacje strukturalne (na przykładzie jednej grupy tekstów)W kontekście badań typologii dynamicznej oraz cech dialektalnych białoruskiej pieśni ludowej rozpatrujemy paradygmat tekstów dotyczących epizodu rozstawania się panny młodej z rodzicami. Są to teksty o tym samym podłożu leksykalno-poetyckim, które charakteryzuje wspólny typ incipitu w różnych jego wariantach. Wszystkie one symbolizują dramatyczny dla panny młodej moment „wtargnięcia” na jej podwórko „obcego” rodu – rodu narzeczonego. Metafora ta zawarta jest w formule incipitu. Warianty formuły zanotowano na znacznym obszarze Białorusi oraz na terenach przygranicznych (Łotwa, Polska). Transformacje strukturalne tego typu incipitów polegają na redukcji lub rozrastaniu (afiksacji) składu sylabowego wersolinii. Wszystko to jest uwarunkowane semantyką pozawerbalną, wyrażoną przez rytmikę wokaliczną – z przewagą albo elementów deklamacyjności, albo dynamiki motoryczno-somatycznej. Charakterystyczne jest również poszerzenie wersu incipitu za pomocą dodawania do początkowego wyrazu synonimu rymowanego.Diachronia tekstów danego paradygmatu ujawnia się także przy zestawieniu tekstów tematycznie związanych z tymże epizodem wesela. Spora liczba tych tekstów przedstawia wersję skróconą – środkowy i końcowy fragmenty – tekstu pierwotnego danej grupy. Pieśń w wersji skróconej rozpoczyna się od punktu kulminacyjnego, z pominięciem metaforyczno-narracyjnej części wstępnej. Odpowiednio rolę incipitu pełni tu inna strofa. Teksty w wersji skróconej lokalizują się na peryferiach areału. Metodę dynamicznej typologii pieśni stosujemy do opisu tekstów różnych gatunków, o różnej tematyce, jednak należących ściśle do tego samego paradygmatu sylabo-rytmicznego. Otwiera to nowe perspektywy w badaniach dialektów lingwo-muzycznych oraz zmian diachronicznych w języku pieśni ludowej.
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Kaplin, Alexander, Olha Honcharova, Valentyna Hlushych, Halyna Marykivska, Viktoriia Budianska, and Svitlana Lavinda. "Slavic Scholar and Educator Pyotr Bezsonov (1827-1898): A Life and Legacy." Academic Journal of Interdisciplinary Studies 10, no. 3 (May 10, 2021): 134. http://dx.doi.org/10.36941/ajis-2021-0070.
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Nowadays the name of Pyotr Bezsonov, the acknowledged in pre-revolutionary Russia scholar, is known to but a narrow circle of researchers as some myths and stereotypes about him have proved difficult to overwhelm. Yet, he traced in the history of Slavic studies as an assiduous collector of ancient Russian and Slavic literature works and explorer of Bulgarian, Belarusian and Serbian folklore, folk songs in particular, a scrutinizer of the Slavic languages and dialects, a talented pedagogue and editor. Based on the genuine sources, such as letters, documents and memoirs, as well as nineteenth century publications, which have become the bibliographic rarities, this article aims to present the revised biography of the scholar through revealing the hitherto unknown or underestimated facts of his life and research activity; also, to highlight his achievements in the field of Slavic history, literatures and linguistics; finally, to determine the place deserved by Bezsonov in Russian and European culture as a whole. The special attention is given to the Kharkiv period, related to the years of his professorship at Kharkiv University.
Received: 17 February 2021 / Accepted: 9 April 2021 / Published: 10 May 2021
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LYZLOVA, ANASTASIYA S. "PECULIARITIES OF THE FOLK-TALE REPERTOIRE AND THE LIFE PATH OF F. P. GOSPODAREV, A BELARUSIAN (1865–1938)." Belarusian folklore: data and research, no. 9 (April 4, 2022): 139–56. http://dx.doi.org/10.47612/2411-2763-2022-9-139-156.
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The article is dedicated to the storyteller F. P. Gospodarev (1865–1938), who was born and lived until almost forty years of age in Belarus and then, by a twist of fate, ended up in life-time exile in the former Olonets Governorate. He spent more than thirty years in Petrozavodsk, and worked for a whole ten years at the Aleksandrovsky (Onega) plant. In 1937–1938, folklorist N. V. Novikov managed to record almost the entire repertoire of the retired Gospodarev (over 100 folk-tales) under a program for collecting workers’ folklore. All the collected materials were included in a separate collection No. 62 of the Russian Fund of the Scientific Archives of the Karelian Research Center of the Russian Academy of Sciences. Gospodarev’s tales were published in Karelia in periodicals in the late 1930s and within two collective volumes: “Songs and Tales at the Onega Plant” (Petrozavodsk, 1937) and “Tales of Philip Pavlovich Gospodarev” (Petrozavodsk, 1941), which also include biographical information and portrait of the tale-teller. KarRC RAS Scientific Archives has a unique collection No. 154 dated 1980, which contains the memoirs of Gospodarev’s contemporaries (relatives, neighbors and former employees of the Onega plant) about his life in Petrozavodsk. These archival materials are undoubtedly valuable as they give a chance to see the tale-teller through the eyes of his near ones. Gospodarev’s repertoire contained all genre varieties of folk-tales. Personally, he preferred tales with novelistic and anecdotal content, and hardly ever told tales about animals. Many folk tales recorded after this performer are quite voluminous and feature a connection to literary sources (popular editions and folk-tales by A. S. Pushkin, P. P. Ershov), despite the fact that Gospodarev was illiterate.
