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Journal articles on the topic 'Kalmyk Songs'
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1
Boldyreva, Indzhir M. "Песни о выселении калмыков и их возвращении из Сибири, записанные у информанта М. Б. Мудаевой." Бюллетень Калмыцкого научного центра Российской академии наук 15, no. 3 (November 25, 2020): 251–63. http://dx.doi.org/10.22162/2587-6503-2020-3-15-251-263.
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Goals. The paper introduces texts of songs dealing with the Kalmyk deportation and its follow-up period recorded from M. B. Mudaeva. These songs illustrate the historical truth of 1943 nation-wide tragedy and enormous happiness of the ones to have survived and returned to ancestral lands. Materials. The work examines songs recorded by the scholars of Kalmyk Research Institute of Language, Literature and History (present-day Kalmyk Scientific Center of the RAS) from M. B. Mudaeva during the 1960 folklore research expedition in Yashkulsky District. The song Hal’mgudyg nүүlһsnә tusk dun (‘Song of the Kalmyk Deportation’) deals with the deportation itself, and the song Hal’mgud Sibrәs irsnә tusk dun (‘Song of the Kalmyks’ Arrival from Siberia’) depicts the successful return and universal joy of ones who after all reached their dear steppe. Conclusions. The work introduces the songs about deportation of Kalmyks and their return to their native land that have not been published before.
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Guchinova, E. B. M., and Ts B. Seleeva. "Can subalterns sing? Kalmyk songs about their exile to Siberia." Shagi / Steps 10, no. 1 (2024): 84–106. http://dx.doi.org/10.22394/2412-9410-2024-10-1-84-106.
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The article deals with Kalmyk folk songs about the deportation of the Kalmyk people to Siberia (1943–1957). The purpose is to exhibit the Siberian cycle of Kalmyk songs as a special genre, to elucidate its folklore specifics and to show how its pragmatics have changed depending on the political context during the last 80 years. The study is based on a corpus of 80 texts in the Kalmyk language. The songs were collected among folk song performers in Kalmykia, and from archival recordings, social networks and published songs. The tradition of the Siberian song operates with its own fund of various types of constants and formulas. The article provides an analysis of plots, stylistics, reflections of small genres of folklore in song texts. Particular attention is paid to the pragmatics of Siberian songs in connection with the historical policy of the state, to the development of the performing canon and to the role of songs in the process of ethnic identification and collective memory. The songs of the Siberian cycle have a special role: these local voices became a vital source about the life and feelings of the Kalmyks in 1943–1957, as a kind of musical ego-documents reflecting the thoughts and feelings of the exiles: bewilderment, bitterness, resentment, hope. The authors show that the Siberian songs were the only public form of protest and a way to proclaim the suffering of the Kalmyks as a group.
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Borlykova, Boskha. "К вопросу изучения нарицательной лексики сарт-калмыцких песен (по экспедиционным материалам)." Ural-Altaic Studies 47, no. 4 (December 2022): 28–53. http://dx.doi.org/10.37892/2500-2902-2022-47-4-28-53.
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The article discusses the systematic nature of the folklore lexicon of Sart-Kalmyk songs recorded by K. E. Erendzhenov (1935), A. Sh. Kichikov (1964), U.-J. Sh. Dondukov (1975), E. R. Tenishev (1976), D. A. Pavlov (1982) and B. V. Menyaev (2009). The corpus of Sart-Kalmyk song texts has been posted by the authors of this article on the website http://kalmyki.narod.ru. The texts of the Olot songs of the Ili-Kazakh Autonomous Region of Xinjiang previously recorded by the authors of the article during the expeditions of 2012 and 2020 have been taken into consideration as well. All the nouns under analysis have been divided into the following lexico-semantic groups: “ethnonyms” (lexical units denoting people according to their nationality), “kinship terms” (lexical units denoting people according to their relationships), “lexical units denoting people according to their gender and age”, “titles” (lexical units denoting titles), “anthroponyms” (proper names); “lexical units denoting domestic animals” etc. Some lexical units are provided with comments from archival, expedition, and published materials. The analysis of the vocabulary of Sart-Kalmyk songs clearly shows that it is based on common Oirat lexicon which incorporated a number of early borrowings from other languages. Later borrowings from the Kyrgyz language have not been found in the texts of the Sart-Kalmyk songs. Therefore, the songs of the Sart-Kalmyks were created before their move to the valley of the Karakol River and before their conversion to Islam. The results of the research can contribute to further analysis of the lexical structure of Sart-Kalmyk song texts.
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Borlykova, B. Kh, and B. V. Menyaev. "Don Kalmyk Song Recordings Made by A. M. Listopadov." Nauchnyi dialog 11, no. 8 (October 30, 2022): 222–38. http://dx.doi.org/10.24224/2227-1295-2022-11-8-222-238.
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In spite of the previous two centuries of recording Kalmyk song folklore there are still unknown and littleknown manuscripts and audio recordings of Kalmyk song art, stored in Russian and foreign archives. The Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences has a handwritten collection of Don Kalmyk songs, recorded by musicologist Alexander Mikhailovich Listopadov in 1902 in the village of the Denisov Region of the Don Cossack Army. The first section of the manuscript contains seventeen songs and one excerpt from the heroic epic “Dzhangar”, the second section contains eleven songs of the Soviet period and two dance melodies. The records presented in the manuscript are valuable because they are the earliest examples of phonographic records of Kalmyk folklore. A preliminary review of the texts of Kalmyk songs from the first section of A. M. Listopadov revealed that the real collection seems to be extremely heterogeneous, it includes rare examples of hymn, historical, hunting, wedding and lyrical Kalmyk folk songs. Among the texts of the songs, the authors of the article found an excerpt from the epic “Dzhangar”, which refers to the Maloderbet cycle. Introducing the entire collection of A. M. Listopadov into scientific circulation will deepen understanding the Kalmyk folklore of the 19th — the first half of the 20th centuries, will serve as an additional source for its new interpretation, will contribute to comparative studies of the folklore of the Mongolianspeaking peoples.
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Mitruev, Bembya L. "О переводе двух песен эпоса «Гесер» Б. Бергманом." Oriental Studies 14, no. 3 (October 6, 2021): 606–25. http://dx.doi.org/10.22162/2619-0990-2021-55-3-606-625.
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Introduction. In 1802–1803, Benjamin Bergmann made a trip to the Kalmyk steppes to collect historical, literary, and folklore material on the Kalmyks and the Kalmyk culture. The result of this journey was the 1804–1805 publication of “Nomadische Streifereien unter den Kalmüken in den Jahren 1802 und 1803” (Nomadic wanderings among Kalmyks in 1802–1803) in Riga, which up to the present day has not lost its importance as a source of information on the culture and life of the Kalmyks in the 18th and 19th centuries. The four-volume work contains translations of various texts from Kalmyk into German, including the two songs of the “Geser” epos. This is in fact the earliest translation of “Geser” songs into a European language. Data. The German translation of the two “Geser” songs published by Bergmann in his work has been used as the material for the present research. The aim of the article. Bergmann’s translation of the songs is often mentioned in scholarly publications, but so far, no Russian translation of the songs in full has been made. To facilitate the research of the Oirat-Kalmyk “Geser” and especially of the songs in question, this article presents their scientific translation into Russian made by the present author. Also, the article discusses the character of the Kalmyk originals of the epic songs. So far it has been believed that an oral retelling was the source for the German translation of the songs. However, there is sufficient evidence for a new hypothesis because the analysis of the data undertaken in this study indicates that apparently there was a written Oirat source for the translation. Conclusions. Besides the complete Russian translation of the “Geser” sagas offered here, the article puts forward the hypothesis of the written nature of the original source, which served as the basis for Bergmann’s German translation.
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Mitruev, Bembya L. "Б. Бергман и его труд о калмыках и калмыцкой культуре." Бюллетень Калмыцкого научного центра Российской академии наук 16, no. 4 (November 27, 2020): 149–75. http://dx.doi.org/10.22162/2587-6503-2020-4-16-149-175.
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Introduction. During the period from 1898 till 1901 the German researcher Benjamin Bergman travelled to the Kalmyk steppes where he collected a lot of historical, literature and folklore materials. The result of this travel was the publication of the four-volume book “The Nomadic Roaming among Kalmyks in 1802–1803” by B. Bergman in 1804–1805 in Riga, this book is an important source of the information about the literature and culture of Kalmyks of the XIX century. Among the translations of the texts, this publication contains the translation of two songs of Geser from Kalmyk into German. This translation is the first translation of the Geser songs in Kalmykia. Goal. The goal of the article is to give to the fullest extent possible the bibliographic information about Benjamin Bergman as the researcher of the Kalmyk ethnos and highlight the nature of his translation of the two songs of Geser. Materials.Materials about Bergman family in German and four-volume book “The Nomadic Roaming among Kalmyks in 1802–1803” are used in the article. Results. In 1804–1805 on the results of the travel to the Kalmyk nomad roaming, Bergman published his famous four-volume work where he not only presented a lot of information about Kalmyks but also tried todispel several wrong perceptions about Kalmyks. His work is still relevant for the researchers of Kalmyk culture, history and literature. That is why it was republishedin Europe in 1969.
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Baljin, Danbuerjiafu (Damrinjav), and Baazr A. Bicheev. "Орос болон өрнө дахинд ойрад-халимагийн ардын дууг цуглуулан тэмдэглэж, эмхэтгэж, хэвлүүлсэн тойм (= История записи и публикации народных песен ойрат-калмыков в России и Европе)." Монголоведение (Монгол судлал) 12, no. 3 (November 5, 2020): 529–66. http://dx.doi.org/10.22162/2500-1523-2020-3-529-566.
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Introduction. Oirats of China, Mongolia and Kalmyks of Russia live in three different countries — but share common ethnic ancestry. Oirats of China primarily reside in Xinjiang, Qinghai, Gansu, Inner Mongolia, and Hara-Muren (Amur River valley). In Mongolia, Oirats traditionally inhabit western provinces, such as Uvs, Khovd, Bayan-Ölgii, Zavkhan, and Khӧvsgӧl. In Russia, Kalmyks live in the Republic of Kalmykia and Astrakhan Oblast. Some minor Oirat and Kalmyk groups reside in Kyrgyzstan, Europe, and America. Despite being separated by historical eras, state borders and differing cultural-economic conditions, Oirats and Kalmyks still preserve the common vivid tradition of oral poetry largely represented by folk songs. In Russia and Europe, the earliest recordings of Oirat and Kalmyk folk songs were made 260 years ago. Those divide into lingering and short ones: the former serve to celebrate remarkable events, such as rituals, festivities and holidays; the former are usually sung by young people during regular household activities. Goals. The paper seeks to review the history of recording, investigating and publishing Oirat and Kalmyk folk songs. Results. The article analyzes folk songs of Oirats and Kalmyks, setting forth a coherent historical paradigm of theirs in Russia and European countries throughout the 19th and 20th centuries.
