Journal articles on the topic 'Birds, folklore'
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1
Monraev, Mikhail U., and Alexander B. Lidzhiev. "Символика птиц у калмыков." Desertum Magnum: studia historica Великая степь: исторические исследования, no. 2 (December 30, 2020): 78–86. http://dx.doi.org/10.22162/2712-8431-2020-10-2-78-86.
Abstract:
The article describes the symbolic meaning of the image of some bird species existing in the Kalmyk traditional perception. As a rule, different species of birds in the culture of a nation have their own symbolic meaning that can have both positive and negative connotation. The article analyzes the role of messengers referred to different species of birds. The article points out the link of the bird symbolism with totemism and in particular with the selection of this or other species of birds for totems of different ethnic groups. There was a comparative analysis of the bird symbolism among different nations. The study is of great importance as there is a need for revealing the main characteristics of bird image symbols which are as ancient as any other symbols existing in the life of people. The article analyzes the ornithonyms of the Kalmyk language from the ethno-linguistic point of view. Ornithonyms are widely represented in the folklore of Kalmyks and other Mongolian nations: in the fairy tales, proverbs, sayings and other folklore genres.
2
Kane, Stephanie C. "Bird Names and Folklore from the Emberá (Chocó) in Darién, Panamá." Ethnobiology Letters 6, no. 1 (June 15, 2015): 32–62. http://dx.doi.org/10.14237/ebl.6.1.2015.226.
Abstract:
This paper presents data on names and folklore of birds collected among native speakers of Emberá in the moist tropical forests of Darién, Panamá. The naming data was collected by systematic elicitation of names from pictorial representations of birds. It is organized here to facilitate analysis of various aspects of folk taxonomy in relation to scientific taxonomy. Folklore about birds collected in natural contexts is also included to indicate the role of birds and their names in symbolic processes that exceed the limits of literal reference.
3
Yuzieva, Kristina. "The materiality of the representation of the owl in the Mari ways of speaking." Multilingua 40, no. 4 (May 27, 2021): 487–510. http://dx.doi.org/10.1515/multi-2020-0074.
Abstract:
Abstract This article shows how language materiality is conceptualized through an ethnolinguistic analysis of the representation of the owl as an indication of human-bird relationships. This approach enables addressing the multiple relations between birds and speakers and their perception of the environment as these are reflected in language, folklore and rituals. This research is related to such discourses as “language”, “materiality” and “environment” and is based on a case study of the Mari, a Finno-Ugric people who live in central Russia and still adhere to their folk religion. First, it sets out the Mari names which are used for birds of the owl family, then it shows how the terminology has changed due to the emotional side of humanity, and how terms express things in metaphorical way. Next, the article focuses on how the bird (owl) can be a source of positive or negative information with regard to auguring the future and how the symbolic use of birds in rituals and magical actions contributes to co-creating landscapes between human and non-human agencies. This study is based on extensive linguistic, folklore and ethnographic material, including my own field material.
4
Dederen, Jean-Marie, and Jennifer Mokakabye. "Negotiating womanhood: the bird metaphor in Southern African folklore and rites of passage." Tydskrif vir Letterkunde 55, no. 2 (August 30, 2018): 91–103. http://dx.doi.org/10.17159/2309-9070/tvl.v.55i2.2934.
Abstract:
In spite of its evident presence in Southern Africa’s rich cultural heritage, the bird metaphor has received surprisingly little attention. The cultural materials analysed in this article include children’s stories, songs, heroic poetry and ethnographic accounts of rites of passage. At first the data seems to suggest that bird symbolism could be interpreted in terms of a simple dual conception of gender identity. Some magical birds signify the prowess and authority of men. Others could be linked symbolically to the procreative powers of women. On further reflection, however, we identified a third category of more ambiguously gendered birds. It is contended that this additional bird type can be explained in terms of the female-male dialectic that shaped gender relations in small-scale societies. It is further proposed tentatively that the bird metaphor could have provided women with a symbolic means to negotiate their identity.
5
Badmaev, A. A. "Traditional Buryat Beliefs About Birds." Archaeology, Ethnology & Anthropology of Eurasia 48, no. 2 (June 26, 2020): 106–13. http://dx.doi.org/10.17746/1563-0110.2020.48.2.106-113.
Abstract:
This study, based on ethnographic, linguistic, and folk materials, describes and interprets Buryat ideas of birds. The analysis of lexical data reveals the principal groups of birds according to the Buryat folk classification. The bat’s status is indistinct, since bats are not subordinate to the kings of the animal world. Diagnostic criteria underlying the classification of birds are outlined. The main criterion was whether a bird was beneficial or harmful. Ornithomorphic images in Buryat mythology, folklore, and ritual are described. Cult birds and bird totems are listed, and relics of local bird cults (those relating to swan, goose, duck, pigeon, and eagle) are revealed. Birds with positive connotations are the swan, crane, swallow, pigeon, eagle, and eagle-owl. Those with negative connotation are the kite, raven, crow, quail, cuckoo, and hoopoe). The attitude toward ducks, hawks, magpies, and jackdaws is ambivalent. Certain birds (ducks and ravens) were related to cosmogonic ideas; others (swan, goose, eagle, etc.) were endowed with a werewolf capability. The raven, the cuckoo, and the hoopoe symbolized natural cycles, whereas the magpie and the quail were associated with the soul. The role of bird images in the mytho-ritual practices is discussed. The Buryat mythological ideas reflected not only specific ethnic views of certain birds, but also universal ones.
6
R, Velusamy. "Folklore Elements in Kalittokai." International Research Journal of Tamil 4, S-16 (December 12, 2022): 28–37. http://dx.doi.org/10.34256/irjt224s164.
Abstract:
Kalittokai is a classical Tamil poetic work. In this text the basic beliefs about life have been discussed. These beliefs are strong among the people. Beliefs on nature, birds, trees, astronomy and rain are very common among the people. Belief in blinking the eyes, belief over God, belief related to dreams, lizards horoscope, belief in fasting, belief in crescent prayer, and belief in fanaticism are very common among people. These are followed in their day to day life. Humans from birth to death are tied up in a knot called belief. This article is about the folklore elements in Kalittokai.
7
Baitanasova, Karlygash, and Aigerim Talen. "THE SHRINE OF THE BIRD: THE PLACE OF THE OWL IN WORLD FOLKLORE." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 1 (March 24, 2022): 73–83. http://dx.doi.org/10.55808/1999-4214.2022-1.08.
Abstract:
Folklore elements based on superstition will forever remain in the memory of the people and will not lose their value. Birds that are part of nature, especially owls, are the most resilient in the myth of the world. The article comprehensively explores the nature of the owl, collected and compared legends, proverbs, beliefs, songs and traditions of the peoples of the world about the owl. In the legends of the peoples of the world, there are positive and negative opinions about the owl. The fact that today the emphasis on the history of the formation of ideas about the owl is due to the fact that this bird is found in different ways in the folklore of many countries. The article is based on myths, proverbs, sayings and sayings of popular beliefs, as well as examples of folk poetry.
8
Belova, Olga V. "“The Birds of Clay”: An Apocryphal Motif in Folklore Legends." Slovene 4, no. 1 (2015): 39–44. http://dx.doi.org/10.31168/2305-6754.2015.4.1.2.
Abstract:
The article describes the adaptation of the apocryphal Gospels motif—the revival of clay birds by Jesus—in the folk traditions of Eastern and Western Slavs. The texts of folk legends demonstrate not only the active inclusion of apocryphal motifs in oral narratives, but they also incorporate the motifs’ biblical contexts and they emphasize themes that are close to everyday life and that reflect local history. The folklore texts analyzed here are from different regions of the Slavic world (Russia, Ukraine, Belarus, and Poland); they allow us to conclude that the oral tradition has retained, with great stability, these fragments from medieval sources up to the present day. Moreover, it is interesting to note the different interpretations of the same motif in monuments of Christian and Jewish literature (apocryphal Gospels and the pamphlet Toledot Yeshu). The fairly large group of folk legends with apocryphal motifs, occurring in different Slavic traditions from the 19th to the 21st centuries, thus testifies not only to the continued relevance of the biblical plots for oral culture, but also to the importance of the Apocrypha for the broadcasting and preservation of biblical stories in the folk tradition.
9
Shutak, O. S., N. A. Konoplenko, and M. V. Podoliak. "Zomorphic images of Ukrainian folklore: demiurge birds in the Ukrainian winter calendar ritual poetry." Scientific Messenger of LNU of Veterinary Medicine and Biotechnologies 20, no. 86 (February 20, 2018): 142–46. http://dx.doi.org/10.15421/nvlvet8628.
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The world-view system of Ukrainians is one of the richest and symbolically-filled models of knowledge of the surrounding world, which fully represented itself in various forms of art and, above all, in folklore. It is the oral folk art that most fully preserved the representation of the ancient Ukrainians about the establishment of the world, the appearance of the first plants and animals, the emergence of elements, human, etc. At that time, when there was no written language yet (prehistoric period), our ancestors broadcasted their understanding of life processes by means of verbal literature, encrypting it in a figurative system. The article examines the history of the study of zoomorphic images in Ukrainian folklore from the 1930s to the present, points to the diversity of interpretation of animal symbols in different genres of oral folk poetry, and focuses on the symbols of demiurgeous birds. It is in the poetry of the winter calendar ritual cycle, as the oldest stratum of Ukrainian folklore, that we find the image of the birds-founders of our world, which forms a coherent picture of the mythological notions of our ancestors about its beginning. In carols and shcherdivkas, in particular cosmogonic, ornithopes are a prominent place. The connection between the image of the bird and the two most ancient ideas-symbols – the true and the world tree-the most archaic models of the world order – is analyzed. At a time when in folk poetry of other genres, ornithomorphic images carry a diverse semantic load, then in cosmogonic carols they symbolize only the process of creation, where the act of diving, immersion in the right is a symbol of the «conception» of the world, the penetration and degeneration of one life-giving energy into another (the idea of fertility).It was in the images of the falcon and the pigeon, pure and good beings, that our ancestors saw the founders of all living things, they considered their primary source and life-giving energy.