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Kliabanau, Dzmitry. "“I called out with my song, whose grandchildren you are..." Prophetism in Felix Batorin’s poetry." Świat i Słowo 35, no. 2 (November 26, 2020): 155–81. http://dx.doi.org/10.5604/01.3001.0014.5470.
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Belarusian poet Feliks Batorin is the author of many poems on philosophical and civic topics. A characteristic feature of these poems is that they draw inspiration from religious thought founded on the Judeo-Christian tradition. They contain numerous Old Testament allusions and evangelical reminiscences. Batorin’s poems are also characterized by their allegoric quality, and their parabolic, metaphorical, and creative synthesis of biblical themes and folkloristic motifs. Biblical motifs began to appear in Felix Batorin’s poetry in the 1980s, during a period of social and political transformation in Belarus. Reflecting on the reality, the poet often turns to the motif of prophetism and the figure of the prophet, which might prove conducive to trying to find answers to important questions - both universal and resulting from Belarusian historical and cultural specificity. The drama of being a prophet results from the overwhelming feeling of loneliness arising from opposing the society in order to fulfil the mission which has been entrusted to a prophet. The tragedy of the poet-prophet lies in the fact that he is aware of his weakness and helplessness in the struggle against the individual for the individual, in his attempts to reach the morose society. The destructive activities of the oppressive communist system against the culture, language and identity of Belarusians turned out to have serious consequences for the society of the post-Soviet Belarus. That is why it cannot be surprising that pessimism resounds in prophetic works of Felix Batorin. However, despite pessimism, there is still hope in his poetry – the hope to reverse the fate of the nation and homeland.
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Hrynevich, Yanina. "Worldview of Belarusian Folk Song Lyrics." Folklore: Electronic Journal of Folklore 72 (August 2018): 111–40. http://dx.doi.org/10.7592/fejf2018.72.hrynevich.
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Khanis, Nadiia. "WEDDING SONGS IN THE MIDDLE DNIEPER REGION: MORPHOLOGY AND GEOGRAPHIC DISTRIBUTION OF ONE TYPE OF STROPHIC MELODIES WITH 6-BEAT METRICS." Problems of music ethnology 18 (December 22, 2023): 52–74. http://dx.doi.org/10.31318/2522-4212.2023.18.294830.
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The results of a morphological research of the Middle Dnieper (Dnipro) collection of wedding melodies of a lyrical function are presented, which are based on a six-metre rhythm-scheme with second-generation rhythms and verses, arranged in a three-line stanza (conditional macromodel ‹V*63 ›). This genre sub-group has the established definition of «lyrical wedding songs» (LWS), its key functional characteristics: lyrics of lyrical content (conveying the emotions of the Bride and her mother) and melo-intonations of «lyrical stylistics».
About 350 samples (recorded in the years 1985–2023 in the current Cherkasy and Kirovohrad regions) were involved in the research, 80 of them were studied in detail, using multi-level analysis (toolkit – modeling of rhythmicsyllabic formulas, intonation contours, mode and sound-scale analysis). The constructed typical local models were mapped, the results are shown on six maps according to individual morphological parameters: differences in rhythm and composition (maps B2, B3); tempo deviations (B3); texture differences (B4); differences in the mode and soundscale organization (scale, key tones, their syntactic positions, B5 and B6 maps).
The purpose of the publication is to identify the features of the Middle-Dnipro region subspecies of the polyethnic (Ukrainian-Belarusian) macrotype ‹V*63 › and to present the areology of its morphological varieties on the territory of the Middle-Dnipro region. Several important structural positions have been established:
a specific Middle-Dnipro verse formula prevails in the studied area – V{456} with the possibility of its expansion to V{567} due to the mechanism of superfragmentation;
the basic three-line composition has a traditional full and local reduced form;
in the areas adjacent to the Dnipro, polyphonic textural developments of the musical canvas and the related specific textural composition of the stanza with the special role of the soloist in the opening part of the stanza are recorded;
most of the samples belong to the three-base wedding mode with a characteristic system of final tones (SFT) of melodic lines, where the second and third melodic lines have fixed cadences on 1 and 2 stairs, and in the first line three pitch options are allowed – 2, 3 or 5 stairs (degrees). According to the degree of prevalence, these are the following SFTs – ‹2;1;2› (widespread, including Podillia, Polissia), ‹5;1;2›, ‹3;1;2›. The permanent ending of the stanza with an open cadence on the 2d stair, formed using the apocope, is the most characteristic feature of the studied melotype.
A summary analysis of the localization of a series of morphological markers revealed the specificity of the spatial attribution of the studied meloform in territories located on both banks of the Dnipro (within the studied areas – map B7). Different combinations of morphological parameters formed 6 local groups of melodies, which can be combined into 4 varieties, opposite in terms of their basic habitats – two from Podillia (Gnyly Tikich and Sinyukha basins) and two from Middle-Dnipro region.
Arguments have been made in favor of the fact that at least the western border of the Middle Dnipro region can be drawn quite clearly (although, as it is expected, in the form of a blurred border).
The areals created are guidelines for further research steps: the perspective of the functional study of LWS is opened – the identification of a complete corpus of poetic texts with lyrical content and melodies of the corresponding stylistics; the search for terrains on which the lyricization of songs of the six-metre three-line form could unfold, attempts to outline the hypothetical chronology of these processes.
The article is accompanied by tables of sources, notations (10 examples), maps.
