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Ucan, Bahadir. "Generation of Character Designs Based on Pre-Islamic Beliefs of Turks." International Journal of Religion 5, no. 5 (2024): 746–57. http://dx.doi.org/10.61707/6w8eck77.
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Turkish communities had lived under the belief system of Turkic mythology, known as Tengriism, in a significant part of their history. It is noteworthy that Turkic mythology elements, which have taken such a place in the cultural life of the Turks, are not sufficiently used as visual design tools. Considering the significance of preserving cultural heritage, Turkic mythology is rarely shown in animations, video games, or movies. The primary gods, goddesses, and supernatural creatures of Turkic mythology are not directly depicted, despite the existence of some animations relating to Turkic cultures such as Keloğlan, Nasreddin Hodja, and Dede Korkut. The main concern of this article is that the elements of Turkic mythology are unable to find enough depiction. Therefore some dominant creatures belonging to Turkic mythology were transformed into character designs. As the method, two-dimensional computer-based modelling techniques were selected to compose character designs of selected Turkic mythology creatures.
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Satıcıoğlu, H. "SOME KYRGYZ LEGENDS THAT AROSE THROUGH THE INFLUENCE OF ISLAMIC PARABLES." Herald of KSUCTA n a N Isanov, no. 2-2-2022 (April 30, 2022): 1011–17. http://dx.doi.org/10.35803/1694-5298.2022.2.1011-1017.
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There is a reciprocal relationship between religion and culture. Religion is a social institution that creates societies with elements such as faith, morals and rituals along with their cultures. In the historical process, beliefs such as Buddhism, Manichaeism, Zoroastrianism, Judaism, Christianity have been adopted by various Turkish tribes for various social and political reasons. However, the influence of the belief of Sky God, which is the basis of Turkish mythology and culture, on the Turkish tribes living in Turkestan has always continued. One of the results of the Talas War, which took place in 751, was that the Turkish tribes living in Turkestan began to accept Islam en masse. In the process of almost thirteen centuries that have passed since the arrival of the Turks under the influence of Islam, Mesopotamian mythology, along with Islamic teachings, influenced Turkic culture and folklore. Desiring to know, interpret and comprehend the nature and environment in which they live, the Turks created various toponymic legends based on their beliefs and cultures. While supernatural powers were gods, goddesses, creatures and spirits in Turkiс mythology, with the evolution of this tradition in post-Islamic Kyrgyz society, the concept of God, religious-mystical personalities such as prophet saints, jinns and angels came to the fore. Our study is about legends compiled on the territory of Kyrgyzstan and presumably formed under the influence of the Islamic faith.
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AGAYEV, Emin. "Investigations Of Mirali Seyidov About Turkish Mythology." Journal of Turkish Studies Volume 4 Issue 3, no. 4 (2009): 10–19. http://dx.doi.org/10.7827/turkishstudies.669.
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Ulus Avcı, Ünzüle, and Hatice ÇETİNKAYA. "Culture Carried from Turkish Mythology to Anatolia." International Journal of Language and Education Research 3, no. 3 (2021): 16–43. http://dx.doi.org/10.29329/ijler.2021.586.2.
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UCAN, Bahadir, Ertan TOY, Mehmet Emin KAHRAMAN, and Ismail Erim GULACTI. "REPRESENTATION OF TURKISH MYTHOLOGY IN VIRTUAL REALITY ENVIRONMENT." PEOPLE: International Journal of Social Sciences 6, no. 2 (2020): 362–70. http://dx.doi.org/10.20319/pijss.2020.62.362370.
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Bayrak, Bengisu. "Editorial." CINEJ Cinema Journal 6, no. 1 (2017): 1–3. http://dx.doi.org/10.5195/cinej.2017.173.
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This issue of CINEJ focuses on a variety of topics: Animated documentary, political cinema, female sexuality, religion, mythology and culture, orientalism, globalization and action movies, Halit Refiğ and Turkish cinema.
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BOZOK, Barış. "GODDESS CYBELE AND UMAY ANA İN CONTEMPORARY TURKİSH ART." IEDSR Association 7, no. 20 (2022): 167–79. http://dx.doi.org/10.46872/pj.579.
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In the past and today, many artists have made artistic productions based on their mythologies and cultures. It is seen that they are trying to convey their mythology and culture with works from all branches of art. In this research, it is studied how the cult of Goddess Cybele, which is considered as a subject in plastic arts, and the cult of Umay Ana, which is included in Turkish Mythology, reflected in Contemporary Turkish Art, from the Anatolian mythology and culture field, which has a very wide structure. In the research, the works of Neslihan Kıyar, one of the artists who reflect the cult of Goddess Cybele to her works, and the works of Can Göknil, who reflects the cult of Umay Ana to her works, are discussed. At the same time, the focus was on the original work of researcher Barış Bozok, "Umay Ana". The data were obtained through literature review and work review, one of the qualitative research methods. As a result of this research, in which the reflections of the Cybele and Umay cult, which continue their existence in today's Anatolian culture, on Contemporary Turkish Art; It is seen that the studies of the cult of Umay are less discussed compared to the cult of Cybele. The main characters of Kibele and Umay, both representing fertility, abundance and strong woman, are the characters who preserve their values in cultural life as goddesses.
