Journal articles on the topic 'Kului language'

Ethnonyms and historical-geographical names that reflect the names of these ethnoses are also part of the language's interesting vocabulary groups. Without etnonyms or toponyms, it is impossible to get detailed information about the formation of any people. That is why ethnotoponyms in the onomastic system of language are considered to be the oldest lexical units. It is clear from the studies that the history of the origin of many ethnotoponyms belonging to the Turkic language is older than the history of written monuments belonging to this language. Each nation has given its name to the geographical objects since its formation, or named them with words belonging to its own language. As a result, each toponym, is a product of a certain period and keeps the traces of history. Avshar, Az, Alpout, Bayat, Bayandir, Cagatay, Chepni, Chinchavat, Chul, Khalaj, Khurs, Kulus, Kechili, Kangar, Mugan, Garakhanli, Kipchak, Padar, Pechenek, Turkesh, Sag, Sungur, Suvar, Oguz, Uz and hundreds of other such ethnotoponyms bear traces of ancient time in the modern stage of Azerbaijan toponymy.. Among these ethnotoponyms, the Cimmerians // Gamarli tribe is one of the tribes that bear the traces of history in Azerbaijani-Turkic onomastics as both ethnotoponyms (Gamardash-mountain in Lachin region; Gamarvan-village in the administrative-territorial unit of Gabala region; Gamarvan - river in Gabala region, Gamarli-region in Armenia) and anthroponyms (Gamar - person's name; Gamarli-surname). Key words: Azerbaijan, Turkic, onomastics, Cimmerians, Gamarli, ethnonym, toponym

Purpose. Barsova Gora is a unique archaeological and landscape site located in the Tyumen Region of the Russian Federation. The archaeological site Barsov gorodok I/32 is located on the edge of the bank of Utoplaya river. A visual comparison of the ceramics of the early Iron Age from the Barsov gorodok I/31–32 sites and the ceramics of the Barsov gorodok I/4 site from the east showed their great similarity, if not their identical nature. For a correct comparison and identification of similarities and differences in the ceramics of these sites, it is necessary to conduct a comprehensive study of the products of each settlement using a unified technique. The study is devoted to the analysis of ceramics of the Barsov gorodok I/32 site. Results. The most common motifs are rows of ‘ducks’. Other common patterns are: short wavy horizontal and vertical prints (‘birds’ and ‘snakes’), rows of stamp prints, notches and ‘pearls’. There are no non-ornamented dividing zones on the vessels. There are no ornaments in the form of a series of hemotheric figures and meanders. The upper edges of the vessels are flat (28 %) or beveled inward (72%). In 33% of cases, a cornice is present. The ceramics are made from low-sand ferruginous clays with a natural admixture of sand, mica, brown iron ore, and scraps of vegetation. Artificial impurities are represented by chamotte, broken stone and organic matter. Four recipes of clay paste have been revealed: clay + broken stone; clay + broken stone + chamotte; clay + chamotte; clay + chamotte + organic matter. The ceramics are made with ribbons. The shape of the vessels is cauldron-like. Conclusion. The absence of non-ornamented dividing zones, the presence of rows of short wavy horizontal and vertical impressions (‘birds’ and ‘snakes’), the presence of inwardly beveled upper edges of the vessels with ornamented cornices testify to the late existence of this pottery. The ceramics of the Barsov gorodok I/32 site can be attributed to the late stage of the Kulai culture (Surgut variant).

Purpose. The Kulay Cultural-Historical Community was one of the largest formations in Western Siberia in the early Iron Age. The Kamenny Mys burial ground is located in the Kolyvan district of the Novosibirsk region. The study is devoted to the technical and technological analysis of 49 vessels of Kulay ceramics (Novosibirsk variant) of the Kamenny Mys burial ground. Results. It was determined that natural clays of medium plasticity, possibly pretreated, were used as the initial plastic raw material. The dominant recipe for the clay paste is clay + broken stone (68 %). The construction was carried out according to the tank-bottom program with the help of flaps. The hollow body was constructed using patchwork molding. Mainly mechanical smoothing processed the surfaces of the vessels. The firing of dishes could be carried out in fireplaces or hearths. Conclusion. Ceramic technology reflects the initial mixing of different pottery skills. Stability is retained by the substrate skills of the selection of the initial plastic raw material, the design of the beginning and the hollow body. Mixing is manifested at the level of adaptive skills – methods of composing molding materials and machining surfaces. Such a situation may be a consequence of the interaction of groups of the Kulay population with the carriers of the Bolsherechenskaya culture and the beginning of their mixing, which led to the fusion of technological pottery skills.