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Bierzeņš, Aņss Ataols. "„f“ AND „h“ LETTERS' PROBLEM IN LATGALIAN LANGUAGE." Via Latgalica, no. 3 (December 31, 2010): 51. http://dx.doi.org/10.17770/latg2010.3.1671.
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<p>In the article is told about the problem of letters’ (and sounds’) f and h in Latgalian language. These sounds have never been in any Latgalian dialect, in foreign words speakers always have been replaced them with other sounds. At the same time letters f and h have been used in written Latgalian at all times: from the first known book „Evangelia toto anno“ to the present day. What to do in this situation: to keep the way of the still alive traditional spoken language, or to yield to the pressure of other languages?</p><p>The author analyzes a variety of sources: tells about reconstructions of source languages and opinions of their researchers about presence/absence of these sounds in them, deals with f in contemporary Eurasian languages (Eastern Slavic: Russian, Ukrainian, Belarusian; Finnic: Finnish, Estonian, Vyru; Turkic: Kyrgyz, Kazakh, Chuvash, Yakut; Persian: Pashto; Baltic: Lithuanian, Samogitian) and h in contemporary Eurasian languages (French, Kazakh, Lithuanian, Samogitian). Latgalian and Latvian dialects’ recordings, folk songs, ancient texts (from XVI–XVIII centuries), as well as Latgalian contemporary literature are analyzed. The author also evaluates inclusion of letters f and h in alphabet of the official Latgalian terms of spelling in year 2007.</p><p>Author establishes that there are five possible paths:</p><p>1) to use the f and h in all the words where they are in Latvian, Russian or other languages;</p><p>2) to keep p, k, g and c in traditionally used words, but to put f and h in newly borrowed ones;</p><p>3) do not use the f and h at all;</p><p>4) to use both variants parallely in the same words;</p><p>5) to write f and h, but to pronounce them as p and k.</p><p>Author concludes that the actualy usable are only two of them: the second one – the way of a compromise, and the third one – as the most appropriate to Latgalian phonological system.</p>
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Pchelovodova, I. V., N. V. Anisimov, and E. A. Sofronova. "Song folklore of the resettlement tradition of the Udmurts of the Krasnoyarsk region." Sibirskiy filologicheskiy zhurnal, no. 2 (2021): 31–49. http://dx.doi.org/10.17223/18137083/75/3.
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This paper analyzes the musical and song resettlement tradition of the Krasnoyarsk Udmurts and compares it with the indigenous tradition of the Udmurts living in the Igrinsky and Alnashsky districts of the Udmurt Republic. The resettlement of the Udmurts to Siberia pro-ceeded in two ways: voluntarily – during the Stolypin agrarian reform (1910–1912) and forci-bly – during dekulakization (the 1930s). Krasnoyarsk Krai thus became a second homeland to most settlers. Three expeditions were conducted to the Krasnoyarsk Udmurts: in 1974, 1991, and 2020. This study compared sound recordings of the first and last expeditions. It has been revealed that the musical and song tradition of the Krasnoyarsk Udmurts still preserves a dis-tinction between southern and northern Udmurt traditions. However, the data of the last expe-dition demonstrates the predominance of the Northern Udmurt tradition. A detailed analysis of ritual and non-ritual songs has shown that settlers remain committed to their indigenous tradition in regard to poetic and musical-stylistic features of genre groups. A characteristic feature of the Siberian Udmurt song tradition is found to be the motif of longing for the for-mer homeland, which is most clearly expressed in the poetic texts recorded during the first expedition. In contrast to the indigenous tradition, the Siberian Udmurt song tradition has an entirely different repertoire. The characteristic feature of the resettlement tradition is that it comprises songs borrowed from neighboring ethnic groups, such as Russians, Ukrainians, and Belarusians. To conclude, remoteness from the original tradition and neighborhood with other ethnic groups contributed to the loss of Udmurt language and culture, although the Krasno-yarsk Udmurts still recognize themselves as Udmurts.
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Rutkowska, Krystyna. "O języku, dawnych czasach i obrzędach w okolicach Mejkszt na Litwie." Acta Baltico-Slavica 39 (December 31, 2015): 198–218. http://dx.doi.org/10.11649/abs.2015.013.