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SAĞLAM CAN, Esengül. "Mythology as a Literary Source in Ahmet Midhat Efendi's Taaffüf Novel." Edebî Eleştiri Dergisi 6, no. 2 (2022): 116–25. http://dx.doi.org/10.31465/eeder.1073243.
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Ahmet Midhat Efendi, one of the versatile writers of Turkish literature, saw mythology as a spring that feeds literary works and drew attention to the importance of mythology in the series of articles he wrote in periodicals. In his novel Taaffüf, which was published as a book in 1895, the author preferred the method of telling the conflict of the heroine (Sâniha) with ancient representations and tried to exemplify how mythology can be used in the novel genre. In the novel, the heroine's struggle in her married life is told through two characters of Roman mythology. Sâniha's this struggle between being chaste and not being chaste is also considered as a global issue and was associated with the opposition between Venus and Minerva. Sâniha, who obtained knowledge of painting, sculpture and mythology through Râsih, who is the voice of the author, re-established the balance of love and loyalty in marriage, not as dysfunctional decorations in the novel, but as Minerva's victory in the struggle between Venus and Minerva, which gained importance as two opposite points of the fundamental conflict. The study aims to analyse how the author includes mythology in the narrative and the ways of constructing the thought in the novel of Taaffüf, which is a projection of Ahmet Midhat Efendi's views on mythology.
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Baitenova, Nagima. "The idea of unity in Turkish mythology and religious worldviews." Azerbaijan Journal of Educational Studies 2, no. 2 (2020): 18–27. http://dx.doi.org/10.29228/edu.351.
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Boz, Murat. "Türk Kültüründe ve Alevi-Bektaşi İnancında Kapı-Eşik Kavramı." Edeb Erkan 3 (June 19, 2023): 157–71. http://dx.doi.org/10.59402/ee003202306.
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In Turkish culture, places and some parts of places have been given literal and esoteric meanings. When we look at the Alevi-Bektashi belief and culture, this situation is encountered in the concepts of door and threshold. In this article, the meanings of the concepts of door and threshold in Turkish culture and Alevi-Bektashi belief, the place of these concepts in Turkish mythology, how and how they take place in Islamic literature, their historical and religious origins and the way they are applied in worship are emphasized. At the beginning of the article, it is explained what kind of meanings the concepts of door and threshold contain as words and concepts. Then, the concept of door and threshold in the tradition of "Kamlık (Shaman)" in ancient Turks was discussed. In the article, the Islamic origins of the door and threshold concepts in Alevi-Bektashi belief and culture are also mentioned. The concept of door and threshold in Alevi-Bektashi belief and culture. The Prophet said, “I am the city of knowledge. Ali is his door”. It has also been tried to explain how the concepts of door and threshold, which take place in worship and practices in Alevism-Bektashism, take place in events and contents in Turkish mythology. In the Alevi-Bektashi belief and culture, the door appears as a symbol describing the point at the beginning or end of the road and the gradual transition to another maqam. After discussing all these issues in the article, in the last part, it has been tried to examine how the concepts of door and threshold are included in the ritual of Alevism-Bektashism within the framework of written sources and oral tradition. Keywords: Turkish Culture, Shamanism, Alevism-Bektashism, Gate, Threshold.
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Kemaloğlu, Muhammet. "Türk Rivayetlerinde "Bozkurt" / The Bozkurt in Turkish Mythology." Journal of History Culture and Art Research 3, no. 4 (2015): 103. http://dx.doi.org/10.7596/taksad.v3i4.334.
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Bozkurt -Türk, Moğol ve Altay mitolojisinde kutsal hayvan ve ulusal sembol. Bozgurt (Boskord, Pusgurt) olarak da söylenir. Bozkaskır, Çalkurd sözcükleri yine aynı anlama gelir. Moğollar Börteçine (Börteşına, Börtöşono) derler. Gök kurt veya Gökbörü / Kökbörü tabiri de yine niteleyici olarak kullanılır. Yol gösterici, kutlu kurt, tüm Türk ve Moğol boylarının ortak totemidir. Bazı Türk ve Moğol boyları, soylarının bu kutlu varlıktan türediğine inanırlar. Kurt sürülerinin başında bulunup idare eden kurtlara da Gökkurt denilir. Kaskır ve Börü kelimeleri de değişik lehçe ve şivelerde kurt demektir. Bozkurt gökyüzünü temsil eder. Bu çalışmada Abdülkadir İnan’ın Türkiyat Mecmuası, II. Cilt. 1926-1928, s.131-138’deki makalesinin Latin alfabesine aktarımı yapılmıştır.
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Shapira, Dan. "Īrān-o Tūran: On Iranian (and Quasi-Iranian) in the Ruhnama." Iran and the Caucasus 14, no. 2 (2010): 265–78. http://dx.doi.org/10.1163/157338410x12743419190188.