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Dordzhieva, Gilyana А. "Протяжная песня «Өрүн hарсн нарн» в записях 1902, 1974, 1997 и 2020 гг." Бюллетень Калмыцкого научного центра Российской академии наук, no. 1 (December 20, 2020): 153–69. http://dx.doi.org/10.22162/2587-6503-2020-1-13-153-169.
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The article presents the chants and texts of the lingering song “Orun garsn narn” recorded from Don Kalmyks (Boghshrangin Kalmyks) in Elista and Kalmyk expatriate community in the USA. Texts, word-for-word translations and notations of the three performing variants are given in the study. The article analyzes the content of the texts, detects the invariant features of the chants, specifies the particular nature of the religious songs ‘chastr dun’.
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Khaninova, Rimma. "Dombra in Kalmyk folklore and Lyrics of the 20th – early 21st centuries: poetics of a musical instrument." Бюллетень Калмыцкого научного центра Российской академии наук, no. 1 (May 15, 2024): 178–208. http://dx.doi.org/10.22162/2587-6503-2024-1-29-178-208.
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The relevance and novelty of the article is determined by the fact that the poetics of a musical instrument was not the object and subject of research in Kalmyk folklore and poetry. Among the national musical instruments, the dombra retains its functionality at the present stage. The study of dombra as a thing and as a musical instrument in the translation of folk culture and art is of interest in a historical-functional, comparative-comparative sense when referring to both folklore and poetry, since it demonstrates the tradition, the continuity of the works of poets on this topic. In Kalmyk oral folk art, the dombra as a musical instrument is often found. It is mentioned in epics, fairy tales, legends, riddles, and songs. The material for the article were selected folklore works and representative poems of Kalmyk poets of the 20th – early 21st centuries. The purpose of the article is to consider the poetics of dombra as a thing and a musical instrument in Kalmyk folklore and lyrics to identify the continuity of traditions in the modern period. Results. The Kalmyks, unlike other Turkic-Mongolian peoples, apparently have not preserved folklore works about the appearance of the dombra as such, since it is considered a borrowed instrument. There are no such poems in Kalmyk lyrics. In Kalmyk folklore, the dombra is shown in its musical function; usually it does not have a plot-forming role. Among Kalmyk poets, poems about dombra are usually associated with the Dzhangarchi’s performance of folk epic songs, with folk rituals and holidays, singing and dancing. Depending on the time and space reflected in such texts, dombra is shown against the backdrop of historical and personal events, demonstrating a thematic range. A number of texts are dedicated to famous performing musicians and masters of dombra art. The analysis involved poems created in the Kalmyk and Russian languages, and also compared the original texts and their Russian translations.
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Borlykova, Boskha Kh, and Badma V. Menyaev. "FOLKLORE OF SART-KALMYK OF KYRGYZIA: TEXTS AND AUDIO RECORDS." Folklore: structure, typology, semiotics 5, no. 2 (2022): 42–55. http://dx.doi.org/10.28995/2658-5294-2022-5-2-42-55.
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The article is devoted to the texts and audio records of the SartKalmyk folklore. The Sart-Kalmyks are among the least studied Mongolian peoples living in the settlements of Kyrgyzstan. The first examples of oral folk art of the Sart-Kalmyks can be found in the manuscripts written by the Russian Mongolian scholar A.V. Burdukovin 1929, as well as in the notes made by K.E. Erendzhenovin 1933 and published in the newspaper “Ulan khalmg” (“Red Kalmyk”) in 1935. The most important sources for the study of Sart-Kalmyk folklore are the collections of the Archive of Orientalists of the Institute of Oriental Manuscripts of the Russian Academy of Sciences and the Scientific Archive of the Kalmyk Scientific Center of the Russian Academy of Sciences (KalmSC RAS), where besides fables, songs and proverbs the manuscripts of the texts of the epic “Dzhangar”, the historical legend “Zyungar Khan” (“Dzungar Khan”) are kept. The fund № 16 of the Scientific Archive of the Kalmyk Scientific Center of the Russian Academy of Sciences contains the inventory № 1 with expeditionary records of Sart-Kalmyk folklore on magnetic tapes collected by the researchers of the Folklore Department of the Kalmyk Research Institute of Language, Literature and History A.Sh. Kichikov (1979), B.B. Okonov (1979), T.B. Badmaeva (1979). In the last twenty years, Russian and foreign researchers have carried out a number of important scientific expeditions to the places of permanent residence of the Sart-Kalmyks in order to collect new field material. A deeper look into the history of collecting and publishing Sart-Kalmyk folklore allows to conclude that the texts and audio (video) records made by Russian scientists are valuable sources for the study of the folklore tradition of the Sart-Kalmyks of the 20–21 centuries.
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Bayanova, Aleksandra. "Benjamin Bergmann’s Nomadische Streifereien unter den Kalmȕken in den Jahren 1802 und 1803: Introducing Russian Translations of Six Letters." Бюллетень Калмыцкого научного центра Российской академии наук 3, no. 19 (December 28, 2021): 79–113. http://dx.doi.org/10.22162/2587-6503-2021-3-19-79-113.
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Introduction. The impact of Benjamin Bergmann — a renown religious figure, writer and translator — in Kalmyk folklore studies is immense. He authored the earliest European documented record of the Kalmyk heroic epic of Jangar, German translations of the Buddhist treatise titled ‘Mirror of Reality’ and two songs of the Gesar epic, thirteen folktales from the Siddhi Kür collection, etc. Goals. The article introduces B. Bergmann’s letters included in the 1804 German-language edition of his Nomadische Streifereien unter den Kalmȕken in den Jahren 1802 und 1803 (Germ. ‘Nomadic Wanderings among the Kalmyks in 1802–1803’) published in Riga. Materials. The study explores and translates into Russian the first six letters containing ethnographic observations. Results. B. Bergmann’s scholarly insights into religion, language, lifestyles, and history of the Kalmyks to have compiled the edition were to lay the foundation of his work at the Russian Imperial Academy of Sciences which unfortunately never happened. The meticulousness of his accounts and descriptions testify of his decent proficiency in ethnography and folklore investigations.
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Nanjid, Byambaakhuu. "Жангар тууль дахь зарим үг хэллэгийн харьцуулсан судалгаа (Халимаг Монгол хөрвүүлгийн жишээ дээр) (= Сопоставительное исследование некоторых оборотов речи в эпосе «Джангар» (на примере калмыцкого и монгольского переводов)." Бюллетень Калмыцкого научного центра Российской академии наук, no. 2 (December 30, 2020): 68–77. http://dx.doi.org/10.22162/2587-6503-2020-2-14-68-77.
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The twelve chapters of Kalmyk epos «Jangar» which were edited for publication by B. Basangov in 1940 were published in Mongolian by T. Dugersuren under the supervision of Ts. Damdynsuren. Later, twenty six songs from «Jangar” published in Moscow in 1978 and 1990, were published in modern Mongolian in 2000. The article gives a comparative analysis of some dialect words from the two mentioned above Mongolian publications and the original text in Kalmyk.
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Убушиева, Данара Владимировна. "Unpublished Kalmyk Folklore: I. I. Popov’s Collection." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 4 (November 25, 2021): 153–60. http://dx.doi.org/10.26158/tk.2021.22.4.013.
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Изучение калмыцкого фольклора имеет двухвековую историю, но, несмотря на это, еще существуют инедиты устного творчества народа, хранящиеся в архивах Российской Федерации. В Государственном архиве Ростовской области имеется коллекция произведений фольклора, записанная коннозаводчиком и этнографом-любителем И. И. Поповым. Семь его рукописных книг-тетрадей содержат сказки, эпическую песнь, предания, загадки, пословицы, переводы религиозных сочинений. Они имеют общую структуру: титул, оглавление, предисловие, образцы фольклора на «ясном письме», транскрипция кириллицей (с дополнительными знаками для обозначения звуков калмыцкого языка, долгих и неясных гласных), перевод на русский язык, комментарии. В примечаниях наряду с толкованием отдельных лексем также приводятся описания отдельных обрядов, архаических представлений добуддийского периода. Введение в научный оборот всей коллекции расширит представления о народном творчестве калмыков России и послужит дополнительной базой для его нового осмысления, а также типологических исследований фольклора тюрко-монгольских народов. The study of Kalmyk folklore has a two-century history, but despite this, there is still unpublished material by Kalmyks stored in the archives of the Russian Federation. The State Archive of the Rostov Region has a collection of folklore works recorded by the horse breeder and amateur ethnographer I. I. Popov. Seven of his handwritten notebook books contain fairy tales, epic songs, legends, riddles, proverbs, and translations of religious writings. They have a common structure: title, table of contents, preface, folklore samples in “clear writing,” transcription in Cyrillic (with additional signs to indicate the sounds of the Kalmyk language, long and unclear vowels), translation into Russian, commentary. In the notes, along with the interpretation of individual lexemes, descriptions of individual rituals, and archaic notions from the pre-Buddhist period are also given. The introduction of this collection into scholarly circulation will expand our understanding of the folk art of the Kalmyks of Russia and will serve as an additional source for typological studies of the folklore of the Turkic-Mongolian peoples.
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Khaninova, Rimma, and Elsa Valetova. "The Train of Memory: Examining the Motif in Contemporary Kalmyk Poetry." Бюллетень Калмыцкого научного центра Российской академии наук 3, no. 23 (November 3, 2022): 171–90. http://dx.doi.org/10.22162/2587-6503-2022-3-23-171-190.