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The language, history and ceremonies in the area of Meikštai in Lithuania This publication is a report of the field studies carried out in July 2000 in the Smalvos area in Lithuania. This area is characterized by historically shaped multilingualism, where Lithuanian, Polish and Russian Old Believers’ villages are adjacent. Also frequent are contacts between local residents with family or friends who live in Belarus. As a result, the inhabitants of these villages are familiar with four languages: Polish, Lithuanian, Russian, and Belarusian dialect. The Polish villages preserved the basic Polish language which is used by all three generations as a home language, while in the external contacts other language varieties can be used.The ongoing research was not only aimed at examination of the language of these areas but also at documentation of very diverse cultural layers, therefore rites, customs and folk songs were recorded. Many different questionnaires were used in the study – linguistic, ethno-linguistic and social-linguistic. The source text in the book consists of stories kept in historical and ethnographic character, basic features of the informer, who represents a Smalvos variety of the Polish language in Lithuania, have been preserved in the phonetic record. O języku, dawnych czasach i obrzędach w okolicach Mejkszt na LitwieW publikacji przedstawione są teksty nagrane w lipcu 2000 r. podczas badań terenowych na obszarze smołwieńskim polszczyzny północnokresowej. Pochodzą one od informatorki ze wsi Mejkszty (lit. Meikštai). Wieś jest położona w rejonie ignalińskim (lit. Ignalinos rajonas), na samej granicy z Białorusią. Teren ten charakteryzuje się historycznie ukształtowaną wielojęzycznością, gdzie sąsiadują ze sobą wsie litewskie, polskie i staroobrzędowców. Częste są też kontakty miejscowych mieszkańców z rodziną lub znajomymi, mieszkającymi na Białorusi. Mieszkańcy tych miejscowości znają cztery języki: polski, litewski, rosyjski i gwarę białoruską. W zachowanych wsiach polskich kodem podstawowym pozostaje dotychczas polszczyzna, której używa się we wszystkich trzech pokoleniach jako języka domowego, natomiast w kontaktach zewnętrznych mogą być używane pozostałe odmiany językowe.Badania miały na celu nie tylko odnotowanie języka używanego w tych miejscowości, lecz też udokumentowanie bardzo zróżnicowanej warstwy kulturowej, dlatego też nagrywano opowieści o obrzędach, zwyczajach, a także pieśni ludowe. W trakcie badań stosowano różnorodne kwestionariusze – językowe, socjolingwistyczne i etnolingwistyczne. Przedstawiony tekst składa się z opowiadań o charakterze historycznym i etnograficznym. W zapisie półfonetycznym zachowano podstawowe cechy języka informatorki, który reprezentuje odmianę smołwieńską polszczyzny na Litwie.
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Pchelovodova, Irina Vyacheslavovna, and Nikolai Vladimirovich Anisimov. "FROM “RUSSIA” TO SIBERIA...: MODERN EXPEDITIONARY NOTES ABOUT THE UDMURTS OF THE KRASNOYARSK KRAI." Yearbook of Finno-Ugric Studies 15, no. 1 (April 2, 2021): 45–59. http://dx.doi.org/10.35634/2224-9443-2021-15-1-45-59.
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The Udmurts moved to Siberia for two reasons: voluntarily during the Stolypin agrarian reform (1910-1912), and forcedly during the period of dekulakization (30s of the XX century). The settlers got a second homeland and compactly located in the Tomsk oblast and the Krasnoyarsk Krai. Three expeditions have been made to the Krasnoyarsk Udmurts so far: in 1974, 1991 and 2020. This article enters new scientific information about the modern state of the folklore tradition of the Udmurt settlers. The material was fixed on audio, photo and video equipment in three districts of the Krasnoyarsk krai: Birilyussky, Bolsheuluysky and Dzerzhinsky. The most of the memories are related to stories about the migration from Udmurtia to the Krasnoyarsk Krai. Special attention was paid to the celebrations and rituals held by local Udmurts. Some song genres were recorded: ritual (wedding, guest, feast) and non-ritual (traditional lyrical, author's and borrowed from the repertoire of neighboring ethnic groups-Russians, Ukrainians, Belarusians). The main part of the songs belongs to the north-Udmurt tradition, as most of the performers are representatives of the Igrinsky district of Udmurtia.
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Myasnikova, S. A. "«The valicenti trailed…» – volochine songs of the Omsk Irtysh region Belarusians." Sibirskiy filologicheskiy zhurnal, no. 1 (March 1, 2017): 13–22. http://dx.doi.org/10.17223/18137083/58/2.
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Klymenko, Iryna. "Macroareal Markers Of Ritual-Song Traditions Of Galicia And Carpathia." Ethnomusic 18, no. 1 (December 2022): 100–126. http://dx.doi.org/10.33398/2523-4846-2022-18-1-100-126.
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The article examines a number of melo-typological features that appeared on the melogeographic maps of Ukraine as factors of the separation of the southwestern seg- ment of the Ukrainian ethnic territory (UET). This segment is delineated in the article with the conventional name ‹Carpathian-Galician Melomassif› (KGM). The criteria for distinguishing KGM became ritual melodies, the age of which is considered quite respectable – there are indirect evidences of the pre-Christian origin of many types of song compositions (meloforms, defined primarily by their rhythmic patterns and corresponding verse (syllabic) formulas). In fact, their areas, which ap- peared during the mapping of numerous large arrays of songs, are evidence of them – after all, these areas are partially correlated with archaeological cultures of distant times (from the beginning of the 1st millennium AD), so this direction of research can be described by the expression “musical archeology”. About 60,000 recordings of ritual melodies of Ukrainians and neighboring ethnic groups (Belarusians, Poles, Lithuanians) were used to build the maps. 132 maps were published as a separate Atlas (Klymenko, I., Ritual Melodies of the Ukrainians in the Context of the Slavic- Baltic Early Traditional Melomassif: Typology and Geography. Kyiv, 2020. Vol. 2: Atlas. 