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Ro’ziyeva, Mohichehra Yoqubovna. "COLOR SYMBOLISM IN UZBEK FOLKLORE." Theoretical & Applied Science 85, no. 05 (May 30, 2020): 277–84. http://dx.doi.org/10.15863/tas.2020.05.85.55.
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Владыкина, Татьяна Григорьевна. "Food Symbolism in Udmurt Folklore." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 3 (November 2, 2020): 132–40. http://dx.doi.org/10.26158/tk.2020.21.3.011.
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Фольклор удмуртов содержит весьма значимый по богатству символики напитков и еды материал. Удмуртский язык и обрядовые традиции до сегодняшнего дня сохранили архаические представления о магической связи праздничной культуры и ритуальных напитков/еды (юондыр - время пития/пиршества). Показательно присутствие в названиях праздников, знаменующих календарно важные периоды зимнего (Вожо-дыр - зимние Святки) и летнего (Инвожо - летние Святки) солнцестояния, номинации хмельного напитка сур (пиво): Толсур - зимнее пиво / зимний праздник; Куарсур - лиственное пиво / летний праздник. Компонент «пиво» в значении «праздник», под влиянием старообрядческой культуры исторически замененный на другой хмельной напиток - брагу, сохранен и в названии осенних молодежных посиделок на севере Удмуртии - ныл-брагá (девичья брага / девичий праздник). Здесь же зафиксирован термин шыд-сион (поедание супа / угощение супом) как понятие ритуальной трапезы в виде отдельной составляющей всего обрядового комплекса в контексте календарных и семейных обрядов. Символика напитков и еды, представление о празднике как о сакральной ситуации более всего проявлены в застольных гостевых песнях, звучащих во время обхода домов родственников. Песни исполнялись на соответствующий обряду знаковый напев и были способом и средством выражения чувств участников обряда: пиетета перед богами, благодарности и любви к родственникам. С символикой образов напитков и еды в ритуальных гостевых песнях перекликаются устойчивые образы заклинаний-молитв - куриськон’ов. Древнейший пласт образов восходит к простейшему комплексу понятий «питья» и «еды» (сиён-юон/шыд-нянь - еда-питие/суп-хлеб) и соотнесен не только с удовлетворением физиологических потребностей - жажды и голода, но также представляет собой символ духовного благополучия. Со временем эти понятия обогащаются смысловыми оттенками «угощения»/яств и становятся символами «радости», «удовольствия», «праздника», «пиршества», «общения» с богами, близкими, единокровными людьми - родственниками (ср. рус. «хлеб-соль»). Udmurt folklore contains rich material on the symbolism of drinks and food. The Udmurt language and ritual traditions have preserved archaic ideas of the magic connection between festival culture and ritual drinks/food (“yuondyr” means both time for a drink and time for a feast). It is significant that the names of holidays that mark important calendar periods in winter (“Vozho-dyr” - winter Yule) and summer solstice (“Invozho” - summer Yule) contain names of an alcohol drink (“sur” - beer): “Tolsur” means winter beer or winter festival; “Kuarsur” means leaf beer or summer festival. The component “beer,” also meaning “festival,” which under the influence of the Old Believers was substituted for another alcoholic drink (“braga”), is also preserved in the name of autumn youth gatherings in the North of Udmurtia (“nyl-braga” - maiden braga or maiden holiday). Here also the term “shyd sion” (the eating of soup) has been recorded as meaning both ritual feast and a component of the entire ritual complex. The symbolism of drinks and food and the idea of the holiday as a sacred phenomenon is most clearly shown in the guest songs that are performed during house-to-house visits by relatives. These are sung to a popular ritual melody and are a way to express the feelings of the ritual’s participants: piety to the gods and gratitude and love for relatives. In ritual guest songs, standard images from incantation-prayers (“kuris’kon”) echo with the symbolism of drinks and food. The most ancient stratum of images derive from a simple set of terms denoting drink and food (“sion-yuon” and “shyd-nyan” - food-drink and soup-bread) and not only correlates with satisfying of physiological human needs (thirst and hunger), but also symbolizes spiritual well-being. Over time these terms have been enriched with various shades of meaning having to do with “treating” with food and drink and suggest “joy,” “enjoyment,” “festival,” “feast,” and “fellowship” - with the gods, with the near and dear, or with consanguineous relatives (cf. the Russian “bread-salt”).
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Hutchings, John. "Folklore and Symbolism of Green." Folklore 108, no. 1-2 (January 1997): 55–63. http://dx.doi.org/10.1080/0015587x.1997.9715937.
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Jelenić, Milica. "FOLKLORNI ELEMENTI U ZBIRCI PRIPOVEDAKA IZ TAMNOG VILAJETA MOMČILA NASTASIJEVIĆA." Lipar XXIII, no. 79 (2022): 195–205. http://dx.doi.org/10.46793/lipar79.195j.
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The paper interprets the short stories from the collection From the Dark Vilayet in order to decode the mythical and folklore layer in the narrative world of Momčilo Nastasijević. Examining the storytelling technique, the presence of motifs from folk tradition, ritual and mythical symbolism, the archaic character of Nastasijević’s prose is pointed out as its peculiarity, and the phenomenon of modernist prose in folklore clothing is observed. Folkloric elements figure as an indispensable segment for understanding and interpreting the creativity of Momčilo Nastasijević.
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Mirələm qızı Qasımova, Pərvanə. "Characteristics of folklore." SCIENTIFIC RESEARCH 12, no. 8 (August 27, 2022): 24–29. http://dx.doi.org/10.36719/2789-6919/12/24-29.
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Folklorun estetik əhəmiyyəti ilk öncə onunla şərtlənir ki, o dil, fikir və bədii düşüncənin əsasında xalqın yaratdığı mükəmməl bir söz sənətidir. Folklor xəyal, təxəyyül, fantaziya və simvolikadan sənətkarlıqla istifadə edərək gerçəkliyi dolayı yolla motivləndirir və onu poetikləşdirir. Bu poetikləşdirmə, sənət yaratma prosesində əsas vəzifəni xalqın bəddi zövqü yerinə yetriri. Yəni, xalqın bədii zövqü folklorun estetik ölçülərini müəyyənləşdirən və modelləşdirən əsas faktor rolunda çıxış edir. Folklor formaları əsrlərlə xalq sənətkarları tərəfindən cilalanıb və estetik ölçülərini sabitləşdirib. Ona görə də folklor estetik hissi, gözəllik hissini, dil, ritm və forma gözəlliyi duyğusunu inkişaf etdirir. Folklorun estetik gücü ədəbiyyat, musiqi, teatr və s. kimi sənət növlərinin inkişafında böyük əhəmiyyət daşıyır. Məqalədə bütün bunlar öyrənilərək araşdırılır, foklorun səciyyəvi xüsusiyyətləri üzə çıxarılır. Açar sözlər: folklor, xalq, xüsusiyyət, ədəbiyyat, estetika Parvana Miralam Gasimova Characteristics of folklore Abstract The aesthetic importance of folklore is determined by the fact that it is a perfect art of words created by the people on the basis of language, ideas and artistic thinking. Folklore indirectly motivates reality and poeticizes it by skillfully using dreams, imagination, fantasy and symbolism. In the process of this poeticization, art creation, the main task is performed by the people's bad taste. That is, the artistic taste of the people acts as the main factor that determines and models the aesthetic dimensions of folklore. Folklore forms have been polished by folk artists for centuries and stabilized their aesthetic dimensions. Therefore, folklore develops aesthetic sense, sense of beauty, sense of beauty of language, rhythm and form. The aesthetic power of folklore is literature, music, theater, etc. is of great importance in the development of such arts. In the article, all this is studied and investigated, the characteristic features of folklore are revealed. Keywords: folklore, folk, character, literature, aesthetics
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Vavilova, Kseniya Yur'evna. "Symbolism in the English and Russian fairy tale folklore: comparative analysis." Филология: научные исследования, no. 11 (November 2021): 94–106. http://dx.doi.org/10.7256/2454-0749.2021.11.36438.