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Introduction. The article discusses the motif of memory trains in contemporary Kalmyk poetry. The study proves relevant and needed enough since the theme of Kalmyk Deportation (1943–1956) and subsequent exile in works of Kalmyk poets — in particular, the motif of the Train of Memory to Siberia from the early 1990s and 2000s — remains understudied. The paper focuses on individual and historical memories in contemporary Kalmyk lyrics. Goals. The article aims to identify the declared motif in the genre paradigm. The analyzed poems include as follows: The Train of Memory Was Moving (Kalm. Санлын поезд йовла) by Lidzhi Indzhiev, The Train of Memory (Kalm. Санлын поезд) by Timofey Bembeev, The Third Train of Memory (Kalm. 3-гч Санлын поезд) by Ivan Ubushaev, and The Train of Memory (Kalm. Санлын поезд) by Erdni Eldyshev. Methods. The study employs the historical/literary, historical/functional, descriptive, and comparative research methods. Conclusions. The motif has been addressed in poems and songs by poets of different generations. The poetic texts authored by representatives of earlier generations are primarily characterized by autobiographical elements included. The routes of the four Trains are associated with Siberia, all of them being united by categories of the past and present, themes of collective or individual memory, and title poetics.
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Mandzhieva, Bayrta B. "Пролог эпического репертуара джангарчи Давы Шавалиева." Монголоведение (Монгол судлал) 13, no. 1 (April 26, 2021): 134–46. http://dx.doi.org/10.22162/2500-1523-2021-1-134-146.
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Introduction. The article deals with the prologue to the cycle of songs recorded from jangarchi Dava Shavaliev. In 1939, the famous Mongolist A. Burdukov visited Kalmykia and recorded the epic repertoire of Dava Shavaliev that consisted of a prologue and four songs. The songs of Dava Shavaliev recorded by the scholar were not published during the latter’s lifetime. His daughter, Mongolist T. Burdukova, made a copy of her father’s manuscript (March-April 1977). Goals. The work aims to study the prologue as an important compositional part of Dava Shavaliev’s epic repertoire. Results. The latter is yet another confirmation that Kalmyk rhapsodes — when reciting the Jangar — made use of a special expositional part called the prologue (Kalm. orshl). Being a traditional epic formation characteristic of the cyclical heroic epic of Jangar, the prologue to Dava Shavaliev’s epic cycle consists of constant themes. Proceeding from his knowledge of the epic composition principles, the jangarchi builds his narratives on a certain basis comprising structural and compositional elements, such as a description of the palace; magtal (Kalm. ‘glorification’) to Lord Jangar; magtal to Queen Shavdal; ones to the warhorse and Khongor; and a description of the palace feast. The jangarchi makes extensive use of the traditional and standardized set of poetic formulas, stylistic and compositional techniques. The observance of the established tradition kept the rhapsode in a clearly delineated tunnel of an epic narrative, without hindering the emergence of individual features. The epic repertoire of jangarchi Dava Shavaliev attests to that the Jangar epic was then a living cultural phenomenon, an important link in the epic tradition developed by many generations of rhapsodes whose talents and performing skills made the heroic epic a greatest monument of the Kalmyk people’s spiritual heritage.
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Mandzhieva, Bayrta B. "Традиционные темы в эпическом репертуаре джангарчи Телтя Лиджиева." Монголоведение (Монгол судлал) 12, no. 4 (December 17, 2020): 668–78. http://dx.doi.org/10.22162/2500-1523-2020-4-668-678.
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Introduction. The article examines traditional themes in the epic repertoire of jangarchi Teltya Lidzhiev, a most talented and original jangarchi, and a performer of songs of the 20th-century prominent rhapsode Eelyan Ovla. Materials. The recordings of Kalmyk folklore made by associates of the Kalmyk Research Institute of Language, Literature and History (present-day KalmSC RAS) during field expeditions in the 1960s – 1990s contain one by the famous jangarchi Teltya Lidzhiev. The recording was made by N. Ts. Bitkeev during a folklore research trip across districts of Kalmykia in the summer of 1970. Goals. At present, thanks to the preserved records of the epic repertoire of jangarchi Teltya Lidzhiev, there is an opportunity to explore the late tradition of the Jangar which existed in the second half of the 20th century. Results. The epic repertoire of Teltya Lidzhiev who was representing Eelyan Ovla’s school consists of an introductory part, a prologue (Kalm. orshl) and ten songs. Teltya Lidzhiev undoubtedly possessed a formulaic language, traditional compositional techniques that ensured the consistency of his narration. The storyteller had carefully elaborated all the stages of each theme and adopted the technique of drawing up formulaic turns and the formulas themselves, as well as compositional ones, to acquire a certain structured basis to build his narrative on. Teltya Lidzhiev’s songs comprise traditional themes of epic narration, such as selection of a hero, saddling of a horse, munitioning of the hero, departure, adversities of the path, arrival in borderlands, entering of the palace, searches, heroic duel, capture and branding, healing of the hero, return, feast. The examination of Teltya Lidzhiev’s songs shows that the traditional epic themes were firmly preserved in the jangarchi’s memory. But at the same time, it should be noted that each performance is unique: a jangarchi constructs his epic text and chooses one or another way of retransmission, the speed of clustering poems during a performance prompted the use of certain traditional formulas but one would certainly build his narrative according to a definite plan of his own. Thus, jangarchi is both a bearer of the tradition and an individual singer.
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Манджиева, Б. Б. "On the plot of the Maloderbetovsky cycle songs of the Kalmyk heroic epic Jangar." Эпосоведение, no. 3(23) (October 27, 2021): 26–34. http://dx.doi.org/10.25587/o3624-6247-7315-z.
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Статья посвящена изучению сюжетосложения песни «Песни о том, как прославленныйУлан Шовшур хана мангасов Свирепого Шара Гюргю по корил» («Догшн Шар Гүргү маңһс хааг дуутУлан Шовшур дөрәцүлгсн бөлг») Малодербетовского цикла калмыцкого героического эпоса «Джангар»,зафиксированного в 1862 г. Исследование сюжетосложения песни, принадлежащей к одному из ранних повремени фиксации циклу эпоса «Джангар», представляется актуальным в свете ее недостаточной изучен-ности. Целью работы является рассмотрение сюжетосложения одной из архаичных песен «Джангара»с применением описательного и сравнительного методов. В результате рассмотрения текста мы пришлик выводу, что сюжетосложение «Песни о том, как прославленный Улан Шовшур хана мангасов СвирепогоШара Гюргю покорил» представляет собой единую цепь из отдельных законченных эпизодов, в которыхприсутствует и драматический накал, и напряженность, и динамизм, направленные на раскрытие основ-ной идеи эпоса. Комплекс мотивов, взаимосвязанных между собой, образует сюжет, который строитсяна конфликте, обусловленном завязкой, кульминацией и развязкой. Конфликтная ситуация обуславливаетвыбор (самовыбор) богатыря для отправления его в боевой поход, затем герой, преодолев препятствия,встречающиеся в пути, вступает в единоборство с противником, но терпит временное поражение. Даль-нейшее развитие сюжета вводит новые действующие лица – богатырскую дружину, которая спешит напомощь герою. Вместе с прибывшими богатырями герой реализует как свое предназначение, так и пред-назначение своего коня и священного оружия – копья, он побеждает антагониста, возвращает бумбайскийнарод и возрождает Бумбу, тем самым восстанавливает мировую гармонию и возвращает слушателейк исходной точке – пиру во дворце Джангара. The article considers the plot of the Songs about how the glorifi ed Ulan Shovshur khan of themangasses of the Ferocious Shara Gyurgyu (Dogshn Shar Gүrgү maңһs haag duut Ulan Shovshur dөrәtsүlgsnbulg) of the Maloderbetovsky cycle of the Kalmyk heroic epic Jangar, recorded in 1862. The study of the plotcomposition of the song belonging to one of the earliest recorded cycles of the epic Jangar seems relevantin the light of its insuffi cient study. The aim of the work was to examine the plot of one of the archaic songsJangar using the descriptive and comparative methods. After studying the text, we came to the conclusion thatthe plot of the Song of how the famous Ulan Shovshur khan of the mangas conquered the Fierce Shara Gyurgyuconsist of a sequence of individual complete episodes, each full of drama, tension, and dynamics, all aimed at revealing the main idea of the epic. The complex of motifs, interconnected with each other, forms a plot builton the conflict, conditioned by the onset, culmination, and denouement. The conflict situation determines thechoice (self-selection) of the hero to send him on a military campaign; then the hero, overcoming the obstaclesencountered along the way, enters into single combat with the enemy, but suffers a temporary defeat. The furtherdevelopment of the plot introduces new characters – a heroic squad, which hurries to help the hero. Together withthe heroes who have arrived, the hero realizes both his destiny and the destiny of his horse and sacred weapon – aspear, he defeats the antagonist, returns the Bumbai people and revives Bumba, thereby restoring world harmonyand returning listeners to the starting point – a feast in the Jangar palace.
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Borlykova, B. Kh, and B. V. Menyaev. "Characters of Sart-Kalmyk Version of Epic “Dzhangar”." Nauchnyi dialog 1, no. 10 (October 31, 2020): 231–42. http://dx.doi.org/10.24224/2227-1295-2020-10-231-242.
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Based on the well-known work of E.S. Novik (2001), for the first time, the experience of describing the internal and external characteristics of the characters of the Sart-Kalmyk version of the “Dzhangar” epic from the point of view of their individual, family and class conditions is presented in this article. The material for the analysis was the unpublished texts of the epic “Dzhangar”, recorded in 1929 by A. V. Burdukov and in 1972 by A. Sh. Kichikov in the village of Chelpek in the Ak-Suu district of the Przhevalsk region of Kyrgyzstan. For comparison, the published songs of the Kalmyk and Xinjiang Oirat versions of the epic “Dzhangar”, Kalmyk heroic tales, as well as the authors’ personal field notes were used. As a result of the analysis of the Sart-Kalmyk version of the epic “Dzhangar”, the authors came to the conclusion that for the in-plot functioning of the characters, it is important not only what role they play, but also what internal and external characteristics they are endowed with, since they correspond to those actions in which real characters take part. The characterization of the characters, playing up in the plot of the epic, sets the form of collisions. It was revealed that the victory of the heroes of the epic “Dzhangar” is associated with the following characteristics of the character: “strong / weak” and “brave / cowardly”, “whole / dismembered”, etc. Comparative consideration of the characters of the epic “Dzhangar” showed that the epic heroes have both similarities and local individual differences. However, the main functions that they perform in one version or another are close, going back to the ancient all-Mongolian epic tradition.
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Бакаева, Эльза Петровна. "THE WAY TO TIBET: RELIGIOUS SONGS OF THE KALMYKS AND THE REALITIES OF TRAVEL." Tomsk Journal of Linguistics and Anthropology, no. 3(33) (November 28, 2021): 91–104. http://dx.doi.org/10.23951/2307-6119-2021-3-91-104.