10
Abdurakhmonov, Ibrokhim Rakhimovich. "Reflection Of Folklore In Applied Art Of Uzbekistan (From The Beginning Of The XX Century To The 90s)." American Journal of Social Science and Education Innovations 03, no. 02 (February 27, 2021): 166–71. http://dx.doi.org/10.37547/tajssei/volume03issue02-26.
Abstract:
The article scientifically generalizes the issues of reflection of folklore motives in the types of applied arts of Uzbekistan in the XX century. The most general considerations regarding the nature of the symbolic image of animals, birds, poultries, insects and underground creatures in the decor of household items are presented.
11
Senkovych, Olha. "«It floated like a black winch» (metaphoric portrait of a woman in Yuri Vynnychuk’s prose)." Culture of the Word, no. 90 (2019): 46–54. http://dx.doi.org/10.37919/0201-419x-2019.90.4.
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The article states that the works of the contemporary author Yuri Vynnychuk constitute a landmark fragment of Ukrainian prose of the late twentieth – early twentieth centuries. The material of the novels «Malva Landa» and «Spring Games» shows the specifi cs of individual linguistic prose, in particular in the fi eld of linguistic portraiture of a woman. Based on the consideration of stylistic means of linguistic and artistic portraiture of a woman in prose of Yuri Vynnychuk, productive ways of metaphorization with the use of nominations of birds, plants, household objects and so on were identifi ed. The specifi cs of the author’s development of the aff ectionate-poetic names of women, which are characteristic of the Ukrainian folklore tradition, are traced. These include the generic nomination bird and specifi c nominations swallow, swallow, winch, winch, winch, winch, turtle, cuckoo, quail, cuckoo, cuckoo. It was emphasized that despite their trawliness, they did not lose their imagery and emotionality. Such a contextual aff ectionate name of women is taken as a typical feature of folklore by a modern reader. Also actively portrayed and psycho-emotional descriptions of women in associative juxtaposition with the traits of such birds as owl, crow, canary, are actively presented in Yuri Vynnychuk’s prose. An examination of stylistic means of linguistic and artistic portraiture of a woman in prose by Yuriy Vynnychuk reveals productive ways of metaphorizing using animal nominations and household items.
12
Anikina, Tatiana, and Natalia Stackelberg. "The image of birds in Czech literature." Bohemistyka, no. 1 (May 8, 2019): 83–89. http://dx.doi.org/10.14746/bo.2019.1.6.
Abstract:
This article is devoted to show the common grounds of Czech and other European literature. Images of birds have an imposing tradition of use in Czech literature. They are characterized by a variety of meanings and history of existence. There are both traditional and everyday folklore images, such as mythologeme of raven for the first one, and geese for the second, which have different semantic workloads. Discussion of the image of birds in the Czech literature is the basement of conclusions about the common ground that brings Czech and European literature together. Moreover, it also gives us more details about Czech national identity, the specifics of its literary schools and movements and the originality of the author’s vision of the world.
13
Cheke, Anthony S., and Jolyon C. Parish. "The Dodo and the Red Hen, A Saga of Extinction, Misunderstanding, and Name Transfer: A Review." Quaternary 3, no. 1 (February 18, 2020): 4. http://dx.doi.org/10.3390/quat3010004.
Abstract:
The chronology of observations of two extinct flightless birds in 17th century Mauritius, the dodo (Raphus cucullatus) and the red hen (Aphanapteryx bonasia), and what names or descriptions were used for them, is re-examined. It was concluded that the balance of probabilities is strongly against birds called dodaarsen without descriptions in the 1680s being dodos rather than red hens. The dodo had disappeared earlier due to predation by pigs, but a hiatus in settlement broke observational continuity, yet folklore preserved the name and transferred it to the red hen. The dodo’s extinction thus happened unobserved.
14
Matjila, DS. "Birds as subjects in Setswana folklore: Depiction of their relationship to man." South African Journal of African Languages 35, no. 1 (January 2, 2015): 105–11. http://dx.doi.org/10.1080/02572117.2015.1072372.
15
Malej, Izabella. "Rajskie ptaki Aleksandra Błoka i Wiktora Wasniecowa." Slavica Wratislaviensia 170 (October 1, 2019): 25–40. http://dx.doi.org/10.19195/0137-1150.170.2.
Abstract:
Birds of paradise of Alexander Blok and Viktor VasnetsovHeavenly creatures — Alkonost, Sirin and Gamajun — are mythological hybrids with the body of a bird and the head of a beautiful woman. Their origins come from the old Slavonic and Russian folklore. They are described as mythical beings that hypnotised people through singing. Russian artists, including the painter Viktor Vasnetsov and the poet-symbolist Alexander Blok, also succumbed to their charm. Blok, fascinated by Vasnetsov’s canvases Sirin and Alkonost. The Birds of Joy and Sorrow, 1896; Gamajun, the Prophetic Bird, 1895 created poetic versions of these in 1899. In the case of both artists, there is a reference to the semantics of these magical birds, known from the folklore. Alkonost means happiness and hopes, unlike Sirin, an inhabitant of the underground world. Therefore, alkonosts announce joy, while sirins, treating men with hostility, symbolize sadness, suffering and despair. The third bird connecting Blok and Vasnetsov is Gamajun — a bird, the messenger of the gods, their herald, who sings divine hymns to people and predicts the future of those who know how to listen and are open to mysteries. Special attention must be paid to colorful and linear symbolism, to which both creators refer to, as well as to mythical reminiscences Cosmic Tree. Both the painted and lyrical depictions of birds of paradise are an example of creation of a new, modernist myth, the roots of which go back to the oral culture and whose essence defines the philosophical question of the dualism of the world and man’s place in it.Райские птицы Александра Блока и Виктора ВаснецоваРайские существа — Алконост, Сирин и Гамаюн, являются мифологическим гибри- дом тела птицы и головы красивой девы. Истоки их образов восходят к древнеславянскому и русскому фольклору. Они описаны как мифологические существа, которые своим пением гипнотизируют людей. Их колдовству поддались также русские художники, среди которых были живописец Виктор Васнецов и поэт-символист Александр Блок. Блок, очарованный картинами Васнецова Сирин и Алконост. Песнь радости и печали, 1896; Гамаюн, птица вещая, 1895, создал их поэтические версии в 1899 г. В интерепретации райских суще- ствобоих художников прослеживается отсылка к магическим птицам, представленным в фольклоре. Алконост обозначает счастье и надежду, в противовес Сирин как жительницы подземного мира. Таким образом алконосты — вестники радости, зато сирины, враждебно направленные к человеку, символизируют печаль, страдание и отчаяние. Третья птица, со- единяющая Блока и Васнецова, — это Гамаюн, птица вещая, посланник богов, их герольд, услаждающая людей пением Божественных гимнов и предвещающая будущее для тех, кто умеет слушать и открыт для тайны. Особого внимания заслуживают цветовые и линейные символы, а также мифические реминисценции космическое дерево, к которыми оба творца прибегают. Живописные и лирические изображения райских птиц являются примером создания нового, модернистского мифа, корни которого лежат в устной культуре, зато суть помещается в философском вопросе о дуализм мира и место человека в нем.
16
SVYSCH, NATALYA. "FOLKLORE FORMULAE OF UKRAINIAN WEDDING SONGS’ TEXTS." Actual issues of Ukrainian linguistics: theory and practice 35 (2017): 99–135. http://dx.doi.org/10.17721/apultp.2017.35.99-135.
Abstract:
The present article researches the functioning of the formulaic diction in the Ukrainian wedding songs’ texts. It investigates the underlying mythological and ritual basis that caused the emergence of the textual component as it preserved in contemporary Ukrainian folklore. Textual sources analyzed in the article are the most relevant for the purposes of the current investigation as they were transcribed immediately from the alive performance as early as in the XIX century by prominent pioneers of scientific folkloristic and ethnography Zorian Dolenga-Chodakowky, Stepan Rudansky and others. The notion of formulae accepted in the present study regards the formula as any word or words’ combination that has stable mythological and ritual meaning and is common in the poetical diction of certain nation. Thus a series of poetical formulae were discovered in the texts of the Ukrainian traditional wedding songs. They concern mainly the following thematic groups: people, human body parts, birds of the upper world, animals of the middle world, animal of the nether world, natural objects, and artificial objects (many of the latter execute special symbolic functions in the wedding rite itself).
17
Seferova, Fera. "The role of folklore within the worldview and creative individuality of the Crimean Tatar children's writers." Филология: научные исследования, no. 8 (August 2021): 35–47. http://dx.doi.org/10.7256/2454-0749.2021.8.36119.
Abstract:
The study of interrelation between folklore and literature is one of the most relevant trends in literary studies. Folk poetic symbols as the genetic memory of the nation infiltrate consciousness not only as artistic material, but also as a emotions that awaken the writer’s imagination, giving rise to various associations. The subject of this research is the creative activity of folklore is in the works of the Crimean Tatar children's writers. Examination of the folklore-mythological context, determination of the peculiarities of transformation of folklore motifs in a literary reveals the creative laboratory, allowing determining the specificities of personal reflection of the writer, as well as tracing the psychological patterns of the creative process, and the evolution of artistic thinking overall. The scientific novelty is defined by the absence within Russian literary studies of monographic and significant critical works on determination of the folklore-mythological context, transformation, functionality, and interpretation of folklore elements in works of the writers. The conclusion is made that folklore as part of the culture of a particular nation, is an organic element of the artistic world of the Crimean Tatar writers, such as E. Amit and T. Khalilov. The novel by E. Amit presents the new comprehension of myths, paroemias, and legends. An example of interaction of the mythological views and modern perspective in the novel “Last Chance” is the folk legend on the “happy and unhappy stars”. It also encompasses such ancient forms of folklore as cursing and benevolence, as well as the elements that take roots in the ancient taboos, the period of totemism. In the psychological prose by T. Khalilov, an important role is played by the symbolism of birds and plants. The ancient legend of the winged horse Duldul organically intertwines with the author's creative idea without losing its specificity.