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The subject of this research is the symbolism in the English and Russian fairytale tradition. The object is the texts of the Russian and English fairy tales. Analysis of the texts reveals the typical functions performed by symbols in both folklore traditions. The author provides the examples of symbols and offers the interpretation of objects-symbols, symbols-zoonyms, color and number symbols, time and space symbols. Comparative study of folklore heritage of non-cognate languages reveals the fundamental commonness of a particular folk genre of different peoples in their perspective upon reality, methods of depiction, and ideological interpretations. The scientific novelty consists in conclusions obtained in the comparative study of the symbolism of fairy tale texts in the Russian and British folklore, which is important for determination of linguistic, semiological and cultural universals. The comparative study of folklore material of two traditions in the sphere of the poetics of folklore reveals the traditional universals and unique features on the level of symbolism of the fairy tale genre. Within the framework of the article, the author analyzes the functionality of thematic, animalistic, color, spatial-temporal, and numerical symbols. The acquired results are underpinned by a large number of text examples.
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Oinoshev, V. P., and S. V. Oinosh. "Signs of colour symbolism in traditional Altaian culture." Altaistics, no. 1 (April 5, 2024): 71–78. http://dx.doi.org/10.25587/2782-6627-2024-1-71-78.
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The study of the symbolism of traditional culture categories, including the symbolism of colour in folklore studies and toponymic names becomes very relevant due to the revival of many aspects of spiritual culture. Nowadays the symbolism of colour becomes important in the life of a modern person. It accumulates deep meanings. The extent of research done on the topic: In the Altaian folkloristics colour epithets were studied in detail in the research of M. A. Demchinova, V. P. Oinoshev, S. P. Tyukhteneva and others. Up to the present time colour symbolism in the traditional culture of the Altaian people has not been the object of special research. The aim of the study is to highlight some aspects of colour symbolism in folklore art and toponymy of the Altai Mountains. Theoretical comprehension of colour symbolism as a special category in Altaian folklore studies is based on the functional method and has been applied in the researches by S.S. Surazakov, S.P. Tyukhteneva and M.A. Demchinova. The genre symbolism of Altaian folklore seemed to be considered in those researches. The present study includes the usage of a complex of comparative and historical research methods. Being a characteristic and actively used component for a number of ethnonyms, toponyms, hydronyms and to designate religious names colour has a great semantic load in the traditions of Altaians. For example, many Altaian clans (seoki) are divided into smaller units and colours such as white, black and yellow are actively used to name them: ak (white) kobok [kœbœk], karа (black) kobok [kœbœk], kara todosh (black todosh), sary todosh (yellow todosh). There is also a large number of hydronyms and toponyms associated with black, white, yellow, blue and other colours: KaraArka, Sary-Chet, Karakol, Akkem, Karasuu etc. O.P. Molchanova, a researcher of the toponymy of the Altai Mountains, writes about the great importance of some adjectives that indicate colour in the construction of geographical names. The use of colour epithets in folklore works creates a colorful image. The sharply contrasting colours show the opposition of good and evil. There is a hierarchy of colours in traditional culture. Red colour shows the colorfulness of the object being described, also symbolizes health, wealth, a world of prosperity. Grey is typical for poor people, and it has semantics of unhealthiness. There are names with the formant “kan” in the toponymy of Altai. It turns out that the formant “kan” is added to the names of especially revered natural objects. The author of the article suggests that the word “kan” (in the meaning of “blood”) is present in the names of especially revered objects. Research perspectives: The results of the research of colour symbolism in folklore and toponymy of the Altai Mountains can be applied for further study of the characterization of artistic images in literature, folklore and ethnography. The topic requires further research.
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Liu, Minjie. "Folklore symbolism of I. Bunin’s short story “The Raven”." Philology. Issues of Theory and Practice 17, no. 1 (January 26, 2024): 177–83. http://dx.doi.org/10.30853/phil20240026.
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The article is devoted to a poetical analysis of Ivan Bunin’s short story “The Raven” (1944), which is a part of the cycle of short stories about love “Dark Alleys”. The research is undertaken in order to comprehend the role of folklore in the formation of the poetic world of Bunin’s love story, to identify the emotional and aesthetic perspectives of the images, motifs, and the central conflict of the short story, which is contextually conditioned and mediated by folklore symbols. The research is novel in that it is the first to analyze in detail the short story “The Raven”, its character system (images of the father, the son, the daughter, Elena Nikolaevna) and to identify the most important folklore components of the central conflict of the story (a love conflict). As a result, it is shown that the active involvement of folklore symbols (the folklorized concept “The Raven”, a color palette of folklore), which were close and understandable to the Parisian community of Russian emigrants, allowed Bunin (who adhered to national traditions, including folklore ones) to bring additional poetic intentions into the text of the shott story, imbued with imagery familiar from childhood and bright fairy-tale emotionality, to bring the perception of the text created in exile closer to the nostalgic memory of the abandoned homeland of Russia.
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Pospelova, Olga S. "The Image of Bluebeard in the Age of Symbolism." Literary Fact, no. 4 (26) (2022): 183–201. http://dx.doi.org/10.22455/2541-8297-2022-26-183-201.
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The article examines the symbolics in the play “Ariana and Bluebeard, or Vain Deliverance” (1896) by the Belgian writer Maurice Maeterlinck and in the libretto “Duke Bluebeard’s Castle” by the Hungarian writer Béla Balazs (1911). There is a transformation of the Bluebeard story from folklore to the field of symbolist and neo-romantic literature, where it undergoes significant changes, being transformed into a “new age myth.”
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Ajibade, George Olusola. "Water Symbolism in Yorùbá Folklore and Culture1." Yoruba Studies Review 4, no. 1 (December 21, 2021): 1–25. http://dx.doi.org/10.32473/ysr.v4i1.130029.
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Water is not only a physical substance; it is also an intrinsic part of peoples’ identity, cultural perception, religious beliefs and worldviews. Water is a relevant and a significant variable that is also germane to the understanding of Yorùbá peoples’ identity, culture and religion. Hence, this ethnographical and literary study examines the image of water in Yorùbá cosmology using folklore (oral texts) of the people as paradigms. It uses a field investigative method of research to elicit primary data from the people on the uses of water in diverse spheres of life. It supplements oral data with secondary data in the form of books, journal articles and archival materials. The data collected was analysed from the lenses of a hermeneutical-anthropological approach. The study found that water constitutes and creates cultural, social and religious identities among the Yorùbá people of southwestern Nigeria. In addition, it concludes that water represents one of the several ways through which the Yorùbá society can be best understood.
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Babali, Anna. "Boules: The carnival of Naousa. Folklore or symbolism?" Bulletin de l'Institut etnographique 60, no. 2 (2012): 229–40. http://dx.doi.org/10.2298/gei1202229b.
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Zheng, Wenxuan. "The role of black color in the history of Russian, French and Chinese mythology and folklore." Genesis: исторические исследования, no. 5 (May 2024): 46–55. http://dx.doi.org/10.25136/2409-868x.2024.5.70659.
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The subject of the article is the symbolic meaning of black color in the culture and folklore of various civilizations, especially in the Russian, French and Chinese traditions. The research aims to identify the evolution of the perception of black color over time and its role in religious, mythological and socio-cultural contexts. The author examines the transformations of the symbolism of the black color, its connection with myths, rituals and ideas about the world in various cultures, as well as its significance as a reflection of social and cultural norms and values. The research is aimed at identifying common and unique features in the perception of black color, its role in religious and ritual practices. The methodology is based on the collection and analysis of cultural texts on the symbolism of the black color in Slavic and Chinese cultures. Comparative analysis and contextual research methods are used to identify the role and significance of black color in culture and society. The novelty of the research lies in the analysis of the symbolism of black color in Russian, French and Chinese cultures through the prism of mythology and folklore. In Russian mythology and folklore, black color is associated with dark forces, death and the afterlife. It is dangerous, but it also has protective properties. In French mythology and folklore, black color is often associated with mystery, magic and riddles. It may symbolize death, but it also carries elegance and style. In Chinese mythology and folklore, black color is usually associated with death and ancestor worship. It can also symbolize power and authority. These results not only expand our understanding of mythological representations, but also highlight the importance of cultural context in interpreting color symbols.
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Ilimbetova, Azaliya F. "THE SYMBOLISM OF AZHDAKHA IN THE FOLKLORE AND BELIEFS OF THE BASHKIRS." Vestnik Chuvashskogo universiteta, no. 2 (June 25, 2021): 87–94. http://dx.doi.org/10.47026/1810-1909-2021-2-87-94.