rchange-newline"> Al-Qur’an as hudan li al-nās and rahmatan li al-‘ālamīn, can not be comprehended the mean without any exegesis. In order that Al-Qur’an and Exegesis are always easy given in the life and proved its existence which shalih li kulli zaman wa makan, they era does not only consider social characterchange from the space and the time, but the subject too. It is consumer thatis containing of various ability standard and age. Unfortunately, almostall exegesis is product that presented as adult consumption; beside in thisfact the modernization demand each element of life to begin all aspect fromchildren age for the maturation and the success future. One of the worksfrom several works that has been established to fulfil the children neededis Tafsir Juz ‘Amma for Kids with the new thing that most shown from thiswork is illustration. In this article, It uses reception method to fid listener reaction and AlQur’an reader in the meaning explanation. Reception that is done bycommentator has succeeded to be concretized into exegesis text with simplelanguage; beside the reception that it is done by illustrator has succeededto be concretized into visual language that is illustration that in the fialaccompany in the gotten up of a functional relation between both of them.The existence of exegesis and illustration are cooperation and it is a formof integration-interconnection. Illustration which as functional before hasbecome a helper media, fially it has potential as independent to be anexegesis that is “Visual Exegesis.”

The article presents a historiographic review of various Russian translations of two Dagestan historic works - Muhammad AvabiAktashi’s «Derbend-nameh» and Mirza-HaidarVezirov’s «Darband-nama-yijadid» made from the early 18th century to the early 21st century. The author calls attention to the translations, which are still in handwritten form and have not yet been studied by scientists. Particular attention is also paid to those Russian translations that were published in incomplete or full versions. The first Russian translation of the «Book of Derbent» was done by Peter the Great’s companion YusupIzhbulatov in 1726, however, it remained unpublished. Among unpublished translations there are two manuscripts stored in the National Manuscript Center of the Republic of Georgia and the translation done in 1886 or 1887 by the famous Mountain-Jewish scholar I.Sh. Anisimov. The collection of unpublished Russian translations done by the staff of the Dagestan Scientific Institute in the 1930s is stored in the funds of the Scientific Archives of our Institute. The places of their storage in various cities - Petersburg, Moscow, Tbilisi, Makhachkala - are pointed out in the article. Some texts were published by the authors of Russian translations - Abas-Kuli Bakikhanov, Alexandra Kozlova, Maksud Alikhanov-Avarsky, Patimat Alibekova, Magomed-Said Saidov, Amri Shikhsaidov, Alikber Alikberov, Gasan Orazaev. Of particular interest to researchers is the translation of those lists of the «Derbend-nameh», in which there is a preface of Muhammad Avabi Aktashi from Endirei, the author of the historic work «Derbend-Nameh». It should be noted that the translations of this work into Russian were done not only from the Turkic language, in which the «Derbend-nameh» was written, but also from the Arabic language, in which it was presented many times.

The Qur'an, as the holy book of the Muslims and also as a guide to life, has been, is, and will always be interpreted. Therefore, in the view of Muslims, the interpretation of the Quran is a very established term. The Quran is considered a limited text, while man changes according to the development of the times. So, the Qur'an urgently needs to be interpreted based on the needs of modern humans today. The development of the interpretation of the Quran is increasingly complex, and following the times as the expression shalih li kulli zaman, wa makan is inevitable. So, the interpretation that should be centered on the Quran and Sunnah is the wisest path, but from the diversity of different interpretations, giving rise to various interpretations according to the text, context, and contextual. Until the interpretation of the Quran by the classical scholars has provided solutions to various problems they face, both godly questions and humanitarian issues. Because the various problems faced by each mufassir are different, the quranic message that was born is different and plural—the opinion of classical scholars who have the best interpretation authority. Be a reason to try to elaborate on the urgency of the need of the Quran against hermeneutics as one solution to the monotonous study of the scholars of earlier interpretations to gain new enlightenment offered by contemporary thinkers. This offer tries to construct the interpretation products of classical interpreters not to cover any new contributions that can answer the problems of modern society today. According to the frugal author, hermeneutics can still be used as one of the instruments in the method of interpretation, provided; first, a hermeneutic must still have mastery of Arabic language and all knowledge related to the interpretation of the Qur'an; secondly, hermeneutics moves indirectly to the Qur'an, by studying the books of interpretation critically and deeply, in the hope that the previous Mufassir still leaves a space, so that it can be filled with hermeneutic studies

