Academic literature on the topic 'Udmurt Epic poetry'

The article looks into the poetic style of the new book of memoirs of Mikhail Atamanov “Ulon-vylon Daurkae: todevayonyos” (The World of My Life-Being: Memoirs) in the context of the development of non-fiction literature in the Udmurt literary process at the turn of the century. The focus is on the artistic features of the genre of memoirs in the works of a Finno-Ugric scholar, essayist, publicist, missionary, translator of the Bible and liturgical literature into the Udmurt language, compiler of the national epic “Tangyra”. The main theme of the memoirs is the theme of motherhood and fatherhood, the image of a small homeland, the ethnic history of the Udmurt people, the path to Christianity. For Mikhail Atamanov, the source for creating the memoirs was his studies in linguistics, ethnography and expeditions to the Udmurt ethnic groups along with his personal life experience. Special poetry to the leading images of the memoirs, the portraits of the parent home and small homeland, is created by a deep knowledge of folklore, folk traditions, the bearer of which is the author of memoirs. In addition to that, Atamanov’s book is significant for the theme of road, which is not so notable at first sight. It is associated with his life experience, personal becoming, his studies, work, spiritual and scientific growth. It is worth noting that the theme of continuity of generations, inherited memory of the public, common closeness with the ancestors is also topical in the memoirs. One of the burning issues of the book is the theme of the nation’s future. The author is overly concerned about the globalization processes in the world, he is hurt by the fact that the current generation of Udmurts doesn’t much care for keeping the Udmurt language and traditions of the nation.

The article examines the artistic and aesthetic parallels in the Mari epic “Yugorno” and the Udmurt “Tangyra” - the heroic legends of the peoples of the Finno-Ugric world. The idea is that the poetic commonality between them is a consequence of folklore and cultural typology and historical connection. The similarity of motives and plots is manifested in the pantheon, in views on the world order, in the nature of the relationship between gods and people, in the types of characters. By their poetic nature “Tangyra” and “Yugorno” occupy a place among the classical European epics, with which they are brought together by themes, socio-cultural status of heroes (cultural and social demiurges), views on the ancestors, descriptions of clashes between princes as representatives of the highest level and relations with neighboring peoples, philosophical views of the Udmurts and Mari on the past, present and future. It is about the main differences between the epics “Yugorno” and “Tangyra”, which lie in the peculiarities of plots and composition, poetics and aesthetics of works, their ethnic philosophy and social utopia.

The article discusses the artistic and aesthetic parallels in the Erzya epic “ Mastorava ” and the Udmurt epos “ Dorvyzhy ”, which are heroic epics of the peoples of the Finno-Balto-Ugric world. The idea is being made that the poetic community between them is a consequence of the folk-cultural typology, although historical ties are also not excluded. The similarity of motives and plots is manifested in the pantheon, in views on the world order, in the nature of the relationship between gods and people, types of characters. It is stated that by the poetic nature Dorvyzhy takes a place among the classic European epics, he is related to them by themes, the socio-cultural status of the heroes (cultural and social demiurges), views on the first ancestors (giant people and people of a modern type), a description of the military clashes between princes as representatives of the highest level of Udmurt statehood and relations with neighboring peoples, the philosophical views of the Udmurt people on the past, present and future. We are talking about the main differences between “ Mastoravoi ” and “ Dorvyzhy ”: they consist in the features of the plots and composition, poetics and aesthetics of works, their ethnic philosophy and social utopia. “ Mastorava ” is optimistic about the future; in “ Dorvyzhy ”, the views on tomorrow are contradictory.