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The article is devoted to the analysis of one of the key serpentine characters – Azhdakha in the folk art and religious and mystical representations of the Bashkirs. The purpose of the work is to analyze the ideas associated with the image of Azhdakha basing on folklore and field materials, and to try to identify its origins. The scientific novelty of the article lies in the fact that this work is the first attempt to study the reasons for the veneration of the image of Azhdakha among the Bashkirs. And this makes it possible to recreate certain aspects in the ethnic history of the Bashkir people, helps to identify the historical and genetic roots of their spiritual culture. The methodological basis of the research is the principle of analytical and retrospective analysis of literary, folklore and linguistic sources. This paper is the first to systematize and analyze historical-ethnographic and folklore-linguistic materials on the topic under consideration. Folklore information and field materials of the author, first translated into Russian by the author, are introduced into scientific circulation. The practical significance of the research lies in the fact that the presented materials contribute to the disclosure of the genetic roots of snake deification in the folklore and mythology of the Bashkirs, and can be used by ethnographers and folklorists in their comparative historical studies. Having studied the problem, the author came to the conclusion that in the Bashkir religious-mythological and folklore tradition, the image of Azhdakha was formed on the basis of further evolution of primitive totemic ideas about the snake-totem, totemic ancestor and patron spirit and is a consequence of its sacralization. In the religious and mystical visions of the Bashkirs, this image became a negative character as a result of defeat in ethno-cultural and interreligious clashes, as well as due to descendants’ inadequate perception of the most ancient totemic incarnation-initiation rites and speculations. Formation of ideas about the image of Azhdakha among the Bashkirs occurred not only under the influence of Indo-Iranian folklore and mythological traditions. In this process, in addition to the ancient Aryan hunters and gatherers (cattlemen and grain-growers), the ancestors of the Afrasian peoples, as well as the Dakho-Turan-Turkic tribal formations, took part.
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GAIDAMAVICIUTE, Ona. "BIRD SYMBOLISM IN LITHUANIAN (BALTIC) FOLKLORE AND FOLK ART." Ethnology Notebooks 151, no. 1 (February 22, 2020): 109–16. http://dx.doi.org/10.15407/nz2020.01.109.
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Tolkacheva, Svetlana Viktorovna. "Hair symbolism in the Russian wedding folklore of Udmurtia." Philology. Issues of Theory and Practice 16, no. 11 (November 21, 2023): 3939–48. http://dx.doi.org/10.30853/phil20230601.
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The aim of the research is to conduct a culturological and mythopoetic comparative description of the meanings of the symbol “hair” using the material of a traditional Russian wedding taking place on the territory of Udmurtia. The scientific novelty lies in the holistic study and systematization of the different meanings of the symbols marking the bride’s hair – in identifying poetic motifs and plots of wedding song folklore, in analyzing the context of the event code of the ceremony – within the framework of the Russian dialect tradition of one region. It is the first time that new wedding episodes described by informants, original songs, including unique ones for this territory, are introduced into scientific use. The paper analyzes the texts in which the parameters of the time code are involved, gives examples with a poetic description of the “instantaneous” combination of the past and the future in the bride’s life. It is the first time that facts rare for this tradition from Old Believer villages are indicated, i.e. the gifting of a scarf by the mother-in-law as a symbol of the bride’s acceptance into a new family and the redoing of the bride’s hair into three braids. As a result, it has been proved that in the wedding ritual, the attitude to hair is iconic. In the popular view, it is associated with the cyclicity of natural time and the time of human life, with the influence of the elements on the time and space of the ritual “transition” of the bride, with the understanding of its value as a part of the external appearance of the bride and as the embodiment of the moral foundations of society itself. Human somatics is projected onto plants and birds; it correlates with mythological images focused on similarity with graphic forms (circle, pipe).
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Tolkacheva, S. V. "Symbols of Time in Russian Wedding Folklore of Udmurtia." Nauchnyi dialog, no. 6 (June 24, 2021): 251–66. http://dx.doi.org/10.24224/2227-1295-2021-6-251-266.
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The article is devoted to the study of the system of artistic images of Russian wedding folklore of the modern Udmurt Republic. The relevance of the work is due to the fact that the temporal processes of the wedding ritual itself, as well as family-clan and natural rhythms are first considered on the example of wedding folklore that exists in the territory of the modern republic. Particular attention is paid to the images of heavenly bodies, the kingdom of plants, zooand ornithomorphic images, the symbolism of sound signals. The sun is shown to be the central artistic image associated with the display of time. As a result of the analysis, it was found that semantically, the images of evening dawn, morning dawn and night have significant similarities. The question of the possible division of the night into two time periods is considered — a dark one, which does not correspond to a wedding situation, and a light one, which regulates the course of ritual time. It is shown that the image of the night is a symbol of the first conjugal intercourse. It has been established that the mention of the trumpet and the bell in the songs emphasizes the sacred status of the wedding ceremony. It is noted that in wedding songs, the symbolism of the sound of the bell and trumpet merges with the symbolism of the sun. It was revealed that in the description of emporal processes there may be categories of morality.
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Woloschuk, Caitlin. "Masculinity in Folklore: The Enduring Symbolism of the Canadian Lumberjack." Pathways 3, no. 1 (November 7, 2022): 5–13. http://dx.doi.org/10.29173/pathways36.
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The nineteenth-century logging industry in North America produced working conditions that gave birth to many folk tales and folk heroes that have held firm, keeping the lumberjack a topic of popular culture that has endured for over a century. Through examining a historical painting and sketch inspired by the popular French-Canadian folktale La Chasse Galerie, present-day people can better understand the different historical influences, such as religion and ethnicity, that helped create folklore and ideas of masculinity within the timber trade in the Ottawa Valley. In addition, the masculinity that logging folk heroes and folk tales embody can help illustrate trends in modern resource extraction industries.
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Mykytenko, Oksana. "My Small Apple Has Rolled Away: Poetic Peculiarities of Funeral Laments for Children in Ukrainian and South Slavic Folklore Traditions." Tautosakos darbai 59 (June 2, 2020): 85–99. http://dx.doi.org/10.51554/td.2020.28368.
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Traditional notions about death at a young age shape the special character of funeral rituals for children and are reflected in associated funeral lamentations. These funerals are generally subject to the most mournful sympathy and sincere grieving owing to the emotional basis of the texts. At the same time, it was not common to mourn after the death of a baby or the first child. It is evident that there is a tendency to enhance the social status and the age of the dead child through ritual, e.g. by using specific vestments. The motif of the death-wedding seems to be the most relevant in this cycle. We also examine the traditional opposition of male / female children (especially evident in the South Slavic folklore tradition), reflected on the lexical level. The poetic style of the text is based mainly on two artistic “codes” – vegetal symbolism (metaphors of withering etc.) and zoological symbolism. The stylistics and composition found in these mourning rituals are characteristic of improvised folklore texts.
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Bragina, Natalia, and Vladislav Stepanov. "PHILOSOPHICAL INTERPRETATION OF SYMBOLISM OF ČIURLIONIS’ PAINTINGS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 360–71. http://dx.doi.org/10.17770/sie2018vol1.3196.
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The art of M.-K. Čiurlionis is unique and at the same time emblematic of the culture of the art nouveau period. A deep connection of his art to Lithuanian folklore was combined with his fascination with European philosophical trends of the turn of the 19th - 20th centuries. The aim of this article is to identify the cross-cutting themes (leitmotifs) in the artist’s works and, with the help of this, to reveal the philosophical basis of his works. The methods of research are the study and analysis of both individual Čiurlionis’ paintings and his artistic production in general, as well as the analysis of the literature devoted to his works. As the result, two groups of leitmotifs were identified in the Čiurlionis’ paintings: a) figurative themes; and b) non-figurative themes (up to complete abstraction). Analysis of the meanings of these themes and of their influence on the content of the paintings shows that concrete figurative images (themes of kings, bird, hand, and castle) are associated with Lithuanian folklore. Semi-abstract and abstract images (chaos, glance, gesture, and beauty) reveal the connection between the art of Čiurlionis and European philosophy, from Plato's ideas to Nietzscheism and mystic-visionary movements of the early 20th century. Revealing the philosophical basis of his paintings makes it possible to simultaneously review the artist’s entire work in the context of culture of art nouveau, understand this culture more deeply, and thus get a better understanding of some important phenomena of our time.