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AbstractAfter the disintegration of the Soviet Union, political élites of some of the former Soviet republics, especially the Turkic-speaking ones, found themselves in ideological limbo. The first President of Turkmenistan, Saparmurat Niyazov (Saparmyrat Nyýazow), has trodden his way out from the vacuum of legitimacy in the most original and interesting manner. In 2001, Niyazov, known also as Turkmenbashi (Türkmenbaşy), made public his book, Ruhnama, which later has been translated into about fifty languages. The book, appealing to the Oğuz Turkic heritage of the Turkmen nation, to her remote Parthian past, and to vague Islamic cultural inheritance, was supposed to provide guidelines for nation-building and cohesiveness. Atatürk's Nutuk was one of the literary models of Niyazov's book. Having fixed the newly-invented national mythology in writing, Niyazov was not only shaping his society in the desirable manner, but also legitimising his own rule. This paper analyses fragments of different—and not identical—versions of the first part of the work in several languages, mostly in Turkmen, Turkish, Russian, and English. The author suggests that the text of the Ruhnama was updated several times, with different translations reflecting different stages of fixing the original; the English text was translated faithfully from the elaborated Turkish translation, not from the Turkmen.
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Khujanova, Gulchehra Uralovna. "THE IMAGE OF A PERFECT MAN IN ANCIENT TURKISH POETRY." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 09 (2021): 69–75. http://dx.doi.org/10.37547/pedagogics-crjp-02-09-15.
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Man, being primarily a spiritual being, has always tried to comprehend the natural and social processes taking place around him. Observation of them, direct participation in these processes of the person himself, evaluation from the point of view of certain moral, aesthetic and other social values lead to the emergence of a holistic image of the world. Mythology mainly reflected the ideological foundations of the existence of ancient man, which gave rise to the main question of the worldview, the question of the relationship between "it" and "we". It can be concretized in understanding the relationship between man and the cosmos, man and nature, man and society. Of course, we are not talking about the theoretical research of the ancients. But already within the framework of mythological consciousness, on the basis of the corresponding way of thinking, the idea of supernatural existence arises.
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Khujanova, Gulchehra Uralovna. "THE IMAGE OF A PERFECT MAN IN ANCIENT TURKISH POETRY." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 09 (2021): 69–75. http://dx.doi.org/10.37547/pedagogics-crjp-02-09-15.
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Man, being primarily a spiritual being, has always tried to comprehend the natural and social processes taking place around him. Observation of them, direct participation in these processes of the person himself, evaluation from the point of view of certain moral, aesthetic and other social values lead to the emergence of a holistic image of the world. Mythology mainly reflected the ideological foundations of the existence of ancient man, which gave rise to the main question of the worldview, the question of the relationship between "it" and "we". It can be concretized in understanding the relationship between man and the cosmos, man and nature, man and society. Of course, we are not talking about the theoretical research of the ancients. But already within the framework of mythological consciousness, on the basis of the corresponding way of thinking, the idea of supernatural existence arises.
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Kartal, Atila, Kemal Şimşek, Emine Atmaca, and Haktan Kaplan. "Metaphorical Language and Function of the “Bridal Pick-Up” Ritual in Anatolian Traditional Weddings with Its Origin and Reflections." Religions 15, no. 5 (2024): 530. http://dx.doi.org/10.3390/rel15050530.
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In the urban centers of Türkiye, where cultural changes are more widespread and effective, wedding processional is replaced by the solemnization of the marriage at indoor weddings, and the Kūdegū (old Turkic language; refers to bridegroom, son-in-law) awaiting the bride’s arrival at the boy’s house is replaced by differences in the way of the bride and groom’s entry together; moreover, while wedding rituals such as the bridal bath and groom’s hammam are being forgotten, bachelor/bachelorette parties are on the rise. The beliefs and practices related to the bride being taken out of the girl’s house with a special ceremony have deep meanings, such as blessing the bride who has just joined the family, acclimatizing the bride who feels like an outsider and avoiding her from these feelings, and protecting the bride and groom from the körmös (spirits in Turkic mythology, devilish entities living in the underworld), bad spirits, and the evil eye. In this paper, the structure, function, practices, and beliefs of the rituals surrounding the bride and groom on the last day of Anatolian Turkish weddings are analyzed using a qualitative research method. In addition, this study identified the betrothal, performance, beliefs, and practices surrounding the ritual of “bridal pick up” among Anatolian Turks and evaluated the symbols and signs in the ritual procedures in the functional context of the origins and reflections of traditional Turkish beliefs.
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ŞENOCAK, Ebru. "The Place Of Grape In Turkish Folk Culture And In Context Of Mythology." Journal of Turkish Studies Volume 3 Issue 5, no. 3 (2008): 175–92. http://dx.doi.org/10.7827/turkishstudies.418.
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Öğr. Üyesi Hasan BALTACI, Dr. "TÜRK MİTOLOJİSİNİN PLASTİK SANAT ESERLERİNE YANSIMASI / The Reflection of Turkish Mythology on Plastic Arts." International Journal of Interdisciplinary and Intercultural Art 10, no. 10 (2020): 85–100. http://dx.doi.org/10.29228/ijiia.115.