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

The project aims at documenting the Indo-Aryan Kullui language. This unwritten minor language of the Himachali Pahari group is common in Kullu district in Himachal Pradesh (India). The core objective of the project is to describe Kullui through field methods in linguistics. The study includes the collection of sociolinguistic information, grammar description, compi­ling a dictionary, as well as recording texts. The project run by A.S. Krylova, Yu.V. Mazurova, E.A. Renkovskaya, E.M. Shuvannikova (Knyazeva) is carried out under the auspices of the Institute of Linguistics, the Russian Academy of Sciences. During the linguistic expeditions to Himachal Pradesh, the researchers collected insights into the sociolinguistic situation: types of multilingualism, areas of use of the main languages in the region — Kullui, Hindi, English, etc.; studied the language features of different generations. The research shows the dynamics of the linguistic situation: in the older generation, especially, among women, there are cases of monolingual language — knowledge of the local language alone; the middle generation, as a rule, speaks several languages — Hindi, one or several local languages/dialects, some also know English (its Indian version). In addition, some people know Punjabi, Urdu, Nepali to some extent, which is associated with the geographic location and history of Himachal Pradesh. Young people and schoolchildren demonstrate the onset of a language shift: many people know Himachali languages and use them in everyday life; however, the use of minor languages is gradually restricted to communication with older family members. The key communication tool for the younger generation is Hindi, for educated youth — both Hindi and English. A detailed description of minor languages is relevant right now, while they still retain their authenticity and used by all generations. It is crucial to document them using new modern technologies (voiced dictionaries, gloss texts with audio and video recordings). Existing as a means of oral communication, Kullui and other minor languages of Himachal Pradesh currently lack standardized writing. The research team has developed a phonological transcription based on the International Phonetic Alphabet (IPA) for recording oral speech, as well as morphological parsing for grammatical material.

Marketis a place where the interaction between seller and buyer happened. Marketbecomes social media that connect the used language in communication betweenseller and buyer who exist in traditional market of Manado and come fromvarious etnics. The researcher see the language which is used by buyer andseller in their buyer selling transaction. This thing is interested to beinvestigated. The aim of this research are (1) to identify form and meaning of expression in using of ManadoMalay language at the buying-selling transaction in Karombasan traditionalmarket, Manado, and (2) to explain cultural meaning which contained in the useof Manado Malay language at buying-selling transaction in Karombasantraditional Market, Manado. Thisresearch employed descriptive method with qualitaitve approach. In collectingthe data, the method of Listening and Speaking of Surdayanto (1993) is used.Listening method is firstly used by using Listening Technique. Secondtechniques which are used are Listening Speaking Involment and ListeningSpeaking Free Involvement. In analyzing the collected data, theories of Cook(1969), Chaer (2007) and Kridalaksana are used to classify the language form ofexpression that are found. Then to get the cultural meaning that contained inthe expression, theory of Foley (1997) is used. There were 48 informantsactively involved in this research.Inthis research, the researcher found 8 forms of word classified into basic word, repetition wordand compound word, namely: fresco, bos tabuang-buang, baminya-minya, tandatangan, masa pohong and masa karbit, 3 phrases expressions are also found suchas, kuli kadongdong, kuli duriang, and ikang pegawai. Then, sentence forms ofexpressions that are found namely ‘Om ini, kurang mo kase abis’, ‘Ngana petomat pe warna sama deng warna spanyol’, ‘Tanta kiapa depe mata ikang somerah’. Throughthis research, it can be concluded that this cultural-meaning expressioncontains cultural meaning, both positive meanings such as fresh thinking, likehelping other people, respect each other, good attitude, behavior, knowing goodand meet cultural life, having competence and negative meanings, such as badbehaviour, talkactive, not creative and having no competence. Based on theconclusion, the researcher suggests to the next researcher, to be morecomprehensive related to the use of Manado Malay language expression indifferent background and contexts in order to get a whole description aboutexpressions system of Manado Malay language. Keyword: The Cultural Meaning, Tradisional Market

The fishermen community is a community found in North Sulawesi, especially in the coastal area of Sario-Malalayang, Manado. With different cultural backgrounds, ethnicities, this group has its own uniqueness, especially in language. This research succeeded is finding expressions in the fishermen community in the coastal area of Sario-Malalayang. These expressions consist of forms of words, phrases, and clauses in accordance with the lingual forms of theory from Widdowson (1997: 3). The results of the study found a number of lingual forms in affixed words, which had a similar prefix as in the words ba-daseng, ba-kintu, ba-tono, ba-saoh, ba-pake. In addition, the majority of phrases contained in the results of the study are predominantly dominated by noun phrases, such as in the lips phrases of napo, puru loe, coolies, ikang itching, mulu sosoroka, gargantang tubir.This research also succeeded in exploring and discovering cultural meanings. The meanings in the form of words, such as ‘badaseng’, ‘sunga’, then the form of a phrase, like ‘puru loe’, ‘mulu sosoroka’, then sentence expressions in the form of expressions like ‘udang deng katang so kurang sama’, ‘kase wora mar jang talapas’, ‘karja cuma sampe di kuli aer’, etc. The expressions encountered generally contain various cultural meanings, namely advice, satire, ridicule, seduction, warning, insults, and despair. Based on the conclusion, the researcher suggests to the next researcher, to be more comprehensive related to the use of Manado Malay language expression in different background and contexts in order to get a whole description about expressions system of Manado Malay language, especially in the fishermen community in North Sulawesi.Keywords: fishermen community, language and culture