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Shrivastava, Garima. "Bijji’s Tale from Duvidha to Paheli: Journey of a Folklore." Journal of Communication and Management 2, no. 01 (March 18, 2023): 19–22. http://dx.doi.org/10.58966/jcm2023213.
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Padam Shree Vijaydan Detha, popularly known as ‘Bijji’ is a renowned Rajasthani folklore writer, and Rajasthan is the land of colors of folklores, art, and cultural tradition. Every particle of sand tells a story of romance, bravery, and sacrifice. ‘Bijji’ has given voice to this golden sand singing in silence. ‘Duvidha’ is a story of a woman’s respect, loneliness, and desires. When a sensitive film-maker ‘Mani Kaul,’ one of the flag bearers of Indian parallel cinema, translates the story on celluloid, the story becomes a cinematic treat decorated with symbolism. Kaul’s camera reveals the layers of a woman’s heart. Thirty-two years after ‘Duvidha’ was presented on screen, ‘Bijji’ echoed again in the heart of another film-maker Amol Palekar. ‘Paheli’ is a millennial version of ‘Duvidha’ trying to comprehend a woman’s pain in a patriarchal system to a newer generation.
This paper explores the journey of folklore, from a mystic world of words to the audio-visual expressions of an art form cinema to commercial value-added expressions. The analysis is based on socio-cultura
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Monraev, Mikhail U., and Alexander B. Lidzhiev. "Символика птиц у калмыков." Desertum Magnum: studia historica Великая степь: исторические исследования, no. 2 (December 30, 2020): 78–86. http://dx.doi.org/10.22162/2712-8431-2020-10-2-78-86.
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The article describes the symbolic meaning of the image of some bird species existing in the Kalmyk traditional perception. As a rule, different species of birds in the culture of a nation have their own symbolic meaning that can have both positive and negative connotation. The article analyzes the role of messengers referred to different species of birds. The article points out the link of the bird symbolism with totemism and in particular with the selection of this or other species of birds for totems of different ethnic groups. There was a comparative analysis of the bird symbolism among different nations. The study is of great importance as there is a need for revealing the main characteristics of bird image symbols which are as ancient as any other symbols existing in the life of people. The article analyzes the ornithonyms of the Kalmyk language from the ethno-linguistic point of view. Ornithonyms are widely represented in the folklore of Kalmyks and other Mongolian nations: in the fairy tales, proverbs, sayings and other folklore genres.
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Gura, Aleksandr. "Water and Fire in the Slavonic Symbolism of Dreams and the Symbolic Language of Culture." Antropologicheskij forum 19, no. 56 (2023): 25–61. http://dx.doi.org/10.31250/1815-8870-2023-19-56-25-61.
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The analysis of oral folk interpretations of dreams and dream books lets us determine the range of symbolic meanings for each of the two elements—fire and water. This range represents a semantic paradigmatic structure—an area with a certain symbolism. In a certain sense it resembles what is called a lexical nest or a semantic field in linguistics. The interaction between the symbolism of fire and the symbolism of water is in their partial imposing on each other and is distributed crosswise: dreams about water can get fiery symbolism and vice versa, the three varieties of earthly, heavenly and human symbolism. For example, swamp may be dreamt of to tears and sunny weather; fish to tears, rain and fever; the sun to rain, clear weather and fire; flames and fire to rain and sunny weather. The balance of water and fire symbolism, their mutual influence (its interaction with the symbolism of cold/hot) up to their unification, mixture, and neutralization is widely represented in a language and culture—in folklore texts, ritual and magical actions and beliefs, in an author’s poetry, literature, fine arts and psychoanalysis. The mechanisms of such symbolic correlation and interaction are constantly reproduced. All this makes it possible to reveal universal cultural senses and highlight the peculiarities of the structure of the symbolic language of culture.
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Sadokova, Anastasiya Ryurikovna. "Folkloric Conceptions of Happiness in the Far Eastern Countries and Mouse Symbolism in the Japanese Folklore." Filologičeskie nauki. Voprosy teorii i praktiki, no. 9 (September 2020): 102–6. http://dx.doi.org/10.30853/filnauki.2020.9.19.
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Ilimbetova, Azaliya Fattakhovna. "Sheep (ram) symbolism in folklore, rituals and customs of the Bashkirs." Samara Journal of Science 10, no. 4 (December 1, 2021): 235–41. http://dx.doi.org/10.17816/snv2021104217.
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The paper analyzes the remnants of the sheep (ram) cult among the Bashkirs, which was one of the revered animals in their religious and mystical views. The consecration of the sheep (ram) by the ancient Bashkirs is based on the remnants of the totemic way of primitive people thinking about the identity, unity and blood relationship of man and the sheep (ram). Their vestiges are manifested in fairytale folklore, folk games, tribal ethnonymy and anthroponyms of the Bashkirs. The existence in the oral stories of the Bashkirs of a character a king with rams horns shows that the ancient Bashkirs revered as their first ancestor a mythical creature in the guise of a half-man-half-ram. In the role of the totemic ancestor the sheep (ram) in Bashkir folk art and beliefs acts as a patron, guide, savior, benefactor and healer of people, a guardian of life, a soothsayer and predeterminer of their destinies, an escort of the souls of the dead to paradise, symbolizes fertility, prosperity, prosperity and happiness. In some elements of the traditional Bashkir wedding and the sacrifice of a ram, a superstitious attitude towards the skull and links of the cervical vertebra of a sheep (ram), traces of the ancient holidays of the sheep (ram) with rituals of totemic taboo, collective communion with meat and blood, magical resurrection and reproduction of a totem animal are visible. In Bashkir legends, riddles and vocabulary, the evolutionary paths of ideas about the totemic ancestor of the sheep (ram) are traced, as well as the formation on their basis of views about sheep (rams) supernatural divine beings, personifications of stars, attributes and companions of the gods.
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Lee, Kyung Hee. "A Study on the Symbolism of Vocabulary in the Altai Folklore." Institute for Russian and Altaic Studies Chungbuk University 26 (February 28, 2023): 243–64. http://dx.doi.org/10.24958/rh.2023.26.243.
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The purpose of this study is to analyze the characteristics of Altai tales and the symbolic meanings of words in Altai tales. Altai refers to the Altai Republic in the Russian Federation, located in South Siberia. Altaians - the common name of a kind of historically formed union of six autochthonous Turkic-speaking ethnic groups. Altai folklore is the traditional beliefs, customs, and stories of a community, passed through the generations by word of mouth Altai people. Altai folk tales are life stories that reflect the traditions, belief systems, religions, and cosmic views of the peoples who have lived around the Altai Mountains since ancient times. Altai folk tales have similar themes or modified contents found in other regions and peoples, but reflect the uniqueness of the Altai peoples and culture. In Altai folktale texts, color words that symbolically express the main character and surrounding objects, as well as names of people and numbers using color words, are found. These vocabularies are linearly combined with other vocabularies and function as text components unique to narrative texts.
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Gura, Alexander V. "Linguistic Harmony as a Means of Symbolization in Folklore and Poetic Texts." Slovene 10, no. 1 (2021): 322–46. http://dx.doi.org/10.31168/2305-6754.2021.10.1.14.
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The article discusses the use of linguistic harmony in traditional culture as a means of symbolisation. In folklore texts, the phonetic similarity of the words heightens the semantic connections between them. This happens when homonyms, paronyms, and other similar-sounding words in the text along with anagrammatic coding of the meaning of the text (for example, riddles) merge, combining two words in one hybrid word paronymous with both of them; by means of phonetic strengthening, complex sound compilation of the text as a whole, as frequently seen in poetry, etc. Symbolic correlations based on verbal consonances usually occur in spells, conjurations, dream interpretations, superstitions, and rituals that have a magical function (prognostic, healing, etc.). In archaic elements of the poetry, the harmony of the words combines an aesthetic function with a magical one (merging more and more with the aesthetic one over time), which allows us to talk about their true syncretism and the magical origins of poetry. Sound and logical-conceptual methods of symbolisation often interact with each other. The symbolism generated by the harmony of words fits into a wide cultural context, revealing deep-semantic cultural parallels from different eras and communities, since the supraindividual memory operating in culture is able to store and bring to life the accumulated connotations. Symbolism arising from the consonances of words has the property of reviving the etymological memory of a word in cultural contexts. In some archaic Slavic zones, symbolism, based on consonant words, still retains its productivity. In the symbolic language of the culture, it also performs a structuring function, takes part in the formation of connections and relationships between the single elements of the traditional picture of the world setting up certain parameters for it, for example, it forms parallels in folk zoology in animal and bird codes, isolating single groups of characters.