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Koç, Dilara Eylül, and Özge Çaylak Dönmez. "Türk Mitolojisi Ritüellerinde Yer Alan Yiyecek ve İçecekler (Food and Beverages in Turkish Mythology Rituals)." Journal of Tourism and Gastronomy Studies 8, no. 4 (2020): 3303–18. http://dx.doi.org/10.21325/jotags.2020.763.
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Khassenov, B. R. "Mythical and linguistic interpretation of the sign point inside the circle." Bulletin of the Karaganda University. Philology series 101, no. 4 (2020): 34–39. http://dx.doi.org/10.31489/2020ph4/34-39.
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The article is devoted to the hypotheses of S. Qondybai about the archetype sign and sound, which are perceived as changes in Kazakh humanitarian science. S. Qondybai «The Head of Kazakh Mythology» during his short life has made great changes in Kazakh science. He connected several scientific paradigm and made many discoveries in the field of mythology and linguistics. Especially, his opinion of archetypal sounds should not remain out of the researchers’ sight. Turcologist researchers define an archetypal sound at the beginning of a word through sounds that are found in records of written culture of the Ancient and Middle Turkish period. And also, consider the sound «j» is an archetype, comparing with modern Turkish languages and dialects. Some researchers disagree with this and consider the affricate «dzh» (дж) to be original. Modern researchers hold the view of affricates «tch» (ч) and «ts» (ц) — as former affricates in the languages of the Western and Eastern Hun. And the mythologist S. Qondybai developed his opinion of archetypal sounds in a completely different direction. He took into account the opinion of O. Suleimenov «the original sign — is the sign of the point inside the circle», all alphabetical signs begin with this sign. «At the same time, proved that this sign is connected not only with the Sun, but also showed a new example of reading. He called this sign «abak» (lattice) and marked this sound, a sign of Ң (Ng). He linked the name of this sign to the fact that mankind is born having made this sound. That is, in his opinion, the original sound — Ң (Ng). In this scientific article, the authors tried to give a complete description of these ideas, and to order an original understanding, reading of the symbol point inside the circle S. Qondybai.
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Bläsing, Uwe, and Asiye Atakan. "Legende oder Sage? Der Fall Mäander." Iran and the Caucasus 16, no. 1 (2012): 13–44. http://dx.doi.org/10.1163/160984912x13309560274019.
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AbstractThis paper focuses on two modern Turkish folktales being recounted in Afyonkarahisar (Western Anatolia). Both tales appear to have their roots in ancient Greek mythology, in which Meander is the main character. The story line is that Meander vows to the mother Goddess Cybele to sacrifice the first person coming to greet him, if she would grant him the victory in a decisive battle. The first person coming up to him after the battle turns out to be a close family member. He becomes mad with grief and kills himself by drowning in a nearby river, which is subsequently renamed in his honour. The tales bear a striking similarity to the biblical story of Jephthah (Book of Judges), which will be discussed in detail here together with other pecularities. Finally, this paper will also touch on the matter of classifying folktales: how should such stories be considered according to the definitions set by modern narratological theories, mere 'legends' (as implied by the Turkish term efsane) or rather 'myths'?
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Anikeeva, Tatiana A. "THE TURKIC DELI [POSSESSED] DOMRUL AND THE GREEK ADMET. A STUDY BY W. EBERHARD." Folklore: structure, typology, semiotics 3, no. 4 (2020): 90–107. http://dx.doi.org/10.28995/2658-5294-2020-3-4-90-107.
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The article contains a commented publication of a fragment from the unpublished work of a Sinologist Wolfram Eberhard (1909–1989) “Über die Erzählungen des Dede Korkut” (“On the legends of” “Dede Korkut”). “The Book of Dede Korkut” always was the object of particular interest to scholars engaged in comparative research and typology of folklore. It is generally accepted that the formation of some of the legends, included in “Kitab-i Dedem Korkut”, was strongly influenced by both the Byzantine, Greek folklore, and archaic plots of the earlier period, what became the starting point of the research in W. Eberhard’s unpublished work. An important feature of Eberhard’s work distinguishing it from the actual Turkological studies of “ The Book of Korkut” and Turkish folklore in general, is an attempt to make comparisons with Greek myths, many monuments of the Indian and Persian literary tradition, thus placing the Oghuz epic in the broad context of the history of world literature. The published excerpt dwells with the legend of the possessed Domrul as part of the Turkish book epic “The Book of Dede Korkut”, its origin and parallels with the ancient mythology and plots of the “Ocean of Legends” by Somadeva and “Mahabharata”.
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SÜMBÜL, Feride, and Selmin SÖYLEMEZ. "İncil ile İlgili ve Tarihi Anıştırmaların Çevirisi: Christopher Marlowe’un Doktor Faustus’u Üzerine Bir Çalışma." Cankaya University Journal of Humanities and Social Sciences 16, no. 1 (2022): 27–42. http://dx.doi.org/10.47777/cankujhss.937402.