18
Ilimbetova, Azaliya Fattakhovna, and Elza Venerovna Migranova. "Historical roots of the folk holiday Kargatuy («Crow’s wedding») among the Bashkirs." Samara Journal of Science 10, no. 2 (June 1, 2021): 215–20. http://dx.doi.org/10.17816/snv2021102214.
Abstract:
There is a developed system of cult ideas about birds in the religious and mythological views of the Bashkirs. One of the birds revered by the Bashkirs is the crow. The most ancient roots of the holiday and rituals associated with this bird originate in totemic representations of the distant ancestors of the Bashkirs. The ancient historical roots of the worship of crows are evidenced, in particular, by the Bashkir folk holiday Kargatuy (Crows wedding), which existed in the past and is being revived today (in some areas of the Republic of Bashkortostan called Karga butkahy (Crows Porridge)). Kargatui was usually held in the spring and marked a revival of nature. On the basis of folklore and ethnographic sources, it seems possible to trace the evolution and subsequent transformation of this holiday and the rituals performed on them. In this Bashkir holiday, elements of totemic holidays have survived to our days, the main purpose of which was to honor the crow - a totem bird with invocations-requests addressed to the sacred bird, the performance of rituals, thematic songs and dances (Raven chick, the performance of rituals of reproduction of the totem bird a manifestation of care for it, communion with a totem and with rituals of initiation of girls into the category of full members of women collective.
19
Bobunova, Mariya А., and Alexander T. Khrolenko. "Russian popular poetic speech in the aspect of crosscultural linguafolklore studies." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 61 (2021): 226–37. http://dx.doi.org/10.37816/2073-9567-2021-61-226-237.
Abstract:
The paper sums up the experience of lasting work of the Kursk linguafolklore scientists that have been studying the Russian popular poetic speech. It traces the history of coming into being and developing of the special academic branch aimed at studying the folklore work phenomenon — that is lingua folklore. The main attention is paid to the methodology of comparable and crosscultural linguafolklore. Comparable linguafolklore implies comparing social dialectal and popular poetic speeches, the language of various folklore genres as well as territorial differences in folk poetic speech within the same ethnic tradition. Cross-cultural linguafolklore studies is a tool used for discovering cultural preferences of the ethnic group and specific peculiarities of the mentality through comparing traditional cultures. The object for confronting folklore texts belonging to different ethnic groups are the concepts verbalized with the help of the national language forms. The subject meanings are accumulated in these forms. The paper includes the analysis of singular concepts, such as “gold,” “river,” the stable ties of the concepts, such as “garden — forest,” “flower — bush — tree” and “birds,” “food” and “The human face.” The authors are sure in the relevance of use of the crosscultural research as a tool, especially for a сontrasting dictionary. They come to the conclusion that even though comparing folk songs lexicons that belong to various ethnic traditions is labor intensive, demanding exactness and objective comments, is actually very productive.
20
Shakhmatova, Elena V. "Mythological Birds in the Culture of the Silver Age: Revival of the Archaic." Observatory of Culture, no. 6 (December 28, 2014): 128–35. http://dx.doi.org/10.25281/2072-3156-2014-0-6-128-135.
Abstract:
Deals with some trends in Russian art at the beginning of the 20th century. The author argues that the Archaic revival of the Silver Age reflected the active denial of contemporaneity by the artistic elite. The national folklore and mythology representing the IndoEuropean roots of Russian culture became popular among the visual artists while the mythological birds Humayun, Sirin, Alkonost, the Swan Princess and the Firebird were pictured by Viktor Vasnetsov, Mikhail Vrubel, and Ivan Bilibin; their images were created in the verses by Alexander Blok, in Igor Stravinsky’s music, and in choreographic masterpieces by Mikhail Fokine and Anna Pavlova.
21
Marina V., Osipova. "Symbolism and Functions of Birds’ Images in the Folklore of the Kuril, Sakhalin and Hokkaido Ainu." Humanitarian Vector 15, no. 3 (June 2020): 145–52. http://dx.doi.org/10.21209/1996-7853-2020-15-3-145-152.
22
Kuusela, Tommy. "Initiation by White Snake and the Acquisition of Supernatural Knowledge." Religionsvidenskabeligt Tidsskrift 74 (March 25, 2022): 153–69. http://dx.doi.org/10.7146/rt.v74i.132097.
Abstract:
ABSTRACT: This paper explores narratives about eating the flesh of a dragon or whiteserpent. It is argued that these narratives can be interpreted as examples of initiation. The snake’s association with wisdom is a common motif in Scandinavian folklore,stretching back at least to the Middle Ages. The author argues that folklore accounts of eating a white snake correspond symbolically to initiation. Different texts explain and legitimise how certain persons gain abilities such as wisdom, second sight, and the ability to understand the language of birds or other animals. This motif shows continuity over time and space and does not have to have taken place as an actual ritual for theinterpretation to be valid, particularly as, in the 19th century, such stories legitimised such people’s position in society as ‘cunning folk’.
RESUME: Denne artikel udforsker fortællinger om at spise kødet af en drage eller hvid slange. Den foreslår, at de kan tolkes som eksempler på initiering. Slangens tilknytning til visdom er et almindeligt motiv i skandinavisk folklore, der strækker sig tilbage til middelalderen, hvis ikke længere. Forfatteren hævder, at folkloreberetninger om at spise en hvid slange symbolsk svarer til initiering. Forskellige tekster forklarer og legitimerer, hvordan visse personer opnår evner som visdom, synskhed og evnen til at forstå fugles eller andre dyrs sprog. Dette motiv udviser kontinuitet gennem tid og rum og fortolkningens gyldighed afhænger ikke af, at de handlinger reelt har fundet sted som et egentligt ritual, især eftersom sådanne historier i det 19. århundrede legitimerede disse menneskers position i samfundet som ‘kloge folk’.
23
Orgad, Zvi. "Prey of Pray: Allegorizing the Liturgical Practice." Arts 9, no. 1 (December 30, 2019): 3. http://dx.doi.org/10.3390/arts9010003.
Abstract:
Numerous images embedded in the painted decorations in early modern Central and Eastern European synagogues conveyed allegorical messages to the congregation. The symbolism was derived from biblical verses, stories, legends, and prayers, and sometimes different allegories were combined to develop coherent stories. In the present case study, which concerns a bird, seemingly a nocturnal raptor, depicted on the ceiling of the Unterlimpurg Synagogue, I explore the symbolism of this image in the contexts of liturgy, eschatology, and folklore. I undertake a comparative analysis of paintings in medieval and early modern illuminated manuscripts—both Christian and Jewish—and in synagogues in both Eastern and Central Europe. I argue that in some Hebrew illuminated manuscripts and synagogue paintings, nocturnal birds of prey may have been positive representations of the Jewish people, rather than simply a response to their negative image in Christian literature and art, but also a symbol of redemption. In the Unterlimpurg Synagogue, the night bird of prey, combined with other symbolic elements, represented a complex allegoric picture of redemption, possibly implying the image of King David and the kabbalistic nighttime prayer Tikkun Ḥaẓot. This case study demonstrates the way in which early modern synagogue painters created allegoric paintings that captured contemporary religious and mystical ideas and liturgical developments.
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Devyatkina, Tatiana P., and Serafima S. Panfilova. "Domestic animals and birds in traditional rites of the Mordovians: Finno-Ugric context." Finno-Ugric World 14, no. 4 (December 29, 2022): 453–62. http://dx.doi.org/10.15507/2076-2577.014.2022.04.453-462.
Abstract:
Introduction. The article presents a study of the functions of domestic animals and birds in the traditional rites of the Mordovians and a number of Finno-Ugric ethnic groups of Russia. Common and unique functions are revealed as well as the level of transformation of animalistic and ornithomorphic rituals of the Mordovians in comparison with the Mari, Udmurts, Komi, Karelians, Vepsians, Khanty. Materials and Methods. The material of the study includes the published folklore and ethnographic sources, field materials collected by the authors. The analysis of the material was carried out using the descriptive and contrastive methods. The synchronic and diachronic approaches were also applied in the course of study. Results and Discussion. The study has revealed a variety of functions of domestic animals and birds in traditional rites of the Mordovians and a number of Finno-Ugric ethnic groups of Russia. In addition to the function of ritual sacrifice in various rites, they perform the apotropaic function in folk signs and fortunetelling, thanksgiving and propitiatory functions in the rituals associated with the patron deities of the elements. In the modern culture of the Mordovians, the traditional ritual functions of domestic animals and birds are being transformed into the utilitarian function. Conclusion. The contrastive analysis of the Mordovians materials with the data obtained from the Mari, Karelians, Komi, Udmurts, Vepsians, Khanty has showed that the ritual tradition of each ethnic group is characterized by a common and a specific use of animals and birds. In the modern ritual practice of these ethnic groups, chickens, roosters, sheep, pigs are used in the utilitarian function
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Trasūns, Toms. "CONCEPT OF CRANE IN LATGALIAN CULTURAL SPACE." Via Latgalica, no. 11 (February 20, 2018): 80. http://dx.doi.org/10.17770/latg2018.11.3068.