Уточнено понятие этнокультурной компетентности, выявлено три уровня этнокультурной компетентности как интегральной характеристики личности. В ходе апробации программы, направленной на формирование этнокультурной компетентности, применялись эмпирические методы исследования (изучение продуктов деятельности обучающихся, педагогический эксперимент). Содержание программы построено на основе мотивов и языка этнокультуры, а реализация программы учитывает три уровня этнокультурной компетентости: аксиологический, деятельностный, творческий и также состоит трех этапов. Одновременно с изучением основ композиции студенты в теории и на практике знакомятся с символами кулайской культуры с целью постижения языка визуальных образов. В результате освоения первого этапа программы формируется ценностное отношение к этнокультуре (аксиологический уровень этнокомпетентности). Второй этап отличается художественно-практической деятельностью с погружением в этнокультуру, интерпретацией мотивов и языка этнокультуры. Третий этап – это творческий этап обретения индивидуального авторского стиля художника, дизайнера, работающего в этнокультурных традициях. Процессы глобализации способствуют возрождению интереса к родной культуре, этнокультуре. Сегодня очевидна необходимость и актуальность использования воспитательного и образовательного потенциала этнокультуры. В связи с этим важное значение приобретает разработка образовательных программ, направленных на формирование этнокультурной компетентности студентов творческих специальностей. При успешном освоении программы студенты имеют возможность выйти на творческий уровень выполнения авторских графических композиций и дизайн-проектов. В рамках экспериментальной деятельности уточнено содержание программ, разработаны дидактические материалы, систематизированы наглядные пособия (образцы кулайской металлопластики в виде таблиц, цифровых материалов). Ценным дидактическим средством являются образцы лучших работ студентов, выполненных в процессе реализации образовательной программы.Currently, there is a process of actualization of interest in ethnic roots, in native culture against the backdrop of a global trend – globalization. Ethnoculture is an important and effective means of educating and art education of a person. The principle of cultural diversity of education involves taking into account the characteristics of the native culture, using the possibilities of spiritual and material culture in the process of education and upbringing. It is especially important to consider the principle of cultural identity in the process of art education. The research problem arises from the contradiction between the presence of the pedagogical potential of ethnoculture and the insufficient development of educational programs aimed at the formation of ethnocultural competence of students of creative specialties. The purpose of the study is to identify the features of the organization of the pedagogical process in accordance with the principle of cultural conformity, to develop and test in practice an educational program aimed at forming the ethnocultural competence of students of creative specialties: future artists, designers. A theoretical analysis of the literature made it possible to clarify the concept of ethnocultural competence, to identify three levels of ethnocultural competence as an integral characteristic of a person. Empirical research methods (studying the products of students’ activities, a pedagogical experiment) were used during the testing of a program aimed at the formation of ethnocultural competence. The content of the program is based on the motives and language of ethnoculture, and the implementation of the program takes into account three levels of ethnocultural competence: axiological, active, creative, and also consists of three stages. Simultaneously with studying the basics of composition, students in theory and practice get acquainted with the symbols of Kulai culture in order to comprehend the language of visual images. As a result of mastering the first stage of the program, a value attitude to ethnoculture is formed (axiological level of ethnocompetence). The second stage is distinguished by artistic and practical activities with immersion in ethnic culture, interpretation of motives and language of ethnic culture. The third stage is the creative stage of acquiring the individual author’s style of an artist, designer working in ethno-cultural traditions. The processes of globalization contribute to a revival of interest in native culture, in ethnic culture. Today, the necessity and relevance of using educational potential of ethnic culture is obvious. In this regard, the development of educational programs aimed at the formation of ethnocultural competence of students of creative specialties is of great importance. With the successful development of the program, students have the opportunity to reach the creative level of performing author’s graphic compositions and design projects. As part of the experimental activity, the content of the programs was clarified, didactic materials were developed, visual aids were systematized (samples of Kulai metal plastic in the form of tables, digital materials). A valuable didactic tool are the samples of the best works of students.