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Dimitriu, Carmen. "Simbolismul solstițiului de vară. Lecturi comparative, Iosefina Blazsani-Batto." Swedish Journal of Romanian Studies 6, no. 1 (May 15, 2023): 376–78. http://dx.doi.org/10.35824/sjrs.v6i1.24985.
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In the book Symbolism of the Summer Solstice: Comparative Readings, Iosefina Blazsani-Batto approaches, through a comparative perspective, a theme with wide resonances in Romanian folkloric mythology, but also in the universal one, taken up by many historians of religions, exegetes and, last but not least, writers. The wide area of research reflects the author's desire to document as well as possible the scholarly approach to the theme and to give secondary importance to field sources, as well as to imaginative elaborations of them. The research, especially through its various hermeneutic possibilities, is a meritorious achievement which, complemented by the author's constant preoccupation with this field, offers a textually illustrated field of analysis of the subject, both in terms of theory (ethnography) and folklore and literature.
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Kuchko, Valeria S. "Жемчуг in Russian Folklore." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 3 (2022): 118–38. http://dx.doi.org/10.15826/izv2.2022.24.3.048.
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Pearls are some of the most frequently encountered gems in Russian folklore. This reflects their importance for Russian culture, where from the sixteenth and seventeenth centuries and up to the nineteenth century, they were among its symbols. Pearls were not only gems representing the highest strata of society and the highest clergy. They were relatively easily accessible to the common people, and even to the peasantry, especially in the Russian North, the territory of their extraction in Russia (the poor peasantry used imitations). The rootedness and high value of pearls in folk life contributed to the fact that words from the word-formation family жемчуг can be found in almost all genres of Russian folklore. This article aims to give a general idea of the relevance of the image of pearls in the texts of Russian folklore. The objectives of the article are also to highlight the genre breadth within which this image functions; to mention the themes and motifs in which there are references to pearls; to reveal the symbolism of pearls in folklore texts; to note the textual partners that most often accompany the appearance of pearls in folklore. The article mostly refers to Songs Collected by P. N. Rybnikov; collections of lamentations by E. V. Barsov and B. B. Efimenkova; collection of fairy tales by A. N. Afanasyev; song collection by A. I. Sobolevsky and some other collections of local and all-Russian folklore.
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Gura, Aleksandr. "The symbolism of cat in the Slavic folk tradition." Slavic Almanac, no. 1-2 (2019): 335–70. http://dx.doi.org/10.31168/2073-5731.2019.1-2.5.01.
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In the Slavic folk tradition, the cat has ambiguous symbolism and demonic functions. It correlates with the dog, being combined with it by some features and opposed by other (when perceived as pure or impure). The cat and the dog constitute a symbolical parallel to a pair of wild animals - the bear and the wolf. Cat appearance marks other characters of the folk demonology: the devil, “zmora”, the death, the vampire. In the folk zoology, the cat together with some other fur animals (the squirrel, the fox etc.) is to some extent ranked as a mustelid with a specific complex of ideas they represent. What brings the cat together with them is first of all the female and erotic symbolism (its connection to a maiden, a bride in the folklore, the cat name for female genitals), the motif of weaving, and the functions of a patron of the house and the cattle ( domovoy turning into a cat, the choice of cattle coat cover according to the color of the cat etc.) Some ideas bring the cat together with the hare (cf. the Polish kot ‘hare’, the Serbian belief that the hare originates from the cat, their beneficial influence on the sleeping). The cat is used in the folk magic and medicine: to get an enriching spirit, to be used in case of cattle death, to treat tuberculosis. The image of cat is attested in many folklore genres, in proverbs, in riddles, folktales, games, etc. The cat’s behavior is connected to an enormous number of everyday life and meteorological superstitions, it is often used as an offer in the bargaining between the humans and the world of spirits.
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Garunova, Saida Magomedkhanovna, Robert Chenciner, and Magomedhan M. Magomedhanov. "COLOUR AND SYMBOLISM IN DAGHESTAN FOLKLORE LITERATURE AND CARPETS - A FRESH LOOK." History, Archeology and Ethnography of the Caucasus 14, no. 3 (December 15, 2018): 109–26. http://dx.doi.org/10.32653/ch143109-126.
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In the present article, we study more issues of color semantics and symbols. Our research is based on the analysis of mainly Daghestani folklore and ethnographic materials and colour characteristics of traditional textiles, including carpets. We examined two methods of gathering evidence about associations of colours in the minds of people. The first is to use some kind of psychological tests. The second is to use ideas incorporated in folklore and folk litera- ture, as handed down through generations of narrators and listeners. During this process, successive narrators have unconsciously filtered the material to ensure its relevance to their audience. This is clearly an indirect meth- od: nobody actually answers the questions from today’s experimenter, so any colour associations must be inferred from the context. Colours in oral tradition were considered, not in isolation, but rather in contrasting pairs or in sequences. It was found that a specific colour could have different associations in different conditions, and that generally the associations were more abstract than concrete. In surviving woolen rugs and felts and silk embroideries, colours appear to be linked with availability of dyes or decorative preferences rather than symbolism.
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Sherwood, Amy. "An Bó Bheannaithe: Cattle Symbolism in Traditional Irish Folklore, Myth, and Archaeology." McNair Scholars Online Journal 3, no. 1 (2009): 189–225. http://dx.doi.org/10.15760/mcnair.2009.189.
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Onyango, Bethwell O., and Ekisa Olaimer-Anyara. "The Value of Leafy Vegetables: An Exploration of African Folklore." African Journal of Food, Agriculture, Nutrition and Development 7, no. 14 (May 28, 2007): 01–13. http://dx.doi.org/10.18697/ajfand.14.ipgri1-10.
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Indigenous Leafy Vegetables foods have an exceptional place in African cuisine. It is commonly argued that vegetable consumption reflects cultural backgrounds and their value transcends a biological one, as food, to symbolism enhancing the functioning of society and promoting social order. This study set to determine species use, folkloric dimensions and taste preferences in a rural East African setting. A bio-cultural approach reinforced by ethno-botanical tools conducted over a three-year period and recourse to a corpus of Luo ethnic food plant literature and gathering of folklore elements from a conversational context was used to study socio-cultural elements of vegetables foods of people in Migori and Suba districts of Kenya. Seventy-four respondents, 56 female and 18 males, of mean age 43years and ranging between 16 and 84 years participated in focus group discussions and research interviews. Herbarium specimens of 34 leafy edible plant species in seventeen plant families are deposited at the University of Nairobi and the Catholic University of Eastern Africa herbaria. This study documents 17 sayings (folkloristic products) of different genre: mantras, traditional beliefs, customs, practices, folk stories/ tales, songs, jokes and lexical phrases. Their sociolinguistic analysis reveals they address issues appropriate to Luo ritual, social status, nutrition, taste preferences, cooking habits and conflict resolution. Though Luo folklore indicates aversion for bitter vegetables, the body of folkloric wisdom sustains vegetable dish consumption. The preference and craving for bitter tasting herbs by elder women was because of an understanding of both food and medicinal values. This paper concludes that vegetable consumption reflects cultural backgrounds and experiences. Folklore defines how Africans perceive, define, and value indigenous Leafy Vegetables in their own terms and presents a stable platform for cultural analysis of oral food culture. Indigenous Leafy Vegetables are symbolic "sources of illumination" that orient African people persistently with the system of meaning in their culture.
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Koval, Vladimir I. "Symbol of Mouse in Slavonic and Chinese Linguocultures." RUDN Journal of Language Studies, Semiotics and Semantics 11, no. 2 (December 15, 2020): 250–64. http://dx.doi.org/10.22363/2313-2299-2020-11-2-250-264.