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The literary concept of intertextuality provides a new insight for translation studies. According to intertextual theory, texts are not isolated, they interact with each other in a way that a text is under the influence of preceding ones and it affects later writings (Allen 1). In translation, intertextual theory enables translators to take into consideration intertextual relations of a text to other texts which also means a translator should be aware of the literary and cultural tradition of the target culture. Allusions as one of the features of intertextuality hide a broader meaning and carry cultural implications in relation to other texts. To transfer them to the target culture effectively entails translators having cultural knowledge and experience of the target language. In the light of intertextual theory, this study focuses on the translation of biblical and historical allusions found in Doctor Faustus by Christopher Marlowe, which is a Renaissance play involving numerous allusions to mythology, the Bible, and history. In this study, biblical and historical allusions seen in Doctor Faustus and their Turkish renderings translated by T. Yılmaz Öğüt as Dr. Faustus (2018) have been analyzed in the light of Rita Leppihalme’s translation strategies concerning allusions. After detecting the allusions related to the Bible and history, they have been listed and compared to their Turkish allusions. Then, alluded references and their Turkish translations have been evaluated and the strategies adopted by the translator have been discussed according to the strategies proposed by Leppihalme in detail.
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Yamaeva, E. E. "On an episode of a funeral ritual associated with a dog in the Teleut epic “Keziyke”: To the problem of Turkic (Oghuz) and Indo-Iranian cultural heritage." Languages and Folklore of Indigenous Peoples of Siberia, no. 42 (2021): 94–101. http://dx.doi.org/10.25205/2312-6337-2021-2-94-101.
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A dog plays a significant role in the world mythology. The Teleut epos “Keziyke” presents the motif of a dog being killed during the funeral ceremony. Also, this motif can be seen in the text of “Avesta” telling about bringing a dog to the funeral ceremony to help the soul reach the world of the dead safely. Teleuts are considered descendants of the ancient Oguz, an ethnic group of Turkic origin. The oral folklore provided us with the idea of a dog state and people born with a dog body and a human head. The analysis of the Chinese chronicle allows assuming that a habit of people’s feeding the dogs from their plate was despised by representatives of the official religion of the Turkic Tengrism. This information can serve as a chronological marker, suggesting confidently that the dog was not a deity in the religious-mythological pantheon of the Turks around the sixth century. Nevertheless, the Turks had neighbors, perhaps even Turkish-speaking people, greatly respecting. In the Teleut epic, the traces of the dog cult appear in the context of afterlife representations. The presence of the dog cult in the epic of Oguz indicates their worship of this creature. They were also close to the Siberian peoples with the most prominent dog cult. The motifs similar to the Iranian and their ethnographic sources indicate that the ancestors of several Altai ethnic groups (Tele / Oguz) were part of the ancient Turkic-Iranian cultural community.
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AYDEMİR, Dilek. "Revitalizing Turkish Mythological Elements through Artificial Intelligence Applications in Graphic Design: A Case Study on Midjourney." International Scientific and Vocational Studies Journal 7, no. 2 (2023): 187–205. http://dx.doi.org/10.47897/bilmes.1400144.
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Artificial intelligence has become a new form of expression within our digitally evolving lives. By using illustrations to narrate stories visually, it's possible to visualize cultural values, traditions, and myths, making them more understandable. Fusing traditional storytelling techniques with the digital capabilities of new technologies like artificial intelligence is a powerful tool for revitalizing stories and traditional narratives, adding a new dimension to these tales and myths. Understanding how we can revive traditional narratives and myths is crucial in grasping their role in preserving cultural heritage and passing it down to future generations. Therefore, comprehending how artificial intelligence can be utilized in this field is essential. This study examines how traditions and myths can be revived through artificial intelligence, addressing fundamental concepts like AI and graphic design. To achieve this, some legendary characters from Turkish mythology were selected, and reconstructions of these characters were created in the Midjourney application, contrasting with previous illustration examples. This research article is believed to contribute to defining this contemporary technology in today's ever-changing world and tomorrow's design, where it redefines the design concept.
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Nurdauletova, B., and O. Amankosov. "Turkic genesis of “seahorses” according to Serikbol Kondybai (based on sacred texts of Mangistau)." Bulletin of L.N. Gumilyov Eurasian National University PHILOLOGY Series 145, no. 4 (2023): 87–98. http://dx.doi.org/10.32523/2616-678x-2023-145-4-87-98.
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In Mangystau sacred texts (petroglyphs, epitaphs, inscriptions), the image of a horse occupies a special place. There is a mythological concept of the «sea horse» in the folklore of the peoples living near the Caspian Sea. «Water stallion» coming out of the water is used as a symbol of speed in the language of giraffes. The article examines the researches of the Kazakh local historian, geographer, ethnographer, mythologist Serikbol Kondybai regarding the «sea horse» in Turkish mythology. Serikbol Kondybai says that the root of the word «ertteu» in the Kazakh language is connected with the person «ert» and its original meaning is «order». He said that to saddle a horse is to tame a horse, thereby moving from chaos to space. In this article, Serikbol’s opinion was supplemented with ethnographic, archeological, folklore research data and analyzed. Scientific information was given on the Turkish genesis of the horse cult, which complements S. Kondybai’s historical-linguistic, cognitive-folkloric research. As a result of the study, the final opinion was proposed that «the domestication of the horse is the beginning of human civilization.» As documentary material for the article, materials of a field expedition organized in 2020-2022 as part of the scientific project «AP08856996 Conceptual space of sacred texts of Mangystau (zhyrau texts, epitaph inscriptions, petroglyphs)» were used.