100 pp. + DVD. https://knmau.com.ua/wp-content/uploads/klymenko-dyser- tatsiya-2.pdf). The zone ‹Galicia + Carpathia› is distinguished as a separate ritual-song space according to two types of parameters: positive (А) and negative (B). These are the following positions: А1 – meloforms with truly “Galician” arrays (individual types of winter songs (with a spondeic base ‹V*44; Р43 43 ›); a macrogroup of spring melodies with a ‹V446› base; Easter (ranciuvalni) songs; birth (christening) songs of various types); A2 – meloforms with arrays that go beyond the boundaries of the zone ‹Galicia + Carpathia›, but in the Galician repertoire they are statistically dominant, so the KGM territory can be considered their core (carols with verse bases ‹V*443›, ‹V553›, shchedrivky-melankuvannia ‹V*442 ›; wedding, spring and harvest with a base ‹V7›; numerous game spring songs of the «character» type and other melo-forms); A3 – meloforms with very large polyethnic arrays, which within the KGM limits have distinctive typological or areal «behavior» (winter songs of the ‹V55,р4› macro- family; wedding macrotype of the ‹V*53› model); A4 – specific techniques of rhythmic and compositional variation, specific to the KGM sector (the technique of adding the syllables; the technique of duplicating small syllabic groups); B – «negative» markers: the absence in Galicia and the Carpathians of certain genres and meloforms characteristic of the neighboring regions – Central and Eastern Podillia and Volyn (Kupalo rites and songs; several forms of wedding songs, in par- ticular, songs of the tirade type). On the other hand, a series of melotypological factors have been established that show the belonging of the KGM zone to the great “cultural continent of the Ukrainian Right Bank” – these are markers of group C (shedrivkas ‹V442 › with an ascending Ionic figure; spring songs with bases ‹V*442 ›, ‹V4332 ›; harvest and wedding songs with the base ‹V7› and other meloforms). 121 In advance, we can say that “separation” factors (markers of groups A and B) look more powerful than integration factors (markers of group C). The “separation” line of the KGM zone in the east passes between the Seret and Zbruch rivers, in the north – along the line below Gorokhiv (Sokal – Radekhiv – Ikva river), in the west and south – almost coincides with the corresponding borders of the UET. The maps also show significant differences within the specified region, which allow the following sectors to be separated in KGM: (a) the mountain part of the Carpathians: their northern slopes and the foothills; (b) southern slopes of the Carpathians (Transcarpathia); (c) the upper Dniester zone; (d) sector of the right bank of the Dniester (to the watershed with the Western Bug and Prypiat basins). Keywords: musical folklore of Ukrainians, Carpathians, Galicia, ritual melodies, modeling of musical forms, melotypology, morphology, mapping, arrays of ancient cultures, musical archeology.
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Chaustowicz, Mikałaj. "Yulian Liaskoŭski as a Belarusian-language writer." Studia Białorutenistyczne 17 (February 1, 2024): 125–37. http://dx.doi.org/10.17951/sb.2023.17.125-137.
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A distinctive feature of the Belarusian literary process of the 19th century is the parallel presence of authorial and anonymous works. In the corpus of artistic texts of this period there are more than a hundred anonymous works. We know the names and surnames of many writers who allegedly wrote in Belarusian, but to our time no Belarusian works have survived. The subject of this study is the life and creative vicissitudes of Yulian Liaskouski (1826–1889), as well as hypotheses regarding the possible involvement of the poet in the creation of the poem Zahraj, zahraj, chłopcze mały... (Play, Play, Boy Small...) and propaganda texts for the people from the early 1860s. The article, based on the analysis of printed and handwritten materials, proves that Yulian Liaskouski, who most often performed under the pseudonyms Y. Korabicz, Marcin Mizera, and Mroczek, used not only Polish, but also Belarusian in his works. It is very likely that the poems Ziemielka maja… (My land…) and Pad dudu (Sing the Bagpipe Pad), published by him as folk ones in the article Słówko o pieśni (A Word about Song) (1882), belong to him. However, the most significant evidence in favour of the fact that Y. Liaskouski has written some works in Belarusian is the statement of Adam Honori Kirkor, in which a well-known Vilnius editor and publisher includes the poet and publicist Yulian Mroczek among the most famous Belarusian writers of the middle of the 19th century – Vincent Dunin-Marcinkewicz, Arciom Viaryha-Dareuski, Uladislau Syrakomlia, Vikentij K.
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ANDRUSHCHENKO, N. "FACTORS THE FORMATION OF NATIONAL SELF-CONSCIOUSNESS AND EDUCATION IN BELARUS (second half of XIX – beginning of XX century)." Herald of Polotsk State University. Series E. Pedagogical sciences, no. 1 (June 3, 2024): 2–5. http://dx.doi.org/10.52928/2070-1640-2024-41-1-2-5.
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The article defines the concept of «national self-consciousness». The works of famous teachers, ethnographers, folklorists Y.F. Krachkovski, N.Y. Nikiforovski, I.I. Nosovich, E.R. Romanov, P.V. Shein, P.I. Shpilevsky, I.A. Serbov, A.K. Serzhputovski, who researched and collected the oral folk art of Belarusians (proverbs, sayings, rites, songs, traditions) are presented. Examples of ritual songs are given, which were reflected in P.M. Shpilevsky's book «Belarus in Rites and Fairy Tales». The factors of formation of national consciousness and enlightenment in Belarus in the second half of the XIX - early XX centuries are characterized. Attention is emphasized on the activities of Orthodox brotherhoods, actively engaged in educational activities. The article considers the peculiarities of the organization and implementation of local lore and Belarusization in the framework of education of the younger generation in the period under consideration.
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Zinchuk, N., and O. Pogrebnyak. "THE OEUVRE OF ANDREI HADANOVICH IN THE CONTEXT OF MODERN BELARUSIAN-UKRAINIAN LITERARY INTERACTION." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 35 (2019): 230–38. http://dx.doi.org/10.17721/2075-437x.2019.35.22.