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The article describes in comparative aspect the main symbolic meanings of the zoononym mouse in Slavic and Chinese linguocultures. The study of animal symbolism in Russian (wider - Slavic) and Chinese cultural traditions is one of the current trends in modern linguistics, which, on the one hand, has a pronounced anthropocentric orientation, and on the other, is characterized by a noticeable increase in interest in the Chinese language and culture of China in different countries of the world. Turning to the study of complex and ambiguous symbolism of the mouse is quite timely and taking into account the confinement of 2020 to the year of the White Rat / Mouse. The purpose of the study is to identify similar and specific for each culture features of perception and characteristics of the mouse as an animal, which has a significant impact on everyday life. The tasks of the work include identifying the sources of the appearance of a negatively connotated mouse image in culture, determining the ambivalent nature of rituals, customs and ritual actions, the object of which are mice, as well as revealing the contents of the “Mouse Wedding” custom in Chinese and South Slavic traditions. The analysis of the actual material (stable phrases, folklore texts, ethnocultural records, traditional drawings) showed, on the one hand, the mostly negative symbolism of the mouse in the Slavic spiritual culture, and on the other, the perception of the mouse as an animal, bringing material wealth and prosperity, in the traditional picture of the world the Chinese. At the same time, it was established that both the Slavs and the Chinese use a number of magic tricks aimed at fighting mice that cause considerable damage to the peasant economy. Significant for the linguoculturological analysis of the mouse image is the appeal to oriental folklore texts, as well as to traditional popular prints of Chinese and Russians, reflecting differently the symbolism of mice and their relation to the main enemy - the cat.
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Liana, KHAGOZHEEVA. "Symbolism of numbers in the Circassian epic: one and two." Epic studies 4, no. 32 (December 28, 2023): 108–18. http://dx.doi.org/10.25587/2782-4861-2023-4-108-118.
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The article analyzes the nature of reflecting the symbolism of the number one and two in the poetics of historical and heroic epic. It is proved that they contain deep mythological roots, are the carrier of folk consciousness and mentality of ethnos, and have a clear reflection in the Adyghe folklore. To reveal the artistic forms of manifestation of these numbers on the material of historical and heroic songs and legends was the purpose of our work. To achieve the goal the following tasks were set: to analyze the texts of historical-heroic epic; to study the symbolism of the number “one” and “two” in its aesthetic plan; to trace the specificity of representation of the sacral basis of these numbers. The ideas of the Pythagorean philosophical doctrine of numbers were taken into account in the work. We support the theory of division of even and odd numbers, and attributing the former to the female sex, i. e. negative, and the latter to the male sex, i. e. positive. The study of the nature of artistic reflection of number symbolism in historical and heroic epic is important for the comprehensive study of folklore. This is the relevance of the chosen topic. The work is carried out using the structural-comparative method. The theoretical basis of the study was the works of domestic authors devoted to the study of the symbolism of numbers of the Adyghe cultural tradition. The main ideas of Z. Zh. Kudaeva and M. R. Hezheva are outlined and applied. The practical significance of the work consists in the fact that its results can be useful for specialists in the field of folkloristics, as well as for the circle of readers interested in folk traditional culture. The result of the work done is that number symbols turn out to be one of the ways of expressing moral ethnic consciousness. In the epic they are understood as means of artistic expression.
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Ivanytskyi, Anatolii. "Sacred Foundations of Folk Song Art." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (June 6, 2022): 14–23. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258134.
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The purpose of the research is to determine the influence on the spontaneous and creative formation of song symbolism (in particular, musical-typological), which took place through instincts. The research methodology uses scientific methods to emphasise that folklore is an extremely complex and much more difficult system to be systematized than literature and music. Therefore, the criteria of genre classification of written works to folklore can be used in part, aware of their conditionality. In folklore, which is the bearer of the pre-written experience of mankind, in addition to mental formative and aesthetic achievements, biological instincts are also reflected. Instincts influenced the intuitive and creative formation of song symbolism (in particular, musical and typological). The scientific novelty of the research is that it emphasizes the folklore to be a legacy of the Neolithic worldview (phenomena: magical, religious, organizational and social, legal – like a wedding). For several thousand years under the influence of historical circumstances, and then Christianity in the Neolithic and folklore heritage has undergone significant distortions. The most significant changes have affected the vocabulary of lyrics and melodies of songs: they are the least stable components of the song in the race of time. Much less time affected the rites, beliefs and especially musical forms of songs. The rhythmic structure of musical forms has been preserved the most, as well as the compositional structure of song texts, which is always organically combined with musical rhythmics. Conclusions. The stability of ritual actions over the millennia, which is inherent in all religions (and paganism as well), is due primarily to the influence of sacredness. But sacredness does not affect the mind, but the senses. In order to assert it, the magic of the cycle of the agricultural year and the linear movement of human life (from the cradle to the grave) was worked out. To consolidate in the minds of the genus (tribe) through magic the laws of the annual agrarian cycle, the Magi-priests intuitively developed a perfect musical system of cognitive signs: winter, spring, and summer. The same applies to family rites. In fact, ritual melodies have clearly defined rhythmic structures that are associated with a certain time of year, with family events.
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Diehl, A. V., and A. A. Butina. "Folklore origins of allegorical symbolism in the poem “Luceafărul” by M. Eminescu: linguocultural analysis." Uchenye zapiski St. Petersburg University of Management Technologies and Economics, no. 1 (April 9, 2022): 24–28. http://dx.doi.org/10.35854/2541-8106-2022-1-24-28.
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This research is devoted to the study of the folklore tradition underlying some symbolic images in the poem “Luceafărul” by M. Eminescu. The purpose of the study is to examine a number of relevant cultural symbols and identify their associative specificity. To achieve the above-mentioned goal, a number of tasks were identified: to consider the main conceptual dominants of the literary world of M. Eminescu; to identify the most significant symbolic images of the poem from the linguocultural point of view and establish the specificity of their origin; to consider various options for linguocultural interpretation of the main artistic images of the poem. As a result of the conducted research, we come to the conclusion that the storyline of the poem was created under the influence of both the European cultural tradition and the folklore tradition of the Romanian people. The poem is replete with symbolic images that reveal the allegorical, dual nature of the characters and reflect the specifics of the philosophy and vision of the world of the author himself.
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Calaza-Martínez, Pedro, Nuria Freire-González, and Camilo Blanco-Pampín. "Sacred Landscapes in Galicia: Small Religious Architecture and Symbolism." Acta Horticulturae et Regiotecturae 22, no. 1 (May 1, 2019): 8–13. http://dx.doi.org/10.2478/ahr-2019-0002.
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Abstract Cultural landscapes are multi-layered entities that constantly endure changes and transformations, especially in Europe due to its ancient history and anthropized nature, which reveals itself not only in physical elements, but also through immaterial heritage. This paper aims to analyse the connection between sacred landscapes, small religious architecture and folklore, focusing on the origin and transformations of several places in Galicia (northwest of Spain). Galicia is defined by its rich flora and fauna, a management of its land based on smallholding and the social idiosyncrasy of its people, defined by strong symbolism and the religious tradition that is reflected in a great amount of small sacred architecture. All this provide a paradigmatic territory for this research, allowing an approach to the case studies from the point of view of landscape architecture, assessing the small sacred architecture elements, their background, symbolism and associated vegetation. It is worth mentioning that, although vegetation had a very strong meaning and symbolism in the sacred history of Galicia, nowadays it only appears in 26% of the analysed case studies.
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Dudareva, Marianna, and Vlada Nikitina. "Color Designation in V.V. Mayakovsky’s Poetics: “Red” and “Yellow” (mythological implication)." SHS Web of Conferences 55 (2018): 04004. http://dx.doi.org/10.1051/shsconf/20185504004.
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The article deals with semantics of “red” and “yellow” color in V.V. Mayakovsky’s poetics. A lot has been written about “red” color; this color is associated with the revolutionary ideas and symbols, and it is often used in Mayakovsky’s early works. However, “yellow” color is used along with “red” one and, in our opinion, it has more complicated semantics. This color is important for the poet himself and his creative life (Mayakovsky’s yellow blouse), and for his early poems where we see the clothing elements of this color. According to folkloric ideas, it is the very color which is ambivalent; it correlates with the sun and a new life, and is attributed to mourning ritual symbolism. Folklore commentary to some details in the poems “A Cloud in Trousers”, “A Man” and “Fifth International” allows us better understanding the poet’s figurative and metaphorical system.
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Mamatov, Gleb. "The Image of Sea Maid in the Poetry of K.D. Balmont." Philology & Human, no. 1 (February 27, 2022): 140–48. http://dx.doi.org/10.14258/filichel(2022)1-11.