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В статье анализируются калмыцкие народные песни о паломничестве в Тибет на примере текстов «Зу гидг һазр» ‘Страна, называемая Тибет’, «Алта гидг һазрас» ‘Из местности, называемой Алтай’. На основе сравнительного исследования разновременных записей песни «Зу гидг һазр» (1897 г., 1903 г., а также записи конца XX в.) и сопоставления с историческими данными о посольствах и паломничествах в Тибет и вариантами преданий о Джиджетен-ламе сделан вывод о том, что религиозная песня посвящена паломническому посольству хана Дондук-Даши (1755‒1757 гг.) и в ней отражены сведения о пути в Тибет через Монголию и Кукунор. Анализ песни «Алта гидг һазрас» и данных наиболее полного текста песни «Зу гидг һазр» в записи Г. Й. Рамстедта позволил сделать вывод о том, что в них отражены сведения о двух основных путях в Тибет. Архивные и литературные материалы о паломничествах в Тибет свидетельствуют, что в XVII в., когда территория формирующегося Калмыцкого ханства была подвижной, к святыням Лхасы, называвшейся калмыками «Зу», отправлялись по традиционному пути через территории расселения ойратов — «из местности, называемой Алтай». С начала XVIII в. по ряду причин путь в Тибет пролегал через Монголию и Кукунор. И лишь в начале XX в. вновь был освоен путь в Тибет, бывший традиционным для их предков, который теперь назывался «новым». The article analyzes the Kalmyk folk songs about the pilgrimage to Tibet through the example of the texts titled “Zu gidg gazr” (“The Country Called Tibet”), “Alta gidg gazras” (“From the Land Called Altai”). The comparative study of records of the song “Zu gidg gazr” of different times (1897, 1903, late 20th century) and insights into historical data and versions of legends about Jijeten Lama conclude that the religious song is dedicated to the pilgrimage embassy of Khan Donduk-Dashi (1755‒1757) and contains information about the way to Tibet through Mongolia and Kokonor. The analysis of the song “Alta gidg gazras” and the data of the most complete text of the song “Zu gidg gazr” recorded by G. J. Ramstedt makes it possible to conclude that those reflect information about two main routes to Tibet. Archival and literary materials about pilgrimages to Tibet indicate that in the 17th century when boundaries of the emerging Kalmyk Khanate were still mobile, routes to the shrines of Lhasa (Zu) went through the traditional territories of Oirat settlement ― “from the area called Altai”. From the beginning of the 18th century, for a number of reasons, the way to Tibet lay through Mongolia and Kokonor. Only at the beginning of the 20th century the path to Tibet which had been traditional for ancestors (now called the “new one”) was mastered again.
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Борлыкова, Б. Х., Б. В. Меняев, and Т. В. Басанова. "Onomastikon of Sart-Kalmyk version of Jangar epic recorded by A. V. Burdukov." Вестник Северо-Восточного федерального университета имени М.К. Аммосова. Vestnik of North-Eastern Federal University. Серия "Эпосоведение. Epic studies", no. 4(24) (December 30, 2021): 53–62. http://dx.doi.org/10.25587/c5935-0852-5402-d.
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В настоящей статье впервые на основе методологии, разработанной О. Д. Суриковой (2020), рассматривается ономастикон сарт-калмыцкой версии эпоса «Джангар». Авторами статьи предлагается систематизация ономастикона эпоса, приводится этимологияонимов, указывается их частотность, а также выявляются варианты собственных имён в других версиях эпоса «Джангар» и фольклорных образцах сарт-калмыков. В исследовании применялась комплексная методика лингвистического анализа, включающая описательный метод, методы контекстуального, сопоставительного и статистического анализов. Материалом для анализа послужил текст рукописи «Джангар», записанный в 1929 г. А. В. Бурдуковым от Бакхи Сарпекова (1872 г. р.) в селе Чельпек Иссык-Кульской области Киргизии. В качестве дополнительного материала были привлечены опубликованные песни калмыцкой и синьцзян-ойратской версий эпоса «Джангар», лексикографические источники, а также личные полевые записи авторов.В результате обработки текста выявлены три группы собственных имён: топонимы, антропонимы и иппонимы. Наибольшую частотность в сарт-калмыцкой версии эпоса имеют буддийские антропонимы, что, очевидно, связано с сильным влиянием буддизма на архаичный жанр – эпос. Наличие названий водных объектов Или и Текес указывают на историческую родину сарт-калмыков – Джунгарию. В целом, изучение собственных имён, извлечённых авторами статьи из текста рукописи А. В. Бурдукова, полезно с точки зрения лингвогеографии и способствует выявлению закономерностей номинационных процессов в сарт-калмыцком языке. The present article is the first to consider the onomasticon of the Sart-Kalmyk version of the Jangar epic on the basis of the methodology developed by O. D. Surikova (2020). The authors of the article propose a systematization of the onomasticon of the epic that includes giving the etymology of onyms, indicating their frequency, and revealing variants of their own names in other versions of the epic Jangarand folklore samples of the Sart-Kalmyks. The study uses a complex method of linguistic analysis, including a descriptive method, methods of contextual, comparative and statistical analysis. The material for the analysis was the text of the manuscript Jangar, written down in 1929 by A. V. Burdukov from Bakhi Sarpekov (born 1872) in the Chelpek villag, Issyk-Kul region, Kyrgyzstan. The published songs of the Kalmyk and Xinjiang Oirat versions of the Jangarepic, lexicographic sources, as well as the authors' personal field notes were used as an additional material. As a result of text processing, three groups of proper names were identified: toponyms, anthroponyms, and hyponyms. The most frequent in the Sart-Kalmyk version of the epic were Buddhist anthroponyms, the fact can be obviously associated with the strong influence of Buddhism on this archaic genre – the epic. The presence of the names of the water bodies Ili and Tekes indicate the historical homeland of the Sart Kalmyks – Dzungaria. In general, the study of their own names, extracted by the authors of the article from the text of the manuscript of A. V. Burdukov is useful from the point of view of linguo-geography and helps to identify patterns of nomination processes in the Sart-Kalmyk language.
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Davan, Taya. "Итоги экспедиций Университета Внутренней Монголии в Синьцзян: полевые записи песен «Джангара»." Монголоведение (Монгол судлал) 13, no. 1 (April 26, 2021): 120–33. http://dx.doi.org/10.22162/2500-1523-2021-1-120-133.
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Introduction. For the first time the Epic of Jangar became known in scientific circles after B. Bergmann published a German account of The Song of the Battle between the Heroes of Jangar and Shara Gyurgyu the Terrible in the early 19th century. Since then, the Jangar had become known in the world as the Kalmyk heroic epic. After the publication of newly discovered songs of the Jangar at the beginning of the 20th century in Mongolia, it became known as a Mongolian epic. In the late 1970s, after publishing numerous songs of the Jangar in China, the epic became known as epic legacy of the Oirats of Russia, China and Mongolia. One of the scientific centers of China which has been actively searching for the Jangar texts for 41 years is Inner Mongolia University. From 1977 to 2018, teachers of the Mongolian Faculty undertook ten scientific expeditions to the Oirat-inhabited areas of Xinjiang. Goals. The article seeks to introduce the history and results of field expeditions to Xinjiang made during 41 years in order to record new songs of the Jangar epic. For the first time in the history of modern Mongolian studies, the paper describes the results of large-scale field works that have been carried out for four decades. During the first expedition in 1977 to Hoboksar, a University teacher Chojinjav managed to meet the prominent Oirat storyteller Yerempil and record six songs of the Jangar epic. In 1978, the expedition already consisted of three researchers and explored Bortala Mongol and Ili Kazakh autonomous prefectures. In those days, over 40 storytellers were identified and 60 songs of the epic were recorded. Each subsequent expedition brought its own results. One of the longest search expeditions took place in 1996, which lasted almost thirteen months and covered the Bortala Mongol, Ili Kazakh and Bayingolin autonomous prefectures, including Tarbagatai district. During that time, the University teacher D. Taya identified more than 40 storytellers and recorded 90 songs of the Jangar. Conclusion. Thus, for four decades, the University of Inner Mongolia was conducting systematic and systematic search works which gave tangible results — names of new talented storytellers-jangarchis were discovered, a huge layer of new and numerous versions of already known chapters of the Jangar were recorded but most importantly — scientific confirmation of the existence of a living epic tradition among the Oirats of Xinjiang was obtained.
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Mandzhievа, Bayrta. "Poetics of Things in the Heroic Epic “Dzhangar”." Бюллетень Калмыцкого научного центра Российской академии наук, no. 1 (May 15, 2024): 53–71. http://dx.doi.org/10.22162/2587-6503-2024-1-29-53-71.
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Introduction. The article is devoted to the consideration of the poetics of things in the epic tradition of “Dzhangar” of the Kalmyks of Russia and the Oirats of Xinjiang. The image of the world of things that surround the heroes of the epic serves not only as a material background, they (objects, things) are necessary for the actions of the character and the expression of his individuality. The research material is the texts of the epic songs of the Xinjiang-Oirat and Kalmyk versions of “Dzhangar”. The purpose of the article is to consider the objective-material world in the heroic epic “Dzhangar”. Results. Consideration of the objective-material world in the Kalmyk and Xinjiang-Oirat versions of “Dzhangar” showed that in the lyrics a thing is one of the elements characterizing the image of a hero; in the depiction of an epic picture of the world, its heroes, characters, a thing acquires a symbolic meaning. The name of the epic country Bumba is associatively connected with a functioning object — a “treasure vessel”, the semantic field of which is its connecting link. The palace preserves the experience of the nomadic life of the Oirats and Kalmyks, their material way of life, as an objective reality of the epic space. The epic palace of Dzhangar, being a kind of field of attraction, gathers the heroic family at the banquet table, where the ruler of Bumba chooses the hero to go on a military campaign. The items of horse equipment and weapons of the hero in the epic “Dzhangar” are correlated with the objective realities with the help of which the hero moves in the epic space, undergoes difficult trials and achieves the goal of the military campaign. Things that are correlated with objects of material culture perform their main functions and are associated with the peculiarities of the worldview of the traditional culture of the Mongolian peoples.