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The article covers the main features of Andrei Hadanovich’s works as s a representative of the modern literary process in Belarus and his liaison with Ukrainian writers and translators. Considerable attention is paid to the first literary attempts of the Belarusian writer, the process of professional development and the features of postmodernism in his writings. In this context the poetry of Andrei Khadanovich combines the achievements of Eastern European «book» poetry with elements of modern culture (pop, rock, rap, urban slang). Using his poetry-song «Hotel Belarus» as example, the research depicts «classical» postmodernism features in Andrei Hadanovich’s works – intermediality, intertextuality, irony, play, numerous allusions, parodies, experiments with form and genre. The paper also describes the main directions of the Belarusian writer’s literary work in Ukraine, his role and place in the development and popularization of modern Ukrainian literature and culture among Belarusian readers. The creative cooperation between Andrei Hadanovich, Serhiy Zhadan, Oleksandr Irvanets and Yurii Andrukhovych is characterized on the basis of their poetry books and collaborations. In particular, review of Khadanovich’s works includes several books of poems – his very first edition of «Letters from the Blankets» in Ukrainian, «From Belarus with Love», also published in Ukraine but in Belarusian, twin books «Belarusian Man» and «Ukrainian Airlines», created in the close collaboration with Serhiy Zhadan and other young artists and translators. In addition to creating some «adult» poetry, the writer from Belarus is shown as children’s author. His book of funny lyrics for children “Daddy’s Notes” was also first published in Ukraine in Ukrainian translation.
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Klymenko, Iryna. "Early Ukrainian-Belarusian-Polish traditional melo-massif: Interethnic wedding macro-areas." Muzikologija, no. 19 (2015): 23–49. http://dx.doi.org/10.2298/muz1519023k.
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Through rhythm-typological analysis and cartography the author has detected a similarity in the typological structure of early traditional musical forms belonging to agricultural and wedding genres on the territory which unites Ukraine, Belarus (within its ethnic area at the beginning of the 20th century), Eastern Poland (the Vistula river basin), and Lithuania (Dz?kija and Aukstaitija). This concerns several dozen song types, composed of items from a common grammatical base, forming the Ukrainian- Belarusian-Polish early-traditional melo-massif ? UBPEM. These types share interethnic (2-4-lingual) areals, which do not correlate with linguistic ones.
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Chaban, M. P., Z. I. Shevtsova, and V. V. Gaponov. "Professor Leon Padlewski — director of the bacteriological institute." GASTROENTEROLOGY 55, no. 4 (January 11, 2022): 280–85. http://dx.doi.org/10.22141/2308-2097.55.4.2021.247923.
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The article presents the life path of an epidemiologist, professor Leon Padlewski, a native of Poland. He became the first director of the bacteriological institute in Yekaterinoslav. Information about his wife Nadieżda (nee Berestnieva), a well-known pianist, the founder of the Belarusian piano school, was provided. A tragic fate befell Padlewski sons, who died in the fight against the Nazis. The elder son Jerzy was an architect, and the younger son Roman was a composer.
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Biasioli, Marco. "Molchat Doma and the Birth of the Influencer." IASPM Journal 14, no. 1 (March 18, 2024): 151–71. http://dx.doi.org/10.5429/2079-3871(2024)v14i1.10en.
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The article investigates the transnational reception, circulation and remediation of music on TikTok, taking as a case study the Belarusian band Molchat Doma (The Houses Are Silent), whose song ‘Sudno’ became viral in 2020 in conjunction with the first wave of the coronavirus pandemic. The article argues that: a) TikTok users generally disregard the author’s encoded meaning for their own self-expression; b) depoliticize and memeify Molchat doma’s gloomy post-punk; c) prompt self-memeification in the author, who becomes an active participant in the textual rewriting. The article aims to contribute to ongoing debates around the digital consumption of popular music.
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Shylinhouski, Kiryl. "Revision of the Pragmatics of the Rites of the Bride in the Bathhouse: the Motifs of “a Newly Rolled Stick” in Wedding Laments and “the Cross to Lie” in Kupala Invective Song from the Russian and Belarusian Traditions of the 19th – early 20th Centuries." Studia Białorutenistyczne 17 (February 1, 2024): 89–122. http://dx.doi.org/10.17951/sb.2023.17.89-122.
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In this study, devoted to the analysis of Kupala song about Sopukha, an attempt is made to establish an internal logical connection between the folklore motifs contained in the song and the transcending semantics of the bathhouse, including an analysis of the pragmatics of the rituals of the bride and the women in the bathhouse. The motifs of “a newly rolled stick” in the Northern Russian bride’s laments and “lying in a cross position” in the Northern Belarusian Kupala song describe the healing and magical rites that were used to cleansing a woman after childbirth, getting rid of menstruation or restoring it. This song was chosen as the subject of the study due to the fact that it was mistakenly interpreted in folklore and ethnographic literature as the text directly describing the archaic religious rites of the Eastern Slavs, including men, thereby confirming the idea of the bathhouse as a pagan temple or a “sanctuary of the girl’s clan”. In addition to the semiotic approach, the analysis of the genre features of the song and its invectives was applied, which represents an innovation in the study of this song as an element of the traditional culture. An important result of the study is the formulation of new arguments against the purely mythological interpretation of the rite of the bride's pre-wedding bath and the rite of farewell to krásota (“menstruation”, “menstrual blood”), according to which the bride symbolically loses her virginity.
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Dmytro Loboda. "Renaissance educational guidelines of the «Ideal governor» training in «Song of the bison» by Belarusian thinker Mykola Husovsky." Middle European Scientific Bulletin 1 (June 6, 2020): 20–23. http://dx.doi.org/10.47494/mesb.2020.1.5.