Статья посвящается изучению некоторых теоретических и практических вопросов по татарскому фольклору, охватывает тему сбора образцов песенного наследия татар, проживающих в разных уголках России. Данная разновидность татарских народных песен на сегодняшний день одна из малоизученных областей в фольклористике. Хушавазы, своими корнями простирающиеся в глубь веков в истории существования музыкальной фольклорной традиции татар, и сегодня находят свое активное бытование в народной среде. Целью исследования является акцентирование внимания на хушавазах, как специфичном лиро-эпическом народно-песенном жанре выявление его характерных свойств и особенностей, как одной из составляющих лирического направления художественного творчества определение территориальных границ распространения образцов жанра среди татарского населения. В статье дается подробный разбор термина хушаваз , анализируются основные теоретические вопросы, связанные с этой разновидностью народных лирических песен. Авторы реконструируют ряд народных песен в татарском народном творчестве, вставляя в классификацию лирических песен еще одну разновидность народного песенного жанра ранее неизученных в фольклористике хушавазов выявляют место и роль татароязычных хушавазов в системе фольклорных жанров определяют их ареал распространения среди татар, описывают общие структурно-содержательные особенности текстов, акцентируют внимание на необходимость включения лучших образцов во вновь составляемые академические тома по национальному народному творчеству. Выдвигая проблему рассмотрения хушавазов в одном классификационном ряде с народными песнями как разновидность жанра, авторы опираются на сходные признаки фольклорных лирических песен и хушавазов ведут речь о характере и музыкальной форме хушавазов, о сочетании пения и сказывания, музыкального сопровождения, об особенностях и отличиях хушавазов от протяжных лирических песен народа и т. д. Эти вопросы не разработаны в татарской музыкальной и словесной фольклористике. Статья основана на материале текстов хушавазов, записанных у татароязычных информантов, проживающих в разных населенных пунктах Астраханской, Омской, Тюменской областях Российской Федерации, а также в Удмуртии и Татарстане. Опора на принципы народности и историзма, системный и комплексный подход к народной поэзии явились тем методологическим приемом, который позволил авторам взглянуть на известные фольклорные явления по-новому, проникнуть в неизведанные до этого пласты традиционной музыкальной культуры татар. Хушавазы имеют определенное место в эволюции татарской народной лирики изучение данной разновидности жанра вносит некоторый вклад в решение вопросов родственных связей между народами, дисперсно проживающими в разных уголках России и за ее пределами. The article is devoted to the study of some theoretical issues on Tatar folk songs, covers the theme of collecting samples of the song heritage of Tatars living in different parts of Russia. This kind of lyric songs of the Tatar people today is one of the little-studied areas in folklore. Hushavaz, with their roots stretching back centuries in the history of the musical folklore tradition of the Tatars, today find their active existence among the people. The aim of the study is to focus on khushavaz as a specific lyro-epic folk song genre identification of its characteristic properties and features, as one of the components of the lyrical direction of artistic creation determination of the territorial boundaries of the distribution of genre samples among the Tatar population. The article provides a detailed analysis of the term hushavaz, analyzes the main theoretical issues associated with this kind of folk lyric songs. The authors reconstruct a number of folk songs in Tatar folk art, inserting into the classification of lyric songs another variation of the folk song genre previously unstudied in folklore of hushavaz reveal the place and role of Tatar-speaking hushavaz in the system of folklore genres they determine their distribution area among the Tatars, describe the general structural and content features of the texts, emphasize the need to include the best samples in newly compiled academic volumes on national folk art. Putting forward the problem of considering hushavaz in the same classification series with folk songs as a kind of genre, the authors rely on similar features of folklore lyric songs and hushavaz they are talking about the nature and musical form of hushavaz, the combination of singing and storytelling, musical accompaniment, the features and differences of hushavaz from lengthy lyrical songs of the people, etc. These questions are not developed in the Tatar musical and verbal folklore. The article is based on material from hushavaz texts recorded by Tatar-speaking informants living in different settlements of the Astrakhan, Omsk, Tyumen regions of the Russian Federation, as well as in Udmurtia and Tatarstan. Reliance on the principles of nationality and historicism, a systematic and integrated approach to folk poetry was the methodological technique that allowed the authors to take a look at famous folklore phenomena in a new way, to penetrate into previously unknown layers of the traditional musical culture of the Tatars. Hushavaz have a definite place in the evolution of Tatar folk lyrics the study of this variety of the genre makes some contribution to the solution of the issues of family ties between peoples dispersedly living in different corners of Russia and abroad.