Abstract:
As modern science is increasingly seeking to look across the boundaries of one branch and become interdisciplinary, linguacultural approach, comprising more than one scientific discipline, makes research more widespread and more practical, and with the increase of the role of technologies in human life, the way of life changes and the need for anthropological research arises that directly or indirectly enables modern man to maintain the system of values and to create an orderly environment, understanding the regularities of its formation. Exploring the cultural landscape, the human connection with the environment is studied, and such approach is both anthropocentric and interdisciplinary, and today it has gained a broad perspective. The article is based on the understanding of linguacultural concept, and bird is viewed as a concept of cultural identity of Latgale, analysed in its semantic and symbolic manifestations in the context of the cultural landscape of Latgale. Although the study has been carried out on several species of birds (crane, mallard, stork, raven and hawk), this article will focus on the concept of crane. To discover the concept of crane in its diversity, it is seen at three levels, according to the perception of the lexeme crane in folklore, Latgalian literature and the modern social sphere, mainly in place names or names of organizations. In the sources of folklore crane was identified 35 times. Of these, 18 times it was mentioned in folk songs, it was present only in two fairy tales (in one fairy tale the word crane may be repeated many times), as well as in 3 parables, which include one belief and two proverbs. In folk songs, to describe crane, the external characteristics of the bird are emphasized, the physical field of verbs dominates, characteristic features – the long beak and legs. In folk songs the beauty of crane is often used as a comparison to describe an externally handsome young woman or man who lives a life that does not match the morality of the time: if they do not want to marry; if they do not live with honour; or if they live unwisely, etc. This exclusion of a person is described in comparison with the frequent location of cranes (most often young women, less often young men) – a swamp, a marshland. In other folk songs, the long legs of the crane are praised, which help it to wade through the bog. It should be noted that in folklore crane very rarely (only in two units) is referred to as a bird of passage. In folk tales (lexeme crane found in 2 folk tales) the meaning of this lexeme changes: the bird teaches the fox a lesson; also a motif appears in which a boy makes a wooden crane that serves as a vehicle. In general, in folk songs, the meaning of this bird is much more extensive in comparison to other genres, not only the lexical meaning appears but also the meaning transfer, therefore it is possible to acknowledge the formation of the concept of crane. In the sources of Latgalian literature, lexeme crane was identified in 24 word uses in eight sources of literature, suggesting that in literature this is a relatively commonly used image or artistic language means. In the excerpted material, the word crane appears 17 times in the semantic function of the subject, four times in the function of the object and three times in the semantic function of a sign. It is possible to find that in the contemporary Latgalian literature the perception of crane has lost its exactness, at the same time there is a vast emphasis on the meaning of the semantics of the bird of passage in the image of crane, which has not been emphasized in folklore, also there is an obvious association with exiles returning to Latvia after the restoration of independence. This image in action semantically has kept the same fields – the physical and the social, which are also evident in folklore, however, by analysing it in more detail, there are changes of the abovementioned meanings at the symbolic and allegorical level. The signs also indicate that perception of the image of crane in contemporary Latgalian literature, which was found in folklore, has basically been lost. The name of crane is quite often used in the names of companies and place names. It is not evident that in this sphere crane has any symbolic meaning, as the main reason for its use is crane’s habitat, but the variety of its names indicates that the image of crane is lively and changeable.
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Berezovich, Elena. "Gemstone Names from the Wörter und Sachen Perspective: On the Origin of Russian Orlets ‘Rhodonite’." Antropologicheskij forum 17, no. 48 (2021): 115–43. http://dx.doi.org/10.31250/1815-8870-2021-17-48-115-143.
Abstract:
The article considers the history of the word orlets, one of the names of rhodonite (located mainly in the Middle Urals). The author traces the changes in the semantics of this word from its first mention in Russian lexicography at the end of the 18th century to the present day, when it gained the status of obsolescence. Specifically, the author demonstrates that the meaning of ‘rhodonite’ was assigned to it only by the end of the 19th century. The paper presents and comments on the existing hypotheses of the origin of the name orlets: the widespread but scientifically untenable myth that eagles carry this stone to their nests; the idea that rhodonite is the preeminent stone (as the eagle is considered “the king of birds”) because of its beauty and value, and others. As the author demonstrates, the word orel — ‘eagle’ — is the actual generating stem for the name under discussion, but the motivation is revealed only based on a wide cultural and linguistic context. For its reconstruction, both linguistic semantic and motivational parallels — as well as extra-linguistic facts from the field of folklore and folk beliefs — are involved, confirming the stability of the symbolic links between “eagle” and “stone.” It is also important that stones, in this language, are additionally associated with images of other birds (cf., for example, the Russian lastochkin kamen’ “swallow stone”, the German Storchstein “stork stone”): the evidence presented in the article shows that these links can claim the status of a cultural universal. To demonstrate the occurrence of orlets in a number of names of stones derived from names of birds, the author superimposes the possible signs listed in the work, for which the stones received “bird” names, onto the properties of the stone that was originally presumably named orlets. The article contains extensive background information of a cultural and historical nature, as well as rich data from the field of Geology and Mineralogy, which are necessary for the verification of linguistic constructions.
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Masłowska, Ewa. "Sakralne i ludyczne symbole szczygła w języku i kulturze." LingVaria 17, no. 1(33) (May 18, 2022): 197–213. http://dx.doi.org/10.12797/lv.17.2022.33.12.
Abstract:
SACRED AND LUDIC SYMBOLS OF A GOLDFINCH IN LANGUAGE AND CULTURE The article is dedicated to symbolic representations of szczygieł (a goldfinch) in Polish language and culture, taking into account the European cultural background. The author presents the process of symbolization of the sacred and ludic profile of a goldfinch as a representative of avifauna based on linguistic data (etymology, phrasematics), text data (literature and folklore), as well as on iconography. References to Western European painting made it possible for the author to present the multiple layers of a goldfinch symbolism and related differences in the way of imaging, developing connotations and conceptualization of symbolic contents. The sacred imagery was dominated by Biblical associations, while in ludic images there was a tendency to present birds as autotelic beings without strictly religious connotations.
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Хисаока, Каэ. "Japanese clappers sasara and naruko." Музыкальное искусство Евразии. Традиции и современность, no. 2(7) (July 3, 2022): 55–63. http://dx.doi.org/10.26176/maetam.2022.7.2.004.
Abstract:
Статья посвящена японским клапперам - самозвучащим инструментам, широко распространенным по всей Евразии. Считается, что такого рода изделия родились в древности на Ближнем Востоке. В Японии бытуют клапперы сасара и наруко . В настоящей работе описано применение сасары в народной песне кокирико-буси . В Японии этот клаппер тесно связан с выращиванием риса. Представлен жанр танцевального фольклора, ёсакой-буси , в котором применяется наруко, изначально использовавшийся для отгона птиц с рисовых полей The article is devoted to Japanese clappers - self-sounding instruments widely distributed throughout Eurasia. It is believed that such products were born in ancient times in theMiddle East. There are Sasara and naruko clappers in Japan. This paper describes the use of sasara in the folk song kokiriko-bushi. In Japan, this clapper is closely related to rice cultivation. The genre of dance folklore, yesakoi-bushi, is presented, in which naruko is used, originally used to drive birds from rice fields
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Bembeev, Evgeny V. "Научно-популярный журнал «Хан Тэнгэр» как источник по изучению несказочной прозы ойратов Синьцзян-Уйгурского автономного района Китайской Народной Республики." Бюллетень Калмыцкого научного центра Российской академии наук, no. 1 (December 20, 2020): 123–40. http://dx.doi.org/10.22162/2587-6503-2020-1-13-123-140.
Abstract:
The popular scientific journal “Khan Tenger” is an important and valuable source for the study of the folklore of the Oirats of the PRC. This periodical is devoted to the study of the culture and language of the Oirats living in the PRC (XUAR PRC, Inner Mongolia Autonomous Region) was published in the period from 1981 to 1993 by the Xinjiang People’s Publishing House (Šinǰiyang-giyin aradiyin keble-liyin xorō) in Urumqi city. The journal was published four times a year in the Oirat “clear script” and is a unique collection of the best examples of oral folk art of the Oirats of the XUAR of the PRC. The article examines some genres of non-fairytale prose of the Oirats of the XUAR of the PRC, recorded in the Khan Tenger journal. Non-fairytale prose is the richest heritage which contains the ancient beliefs of ancestors, moral norms and historical memory of the Oirats. A large number of cosmogonic myths about the creation of the world, the origin of the earth, sky, stars, sun, moon, as well as etiological myths about the origin and characteristics of animals, birds, insects, plants, and natural phenomena are published on the pages of the Khan Tenger journal. Legends and traditions reproduce the historical reality in the refraction of people’s mind through their vision and assessment. They have absorbed archaic elements that characterize the mythological consciousness and the ancient views of distant ancestors. The publication of texts of myths, legends and traditions will help to fill in the “white spots” in the genre system of the folklore of the Oirats, will help to study the spiritual culture of the Mongol-speaking peoples.
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Klyucheva, M. A. "Zoonyms in the names of the characters in Mari folk games." Bulletin of Ugric studies 10, no. 3 (2020): 462–71. http://dx.doi.org/10.30624/2220-4156-2020-10-3-462-471.
Abstract:
Introduction: zoonyms occupy important place in the semiotic system of folklore. They encode basic mythological ideas and, at the same time, reflect economic activity of people traditionally associated with animals. The game vocabulary correlates with the general system of folklore and mythology. Zoonyms are used in games as the names of characters, game items and toys, movements, as well as they are widely represented in texts of chits, game sentences, dialogues, songs. Objective: to reveal zoonyms in the names of the characters in the Mari folk games, to systematize them according to their functions, thematic groups and etymology. Research materials: almost the full volume of texts with descriptions of the Mari folk games is taken from publications in Russia and other countries, from the hand-written Archive of the Mari Research Institute of Language, Literature and History, field records, the personal collection of the author. Results and novelty of the research: the article for the first time reveals a complete system of zoonyms in the names of the characters of the Mari games. Their functions in the game are revealed: most often, zoonyms are used in the games like catch-up, blind man etc. as the name of the catcher, his antagonists, as well as an offensive nickname for the losing player; they also indicate the similarity of the movements of the gamer and the animal; used in round dances and imitative improvisational games. Thematically, most of them are the names of mammals and birds, which Mari children most often met in everyday life and in native nature. There are almost no names of reptiles, amphibians, fish and insects. Etymologically, most of the reviewed zoononyms are Turkic borrowings in the Mari language, fewer of them are words of Finno-Ugric origin and borrowings from Russian; and these data indirectly indicate the genesis of specific animal images in the Mari game culture.