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The article is devoted to the coverage of the main Renaissance educational guidelines for the training of the «ideal governor» in the «Song of the bison» by Belarusian thinker Mykola Husovsky, who lived in the XV – XVIth centuries. In particular, author's allusions and metaphors of the words «bison» and «ideal governor», «forest dwellers» and society were analyzed. It was characterized the author 's ideas about the statesman' s training including the necessity of the development of integrity, sincerity, moderation, wisdom, justice etc of a student . At the same time, it was found that a representative of the East Slavic ethno-cultural environment Husovsky was concentrated on a common European humanistic mainstream. This is specified in the inheritance of titles and regalia, honor and high morality, aesthetization and liberalization of educational influences on the individual in the conditions of constant independent hard work over the representatives of the political establishment of that time in Europe.
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Ismagilova, E. I. "Theme-motif content of the Fasting songs about Saint Yegorii and Tsmok (Dragon) recorded from the Belarusians of the Novosibirsk region." Sibirskiy filologicheskiy zhurnal, no. 4 (2019): 14–25. http://dx.doi.org/10.17223/18137083/69/2.
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Bylica, Jacek. "The Same Song, Different Melodies —A Comparative Analysis of TV Coverage of the Crisis on the Polish-Belarusian Border." Polish Journal of Educational Studies 75, no. 1 (December 1, 2023): 83–92. http://dx.doi.org/10.2478/poljes-2023-0008.
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Abstract “The Song” is about the crisis on the Polish-Belarusian border, which began in the second half of 2021 and has been going on to this day. It is related to the unexpected appearance of newcomers from the Middle East and Africa (mainly Muslims) on the border. They tried (and are still trying) to cross the Polish border on their way to the West or to stay in Poland. There were thousands of them. Their appearance on the eastern border has triggered a crisis that we have known so far only from previous media reports on the southern border of the European Union. Due to the introduction of a state of emergency by the Polish authorities, it was also possible to follow their fate only through the media. However, these messages did not allow the recipient to obtain an integrated picture of the situation. Rather, they created quite contradictory narratives, different “melodies” about the crisis. In the text, I present the messages of two antagonistic television stations, i.e. TVP and TVN. On their example, I outline the rather schizophrenic social reality in which Polish citizens currently find themselves, its interpretations and proposals for overcoming the impasse. David Altheide’s Ethnographic Content Analysis is used as a theoretical framework for the analysis. It emphasizes the interaction of the researcher with the collected research material, thus classifying such analysis as fieldwork. At that time, it was the only opportunity for a fieldwork.
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Rakhno, Kostyantyn. "An 18th Century Ukrainian Parallel to the Baltic Myth of Sovius." Slavistica Vilnensis 67, no. 1 (September 29, 2022): 58–68. http://dx.doi.org/10.15388/slavviln.2022.67(1).83.
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The article is devoted to the story of Sovius, which is contained in the Western Ruthenian translation of the 13th century Chronograph by John Malalas. This text of 1261 reflects the Baltic mythological tradition and has long been the subject of academic study. The mythological character Sovius is described as the guide of the dead on the path to Hell. After a series of experiments on himself, he introduces the custom of burning bodies and making sacrifices to the pagan gods. Comparative studies reveal the idea of him as being the first to die, opening the way to the afterlife for the next generation of people and becoming the ruler of this underworld. Apparently the worship of the Baltic deities arose from Sovius’ stories to his son about the experience of dying. He is the common ancestor of the Lithuanians, Yatvyags and Prussians, who practice cremation of the dead. After relating the tale of Sovius, the chronographer condemns the pagan beliefs and customs of the Lithuanian neighbours. Certain elements of this myth have been preserved in the interlude within the Easter drama of the Ukrainian cultural figure and educational writer, the priest-monk Mytrofan Dovgalevsky. However, this Ukrainian text describes a Belarusian. The father dies, his sons resurrect him and in a comical style the father tells his sons what he had to go through in that underworld. This story reflects the popular, semi-pagan perception of Christian images, which according to Dovgalevsky enhances the comic effect.
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Potemkina, Nora. "“Whilst travelling on foot across the depths of the sea as if upon dry land, Israel”: Sunday heirmoi of the 6th tone in manuscripts of the 17th — 18th centuries and the present-day singing practice." St. Tikhons' University Review. Series V. Christian Art 51 (September 29, 2023): 124–41. http://dx.doi.org/10.15382/sturv202351.124-141.
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This article is dedicated to the history of the written form of the well-known church tune – the heirmoi of the Sunday canon of the 6th tone, from the manuscripts of XVII-XVIII centuries until present-day publications of the tune. While comparing different sources of this tune, differences in its variants were discovered, it was shown how the tune changed over time, as it was in different regions in the same time period – i.e., synchronic and diachronic methods of research were used in the study. For clarity, an analytical score of the heirmos of the first song of the canon was compiled, in which the similarities and differences of the tunes are visible, the tendency to reduce the melody of the tune over time. It is noteworthy that the chant has retained some similarity of variants in sources of different types: these are handwritten singing Obikhods, written in znamenny notation, and notolinear Irmologions that came from the Ukrainian and Belarusian lands; Synodal publications of Obikhod and the Octoechos of two editions: 1772 and 1890s, four-part singing editions of the early twentieth century and the present-day sources. In the reduced version of the melody of the znamenny chant, several melodic formulas have been preserved, which sound in a polyphonic presentation. The revealed similarity of the components of the chant in the sources of different times and localities allows us to speak about the continuity of the Orthodox liturgical singing tradition.