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Ubushieva, D. "The Kalmyk Heroic Epic of Jangar: Little-Known 19th-Century Manuscript Songs of the Bagatsokhurovsky Cycle." Монголоведение (Монгол судлал) 12, no. 1 (December 3, 2018): 90–100. http://dx.doi.org/10.22162/2500-1523-2018-12-90-100.
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Ubushieva, Danara V. "Воинские коллизии в Багацохуровском цикле эпоса «Джангар»." Oriental Studies 13, no. 5 (December 28, 2020): 1456–64. http://dx.doi.org/10.22162/2619-0990-2020-51-5-1456-1464.
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Introduction.The epic narrative of the early Baga-Tsokhor cycle (1853-1862), being heroic in nature, is based on archaic motifs which can also be traced through the topic of military conflicts. Goals. The study aims to consider the main sections of military conflicts, and the following tasks be solved thereto: typological identification of a hero (‘forefather hero’ or ‘warrior hero’); designation of functions attributed to the war horse and weapons; delineation of combat forms and symbolic epic backgrounds. Materials and Methods. The paper analyzes texts of the early Baga-Tsokhor cycle of the Kalmyk Jangar epic. The work employs comparative, textual, and analytical research methods. Results. In fact, plots and motifs of this topic are a symbiosis of archaic and heroic lines. Prologues to the songs of the Cycle are formed as part of a mythological interpretation of events, and the plots of the songs — although devoted to exploits of the heroes, which determines a military, heroic nature of the cycle — are still dependent on magical mythological motifs. The warrior hero still possesses rudiments of the image typical for the first-born (‘forefather’) hero, which explains the absence of important links of the heroic epic, e.g. motifs of miraculous birth and heroic childhood. The war horse and weapons are still destined, and the latter also serve as an accommodation for the external soul of the hero. The epic background is also twofold: while the prologue describes the primordial era, the plot deals with the time of consolidation of various ethnic groups. Conclusions. It can be presumed that the Baga-Tsokhor cycle of the epic reflects a transition from a ‘small’ epic form to a ‘large’ one, an evolution from the original core of the archaic epic to the final ‘concentric’ cyclization of the heroic narrative.
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Mandzhieva, Bayrta B. "Сохранность и изменяемость поэтико-стилевых слагаемых в разновременных записях песни «Шара Гюргю» эпоса «Джангар»." Монголоведение (Монгол судлал) 13, no. 3 (December 30, 2021): 553–66. http://dx.doi.org/10.22162/2500-1523-2021-3-553-566.
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Introduction. In the system of artistic and visual means, the epithet occupies one of the important places. To create a heroic image, the narrator uses epithets that characterize the status of the hero, age and heroic merits of the heroes. Goal and tasks. The purpose of the article is to study artistic-identifying combinations - epithets in the recordings of the song “Shara Gyurgyu” at different times, to identify their preservation and change over time. To achieve the goal, the following tasks were solved: epithets were identified in three different-temporal texts of the song “Shara Gyurgyu” (1862, 1970, 1971), a comparative analysis of artistic-identifying combinations in the texts of different dzhangarchi was carried out. Method. To study the poetical and stylistic texture, we applied the comparative method. The material of the research was records of different times: 1) “The Song about how the famous Ulan Shovshur of the mangas khan of the Ferocious Shara Gyurgyu reproached the Maloderbet cycle of 1862; 2) an audio recording of “Songs about the duel of a lion [-the hero] Ulan Khongor the Beautiful with the Ferocious Shara Gyurgyu” by Jangarchi Telty Lidzhiev 1970; 3) audio recording of “Song of Shara Gyurgyu” by jangarchi Mikhail Mandzhiev 1971. Results. The study of epithets in recordings of the song “Shara Gyurgyu” at different times showed that over more than a century that has passed since the first recording, the epic text in its artistic embodiment has undergone changes. The song “Shara Gyurgyu” of the Maloderbet cycle of 1862 is distinguished by an abundance of epithets, while in the recordings of the late tradition of the epic, there is a transformation of the artistic level of the text. Storytellers Teltya Lidzhiev and Mikhail Mandzhiev adhere to the main plot structure in the process of performance, without sharpening attention to poetic tropes. Observations of the texts of different storytellers at different times show that Dzhangarchi, having a wider epic knowledge, performs the song in accordance with the criteria of fidelity of reproduction, following the tradition of the epic school to which he belonged. A comparative analysis of recordings of the song “Shara Gyurgyu” at different times allowed us to identify constant units at the level of textual embodiment, which accumulate the poetical and stylistic basis of the epic narrative and mark the key links of the epic narration of the Kalmyk heroic epic “Dzhangar”.
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Goryaevа, Baira B., and Danara V. Ubushieva. "Калмыцкие пословицы и поговорки в записи И. И. Попова." Бюллетень Калмыцкого научного центра Российской академии наук, no. 1 (December 20, 2020): 141–52. http://dx.doi.org/10.22162/2587-6503-2020-1-13-141-152.
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The article gives the description of the manuscript notebook “Proverbs and Sayings of the Don Kalmyks” from the collection of the collector of Kalmyk folklore Ivan Ivanovich Popov, that is kept at the State Archive of Rostov region. I. I. Popov recorded different genres of Kalmyk folklore — fairy tales, riddles, proverbs, ‘true stories’, one song from the heroic Kalmyk epos “Jangar” and some fairy tales. The folklore samples, recorded in 1890–1894, after 125 years have not been described and fully introduced into the science. Proverbs and sayings of Don Kalmyks are one of these underinvestigated genres of the Kalmyk folklore tradition recorded by I. I. Popov. The study gives preliminary description of the samples of this genre. It has been found out that the manuscript is incomplete, some pages are missing. The specific features of recording oral texts by I. I.Popov are: the folklore samples are recorded in the Old-Kalmyk script “clear script” and in Cyrillic alphabet (with the use of additional symbols), the author gives parallel Russian translation and also extensive comments, rating and the records of variations.
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Mandzhieva, Bayrta B. "Синьцзян-ойратские сказители: хранители эпической традиции «Джангара»." Oriental studies 15, no. 4 (November 15, 2022): 882–94. http://dx.doi.org/10.22162/2619-0990-2022-62-4-882-894.
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Introduction. Despite quite a number of Jangar-related issues have been duly studied, questions pertaining to existence, continuity (transmission) and preservation of the Xinjiang Oirat epic tradition, biographies of jangarchis and their repertoires remain somewhat insufficiently answered by Russia-based folklorists and, thus, seem as relevant enough. Goals. The article attempts an academic insight into the storytelling tradition of Xinjiang Oirat jangarchis, considers geographical borders of the epic, determines the role of a storyteller as bearer, keeper and performer of the epic heritage inherent to China’s Oirats. Materials and methods. The descriptive and comparative methods prove most instrumental in exploring the storytelling tradition of Xinjiang Oirats. The narratives examined are related editions in Oirat (Clear Script), Mongolian, and Kalmyk. Conclusions. Analysis of the Xinjiang Oirat storytelling tradition shows that the Jangar Epic was widely present in all ethnic groups of Xinjiang Oirats — the Torghut, Olet, Tsakhar, Khoshut, Zakhchins, and Uryankhai — throughout the 19th and 20th centuries, each population to have had renown jangarchis of their own with extensive repertoires numbering at least ten (and more) Jangar epic songs. The identified lines and patterns of transmission were clan-oriented. So, many jangarchis learnt epic narratives from storytellers of their clan — fathers, grandfathers, uncles, and brothers. The epic tradition was also contributed to by talented female storytellers who — having been unable to participate in meetings and contests since women were traditionally banned from epic storytelling — would recite texts in the family circle and teach storytelling to their children and grandchildren. In mid-to-late 20th century, the Xinjiang Oirat oral epic tradition started being paralleled by a written one.
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Mandzhieva, Bayrta B. "Синьцзян-ойратские сказители: хранители эпической традиции «Джангара»." Oriental studies 15, no. 4 (November 15, 2022): 882–94. http://dx.doi.org/10.22162/2619-0990-2022-61-4-882-894.
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Introduction. Despite quite a number of Jangar-related issues have been duly studied, questions pertaining to existence, continuity (transmission) and preservation of the Xinjiang Oirat epic tradition, biographies of jangarchis and their repertoires remain somewhat insufficiently answered by Russia-based folklorists and, thus, seem as relevant enough. Goals. The article attempts an academic insight into the storytelling tradition of Xinjiang Oirat jangarchis, considers geographical borders of the epic, determines the role of a storyteller as bearer, keeper and performer of the epic heritage inherent to China’s Oirats. Materials and methods. The descriptive and comparative methods prove most instrumental in exploring the storytelling tradition of Xinjiang Oirats. The narratives examined are related editions in Oirat (Clear Script), Mongolian, and Kalmyk. Conclusions. Analysis of the Xinjiang Oirat storytelling tradition shows that the Jangar Epic was widely present in all ethnic groups of Xinjiang Oirats — the Torghut, Olet, Tsakhar, Khoshut, Zakhchins, and Uryankhai — throughout the 19th and 20th centuries, each population to have had renown jangarchis of their own with extensive repertoires numbering at least ten (and more) Jangar epic songs. The identified lines and patterns of transmission were clan-oriented. So, many jangarchis learnt epic narratives from storytellers of their clan — fathers, grandfathers, uncles, and brothers. The epic tradition was also contributed to by talented female storytellers who — having been unable to participate in meetings and contests since women were traditionally banned from epic storytelling — would recite texts in the family circle and teach storytelling to their children and grandchildren. In mid-to-late 20th century, the Xinjiang Oirat oral epic tradition started being paralleled by a written one.
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Mulaeva, Nina M. "Эмотивные глаголы в калмыцком героическом эпосе «Джангар»." Oriental Studies 13, no. 4 (December 25, 2020): 1103–20. http://dx.doi.org/10.22162/2619-0990-2020-50-4-1103-1120.