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James, Stuart. "British Birds: 3rd edition98257Francesca Greenoak. British Birds: Their Folklore, Names and Literature 3rd edition. London: Christopher Helm/A & C Black 1997. 239 pp, ISBN: 0 7136 4814 7 £14.99 First published 1979 by Andre Deutsch as All The Birds of the Air." Reference Reviews 12, no. 5 (May 1998): 20–21. http://dx.doi.org/10.1108/rr.1998.12.5.20.257.
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Asmaranty, Puspa Zanuar, Muakibatul Hasanah, and Heri Suwignyo. "Pengembangan Buku Cerita Berseri dengan Tema Altruisme untuk Pembelajaran Cerita Rakyat." Jurnal Pendidikan: Teori, Penelitian, dan Pengembangan 4, no. 10 (October 11, 2019): 1417. http://dx.doi.org/10.17977/jptpp.v4i10.12902.
Abstract:
<pre><strong>Abstract:</strong> This study aims to develop a serial storybook with the theme of altruism for folklore learning. This study uses a 4D research and development model which consists of four steps, namely defining, designing, developing, and disseminating. This research produced four series of <em>Samas</em> books, namely (1) <em>Samas and the Three-Color Giant</em>, (2) <em>Samas and the Youngest Southeast Mountain</em>, (3) <em>Samas and Two-Headed Maleo Birds</em>, and (4) <em>Samas and Stone</em><em>-</em><em>Humans</em>. The results of the validity test show that the qualified product is feasible and ready to be implemented. Readability test results indicate that the product has a high level of readability. The effectiveness test results show that the product is effectively used in folklore learning.</pre><strong>Abstrak: </strong>Penelitian ini bertujuan mengembangkan buku cerita berseri dengan tema altruisme untuk pembelajaran cerita rakyat. Penelitian ini menggunakan model penelitian dan pengembangan <em>4D </em><em>yang </em><em>terdiri atas</em> empat langkah, yaitu pendefinisian, perancangan, pengembangan, dan diseminasi. Penelitian ini menghasilkan empat seri buku <em>Samas, </em>yaitu (1) <em>Samas dan Raksasa Tiga Warna, </em>(2) <em>Samas dan Si Bungsu Gunung Tenggara, </em>(3) <em>Samas dan Burung Maleo Berkepala Dua, </em>dan (4) <em>Samas dan</em> <em>Manusia-Manusia Batu</em>. Hasil uji validitas menunjukkan bahwa produk berkualifikasi layak dan siap diimplementasikan. Hasil uji keterbacaan menunjukkan bahwa produk memiliki tingkat keterbacaan tinggi. Hasil uji keefektifan menunjukkan bahwa produk efektif digunakan dalam pembelajaran cerita rakyat di SMPN 18 Malang.
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Naumenko, Nataliia. "THE ORNITHOLOGICAL CONCEIT SPHERE IN ETHNOGRAPHY AND LITERATURE (based on the work “The Worldview of Ukrainian People” by I. Nechyi-Levyts’ky and poems by Vasyl’ Holoborod’ko)." Literary Studies, no. 57 (2019): 127–40. http://dx.doi.org/10.17721/2520-6346.3(57).127-140.
Abstract:
The author of this article analyses the lyric poems by Vasyl Holoborod’ko published in 1999 and 2013 as the artistic principles to actualize the theoretical statements of Ivan Nechyi-Levyts’ky, displayed in the work The Worldview of Ukrainian People. The relevance of this article is conditioned by the need to thoroughly study the ethnographical treatises scrutinized to contemporary literary works, in order to widen the paradigm of novel literary analysis, particularly comparative. Therefore, the objectives of this article are to show the ways of the writers to reveal the interaction between man and nature, particularly using the animalistic (ornithological first of all) imagery. The base for this research is I. Nechui-Levyts’ky’s work The Worldview of Ukrainian People as well as lyrical cycles Ukrainian Birds in Ukrainian Landscape (excerpted from The Words in Needle-pointed Shirts, 1999) and White Indoor Plants (2013). The studies of Holoborod’ko’s verses with a bird for the standing-out image through the prism of ‘The Worlview…’ by Nechui-Levyts’ky showed the following. The interpretation of a folklore image is similar for both writers, and each of them would be free to choose the proper verbal form to embody it, should it be a scientific work or a rhymed narration. The different massifs of lexica (common words, terms, dialectal words, archaisms, onomatopoeias, neologisms) organically coexist in Holoborod’ko’s lyrics as the elements of a special artistic idiolect to create the unique ornithomorphic thesaurus (as T. Pastukh defined it) in every verse. What is the most important, this kind of lyrics is an evidence of re-creation of the unity between man and nature with a help of word, especially its internal form; I. Nechui-Levyts’ky tended to call it ‘pantheism.’ This fact opens the perspectives for further comparative studies of theoretical and artistic masterpieces within the framework of mutual complementation and enrichment of stylistic paradigms revealed in them.
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Shitova, N. I. "Symbolic Expression of the Heavenly Eden Image in the Traditional Culture of the Uimon Old-Believers." Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 27 (2021): 861–68. http://dx.doi.org/10.17746/2658-6193.2021.27.0861-0868.
Abstract:
The work was carried out in order to identify patterns for the preservation and updating of some images and symbols expressed in the embroidery ornament. The research is based on materials of the Uimon Old-Believers culture, which is represented in the Uimon Valley of the Altai Mountains. We carried out a comprehensive analysis of the author’s field ethnographic materials of different years, unpublished archival folklore records and museum samples. It has been established that using images of Eden-related birds and plants (grapes, roses, and other flowers), folk ideas about Heavenly Eden are expressed in spiritual verses. These ideas correspond to the symbolic meaning of some ornamental patterns in women’s needlework. A composition on a wall towel consisting of grape and flower vine and paradise birds was interpreted as a folk image of Heavenly Eden. The author performs a comparative analysis of images of Heavenly Eden in the culture of the Uimon Old-Believers and materials of the ornament of women’s needlework in Altai Mountains. Based on the materials of women’s needlework in Altai Mountains, the floristic ornament significantly prevailing among all others more often contains motifs with a vine and a rosevine, as well as a flower vine with the images of other flowers. When combining these varieties of ornament into a semantically unified ornamental group “plant vines”, the fact of a significant predominance of this group among other fixed ornamental groups of motifs is obvious. The ideas of the plants as attributes of Heavenly Eden, the semantic correlation of Heavenly Eden and the garden of the earth probably played a special role in the prevalence of images of grapes, roses, and other flowers as well as their stable presence in ornamentation in women’s needlework. Culture bearers could use the motif of the plant vine as an expression of spiritual aspirations, which are also manifested in perception and aesthetic value of the ornament.
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Ubushieva, Danara V. "Инедиты калмыцкого фольклора из фонда И. И. Попова: тематическая классификация образцов устной несказочной прозы." Бюллетень Калмыцкого научного центра Российской академии наук 15, no. 3 (November 25, 2020): 233–50. http://dx.doi.org/10.22162/2587-6503-2020-3-15-233-250.
Abstract:
The purpose of the article is to classify samples of oral non-fabulous prose recorded by I. I. Popov, based on a generally accepted comparative approach. The material for the study was the manuscript notebook “Old legends of the Don Kalmyks in the original Kalmyk texts and Russian translation” from the collection of Don Kalmyks folklore collector I. I. Popov. Results. The thematic classification of samples of oral non-fabulous prose of Don Kalmyks has the following structure: six myths (five etiological myths about the origin and features of animals, birds, insects, plants, nature phenomena and one calendar myth), seven stories (two of religious content and four — historical), two legends about the origin of customs, rites, rituals and one sample could not be classified as it is incomplete. Hence, out of seventeen samples — nine (No. 3, 4, 5a, 6, 7, 8, 11, 12, 13) do not have any variations and some of them are included into the collections “Seven Stars” and “Myths, Legends and Traditions of Kalmyks”. There are variations or versions for seven samples (No. 1, 2, 5b, 9, 10, 14, 15); however, it should be noted that some samples have not been published in I. I. Popov’s recordings, and are published in the recordings of other collectors. One sample (No. 16) is not classified, thus, there are certain difficulties in the analysis of its variants or versions.
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Bodnar, Tetiana. "Phrases of western podil divinations with the motives of finding a child." Linguistics, no. 1 (45) (2022): 37–44. http://dx.doi.org/10.12958/2227-2631-2021-1-45-37-44.
Abstract:
The article, based on the analysis of field ethnographic, folklore, dialectological data from Podillya, considers the nominations of traditional Ukrainian rites associated with the birth of a child, compares the phraseological units with the motive of finding a child. The material of the research was the author's records of phraseology according to a special program-questionnaire on the territory of Western Podillya (southern districts of Khmelnytsky region and eastern districts of Ternopil region). Emphasis is placed on the constant expressions of the traditional birth rite with attention to semantics, elements of spiritual and material culture. There are four groups of FD with the motive of finding a child: in different natural and landscape formations; in the aquatic environment, or nearby structures; in the building, its parts, adjacent buildings, household items, clothing (shoes); to denote a gift (tossing, sending, bringing, buying). Each group of FDs is divided into subgroups, which allow a clearer division of phrases on a figurative basis. Ethnographic dictionaries clarify the symbolism of the components of phraseological units: peas, cabbage, burdock, water, stork, angel, egg, well, river. It is determined that among the studied phraseological units the components with the highest variability of the child are distinguished by birds. A significant number of verbs to denote ways to find a child (found, bought, caught, brought, caught, got out, etc.) was found.
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Borisova, Anastasia. "The Many-Faced Monster Abaasy: Transformationof Epic Images Revisited." Бюллетень Калмыцкого научного центра Российской академии наук 2, no. 22 (October 17, 2022): 162–76. http://dx.doi.org/10.22162/2587-6503-2022-2-22-162-176.