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Begimova, G. A., K. K. Kenzhalin, and G. S. Seіdagaliyeva. "National and cultural knowledge of plant lexemes in Kazakh and Turkish languages." Bulletin of the L.N. Gumilyov Eurasian National University. Political Science. Regional Studies. Oriental Studies. Turkology Series. 134, no. 1 (2021): 144–53. http://dx.doi.org/10.32523/2616-6887/2021-134-1-144-153.
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When a person learns about the world, hefirst of all aims to reveal itssecrets, riddles,in order to see and accept various objects in the environment, to become an integral part of it and to create daily life. Although the trend started in ancient times, it is still recurring today. Because learning and an interest in the process, is a quality specific to humanity. As a result of this knowledge, the language is enriched, thought is improved,various legends, myths, and stories are born. That is, what is achieved in knowledge - with the help of our language, and the worldview itself unfolds along the same line in the minds of mutually related, similar peoples. From this point of view, the definition of the national-cultural cognitive character in the lexemes related to plants in the Kazakh and Turkic languages is very relevant from the point of view of studying the worldview. Plants have the same meaning in the life of humanity united by four elements that make up the basis of life (water, air, soil, fire). It maintains the balance of nature with the soul, animals and people. Observing the worldview about plants of the Turkic period, we can see that they played the same special role as animals. This idea is evidenced by ancient legends, rites and rituals, myths, stories related to plants. In this article, we tried to study the mythology of the two peoples, to show and analyze the myths and legends of the origin of plants.
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Branach-Kallas, Anna. "The Gallipoli Mission, landscape and the changing meanings of heritage: On Dangerous Ground (2012), by Bruce Scates." Journal of New Zealand & Pacific Studies 10, no. 1 (2022): 25–36. http://dx.doi.org/10.1386/nzps_00090_1.
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Bringing together history, heritage studies, conflict archaeology, ecocriticism and literary analysis, this article contends that the 2012 novel On Dangerous Ground: A Gallipoli Story provides an important reflection on the multiple meanings of Australian national heritage and its fluctuations at the First World War centenary. As I argue, its author, Bruce Scates, recognizes the different heritages of the Gallipoli peninsula by including a multiplicity of voices and perspectives in the 1915 layers of his novel. The whole tradition of Australian historiography, to which Scates himself has largely contributed, finds its echoes in the text. The article demonstrates how Scates undermines the myth of the glorious Gallipoli campaign and the heroism of the Anzacs, revisiting the mythologized site of conflict from a Turkish perspective. The Gallipoli peninsula is approached as an affective landscape, which deeply transforms the protagonists. However, the fabricated nature of this site of the conflict, and the construction of its special place in the national mythology, are also emphasized in the analysis. Synchronously, On Dangerous Ground problematizes the obligation of the nation towards those missing in action, and the cultural malaise accompanying exhumations.
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Valiyeva, Farida Hijran. "THE MYTHICAL AND MYSTICAL POSITION OF NUMBERS IN 13TH–15TH CENTURY TURKIC LANGUAGE POETRY." Scientific Journal of Polonia University 56, no. 1 (2023): 273–81. http://dx.doi.org/10.23856/5639.
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The article examines the mythical, mystical and mysterious meanings of the numbers included in people's religious-philosophical meetings. XIII–XV centuries Turkish poets' different views on numbers with a special meaning in their work are being refined. The hidden themes touched by the artists of the word, who reflect the literary and artistic principles of the period in their works, are refined by using numbers. The article clarifies the conclusions of our elders, owners of ideas and words in relation to certain events, with examples from oral literature. In the context we will talk about, in addition to studying the place and position of numbers in rational thinking, attention is paid to the investigation of the main factors that play a role in their creation. It is a fact that the thinkers who took refuge in folk wisdom and benefited from examples of oral literature from mythical meanings in their creations were always distinguished by their works. We can definitely say that the advantage of the genius wordsmiths of world literature over others was that they relied only on folk literature, mythology, and mastered it. From this point of view, the meanings of the numbers included in the work "Jumjumanama", translated by Fariduddin Attar and made with enough additions, are also investigated in the article.
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Yakar, Halide Gamze Ince. "From Mythological Ages to Anthropocene: Nature and Human Relationship." International Education Studies 11, no. 5 (2018): 94. http://dx.doi.org/10.5539/ies.v11n5p94.
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Ecological problems are some of the most important items on the agenda of humanity in the 21st century. Adding spiritual depth, ethical point of view and basic human traditions to the contribution that human beings provide to ecological problems through intellect will provide realistic and lasting results. In the Palaeolithic Age, where man is under the domination of nature, he owes gratitude to the divine power of nature and worships its elements. With the beginning of industrialization, myths were only old-time stories for humanity. Due to the holism rule of ecology the salvation of nature may be possible by all the living things in the ecosystem behaving in the same way and with the same interaction. Today, there is a need for nature education in which we can teach all mankind that protecting a tree is no different from protecting a forest. Myths in the world we live today remind us of the spiritual, inner richness that nature provides to man; is an effective educational material in the sense that their ancestors can repeat their life integrated with nature. Mythology should be included in nature education. For a qualified nature education, we need the magical atmosphere that mythological stories will create. In addition to this, Duha Kocaoglu Deli Dumrul Epic will examine the historical ecological perspective of the Turkish community and the messages they give to solve their present ecological problems.