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Introduction. In modern linguistics much attention is paid to the study of national/cultural features of functioning and semantics of emotive vocabulary. Still, Kalmyk emotive vocabulary has been no subject to any special research. Goals. The paper seeks to identify and classify lexicalsemantic groups of emotive verbs in texts of the Jangar epic, analyze functioning patterns of verbs denoting ‘basic’ emotions, namely: joy (Kalm. җирһх ‘be happy blissful’, байрлх ‘rejoice’), fear (әәх ‘be afraid, frightened, have a dread of, fear’, ичх ‘be ashamed, embarrassed’), and one verb of external (physical) manifestation of emotions (инәх ‘laugh’). Materials. The study analyzes emotive verbs traced in 28 Jangar texts recorded at different times (occasions) and either included in repertory cycles or once recited as separate songs. Results. The study reveals emotive verbs of the epic can be divided into six lexical and semantic groups. So, ‘verbs of negative emotional states’ are more frequently used than ‘verbs of positive emotional states’. The latter are represented by two verbs, the verb җирһх definitely dominates throughout narratives examined, reflecting the state of utmost happiness that consists in peace, tranquility and well-being of the blessed Bumba in general; the verb байрлх is used to denote the short-term emotional state of joy of a particular character. As for ‘verbs of negative emotional states’, the verb әәх prevails in frequency. And it is revealed that the emotion of fear may occur for a number of reasons as follows: fear of failure to execute an order of the Bogdo; fear of breaking an oath; fear of name shaming. The paper observes only scarce cases of the use of verbs naming emotions of sadness (энлх), embarrassment (эмәх), and vexation (һундх). The analyzed epic texts contain no emotive verbs that belong to semantic groups of fascination, love and hatred, worship or self-abasement.
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Tsyuryumov, Alexander V., and Andrew A. Kurapov. "Авторские дополнения «Этюдов по истории приволжских калмыков» Н. Н. Пальмова 1929–1932 гг." Oriental studies 14, no. 4 (December 12, 2021): 797–805. http://dx.doi.org/10.22162/2619-0990-2021-56-4-797-805.
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Introduction. The article examines additional comments (1929–1932) made by Professor N. N. Palmov on his Essays on the History of the Volga Kalmyks (1926). Goals. The study seeks to introduce this new material which shows the scholar’s persistent interest in the subject and, at the same time, contributes to a better understanding of the history of the Kalmyk Khanate. Materials and Methods. The research involved the identification of the chronological framework of the handwritten material, its categorization into thematic blocks, and contribution to the subject. Results. In the library of Astrakhan State Museum of Historical Archives, the authors discovered thirty seven handwritten additions made by Palmov on the pages of his copy of Essays on the History of the Volga Kalmyks, vols. I–II. These were made between 1929 to 1932 when the scholar apparently continued his studies on the subject using the materials of Astrakhan Kalmyk Archives and scientific literature. The author’s comments covering the period up to the 1760s contain valuable data on the 1702 conflict between Khan Ayuka and his sons and provide detail on the feudal conflict of 1724. Also, Palmov provides additional evidence on Noyon Donduk-Ombo’s activities during the period of feudal wars and, later, when he was Kalmyk Khan. Finally, the comments include important data on the foreign policy of the Kalmyk Khanate, chiefly the history of its interaction with the Dzungar Khanate in the 17th–18th centuries. Conclusions. Palmov’s handwritten comments discovered on the pages of his Essays on the History of the Volga Kalmyks are a significant contribution to his scientific heritage that sheds light on the history of feudal strife in the Kalmyk Khanate in the 1720s–1730s.
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Tepkeev, Vladimir T. "«Прежде по Вашей милости я жил спокойно. Как быть? Рассудите, Ваше Светлейшество». Начало внутриполитического кризиса в Калмыцком ханстве в 1723 г." Oriental studies 15, no. 3 (October 17, 2022): 491–500. http://dx.doi.org/10.22162/2619-0990-2022-60-3-491-500.
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Introduction. The article publishes one of the last letters submitted by Khan Ayuka of the Kalmyks to the Russian Emperor Peter the Great. Goals. The work aims at introducing newly discovered correspondence dealing with Russian-Kalmyk relations in the first quarter of the 18th century. Materials. The document analyzed is contained in Collection 119 (‘Kalmyk Affairs’) of Imperial Russia’s Foreign Policy Archive that houses quite a number of written sources in Kalmyk history. The never-published document is the first Kalmyk letter from the mentioned archive to be made available to the public. Results. The paper provides a brief historical review of the events described in Khan Ayuka’s letter. The most precious document sheds light on multiple circumstances to have preceded the outburst of the internal Kalmyk conflict in 1723. Conclusions. The examined 1724 letter is an invaluable source in the history of Kalmyk Khanate that shall essentially add to further understanding of 18th-century Russian-Kalmyk relations. So, the text clarifies Khan Ayuka’s stance on the emerging internal crisis. Having been one of those who wrecked the negotiation process between Chakdorjab’s sons, Ayuka turns to the Russian Emperor for assistance in his letter. The domestic conflict not only significantly weakened his positions as Khan but also resulted in external threats to Kalmyk Khanate at large.
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Tepkeev, Vladimir T. "«Прежде по Вашей милости я жил спокойно. Как быть? Рассудите, Ваше Светлейшество». Начало внутриполитического кризиса в Калмыцком ханстве в 1723 г." Oriental studies 15, no. 3 (October 13, 2022): 491–500. http://dx.doi.org/10.22162/2619-0990-2022-61-3-491-500.
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Introduction. The article publishes one of the last letters submitted by Khan Ayuka of the Kalmyks to the Russian Emperor Peter the Great. Goals. The work aims at introducing newly discovered correspondence dealing with Russian-Kalmyk relations in the first quarter of the 18th century. Materials. The document analyzed is contained in Collection 119 (‘Kalmyk Affairs’) of Imperial Russia’s Foreign Policy Archive that houses quite a number of written sources in Kalmyk history. The never-published document is the first Kalmyk letter from the mentioned archive to be made available to the public. Results. The paper provides a brief historical review of the events described in Khan Ayuka’s letter. The most precious document sheds light on multiple circumstances to have preceded the outburst of the internal Kalmyk conflict in 1723. Conclusions. The examined 1724 letter is an invaluable source in the history of Kalmyk Khanate that shall essentially add to further understanding of 18th-century Russian-Kalmyk relations. So, the text clarifies Khan Ayuka’s stance on the emerging internal crisis. Having been one of those who wrecked the negotiation process between Chakdorjab’s sons, Ayuka turns to the Russian Emperor for assistance in his letter. The domestic conflict not only significantly weakened his positions as Khan but also resulted in external threats to Kalmyk Khanate at large.
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Ubushieva, Danara V. "Медведь в калмыцком фольклоре: реконструкция по семантическим признакам." Oriental studies 15, no. 3 (October 17, 2022): 616–27. http://dx.doi.org/10.22162/2619-0990-2022-60-3-616-627.
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Goals. The article examines bear-related rudiments of Kalmyk folklore and draws semantic parallels with the bear cult of Tungus-Manchu and other Turko-Mongolian peoples to reconstruct Kalmyk mythoritual representations about this animal. Since quite a number of such mythoritual elements are represented in Kalmyk epic and folktales implicitly, it seems topical enough to reveal the former’s semantics. Materials and methods. The study focuses on The Song of Khan Zambal included in the Baga Tsokhor cycle of the Jangar epic. The employed research methods are structural/semantic, structural/typological, and comparative ones. Results. The attempted reconstruction attests to that mythological and ritual knowledge about the bear had been implicitly preserved in folklore foundations of Kalmyks, the ethnographic essentials proper to show extensive ties to those of Tungus-Manchu peoples. A set of ideas associated with the tradition of reciting the Jangar in long winter evenings and nights, epic motifs of brotherhood, hero’s sound sleep, and Savar’s moves along the moon road somewhat complete the Kalmyks’ knowledge of bear. These also indirectly confirm the assumption that Savar has a dual nature and is an anthropomorphic manifestation of a bear. In general, the image of Savar in epic space organically agrees with the ideas about bear articulated following the model — ‘ours among aliens’ and ‘alien to compatriots’.
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Ubushieva, Danara V. "Медведь в калмыцком фольклоре: реконструкция по семантическим признакам." Oriental studies 15, no. 3 (October 13, 2022): 616–27. http://dx.doi.org/10.22162/2619-0990-2022-61-3-616-627.
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Goals. The article examines bear-related rudiments of Kalmyk folklore and draws semantic parallels with the bear cult of Tungus-Manchu and other Turko-Mongolian peoples to reconstruct Kalmyk mythoritual representations about this animal. Since quite a number of such mythoritual elements are represented in Kalmyk epic and folktales implicitly, it seems topical enough to reveal the former’s semantics. Materials and methods. The study focuses on The Song of Khan Zambal included in the Baga Tsokhor cycle of the Jangar epic. The employed research methods are structural/semantic, structural/typological, and comparative ones. Results. The attempted reconstruction attests to that mythological and ritual knowledge about the bear had been implicitly preserved in folklore foundations of Kalmyks, the ethnographic essentials proper to show extensive ties to those of Tungus-Manchu peoples. A set of ideas associated with the tradition of reciting the Jangar in long winter evenings and nights, epic motifs of brotherhood, hero’s sound sleep, and Savar’s moves along the moon road somewhat complete the Kalmyks’ knowledge of bear. These also indirectly confirm the assumption that Savar has a dual nature and is an anthropomorphic manifestation of a bear. In general, the image of Savar in epic space organically agrees with the ideas about bear articulated following the model — ‘ours among aliens’ and ‘alien to compatriots’.
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Mandzhieva, Bayrta B. "Сюжетосложение песни «Җаңһр гидг нериг олсн бөлг» («Песнь о том, как было найдено имя Джангар») ойратского джангарчи Нарса." Монголоведение (Монгол судлал) 15, no. 3 (December 8, 2023): 470–87. http://dx.doi.org/10.22162/2500-1523-2023-3-470-487.
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Introduction. Preservation of Kalmyk and Oirat oral heritage is a primary task of contemporary folklore studies. Scholars affiliated to Kalmyk Scientific Center (RAS) have tackled a project for further research into the Jangar epic (‘The Xinjiang Oirat Version of the Jangar Epic: Taletelling Tradition, Plot Structure, and Motifs’), and in 2023 the former have recorded The Song of How the Name Jangar was Discovered from Oirat jangarchi Narsa, a native of Alashan League (Inner Mongolia Autonomous Region, People’s Republic of China). Goals. The article attempts an insight into the plot structure of the mentioned epic Song, and introduces the latter into scientific circulation. Materials. The study focuses on the text of the Song recorded by the author and transcribed herein, with due account of related texts contained in the Xinjiang Oirat and Kalmyk versions of Jangar. Results. Our analysis of the Song’s plot structure shows the plot is interconnected with that of The Song of How Khan Uzeng Aldar Got Married once recited by the famous Hoboksar jangarchi Javin Juna, and describes some events that follow the invasion of the antagonist Khan Shara Mangas into the mentioned ruler’s lands. The plot of name giving plays an important role in the hero’s epic biography. Biographical cyclization arises from the listener’s interest in the protagonist’s life at large, and implies the most important stages of epic biography — birth, childhood, first feat, heroic deeds (up to heroic descendants who would grow to nobly defend Bumba) — be consistently developed. The miraculously born hero named Jangar matures to assert his heroic name with heroic deeds.