Abstract:
Introduction. The article examines motifs of transformations experienced by abaasy epic monsters in Yakut folklore. Materials. The study focuses on earliest Olonkho records published at the end of the 19th century. Goals. The paper aims at revealing types of transformations inherent to the epic monster abaasy, classifying the former, and determining functional features of such motifs. Results. The insight into available materials reveals a number of forms (objects) abaasy epic monsters tend to turn into, namely: 1) natural phenomena (scorching heat and a rock-bedded river, whirlwind); 2) birds (raven, three-headed mythical eagle); 3) animals (wolf, bull, mythical black beast, huge mythical dragon-like serpent); 4) fish (perch, pike); 5) insects and creepers (amphibians, reptiles); 6) resurrection of the dead; 7) aiyy maiden. The work concludes each transformation pattern is characterized by specific functional peculiarities and is implemented by the abaasy for certain goals, e.g. to lure a victim, escape a danger, or gain a rebirth. The identification of main characters with natural forces, presence of ornithomorphic, zoomorphic, ichthyomorphic and other forms in transformations show that different cultural and religious views of the people can be traced in the Olonkho Epic. Further studies of the topic with insights into later Olonkho records can serve additional materials for determining the periods of mythological development of the Olonkho Epic.
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Сурлай Владимировна, Абысова,. "Plots of the genealogical legends of Altaians." Vestnik of North-Eastern Federal University, no. 4(90) (January 13, 2023): 56–66. http://dx.doi.org/10.25587/svfu.2022.17.25.007.
Abstract:
В устной прозе алтайского народа особое место занимают генеалогические предания. Они всегда вызывали живой интерес, который сохраняется до настоящего времени. Число научных исследований по этой теме относительно невелико, и потому генеалогические предания алтайцев до сих пор остаются малоизученной областью фольклористики. Актуальность исследования заключается в недостаточной изученности названных преданий. Целью данной работы является изучение сюжетного состава генеалогических преданий. В задачи исследования входят сравнение текстов преданий, определение сюжетов, выявление художественных особенностей. В работе применяются сравнительно-исторический и сравнительно-описательный методы исследования, позволяющие сосредоточить внимание на повторяемости сюжетов, рассмотреть варьирование сюжетов в историческом развитии, показать особенности отражения в данных преданиях исторической действительности. Научная новизна исследования заключается в теоретическом осмыслении и описании сюжетного состава генеалогических преданий алтайцев. Результаты исследования будут полезны при дальнейшем изучении жанра преданий в алтайском фольклоре, а также при составлении указателей сюжетов алтайских преданий и собирании фольклорных текстов. В статье даются характеристики ранних этногенетических, родовых и семейных преданий. На основе сравнения фольклорных материалов устанавливаются повторяющиеся и известные сюжеты, наряду с которыми отмечаются также единичные редко встречающиеся сюжеты. В сюжетах алтайских преданий используются мотивы, встречающиеся в мифах и легендах. Предания отражают древние мифологические представления и верования людей в родство с тотемными животными и птицами, содержат свидетельства о реальных событиях в жизни народа, объясняют появление определенных этнонимов, фамилий. Делается вывод о том, что генеалогические предания алтайцев являются результатом художественного осмысления народом своей генетической истории. Genealogical legends occupy a special place in the oral prose of the Altai people. They have always aroused a keen interest, which is still alive today. The number of scientific studies on this topic is relatively small, and therefore the genealogical legends of the Altaians still remain a poorly studied field of folkloristics. The relevance of the research lies in the insufficient study of these legends. The purpose of this research is to study the plot of genealogical legends. The tasks of the study include - comparison of texts of legends; definition of plots; revealing of artistic features. Comparative-historical and comparative-descriptive research methods are used in the work, allowing to focus on the repeatability of plots, to consider the variation of plots in historical development, to show the features of reflection of historical reality in these legends. The scientific novelty of the research lies in the theoretical understanding and description of the plot composition of the genealogical legends of the Altaians. The results of the research will be useful in further studying the genre of legends in Altai folklore, as well as in compiling indexes of the plots of Altai legends and collecting folklore texts. The article describes the characteristics of early ethnogenetic, patrimonial and family legends. Based on a comparison of folklore materials, recurring and well-known plots are established, along with which isolated rarely occurring plots are also noted. It is shown that the motifs found in myths and legends are used in the plots of Altai legends. Legends reflect ancient mythological ideas and beliefs of people in kinship with totemic animals and birds, contain evidence of real events in the life of the people, explain the appearance of certain ethnonyms, surnames. It is concluded that the genealogical legends of the Altaians are the result of the artistic understanding of the people of their genetic history.
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Makwemoisa Yakubu, Anthonia. "Rewriting the Women Enmity Lore: New Voices in Autobiographical Narratives." Advances in Language and Literary Studies 9, no. 4 (August 31, 2018): 220. http://dx.doi.org/10.7575/aiac.alls.v.9n.4p.220.
Abstract:
Many women were socially conditioned as children to believe that gender operates on a superiority/inferiority axis – the male has been naturally created to be in charge and to take dominion of all living and non-living things including plants, animals, fishes, birds, children, and women. For the women, they are to be submissive to the biological order of things which patriarchy has worked hard to institutionalise. One of the means patriarchy has adopted to sustain this belief is the divide and rule tactic, where women are taught to believe that they cannot work together, cannot love one another and cannot support one another because they do not like themselves. This belief is propagated through folklore, especially in co-wife rivalry tales. Another common instance is the raging ‘war’ between mothers-in-law and daughters-in-law. This paper will analyse the common myth that women are their own worst enemies through selected Nigerian folktales, and in the second part, will analyse contemporary Nigerian women’s autobiographies, with particular emphasis on the 3-volume biographical compendium, Women of Valour, and how these women negated this erroneous belief in their narratives. One of the findings of this paper is that women’s autobiographies have significantly disabuse many of these patriarchal myths about women, thereby rewriting and re-narrating women’s life histories. Another finding is that many of the women featured in the biography used the medium as a platform to voice themselves into being, thereby empowering themselves through the narration of their life stories.
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Zavyalova, Elena. "Alimentary Figurativeness in the Novel by A.V. Korolev “Laughter”." Studia Alimentaria 1, no. 1 (January 13, 2022): 96–119. http://dx.doi.org/10.46539/saj.v1i1.5.
Abstract:
The purpose of the study was to determine the functions of alimentary signs in the novel “Laughter” by A.V. Korolev (2001–2011). Elements related to food images, situations, and customs related to gastronomy were identified, analyzed, and systematized. It is proved that the author of the work actively uses stable phrases associated with images of food. Allegorical turns of “Laughter” contain references to the absorption and digestion of food, and a number of coloronyms are based on “food” associations. Most case-law texts are chosen on the same principle. The novel lists animals that are suitable for traditional cuisine. Birds are mentioned many times. The primacy in the plot belongs to quails and chickens, which is explained by a number of circumstances of folklore, social-historical, domestic and physiological nature. In the minds of ordinary characters, food becomes the substratum of existence. Quite often in “Laughter” the theme of Anthropophagy sounds. The reversibility of food to the eater, the transformation of dishes for a wedding celebration into dishes for a funeral meal-fundamentally important for understanding the idea of “Laughter” inversions. A.V. Korolev brings the image of the victim to the fore. Many lines of the novel are connected with the problem of cruelty: Palace intrigues at the court of the Bourbons, mass propaganda during the Third Reich, Stalin's system of terror and informers, “Nord-Ost”. In “Laughter” the writer clearly and in detail recreates the panorama of modern hedonism. The novel by A.V. Korolev could be called “The History of World GourMania.”
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Зарина Казбековна, Плаева,. "The Mythological Context of the Motif of Atsamaz Playing the Pipe in the Ossetian Nartiada." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 4 (January 2, 2023): 21–28. http://dx.doi.org/10.26158/tk.2022.23.4.002.
Abstract:
В статье впервые на материале осетинской Нартиады подробно рассматриваются мифологические аспекты влияния музыки нарта Ацамáза на окружающий мир. Для анализа привлекаются тексты других национальных версий нартовского эпоса, а также фольклора персов, курдов и татов Дагестана. Чтобы завоевать сердце неприступной красавицы Агýнды, в осетинском эпосе нарт Ацамаз начинает играть на своей свирели. Его свирель, доставшаяся в наследство от отца, - дар лесного божества Афсáти. Музыка Ацамаза оказывает благотворное воздействие, усиливает радость, изгоняет болезни, помогает выразить мысли и чувства. Она пробуждает природу от зимней спячки: приводит в движение горы, оживляет даже засохшие деревья, звери в лесу собираются и танцуют возле Ацамаза, а птицы ему подпевают, люди дружно внимают Ацамазу, успокоившись и примирившись между собой. Не остается равнодушной к звукам чарующей музыки Ацамаза и гордая Агунда, дочь могущественного Сайнáг-алдáра. Восхитившись музыкой и влюбившись, она не сразу признаётся герою в своих чувствах. Чудесная музыка порождает конфликт между ними, который является сюжетообразующим. Зафиксированные еще в памятниках скифского искусства образы дроф и сайгаков свидетельствуют о древнем степном формировании сказания об осетинском Ацамазе. Параллели из курдского, татского и персидского фольклора, возможно, отчасти восходят к периоду общеиранского единства. This article is the first to consider in detail the mythological aspect of the Nart Atsamaz’s music and its effect on those around him in the Ossetian epic Nartiada. The author also examines other national versions of the Nartiada as well as the folklore of the Persians, Kurds and Tats of Dagestan. Images of bustards and saigas that appear in monuments of Scythian art testify to the presence of the ancient steppe legend about the Ossetian hero Atsamaz ( Acæmæz). Parallels in Kurdish, Tat and Persian folklore may date back to the period of common Iranian unity. In the Nartiada, Atsamaz plays a pipe in order to win the heart of the unapproachable Agunda. He inherited the pipe - a gift from the forest deity Afsati (Æfsati) - from his father Aca. Atsamaz’s music creates positive energy, enhances joy, expels diseases, and helps to express one’s thoughts and feelings. It awakens nature from hibernation; sets mountains in motion; and revives even dried-up trees. Forest animals gather and dance near Atsamaz, birds sing along with him, people forget about their quarrels and listen to him together. The sounds of his charming melody even touch proud Agunda’s heart. The daughter of the powerful Sajnæg-ældar admires the music and falls in love with the hero but she does not immediately confess her feelings. The conflict between two heroes generated by the wonderful music generates the plot
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Sadauskienė, Jurga. "People and Animals in Lithuanian Folktales: the Didactical and Psychological Aspects." Tautosakos darbai 56 (December 20, 2018): 59–83. http://dx.doi.org/10.51554/td.2018.28472.