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Soğukkuyu, Bahar. "Analysis of cover designs of art books published in Turkey." Journal of Human Sciences 17, no. 4 (2021): 1323–37. http://dx.doi.org/10.14687/jhs.v17i4.6082.
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The action of thinking, which is human-specific, forms the basis of art since yesterday. The individual and the communities not only relieve their vital activities, but also produce products that carry aesthetic value by utilizing the power of sensory and intellectual expression, and use them, keep them, transfer them to future generations, and they are the result of their spiritual meaning beyond their existing constitution. Analyzing the art works, movements, periods and artists in relation to different disciplines such as history, sociology, philosophy, mythology, explaining the concepts of art are some of the purposes of writing the art books. In this study, the current cover designs of books related to the history of art in Turkish literature, will be examined descriptively in accordance with the visual design elements. Research, 21 publishing houses in Turkey (Alfa Publishing, Ayrıntı Publishing, Boyut Publishing Group, Can Publications, Domingo Publishing House, Dost Bookstore, HayalPerest Books, İş Bankası Publications, Janus Publishing, Kabalcı Publisher, Koç University Publications, Literatür Publishing, PEGEM A Publishing, Remzi Bookstore, Say Publications, Sel Publishing, Tekhne Publications, Ütopya Publications, Yapı Kredi Publications, Yeditepe Publishing House, YEM Publication) are limited to published art books. In this study, while performing descriptive analysis of art books cover designs published in Turkey, the importance of the form in reflecting the content has been tried to be revealed.
Extended English summary is in the end of Full Text PDF (TURKISH) file.
Özet
İnsana özgü bir nitelik olan düşünme eylemi, dünden bugüne sanatın temelini oluşturur. Bireyin ve toplulukların sadece yaşamsal faaliyetlerini gidermekle yetinmeyip duyusal ve düşünsel ifade gücünden faydalanarak estetik değer taşıyan ürünler ortaya çıkarmaları ve bu eserleri kullanmaları, saklamaları, gelecekteki nesillere aktarmaları, üretilen esere var olan somutluğunun ötesinde manevi anlam yüklemelerinin sonucudur. Sanat eserlerinin, akımlarının, dönemlerinin ve sanatçıların tarih, sosyoloji, felsefe, mitoloji gibi farklı disiplinlerle ilişkilendirilerek analiz edilmesi, sanat kavramlarının açıklanması sanat kitaplarının yazılmasındaki amaçlardan birkaçıdır. Bu çalışmada, güncel Türkiye literatüründe yer alan sanatın tarihine ilişkin kitapların kapak tasarımları, görsel tasarım unsurları doğrultusunda betimsel incelenecektir. Araştırma, Türkiye’deki 21 yayınevinde (Alfa Yayınları, Ayrıntı Yayınları, Boyut Yayın Grubu, Can Yayınları, Domingo Yayinevi, Dost Kitabevi, HayalPerest Kitap, İş Bankası Yayınları, Janus Yayıncılık, Kabalcı Yayınevi, Koç Üniversitesi Yayınları, Literatür Yayıncılık, PEGEM A Yayıncılık, Remzi Kitabevi, Say Yayınları, Sel Yayıncılık, Tekhne Yayınları, Ütopya Yayınevi, Yapı Kredi Yayınları, Yeditepe Yayınevi, YEM Yayın) basılan sanat kitapları ile sınırlıdır. Çalışmada, Türkiye'de yayınlanan sanat kitaplarının kapak tasarımlarının betimsel analizi gerçekleştirilirken, biçimin içeriği yansıtmadaki önemi ortaya konulmaya çalışılmıştır.
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Nagy, László Kálmán. "Reinterpretacja poetyki węgierskiej powieści historycznej w utworach najnowszych." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 23 (December 30, 2023): 297–310. http://dx.doi.org/10.24917/20811853.23.17.
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The main idea of the article is the description of selected works which belong to the latest Hungarian historical novels. They are surprising for readers and at the same time constitute a polemic with the genre classics. The best‑known historical novelists ate the turn of the 19th and 20th centuries in Hungary are: Géza Gárdonyi and Maurycy Jókai. One of the reasons for their popularity is the fact that in their works they mentioned well‑known and at the same time painful events from the history of Hungary. It was the era of Turkish rule and the period of theHungarian Spring of Nations. Other events included the Trianon case, which wasn’t discussed between 1945–1989, the Second World War, and the Hungarian October. The mythic image of national struggle and the fighting Hungarian, which was shaped by Romantic writers, was preserved for a long time in the collective memory of Hungarians. It seemed to have become an indispensable element of national mythology. However, new authors appeared in contemporary Hungarian culture, who made an attempt at the demythification of events that were important for the Hungarian people. Such an attempt seems very interesting and controversial. It is a litmus test for the current state of the collective historical awareness of the nation. New literary works take a different approach to those events which are well‑known to several generations of Hungarians from classical literature. They ask questions about the borders concerning rooted axiological categories and the flexibility of historical thinking. They are also an attempt at a timeless reflection connecting different periods. In Béla Fehér’s book, which was written in the spirit of magical realism, the most popular leader of the Hungarian Spring of Nations – Lajos Kossuth (1802–1894) – quotes the words of Prime Minister Imre Nagy (1896–1958) from the days of the Hungarian October. As for the works which deal with the topic of the two World Wars, they pose questions about the moral value of struggles run on the wrong side in the interest of foreign powers.