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Tyumbeeva, Gilyana Erdmtaevna. "On the chronotope of the ethno-music worldview of the Kalmyks." PHILHARMONICA. International Music Journal, no. 3 (March 2021): 69–81. http://dx.doi.org/10.7256/2453-613x.2021.3.35588.
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The research subject is the national parameters of the chronotope of the Kalmyk ethno-music worldview. In the mindset of the Mongolian language peoples, time and space are inseparable, interconnected, and interpenetrating. The chronotope composes a unique system of axes which is later complemented with other components of the national worldview. This explains the topicality of the research subject. The purpose of the research is to detect the music peculiarities of the national chronotope. The research is based on the previously studied manifestations of the national chronotope as a whole (the philological and linguistic aspect of the Kalmyk chronotope is studied by Ts. Ayushova, E. Golubeva, E. Omakayeva, V. Salykova, and others); the author systematizes them and establishes the most significant features. In the understanding and feeling of a nomad, a steppe-dweller, a Kalmyk, space is an unlimited, vast and extended category, which is measured not only horizontally, but also vertically. In the study of the music space patterns, the most significant are the properties of sound, its spatial and acoustic characteristics. The dominant idea in the interpretation of time within a Kalmyk worldview is repeatability, which manifests itself in a twelve-digit period of the national calendar and other things. The temporal properties of the national chronotope are concentrated in a binary opposition of two genres of singing: Ut dun (long song) and Akhr dun (short song). The music culture of the Kalmyks is one of the ways of semiotization of the space and time of the steppe world.
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Kalmre, Eda. "The Popular Ballad, Rumours and Memories as a Special Narrative Format." Folklore: Electronic Journal of Folklore 90 (December 2023): 155–78. http://dx.doi.org/10.7592/fejf2023.90.kalmre.
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In principle, the new folksongs or folk ballads of the end of the 19th and beginning of the 20th century telling about dramatic events could also be called versified media news, as their aim was to mediate topical shocking events, in particular accidents or murders, thus serving as rumours, news and entertainment all in one. The popular ballad ‘Saatuse vangis’ (‘Bound by Fate’) tells a sensational story from southern Estonia. The song spread together with hearsay concerning the central event, the circumstances of the making of the song, and the characters involved. Over time, a specific type of story-telling developed, that mingled prose with parts of the song. The ballad together with the pertaining lore allows us to view the events descried from different aspects, creating a broader picture of the development and meaning of a popular text. The rumours, comments and personal memories accompanying the song helped both the contemporary and subsequent generations to understand and interpret the event. The stories spreading in the community by word of mouth addressed various circumstances “beyond the song”, and the narrator’s own emotions and opinions on the matter.
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Borlykova, B. Kh. "Wrathful deities “dokshita” in the early shastra songs of the Mongol-speaking peoples." Languages and Folklore of Indigenous Peoples of Siberia 48, no. 4 (December 2023): 126–37. http://dx.doi.org/10.25205/2312-6337-2023-4-126-137.
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This article focuses on the early shastra songs of the Mongol-speaking peoples, offering insights into the wrathful deities referred to as “dokshita” in the Buddhist pantheon. Shastras are songs with spiritual content dedicated to the praise of the Teachings of Buddha, deities, clergy, Buddhist monasteries, pilgrimages, and similar themes. This study does not address the question of the origin of the wrathful deities. The author adheres to the assumption that Mongolian peoples borrowed them from Tibetan Buddhism. Archival and published materials serve as the source base for the study. A comprehensive characterization of the “dokshita” found in the early records of the shastra songs of the Mongol-speaking peoples is conducted using a descriptive method. Consideration is given to the etymology of the phrase “shastir duu.” A review of the sources with early texts of shastra songs of Mongolian-speaking peoples is presented. The history of the spread of Buddhism among Mongols, Buryats, and Oirats (Kalmyks) is examined. Six wrathful deities of the “dokshita,” namely Mahakala, Yamantaka, Hayagriva, Damdin Dorlik, Vajrapani, and Okon Tengri, are identified and described. For that purpose, folklore, lexicographical, and ethnographic materials, as well as Buddhist sutras and ritual texts, are examined. The analysis of song texts complements and expands the knowledge about “dokshita,” including their functions, appearance, location, attributes, mounts, and others. The present article makes a valuable contribution to the existing research on the characters of the Buddhist pantheon, both in Russia and abroad.
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Mandzhieva, Bayrta. "The Song of Shara Gürgü: Revisiting One Epic Narrative Recorded from Jangarchi Mikhail Mandzhiev." Бюллетень Калмыцкого научного центра Российской академии наук 4, no. 20 (December 30, 2021): 155–87. http://dx.doi.org/10.22162/2587-6503-2021-4-20-155-187.
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Introduction. The article provides a comparative insight into two versions of The Song of Shara Gürgü [the Furious]: the first was recorded in 1862, and the second was heard in the mid-to-late 20th century. The Appendix publishes The Song of Shara Gürgü recorded by N. Ts Bitkeev, E. B. Ovalov, N. B. Sangadzhieva — then employees of Kalmyk Institute of Language, Literature and History (present-day KalmSC RAS) — on 24–25 August 1971 in the village of Kamyshovo (Limansky District, Astrakhan Oblast). The introduction into scientific circulation of the narrative by jangarchi Mikhail Mandzhiev, a devout representative of the Kalmyk epic tradition, is of great significance for the comprehensive research of the phenomenon of taletelling. Materials. The paper examines the original text of the Song integral to the Kalmyk heroic epic of Jangar, recorded in 1971, and archived by Kalmyk Scientific Center (RAS). Goals. The article aims to introduce the version of jangarchi Mikhail Mandzhiev, conduct a comparative analysis of plot and compositional elements, including typical places of the Song, to an early recording of 1862. Results. As compared to the latter, the narrative of jangarchi Mikhail Mandzhiev differs in a smaller volume (only 849 poetic lines). The reduction is due to that the narrator omits some typical passages. However, this did not affect the harmony and conciseness of the Song because the taleteller retains plot-compositional structure and motif fund almost in full.
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Басангова, Т. Г. "Songs about the Siberian exile in the folklore tradition of the Kalmyks (based on field research)." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 1(312) (June 26, 2023): 72–80. http://dx.doi.org/10.53598/2410-3489-2023-1-312-72-80.
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В статье исследуется цикл песен о сибирской ссылке калмыков, жанровое обозначение которых определяется как песни, исполнявшиеся тайно, только в пределах своей среды, в данном случае среди калмыков, которые находились в ссылке в Сибири, на Крайнем Севере, Сахалине. Часть текстов впервые введены в научный оборот. «Тайные» песни, чаще всего, – это продукт женского творчества. Сибирские песни – другое жанровое обозначение песен этого периода (1943 -1957). Впервые введен термин «потаенный», как в других фольклорных традициях. Некоторые из текстов сибирского периода можно отнести к песням-плачам. Глубокое исследование песен сибирского цикла, введение в научный оборот – задача современных исследователей, так как в фольклоре монгольских народов песни сибирского периода являются феноменом The article examines the songs about the Siberian exile of the Kalmyks, the genre designation of which is defined as songs that were performed secretly and only among themselves. Particularly, among the Kalmyks, who were exiled to Siberia, the Far North and Sakhalin. Some of the texts have been introduced into scientific circulation for the first time. "Secret" songs are most often a work of female creativity. Siberian songs are another genre designation for songs of this period (1943-1957). In this article, the term "hidden", which exists in other folklore traditions, is introducedfor the first time. Some of the lyrics of the Siberian period refer to songs - laments. Many modern folklore scholarsshould seek the opportunity to thoroughly analyze and introduce the songs of the Siberian cycle in scientific discourse, since such songs are a phenomenon in the folklore of the Mongols. The article aimed to introduce Siberian songs of exile recorded from different performers into scientific discourse, as well as to study the poetics of this cycle.
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Kara, DÁvid. "Kalmak: The enemy in the Kazak and Kirghiz epic songs." Acta Orientalia Academiae Scientiarum Hungaricae 63, no. 2 (June 2010): 167–78. http://dx.doi.org/10.1556/aorient.63.2010.2.3.
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Prystupa, Vasily, Olga Krotova, Boris Ubushaev, Konstantin Savenkov, Natalia Moroz, and Maria Savenkova. "Formation of meat productivity in descendants of Kalmyk breed improver bulls." BIO Web of Conferences 113 (2024): 02022. http://dx.doi.org/10.1051/bioconf/202411302022.
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The article analyzes the results of assessing by scoring and index methods the quality of the offspring of five Kalmyk breed bulls and their sons in terms of their own productivity and the formation of their carcass morphological composition. For this purpose, 10 sons of bulls Prometheus 1127, Grilyazh 916, Gomat DRZh-59223, Yago DRZh-39023 and Raskat 8692 were selected from the Solnechnoe Breeding Plant LLC, Oryol district, Rostov region. The sons of the evaluated stud bulls up to 8 months of age were raised on full suction with mothers, and from 8 to 15 months of age were kept in the same group under equal conditions and over a 7-month period, on average, feed was consumed per bull, containing 1569 feed units, 168 kg of digestible protein, 2032 kg of dry matter with exchange energy 15663 MJ. With this level of feeding, all the controlled sires and almost all of their sons, according to the score, met the requirements of the elite-record grading class. However, according to the results of the index assessment, only the bulls Prometheus 1127 and Grill-yazh 916 met the requirements of the improver category, and the remaining three bulls met the requirements of the neutral category. The descendants of the leading bulls with a preslaughter live weight of 412.1 and 419.9 kg exceeded peers of other groups in carcass weight by 8.5-14.1 kg, in muscle tissue weight by 9.4-15.4 kg, but by 3-5% less yield of fat, bones, cartilage and tendons and the highest meat ratio.
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Goryaeva, Baira B. "Мотив пути в калмыцких сказках, включающих сюжет ATU 300 The Dragon-Slayer." Oriental Studies 15, no. 6 (December 29, 2022): 1410–21. http://dx.doi.org/10.22162/2619-0990-2022-64-6-1410-1421.