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The article is a complex case study of 23 poems presenting the image of the sea maid in lyric poetry of K.D. Balmont. The following conclusions has been made in the course of the works: the image of the sea maid tends to be frequent in love and erotic lyrics and is linked with decadence motives; many texts are permeated with characters of Slavic folklore, besides, it is important that some poems are poetical ‘renditions’ of famous epic songs and legends from Russian, Polish and Lithuanian folklore. Still most of the poems with folklore symbolism answer aesthetic views of the poet himself and are linked to his solar cult and his understanding of the sun as a universal creative principle, and to Balmont’s conception of beauty and harmony as a synthesis of opposed nature elements. The image of the sea maid is multifaceted in Balmont’s poetry, its development expresses the evolution of author’s worldview from typical decadence erotic and mortal motives aesthetic understanding of the nature of beauty and integrity of the world.
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Seferova, Fera. "The role of folklore within the worldview and creative individuality of the Crimean Tatar children's writers." Филология: научные исследования, no. 8 (August 2021): 35–47. http://dx.doi.org/10.7256/2454-0749.2021.8.36119.
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The study of interrelation between folklore and literature is one of the most relevant trends in literary studies. Folk poetic symbols as the genetic memory of the nation infiltrate consciousness not only as artistic material, but also as a emotions that awaken the writer’s imagination, giving rise to various associations. The subject of this research is the creative activity of folklore is in the works of the Crimean Tatar children's writers. Examination of the folklore-mythological context, determination of the peculiarities of transformation of folklore motifs in a literary reveals the creative laboratory, allowing determining the specificities of personal reflection of the writer, as well as tracing the psychological patterns of the creative process, and the evolution of artistic thinking overall. The scientific novelty is defined by the absence within Russian literary studies of monographic and significant critical works on determination of the folklore-mythological context, transformation, functionality, and interpretation of folklore elements in works of the writers. The conclusion is made that folklore as part of the culture of a particular nation, is an organic element of the artistic world of the Crimean Tatar writers, such as E. Amit and T. Khalilov. The novel by E. Amit presents the new comprehension of myths, paroemias, and legends. An example of interaction of the mythological views and modern perspective in the novel “Last Chance” is the folk legend on the “happy and unhappy stars”. It also encompasses such ancient forms of folklore as cursing and benevolence, as well as the elements that take roots in the ancient taboos, the period of totemism. In the psychological prose by T. Khalilov, an important role is played by the symbolism of birds and plants. The ancient legend of the winged horse Duldul organically intertwines with the author's creative idea without losing its specificity.
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Ovchinnikova, Alexandra, Tatiana Sherstyuk, Tatiana Solovyeva, and Irina Vitkovskaya. "THE FORMATION OF THE AESTHETIC ATTITUDE OF JUNIOR SCHOOLCHILDREN TO FOLKLORE MEANS THE INTEGRATION OF THE ARTS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 28, 2021): 444–56. http://dx.doi.org/10.17770/sie2021vol2.6420.
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The need to form the artistic and aesthetic attitude of children to folklore and to cultivate a love of popular culture actualizes the topic of the article.The purpose of the article is a theoretical justification for the possibility of integrating the arts as a means of forming the aesthetic attitude of junior schoolchildren to folklore; the development of a diagnostic apparatus (criteria, diagnostic techniques and levels) of the formation of the aesthetic attitude of children to folklore, the definition of the arts used in the training and their integration links.The authors propose the structure of the aesthetic attitude of children to folklore, the criteria of its formation (motives and needs of children to study folklore, imagery, verbalization, аbstraction, symbolism, metophorization describe the results of empirical research of the original level, the exact knowledge of which will contribute to an effective change in the aesthetic attitude of junior schoolchildren to folklore.The study is based on an analysis of philosophical and psychological-educational sources; empirical methods (pedagogical experiment, questionnaire, testing) and Methods of diagnosis of figurative and verbal development рersonality theory.The article provides examples of the judgments of junior schoolchildren, which led to the conclusion that, that children of experimental (EG) and control groups (KG) in general, show interest in the integration of arts and are at an average (61.5% EG, and 69.2% -KG) (23.1% - EG and 19.2% (KG) or low levels of the formation of aesthetic attitude to folklore. The findings suggest that further work is needed to develop this phenomenon.
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Szelid, Veronika. "Poetic and visual metaphors in Hungarian folklore." Cognitive Linguistic Studies 7, no. 1 (August 19, 2020): 111–40. http://dx.doi.org/10.1075/cogls.00051.sze.
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Abstract In this paper I have a twofold aim: (1) to reveal the complexity of the concept of love in Hungarian folklore by analyzing a number of its linguistic (oral-verbal) and visual representations side by side; and (2) to decipher these two modes of expression in light of each other, with the help of Conceptual Metaphor Theory. The reason for doing so is that folkloric artefacts and folk poetry are two different self-expressional modes of a community; therefore, if their symbolism represents certain aspects of the same concept, it enables us to get a more complex view on the concept itself, as well as to explore and compare the different modes the messages are conveyed by. Texts of folk songs and the patterns, structure and functions of the hope chest, an artefact that played an essential role in a woman’s life in Hungarian folklore, are analyzed in line with each other. I propose that the model of love revealed by folk poetry and folk art is thoroughly intertwined with the concepts of morality, marriage and life, reflecting an optimistic view of the world that extends the bounderies of this earthly life. Furthermore, I argue that both the linguistic and visual representations under scrutiny are manifestations of a coordinating view of the world, which is present in the form of both coordinated source and coordinated target representations. The conceptual disparity between the two modes lies mainly in the static nature of folk art and the dynamicity of language, but the creativity of the studied community seems to surmount this issue by imparting ornaments with a functional value.
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Zavarynska, I. F., and I. M. Nestajko. "The meaning of biblical elements in the composition of Slavic phraseological units." Bulletin of Luhansk Taras Shevchenko National University, no. 7 (345) (2021): 16–23. http://dx.doi.org/10.12958/2227-2844-2021-7(345)-16-23.
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The article considers the specifics of the semantics of the meaning of biblical elements in the composition of Slavic phraseological units, the etymology of which is based on the ideas of the Old and New Testaments is reflected in the symbolism, which is embedded in the knowledge of Christianity, in the plots of biblical texts, oral folklore and it is a precedent for a particular linguistic culture. In associative onims-components of phraseological units, motivation is expressed indirectly, with the help of different types (axiological, symbolic) associations without direct naming of the motivational feature. Symbolism can be said if a certain biblical name has the same connotation in at least several phraseological contexts. The study of language units with biblical components in the linguistic and cultural aspect involves solving a primary task – a comparative analysis of precedent information of Slavic biblical phraseology and the study of their anthropocentric and anthropometric imagery.
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Petr K., Chekalov, and Borokova Liliya A. "Abaza fairy tale prose in the context of world folklore traditions." Kavkazologiya 2023, no. 1 (March 30, 2023): 276–92. http://dx.doi.org/10.31143/2542-212x-2023-1-276-292.
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The article handles the typological convergence of Abaza folk tales with Udmurt, Karelian, Tibet-an, Burmese, Vietnamese, Korean, Khmer, Mongolian folklore works. In the analysis, the main attention is paid to the comparison of storylines, figurative system. Also, there are separate reflec-tions of numerical symbolism, object images that set off the national color, features of the ethnic worldview, moral values reflected in fairy-tale prose. Other motives and details related to the cul-tural specifics of a particular folk are also revealed. The studied material leads to the conclusion that the differences in fairy tales most often relate to the figurative system. But, peoples living in different parts of the world have similar plots, themes, problems, conflicts, life situations, moral guidelines.
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Minaeva, Oksana. "Iconography of Power of the Pagan Bulgarian Ruler: Images, Symbolism and Tradition." Hiperboreea 4, no. 2 (December 1, 2017): 5–52. http://dx.doi.org/10.5325/hiperboreea.4.2.0005.
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Abstract The ideas of ruler's power of the pagan Bulgarians and their expression are a question of debates concerning different fields of humanities such as history, archaeology, epigraphy, religious studies, and art history. The discussion proposed tends to seek the ideological basis of the ruler's power as seen through cosmogonic, religious and political notions preserved in written historical sources, traces of rites and beliefs in mythology and folklore and in the arts. Thus, the three levels of the ruler's ideology are considered: the written/verbal texts, ritual texts and visual texts in order to find out a set of iconographie formulae of expressing the power of the pagan Bulgarian ruler.