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Kovaliv, Yurii. "‘BISON’ HUNTING." Polish Studies of Kyiv, no. 39 (2023): 193–202. http://dx.doi.org/10.17721/psk.2023.39.193-202.
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The article highlights the creative heritage of Neo-Latin poets who belonged to Ukrainian, Polish, Belarusan (Litvin) and Lithuanian literature, in particular the works of a priest, secretary of the Grand Duchy Chancellery and Bishop of Polotsk, public notary of the Apostolic Chancellery for the Grand Duchy of Lithuania, representative of the Renaissance Mykola Husovskyi (Latin – Nicolaus Hussovianus about 1470 –– after 1533) — Master of Rhetoric, later Doctor of Philosophy at the University of Bologna, primarily his epic poem «The Song of the Bison» or «The Song of the Appearance, Fury of the Bison and the Hunt for It» («Carmen de statura feritate ac venatione bisontis») commissioned by the Pope of the Roman Leo X Medici, traces the history of its writing in the context of contemporary literature, the appearance of a Latin-language monument in St. Petersburg (1853) and Krakow (1894; with a foreword and comments by J. Pelchar) and later receptions and translations (V. Maslyuk, A. Sodomora etc.). The subject of analysis was the re-singing of this work by A. Kychynskyi, the motives that motivated the poet to such a work, the history of the writing of this re-singing. He used a modernized modernized elegiac couplet with a dactylic foot (a type of hexameter with a pentamnet), which in European poetry changed its structure to a five-six-foot dactyl with alternating stressed and unstressed syllables while preserving ascending and descending melody, intonation and syntactic completeness. In the interpretation of Mykola Husovskyi, the bull appeared as the embodiment of courage, a symbol of hard work and a powerful welcoming force, conveyed in a monumental portrait of a proud animal, in his innate character, which corresponds to the mentality of the Polish pike: «The bison, although a beast, is a warrior in his zeal, / Because he recognizes only a fair victory». A. Kychynskyi in his retelling of «The Song of the Bison» preserved the compositional and semantic features of the arbitrary author’s version of the sample while preserving the Renaissance flavor, the principles of the natural (forest) man, the heroic rank and the state beliefs of the time of Prince Vytautas (1392–1430), who represented a charismatic statesman , the defender of Christianity, capable of resisting the Horde and Muscovy. The author of the re-singing achieved the semantic adequacy of Mykola Husovskyi’s work.
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Fokin, Aleksandr A., and Zalina M. Semenova. "Образ Ильи Муромца в сравнительно-историческом и историко-функциональном аспектах." Бюллетень Калмыцкого научного центра Российской академии наук, no. 3 (December 25, 2023): 135–51. http://dx.doi.org/10.22162/2587-6503-2023-3-27-135-151.
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Introduction. Bylina is an ancient Russian epic song about the life and heroic deeds of Russian heroes, as well as about events or remarkable episodes in the national history of the 11th–16th centuries. Cycles of epics about Ilya Muromets are formed on the basis of ancient legends, united by the origin and character of the main character. It is not the name of the hero, but artistic plots inherited from the distant past that form the basis on which the historical epic develops. The purpose of the article is to identify the conditions for the formation and transformation of epic stories about Ilya Muromets. Material and methods. Classic works of Russian literary criticism and folkloristics, individual plots of the Russian epic and the epic of neighboring peoples are analyzed. Comparative-historical and historical-functional research methods were used. Results. The scientific work examines the history of the development of the image of the Russian hero Ilya Muromets as a gradual “democratization” of the hero of the ancient Russian epic. A wide range of works of Russian, Belarusian, Serbian, Adyghe, Georgian, Ossetian folklore is analyzed. The points of view of folklorists of the 19th–20th centuries on the history, existence, methods and means of broadcasting the poetic biography of Ilya Muromets are presented and interpreted.; their scientific methods and approaches. Epic plots are traced, united by the name of Ilya and having not only an “external” but also a deep internal connection, determined by folk ideas about the hero, his entire appearance, growing on the basis of the entire set of artistic plots. The Conclusion is drawn about the “reworking” in Russian epics of the motifs of magical-heroic fairy tales, the heroic epic of the peoples of the North Caucasus, Transcaucasia and other ethnic groups.
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Albuquerque, Monica Soares de, Armiliana Soares Nascimento, Cácio Lopes Mendes, Leonardo José Rodrigues de Oliveira, Marília de Lima Soares, Maria Catarina Lago, Angela do Nascimento, Douglas Felipe de Lima e. Silva, and Rodivan Braz. "Endodontic retreatment due to secondary periapical injury: case report." ARCHIVES OF HEALTH INVESTIGATION 9, no. 6 (June 8, 2020): 503–6. http://dx.doi.org/10.21270/archi.v9i6.4959.
Full textAbstract:
Pulp diseases commonly happens because of the actions of bacteriological factors and show their characteristic signs and symptoms over the time. With pulp necrosis, a degenerative process starts and when there is no early treatment, it is possible to occur periapical lesions as a result of aggression to the pulp. In cases of periapical secondary lesions, clinical signs and symptoms persist and are related to secondary infection due to persistent bacterial contamination, also to operative factors, inadequate obturation or poor coronary restoration. This study aimed to report a case of endodontic retreatment and clinical and radiographic follow-up for 8 years, of chronic periapical abscess case, in which after retreatment, clinical signs and symptoms are no longer observed and bone neoformation is noticed.
Descriptors: Periapical Diseases; Endodontics; Periapical Abscess.
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