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Introduction. In the oral tradition of Kalmyks, type ATU 300 The Dragon-Slayer serves an episode to magic and heroic folktales. In Kalmyk narratives, the main character slays a serpent to save a maiden from death. Such tales begin with that a hero takes the road to eliminate some shortage/trouble, the action be based on the former’s spatial movement. So, the to-be serpent-slayer travels through worlds: he descends to the lower world, returns to the human-inhabited middle one, undergoes some difficulties, and finds a bride. Thus, the motif of way proves central to the considered plots. Goals. The study aims to examine the motif of way in ATU 300-based (The Dragon-Slayer) Kalmyk folktales. Materials. The paper analyzes texts of published Kalmyk folktales. Results. In The Son of Khan Gal — Otkhon Shara (Kalm. Һал хаана отхн шар көвүн), the main character — like a tuuli-uliger hero — sets off on a journey after receipt of a message from his betrothed. And it is the traditional formula ‘good advice, or a palm-sized skin’ that provides a stage for the hero to meet the messenger. When it comes to describe the hero’s departure, the narrative involves the genre of yöräl (‘good wishes’) which goes back to magic folk poetry rooted in the belief word has power, a successful arrival in the other world be guaranteed by certain preparatory action and appropriate attributes that had once accompanied the deceased on their last journey. Another motive for a hero to start on a trip is that his reigning father loses eyesight. In The Story of Tögseg Khaan (Kalm. Ном Төгсг хаана туск тууҗ) sons are supposed to leave and dare see what their father never saw for his sight to recover. In this text, the function of adviser and donor is performed by a Buddhist priest — gelong — who replaces the image of zayachi (‘guardian genius’). The hero’s return journey from the lower world to the middle (human) one is associated with the image of Khan Garuda. Conclusions. The motif of way in ATU 300-based (The Dragon-Slayer) folktales tends develop in accordance with magic folktale morphological patterns (according to Propp) and within the framework inherent to oral (tuuli-uliger) traditions, paralleled by that Buddhist representations replace the earlier ones.
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Koldoshov, Tumonbai. "NEW FACETS OF ARTISTICITY OF KYRGYZ SONGS." Alatoo Academic Studies 23, no. 4 (December 30, 2023): 426–34. http://dx.doi.org/10.17015/aas.2023.234.44.
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Over the course of many centuries, stable traditions of Kyrgyz folk singing and performing arts have developed. The concept of “folk singing tralitions” covers musical and poetic works of various content and artistic form, created and performed among the people. Folr songwriting is distinguished by a wealth of genres, different in origin, character and function in folk life. Folk singing traditions are characterized, on the hand, by stability, and on the other hand, by constant renewal: thus, modern song folklore is undoubtedly connected with the old, but at the same time is deeply different from it, since it has experienced the influence of the most important socio-historical and cultural factors. At the beginning of the last century, quite a large number of various genres were written. Their authors were singer- improvisers Toktogul, Kalyk Akiev, Osmonkul Bolobalaev, Alymkul Usonbaev, Kalmurat, Syrtpay, Atay Ogonbaev, Musa Baetov, Myskal Omurcanova, Shekerbek Sherkulov and others. The article examines the activities of melodist singers, continuing the activities of the older generation, who developed singing creative activity in a new direction.
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Ubushieva, Tat’yana. "Kalmyk Folk Drawling Song Kharһa sääkhkn kharnla: comparative analysis of options." Бюллетень Калмыцкого научного центра Российской академии наук 3, no. 11 (May 20, 2019): 282–97. http://dx.doi.org/10.22162/2587-6503-2019-3-11-282-297.
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Ubushieva, Tatyana A. "ʻTӧvtӓ Teegmʼ: an Old Kalmyk Lingering Folk Song from Valentina Iltsaranova's Repertory." Монголоведение (Монгол судлал) 18, no. 3 (December 9, 2019): 673–88. http://dx.doi.org/10.22162/2500-1523-2019-3-673-688.
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Ubushieva, Danara. "The Song of His Majesty Bogdo Jangar’s Campaign: A Latin Transliteration of One Authentic Text from the Baga Tsokhor Cycle." Бюллетень Калмыцкого научного центра Российской академии наук 3, no. 19 (December 28, 2021): 238–71. http://dx.doi.org/10.22162/2587-6503-2021-3-19-238-271.
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Goals. The article introduces an Oirat-to-Latin transliteration of one authentic text of The Song of His Majesty Bogdo Jangar’s Campaign integral to the Baga Tsokhor cycle of the Jangar currently known under the title The Song of How Ulan Khongor the Mighty and Savar the Heavy-Handed Defeated Seven Irrepressible Boars [Warriors] of Khan Zambal the Furious. Materials and methods. The study explores an original Clear Script manuscript stored at the Scientific Archive of the Russian Geographical Society. The main research method is that of transliteration. Results. Scientific description of written monuments contained in manuscript collections and archives of Mongolist centers is undoubtedly of great importance. Latin transliteration of Kalmyk folklore samples and their introduction into scientific circulation shall make them available to a wider circle of specialists.
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Khaninova, Rimma M. "Антиколыбельная песня Егора Буджалова в аспекте пародии Морхаджи Нармаева: «Ɵдгǝ цага саатулин дун» — «Буджала Егор залуд»." Oriental studies 14, no. 4 (December 12, 2021): 868–78. http://dx.doi.org/10.22162/2619-0990-2021-56-4-868-878.
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Introduction. So far, the genres of lullaby and poetic parody in the Kalmyk poetry of the twentieth century have not attracted much attention. Born in the late 1920s — early 1930s, the tradition was short-lived. While their genres were explicitly or implicitly marked, the works of Kalmyk poets in question were primarily oriented towards the Russian literary tradition. However, they expanded the genre paradigm of Kalmyk poetry in the intercultural dialogue. The relevance and novelty of the article is apparent, granted its focus on the two innovative works by Egor Budzhalov and Morkhadzhi Narmaev; these are single works that belong to the genres of anti-lullaby and satirical parody as part of the 1990s literary polemics of the contemporaries. This article aims to introduce these little-known poems of the two poets as representative of their contributions to the genres. Materials and methods. The sources for the study, Budzhalov’s “Ödgä tsaga saatulin dun” (“Modern Lullaby Song”, 1991) and Narmaev’s “Budzhala Egor zalud” (“To the man Egor Budzhalov”, 1991), were published in the local newspaper Khalmg ünn. The study of historical-literary milieu and realia, comparative-contrastive and hermeneutic approaches were employed to examine the poetic pieces in the context of literary, socio-political, ideological, and social processes on the eve of the country’s collapse; also, the biographical data of the poets that belong to different generations was helpful in the analysis of their ideological positions, as well as the authorial voices in the texts under study. Results. The study shows the innovative character of the poets’ efforts at creating a lullaby for adults, or an anti-lullaby song, and a satirical parody; these were to remain single samples, granted that the Kalmyk lullabies are mainly addressed to infants, and parodies are of a friendly character. Their works reflect the authors’ polar views on the realities in the 1980s and 1990s: criticism, on the one hand, and the defense of socialism, communist ideas, on the other hand. Conclusions. Budzhalov’s poem may look like a lullaby for children at first sight while, in fact, it is a lullaby for adults or rather an anti-lullaby, with the formulaic chorus baiu bai, a marker of the genre, acquiring in his piece the opposite message: wake up, do not sleep, act. Narmaev enters the dialogue with his younger contemporary, his poem also representing a synthesis of genres: a message, an open letter in verse, and a satirical parody. However, his parody is also transformed when the author parodies not so much his fellow poet’s style but the authorial implications concerning the Soviet reality. The tradition of literary polemics was not continued in Kalmyk poetry.
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Topalova, Delgir Yu. "Личный архив калмыцкого писателя Л. О. Инджиева." Бюллетень Калмыцкого научного центра Российской академии наук 16, no. 4 (November 27, 2020): 79–103. http://dx.doi.org/10.22162/2587-6503-2020-4-16-79-103.
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The article provides an overview of the personal archive fund of the famous Kalmyk writer, talented poet, translator L. O. Indjiev. The analysis of the composition of archival documents, including diverse material (literary works, translations, office materials, letters, personal records and documents, etc.), allows us to trace the dynamics of the writer’s creative path, his writing and translation activities, and also fully reflects the significant contribution made by the fund educator to the preservation of the literary and spiritual-cultural heritage of the Kalmyk people. In addition, all blocks of archival documents allocated during scientific and technical processing make it possible to conclude about the literary and cultural significance of the fund, which serves as a source of little-known and unknown facts about the literary, cultural and social life of the second half of the twentieth century. Three unpublished works were found from unpublished materials in the writer’s personal fund: «Neryadlgn dunm» (‘Dedication Song’), «Avd uumyanya tsag» (‘Cruel Disturbing Time’), «Neg Mosyagch Avtsasn» (‘One of the Decisive Ways’).
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Zelenkov, Alexey, Alexey Ermakov, Galina Zelenkova, Ivan Gorlov, Alexander Pakhomov, Sergei Tresnitskii, and Tatyana Derezina. "Using factor analysis in beef cattle breeding." E3S Web of Conferences 135 (2019): 01088. http://dx.doi.org/10.1051/e3sconf/201913501088.
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Studies of the structure of the interaction of signs with the help of factor analysis is based on the idea of the complex nature of the phenomenon being studied, expressed in the interdependence of individual signs, determined by “internal” hidden causes, forming the specifics of a property, quality. We used the factor analysis method to study the producers’ assessments of the quality of the offspring and to test their bullsons for their own productivity of the Kalmyk and Hereford cattle breeds. The analysis included material from the work of pedigree reproducers and plants in the Kalmyk and Hereford breeds of the Rostov Region. The total number of animals included in the treatment was 96 manufacturing bulls and 272 sons bulls. As a result of the studies, the proposed breeding indices on one basis are quite suitable for the preliminary selection of bullcalves in commodity farms or in pedigree farmers for breeding beef cattle. In order to get a final assessment, we compiled new breeding indices, including two (live weight at 8 and 15 months, live weight at 15 months and average daily gain from 8 to 15 months), as well as three characteristics (live weight in 8, 15 months and average daily gain). These signs are objective, easy to account. According to the estimates obtained for individual bull-sons, it is possible by summing up the values of new factors to identify the bulls’ assessment of the quality of the offspring. Analysis of assessment materials is characterized by high reliability (P > 0.999).