Abstract:
The purpose of the article is revealing the great variety of relationships between humans and animals in the traditional Lithuanian folktales in order to understand the meaning of the animal motives in this folklore genre. Analysis of the ethical, pedagogical and psychological aspects of the tales rests on the printed and archived materials from the 19th – 20th century. The author discusses the instances of clashing and matching perspectives between the folklore-centered, psychological, and culture-oriented views on the traditional narratives and on the worldview that these narratives reflect. Representations of both the wild animals, birds and reptiles, and the domesticated ones in the Lithuanian fairy tales and animal tales are symbolical rather than realistic, thus encouraging to view these narratives as essentially meant for upbringing or psychotherapy rather than natural education. According to the emotional, ethical and pedagogical value of relationships between the protagonist and the animals, the folktale motives fall into several groups:a. relations based on fear (folktales prohibiting to hurt the totemic animals);b. overcoming of fear and hostility (folktales describing marriage with animals);c. empathy (folktales describing people saving and caring for the animals, and therefore experiencing great success);d. acquiring protection (folktales describing animals sacrificing themselves for the benefit of the protagonist);e. animals endowed with authority in the eyes of the humans (folktales revealing special powers and capacities of the animals, which alone enable the humans to achieve their aims; these tales reveal dependence of people on nature);f. narratives enhancing emotional consciousness (tales of animals and formula tales dedicated to the youngest children and teaching them strategies of safe behavior as well as encouraging their emotional self-awareness);g. hostility (stories derived from the medieval animal epos);h. pragmatism and economical attitude (folktales describing animals as sources of profit rather than self-contained characters).In conclusion, the author assumes that literary tradition must have had minimum impact on the ancient Lithuanian folktales and their worldview in particular, since they do not antagonize the natural and the human world. Contrary to the view expressed by the French cultural historian Robert Darnton maintaining that French tales essentially have been harsh and cynical, the majority of the Lithuanian tales merit recognition for their positive view of the world, for bringing up educational examples, for pedagogical intentions and the general concept that rightful behavior deserves an appropriate reward. Having discussed the psychoanalytic interpretations of folktales, the author assumes that animals in the oldest versions of the Lithuanian folktales play the role of the superego rather than id. This allows to maintain that respectful attitude towards animals was inherent in the culture of the ancient peoples, particularly the peasants, being “discovered” in the literary tradition as late as the end of the 19th century.
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Vinogradova, Ljudmila N., and Aleksandr V. Gura. "Tickling in the Light of Slavic Vocabulary and Mythology (Polesian Data on a Common Slavic Background)." Slavic World in the Third Millennium 16, no. 1-2 (2021): 7–38. http://dx.doi.org/10.31168/2412-6446.2021.16.1-2.01.
Abstract:
The authors of this article attempt to reveal the symbolism of tickling as an aggressive behaviour of mythological characters using ethnolinguistic methods. This analysis is carried out on the basis of the study of Polesie dialectal vocabulary and phraseology related to this demonological function, with the involvement of a wide range of common Slavic linguistic data, and a significant body of folk mythological beliefs. The work includes three thematic sections: terminology and ways of nominating tickling in Slavic languages and dialects; tickling as a harmful function of evil spirits directed at a person; and tickling as an action of mythologized animals aimed at livestock. Geographically, the combination of the functions of tickling in a mermaid (rusalki) and a weasel can be observed in at least two regions – in Polesie and the Upper Volga. In the language and in traditional culture, there is a similarity in the ratio and interaction of tickling as a tactile action and acoustic “tickling” associated with various types of sounds emanating from living beings (people, animals, birds, and insects). In the language, a portion of onomatopoeic verb vocabulary is built in parallel to the words for tickling, which serve to convey the sounds of human speech, animal cries, sharp noises made by people, etc., which indicates a kind of mutual attraction between intense verb iterations related, on the one hand, to the tactile, and on the other, to the audible. In the folk tradition, the tickle motif creates a correlation between the strong physical irritation that mythological characters (demons and animals) inflict on people and livestock with their annoyingly repetitive actions, and the auditory perception of restless, often annoying, cries and sounds of animal origin,which are endowed with folklore and some demonological characteristics.
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Vergara, José. "Flap Your Wings for Goodbye." Canadian-American Slavic Studies 55, no. 3-4 (November 3, 2021): 361–74. http://dx.doi.org/10.30965/22102396-05503004.
Abstract:
Abstract The present article explicates a selection of bird imagery in Sasha Sokolov’s second novel, Between Dog and Wolf (1980). It analyzes the author’s use of certain birds and their folkloric and mythological subtexts for symbolic purposes. In particular, he pairs his protagonists with key birds (hoopoe, lapwing, goose, magpie, albatross) to underscore aspects of their personalities, behaviors, relationships, and experiences. This ornithic imagery emphasizes how the characters cannot overcome their temptations and other base feelings to attain higher meaning and ultimately remain bound to the physical, natural world. (For a plot synopsis of Between Dog and Wolf, please consult the introduction to this issue of CASS.)
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Борлыкова, Босха Халгаевна, Бадма Викторович Меняев, and Татьяна Владимировна Басанова. "Figurative Parallelisms in Sart-Kalmyk Proverbs." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 3 (September 25, 2022): 124–34. http://dx.doi.org/10.26158/tk.2022.23.3.010.
Abstract:
В настоящей статье впервые исследуются сарт-калмыцкие пословицы. Авторы в начале статьи дают краткую историю собирания сарт-калмыцких пословиц. Материалом для исследования послужили личные полевые материалы авторов, собранные в Иссык-Кульской области Киргизии в ходе научной экспедиции 2021 г., а также архивные (А. В. Бурдукова (1929), Б. В. Меняева (2009, 2012)) и опубликованные материалы [Павлов 1990]. В качестве дополнительного материала привлечены пословицы текесских олётов - «ближайших родичей сарт-калмыков», ойратов Китая (Синьцзяна) и калмыков России. Новизна исследования заключается в изучении образных параллелизмов, встречаемых в сарт-калмыцких пословицах с компонентом-зоонимом. Актуальность исследования обусловлена утратой языка и фольклорной традиции сарт-калмыков. Проведен анализ образной мотивировки общего значения сарт-калмыцких пословиц, в частности, параллелизма мира животных (птиц, насекомых) и людей. Зоонимы в образных параллелизмах служат для характеристик прежде всего человека. Выявленные авторами статьи сарт-калмыцкие паремии имеют соответствия в устном творчестве олётов, ойратов Китая (Синьцзяна) и калмыков России, что является свидетельством их общего этнического происхождения. В результате исследования авторы статьи пришли к выводу, что образные параллели в сарт-калмыцких пословицах отражают ценностные стереотипы национального мышления и мировосприятия сарт-калмыков. This article examines Sart-Kalmyk proverbs for the first time. At the beginning the authors give a brief history of collecting Sart-Kalmyk proverbs. The analysis is based on the field materials the authors collected in the Issyk-Kul region of Kyrgyzstan during a scholarly expedition in 2021 as well as on archival and published sources. In addition, proverbs of the Tekes Olets - “the closest relatives of the Sart-Kalmyks,” Oirats of China (Xinjiang) and Kalmyks of Russia are considered. The authors focus on figurative parallelisms found in Sart-Kalmyk proverbs that contain a zoonym component. They analyze the parallelism of the world of animals (birds, insects) and people in the context of the overall meaning of Sart-Kalmyk proverbs. Zoonyms in figurative parallelisms primarily serve to characterize human characters. The Sart-Kalmyk paremias identified by the authors have correspondences in the oral works of the Olets, Oirats of China (Xinjiang) and the Kalmyks of Russia, which is evidence of their common ethnic origin. The authors stress that the figurative parallels in Sart-Kalmyk proverbs reflect the national values and worldview of the Sart-Kalmyks. This study is especially important due to the impending loss of the Sart-Kalmyks’ language and folklore tradition.
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Šmitek, Zmago. "WHAT DO BIRDS SING? ON ANIMAL LANGUAGE IN SOUTH SLAVIC FOLKLORE1." ЕтноАнтропоЗум/EthnoAnthropoZoom 16 (2017): 9–69. http://dx.doi.org/10.37620/eaz1716009sh.
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Gritėnienė, Aurelija. "The Mental Image of the Mountain Ash (Sorbus L.) in the Dictionary of the Lithuanian Language." Tautosakos darbai 52 (December 30, 2016): 85–104. http://dx.doi.org/10.51554/td.2016.28868.