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Stundžienė, Bronė. "Lithuanian Cultural Landscape in Folklore from the Perspective of Values." Vilnius University Open Series, no. 5 (December 4, 2020): 81–101. http://dx.doi.org/10.15388/vllp.2020.5.
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In the article, the contemporary human being’s search for values is primarily linked to the folkloristic reflection of Lithuanian cultural landscape. Following the framework of hermeneutics and based on the folkloristic symbolism of landscape in Lithuanian folklore (mainly in the oldest layer of folk songs), the manifestations of a long-lasting solidarity between community and nature are discussed. The focus has been placed on the small community – the family and its immediate relationship with the surrounding nature. In the introductory part of the article, the notion of ritualism is discussed which is based on the universally acknowledged concept of the rites of passage (les rites de passage). Within the context of this concept, the depiction of the public events of family life (the rituals of marriage and death) constituted a solid premise for the investigation of the so-called common places (loci communes) in Lithuanian folk poetry, which in this regard are usually represented by landscape-related narrative segments and symbolism. Folkloristic interpretations of the prominent elements of Lithuanian landscape (trees, water, stones) have been selected for the investigation. The introduction also reveals the importance of a family over an individual in the exploration of a human being’s relationship with the surrounding nature. The first part of the article ‘The Reflections of Anthropomorphic Reception of Trees’ asserts that in the folk songs marked by archaic stylistics, the poetic narrative of trees contains abundant mythopoetic allusions to the constant identification of a human being (usually, a family member) with a tree, as well as other metamorphoses and motifs which attest their mutual dependence. This poetic tradition influences the poetry created by individual authors to this day. The article briefly introduces the meaning of a tree in the world of ancient Lithuanian beliefs and customs and notices the major changes in the purpose of the image of a tree in the late tradition of romances. The second part of the article analyses the long-term trajectories of mythopoetic depiction of water and stones in folklore. It is well known that any traditional culture has accumulated a wide range of meanings which pertain to different forms of water and connote rebirth, renewal, as well as fertility and life. Therefore when the article emphasizes the tropes of being near water, drowning in watery depths, which through the lens of myth and ritual embody the act of love (marriage) in Lithuanian singing folklore, it should be noted that this variation of meaning found in Lithuanian folklore constitutes an organic part of the whole of international aquatic symbolism. The mythicised story of a live stone as reflected in folklore could be partially associated with the folkloristic reception of trees and water. Animation of a stone is revealed through the attribution of the qualities of a live being to a stone (in the legends, they move, communicate with each other, live in families). Contrarily, the lifelessness (immobile state) of a stone is mythicised in cases where people who deviate from moral laws are turned into stones. The mythologem of a stone as the landmark signifying the boundary between this and the other world, as well as the association of stones with sacrality and sacred places visited by deities, is widespread. It is ascertained that the narrative of the sacrality of stones did not cease in the period of Christianity.Therefore, the landscape approach applied in this study provided a possibility to observe how, in folklore, the meanings of different components of landscape organically combine into a cohesive union which operates on the principles of synergy. A conclusion may be drawn that folklore unequivocally asserts the idea of a continuous coexistence of a human being and nature and exalts the perception of nature as an essential spiritual value.
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Kolesnyk, Natalija. "Назви релігійних свят як невід’ємний складник української народнопісенної онімії." Studia Ucrainica Varsoviensia 6 (April 20, 2018): 111–28. http://dx.doi.org/10.5604/01.3001.0011.7876.
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The article is one of the series of author’s publications dedicated to sacral space in Ukrainian song folklore. An analysis of names of religious holidays used in Ukrainian popular poetic creative works was carried out in the present paper. Despite the fact that the names are Christian onyms and a part of them is Biblical names, both semantically and structurally, another part is the names that reveal in their Christianized sound form pagan images, preserving their Pre-Christian symbolism and functional characteristics, and according to their semantic meaning, connotations quite often correlate with ancient cultural senses. The composition and inner form of folklore heortonyms (names of holidays) reveal the peculiarities of Ukrainian Christianity, which is the evidence of dualism characteristic of popular faith for over centuries. It is evident that Pre-Christian cultural tradition dominates: symbiosis of two religious paradigms in popular song onymy occured with the prevalence of pagan traditions.
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Golikova, T. A. "The main trends in the formation of the modern Russian political picture of the world." Язык и текст 6, no. 3 (2019): 43–50. http://dx.doi.org/10.17759/langt.2019060305.
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The article is devoted to the study of the processes of formation of the modern Russian political picture of the world. The latest borrowings in the field of international politics and their adaptation in Russian are analyzed. The number of contexts of use, as well as the formation of word-formative nests demonstrate the speed of change in the picture of the world, its dynamism, mobility. Appeal to the world and Soviet history and symbolism, world and Slavic folklore, national character-the main strategy of the effectiveness of the Russian political picture of the world.
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Pashalieva, Teodora, and Angelina Markova. "„MYTH – FOLKLORE – HISTORY“ – INTERDISCIPLINARY LESSON IN 5-TH GRADE." Education and Technologies Journal 12, no. 2 (August 1, 2021): 469–71. http://dx.doi.org/10.26883/2010.212.3667.
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The modern way of living, full of a lot of information and high technologies, changes the reality and places in front of the teachers more and more challenges related to the motivation for acquiring lasting knowledge and developing research skills in their students. This requires the use of various innovative methods. The lesson – „Myth – Folklore – History“ allows fifth-graders through research tasks, role-playing games and project work understand the relationship between time – calendar – faith – art, to acknowledge that the ancient people in our lands had spatial thinking and developed symbolism, on the basis of which they create rituals, arts and calendars. This is a lesson that provokes not only exploratory thinking, but also children’s imagination. It allows the human mind to begin an incredible journey through time. Students, exploring verbal creativity, ancient images and interesting facts about the caves „Kozarnika“, „Magura“, „Altamira“, „Lascaux“, comprehend the concepts of chaos, space, myth, opposition pair, folklore, time, science, history. They understand the structure of the world according to ancient people and relate it to the modern world.
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Kolesnyk, N. "The problem of entering folklore onyms into dictionaries based on Ukrainian ritual folklore." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 16, no. 28 (2023): 174–85. http://dx.doi.org/10.34079/2226-3055-2023-16-28-174-185.
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The article is a continuation of a number of author’s publications dedicated to lexicographical studies of folklore onyms. It is proved that the question of compiling a dictionary of folk proper names, which would systematically cover folk proper names, based on particular descriptive principles according to their specific features, is a current issue today. The paper dwells on the key moments of designing such lexicographical project and concrete samples of the dictionary entries are provided. The entries are based on different genres of the material found in collected works ‘Ukrainian ritual folklore of western lands: Musical anthology (Besarabia, Boikivshchyna, Bukovyna, Volyn, Halychyna, Hutsulshchyna, Zakarpattia, Lemkivshchyna, Pidliashshia, Podillia, Polissia, Pokuttia, Holmshchyna)’ compiled by A. Ivanytskyi. The main principles of compilation of similar lexicographic project were put into practice: polyaspect character; genre principle of compiling a lexicographic publication; denotative and nominative principles of collecting the material to place folklore onyms within a separate dictionary; alphabetical principle of compiling dictionary entries within the same class of onyms. The conducted analysis revealed that the implementation of the principle of polyaspectivity sets the conditions for the collection of factual material. Compiled onymy will have a complete description of the register, and regional and genre diversity. The statistical data is provided for each proper name including its variants that will enable to describe the structure of Ukrainian folklore onym space, trace its kernel and peripheral structure. The illustrations will demonstrate textual use of folklore proper names and their cultural senses. Definitions and information parts (provided if necessary) will specify the status of proper names and peculiarities of their use, will provide inherent to some folklore onyms textual and extra textual connotations, symbolism, ability to be used in semiotic oppositions, etc. Application of the principle of genre and denotative and nominative principles of classification of the material will facilitate scientists to form an objective picture of the national folk books. The compilation of an unabridged dictionary of folk proper names will provide scholars with the relevant material for comprehensive and in-depth studies of this component of national onymy and create optimal conditions for onomast’s studies of the material and types of its analysis. Key words: a folklore onym, а folklore onomastics, а dictionary of folklore onyms, a dictionary entry, lexicography.