Abstract:
The article focuses on more than 200 illustrative sentences containing the word šermukšnis [‘mountain ash’], picked out from the twenty volumes of the “Dictionary of the Lithuanian Language” (Lietuvių kalbos žodynas – LKŽe). The aim of the author is describing the semantic image of the mountain ash as shaped in the dictionary, also establishing the peculiarities of this plant that emerge as the most important ones in its hypertext. While analyzing the accumulated materials using the interpretative, comparative and descriptive methods, the author of the article depicts the visual features and places of growing typical to the mountain ash, discusses the qualities and possible uses of its wood, elucidates its nutritional, medicinal and mythical characteristics. She also briefly outlines the way of presenting the mountain ash in Lithuanian folksongs and various divinations. The analysis of the illustrative samples given in the dictionary that contain the lexeme šermukšnis [‘mountain ash’] enables composing the general image of this plant. Namely, the mountain ash emerges as a slender, upright tree with pinnate, lobate leaves and white (in folksongs – red) blossoms, bearing red unsavoury fruit that can be pressed for juice or boiled for syrup, fermented for mead or wine, dried to store for the winter, fed to the pigs or eaten by birds. The quantity of its blossoms and fruit serve as a sign indicating the future weather or the expected harvest. This tree usually grows in the forest or on its outskirts, at the edge of the meadow, by the road, at the basis of the hill or on its slope, or close to the people’s homes. It is bound to dwarf other trees and exhaust the soil. Its bark, blossoms and fruit are allegedly medicinal (used to cure colds, ailments of liver, kidneys, stomach, etc.). The wood of the mountain ash is good for carving. In the context of the mythic worldview, the mountain ash emerges as an especially significant plant, praised by the Lithuanians for its medicinal qualities and honored for its special magical powers. The folklore and illustrations from the dictionary likewise testify to the peculiar effect of the mountain ash on the mythical beings: it protects people and human homes from witches, sorcerers, devils, pucks, fairies and their offspring, and other evil spirits. Devil is especially scared of its stick. The mountain ash also protects the livestock (including cows, horses and sheep) from various spells. Mythical powers of this tree are obvious in its ability to turn humans into werewolves and vice versa. Therefore, the mountain ash is clearly present in human life from birth to death.
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Jasiūnaitė, Birutė. "Magpie in Lithuanian and Slavic Ethnic Culture." Slavistica Vilnensis 66, no. 1 (November 17, 2021): 73–84. http://dx.doi.org/10.15388/slavviln.2021.66(1).61.
Abstract:
The article, based on a variety of ethnolinguistic material, especially folklore texts, aims to reveal the main similarities and differences in the interpretation of the image of the magpie in the ethnic culture of Lithuanians and Slavs. This bird in two traditions, in Lithuanian and in Slavonic, is treated ambivalently, more often negatively. This is due to the peculiarities of the bird’s appearance, and in particular the variegation of its plumage. This characteristic feature in the ethnic culture of many peoples is traditionally associated with evil spirits. Too talkative people, most often women, are compared with this bird. Common is the motive of the thief magpie. The name of the bird in all the languages is feminine, therefore, in both Lithuanian and Slavic mythopoetic texts, the social roles of a peasant woman are attributed to it: a daughter-in-law, a mother, a hostess, a cook, a nanny. Another common feature is the image of a magpie as a sorceress, herald of good or evil news and future events. These functions are associated with the tendency to depict witches and other mythical characters in the form of a magpie. The most striking differences in the interpretation of the magpie are the following ones: it is unusual for Lithuanians to associate the idea of procreation with it, and some Slavs (for example, the Czechs) believe that magpies bring children into the house. Lithuanians are also unaware of some features of the “working” behavior of a magpie, for example, the threshing motive. In their turn, Lithuanians attribute such crafts as shoemaking, brewing, and agriculture to magpies.
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Kamenieva, Anna. "Stylistic features of the choral concerto “Witchery songs” by M. Shukh." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 122–35. http://dx.doi.org/10.34064/khnum1-55.09.
Abstract:
Background. The current paper provides an intonation and dramaturgical analysis of the choral concerto “Witchery Songs” by a contemporary Ukrainian composer M. Shukh (1952–2018). It reveals stylistic features of the late composition, presents an argument for its affiliation to the meditative sphere enriched with new stylistics, which can be seen in the semantics of contemplation, philosophical and psychological focus (the first movement), the concept of “Light” (the second miniature) as well as composure and blissful sleep (final). Objectives. To reveal stylistic features of the choral concert “Witchery songs” in order to understand the multidimensionality of the late style of M. Shukh (2010). Methods. The methodology of the research is based on the genre, stylistic, structurally functional, intonation-dramaturgicaland semantic scientific approaches. Results. The structure of the cycle includes three miniatures created in different years (1993, 2006 and 2009). The composer combined them into a new author’s concept: the unifier was the image of the author’s contemplation, meditation on various images of O. Kryvoruchko’s poetry, which was related to his spiritual universe. The program title of the cycle “Witchery Songs” chosen by the author is general, borrowed from the dramatic imaginary sphere of the first movement. The first movement “Practising witchery on a Gray Seagull” embodies the image of a seagull appearing in different forms: as a white bird, a symbol of purity, and the grey one, which had been grief-stricken and died, leaving behind baby seagulls. The poetic text is abundant with symbols of death (“black water”, “bitter mountain”), and vice versa, with signs that symbolize hope: “clear field”, “pure wonder”, “white grasses”. At the same time, the name of the movement, its folklore bias and content also point to the image of witchery, which is embodied by M. Schukh in thematism through meditation (means of tempo and timbre dramaturgy, “dark” modal and tonal focus). The metrical organization of the movement attracts attention. If the beginning of the introduction is presented in the 4/4 time, then in the enunciation of the main theme (bar 7) the composer uses an odd meter of 11/8 with the subsequent change to 10/8, 5/8, then 3/4. The frequent change of the metric rhythm indicates the relation of the musical stylistics of this theme to the Ukrainian folk-song tradition. The second movement “Night” contains no specific symbolism of practising witchery: the semantics of the night includes rather a genre model of a nocturne with its onomatopoeia (breeze, bells, stars, moon). A beautiful pattern is perceived as an intermezzo between the dramatic text of the cycle exposition and the celestial lullaby, which elevates the earth’s feelings to the Light. The movement reveals a magical picture of nightlife. The composer embodied this contemplative image by creating light meditation. Major colour, quiet dynamics, slow tempo, and chamber-like use of musical expressiveness all contribute to the basic essence of a meditative state – calmness and relaxation. Meditative onomatopoeia interfuses the whole movement – a light breeze, lighting up the stars. The image of the bell is found in all parts: the first soprano part has a poetic text – “the wind tinkles “, the alto one has mormorando, a singing technique, the second sopranos – syllables “din, don” with sonorous singing of the last “n”. In this part the composer often applies the techniques of free development – glissando, tenuto, rhythmic variety – triples, long delays. In such a way the artist sought to “let the performers go”, creating a meditative image of night silence. In the third movement, “Angelic lullaby,” meditative semantics is multiplied, since the genre of lullaby, like meditation, has a calming effect. Thanks to its name the composer gave the song a higher, deeper meaning. Musically, the composer filled the imagery of the movement with an incredibly expressive theme, onomatopoeic techniques similar to the previous movements: imitation of a breeze, hum of birds, stream overflows. Basically, the theme of the movement unfolds with the help of a spiral-like motion technique, the sound of which contributes to the lulling of a baby to sleep. The rhythmic basis of the theme is coloured by the intonational ostinato. The metro-rhythmic structure plays a special role in the dramaturgy of the movement: the composer often changes time signature, a large number of syncopescolour the musical texture, adding depth and at the same time lightness to the texture, and making the choir sound elusively charming. Conclusions. The semantics of the work is formed by stylistic synthesis (folk elements of the musical language embedded in the poetic text of O. Kryvoruchko; sacral signs – bells, angelic lullabies and onomatopoeia), emphasized at the soundintonational level. Taking into account the program subtitle (Practising witchery), the work, at first glance, seems to be a “cognitive dissonance” in the context of spiritual themes predominance in M. Schukh’s music. However, in the original concept of the composition, the composer clarifies for the thoughtful listener his idea – “modulation” way from mythopoetic (earthy) magic to the sacredness of the spiritual type (blissful sleep). The use of folklore stylistics shows that the artist continued the national tradition of O. Koshits, L. Dychko, Ye. Stankovich and others in the choral genre. Such a genre-stylistic decision is today perceived as an actualization of the appeal to traditional folk art, through the lens of philosophicalreligious poetics of author’s thinking.
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Opalko, Olga, Nataliia Derev'ianko, and Anatoly Opalko. "Bird Cherry (Prunus padus L.) in history and culture of Ukrainian and other ethnicities." Journal of Native and Alien Plant Studies, no. 17 (December 22, 2021): 176–87. http://dx.doi.org/10.37555/2707-3114.17.2021.248352.
Abstract:
Aim. Decorative and confectionery-pharmaceutical value of bird cherry (Prunus padus L.), the complex history of the phytonyms’ formation, the transcendent symbolism and poetics of its image, ideas about bird cherry in different ethnic groups, and the pragmatic need to modernize the traditions they have preserved led to the need for necessitated research. Methods. The authors conducted the retrospective analysis of the formation of the bird cherry’s folklore image; revealed the formation of its modern scientific terminology and botanical nomenclature, attempts to preserve the symbolism of the bird cherry’s folk names in different ethnic groups for future generations and the prospects for introducing P. padus representatives in horticulture. The commonly used methods of theoretical analysis, systematization, comparison, and generalization of specialized literature have been applied (Hurrell et al., 2019). Results. Polyphilia of the subgenus Prunus subg. Padus (Mill.) Peterm. (=Prunus subg. Padus (Moench) Focke), debatable rank and status of P. padus species and the incompleteness of its taxonomy are confirmed. The autochthonous nature of bird cherry in Ukraine is supported by the richness of its dialect folk names. However, the dialect names of bird cherry were not always really motivated. They symbolized the plant in colorful verbal and poetic images and connected it with the oldest sacred traditions. Folk names and symbols of bird cherry in Ukrainian, Russian and Belarusian dialects, variants of its nomenclature and symbolism in the traditions of English-speaking ethnic groups, and the Spanish language's onomastic field had been discussed. Works on the bird cherry’s use in folk medicine and modern pharmacy, and prospects for attracting materials from Prunus spp. Collections of NDP “Sofiyivka” of NAS of Ukraine and experimental farm “Novokahovske” of the Rice Institute of NAS of Ukraine for gardening, horticulture, and breeding are characterized. Conclusions. The ambiguity of the bird cherry’s folklore image in the ideas of close Slavic ethnic groups, the connection of these ideas with the composition of the local dendrological flora, and the traditional value of P. padus and other representatives of the subgenus Padus for traditional and scientific medicine, the prospects of their introduction into horticulture, and the need to involve ethnobotanical lexemes in enlightenment are proved.