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Akanova, Aikerim, Lyazzat Yespekova, Kuanyshbek Kenzhalin, Amangul Adilbek, and Amina Magzumbekova. "Mythical cognition and social consciousness (based on mythological characters)." Scientific Herald of Uzhhorod University Series Physics, no. 55 (November 24, 2023): 2674–81. http://dx.doi.org/10.54919/physics/55.2024.267vt4.
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Relevance. The set of views that are closely related to art and culture, which develops and develops in close connection with the life of the nations of the world over the centuries is called a worldview.Purpose. The root of such concepts as national cognition, national identity, general worldview is intertwined with mythology.Methodology. The article also proves the origin, foundation, continuity and irony of the mythology found in Turkic and foreign mythology, as well as analyzes the similarities and differences between the core of the Turkic worldview, mythical knowledge of the peoples in the world.Results. Because myth is an integral part of popular knowledge, translated from the Greek, �Myphos� means a legend, a story. The article considers the mythical vocabulary in the context of the mythological knowledge of the Turkic peoples, based on Kazakh folk prose.Conclusions. The conclusions of foreign and domestic scientists on general mythology and scientific opinions in the context of the inseparable link between myth and society were confirmed.The basis of general mythology the views of scientists in the field of mythical vocabulary, which are found in science are summarized in one channel. The roots of Turkic mythology in the world mythology are revealed and a comparative analysis is made.
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Musurmanov Erkin. "Representations of the origin of the universe in ancient and centrasiatic mythology." International Journal on Integrated Education 3, no. 6 (2020): 52–55. http://dx.doi.org/10.31149/ijie.v3i6.406.
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This article discusses the interpretation of the main gods of the Uzbek (Turkic) and Chinese mythology, their similar and distinctive features. Comparing the deities of Chinese mythology Pangu and Uzbek mythology Tengri, as well as the goddesses of Chinese and Uzbek mythology Nyuva and Umai, it is concluded that there is the unity of the genesis of the main gods of the pantheon of mythology of the two peoples.
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Дампилова, Людмила Санжибоевна. "THEONYM 'KHAIRKHAN' IN TURKIC-MONGLOLIAN MYTHOLOGY." Tomsk Journal of Linguistics and Anthropology, no. 2(28) (September 18, 2020): 118–26. http://dx.doi.org/10.23951/2307-6119-2020-2-118-126.
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В тюрко-монгольской мифологии при проведении обрядовых действ (почитание небожителей, духов предков, духов гор и огня) наиболее употребительным обращением к божеству является слово хайрхан / кайракан. Статья посвящена значениям данного слова в тюркских и монгольских обрядовых действах, выявлению их различий в зависимости от традиций, обрядового действа, языковых особенностей в диахронном срезе. Актуальным представляется анализ теонима хайрхан / кайракан у монгольских народов в сравнении с сибирскими тюрками Саяно-Алтайского ареала с точки зрения сохранности и трансформации кодового слова в обрядовой традиции. Целью нашего исследования является выявление с семиотической точки зрения значения теонима хайрхан, устанавливаются его коннотации, закрепленные в традиции. Рассмотрена этимология лексемы хайрхан в монгольских и тюркских языках Саяно-Алтайского ареала. Исследована мифологическая семантика данного слова в обрядовых текстах монгольских и тюркских народов. Установлены основные денотаты – верховное божество, дух-хранитель (дух горы, дух огня, дух-онгон), тотем (медведя, змеи). В зависимости от культурного опыта народа значение денотата меняется в разной языковой среде, обрядовой традиции и временном континууме. Предполагается, что строгое соблюдение ритуала, предписанного поведения, передача формульных выражений без изменений способствовали сохранению данной лексемы как ключевого слова в памяти коллектива, и его мифологическая предыстория, имеющая древние сакральные корни, звучит отголоском в ритуальном действе. Установлено, что хайрхан / кайракaн является одним из древнейших символов божества в тюрко-монгольской традиции. Если рассматривать теоним, не выходя за пределы устойчивого культурного контекста, то в тюрко-монгольской мифологии он используется в своем основном денотативном значении как дающий милость. В итоге исследования приходим к выводу, что теоним хайрхан / кайракан, сохраняя свой архетипический мифологический смысл, является устойчивым кодовым словом в тюрко-монгольской обрядовой традиции. In Turkic-Mongolian mythology the most common appealing to the deity during ceremonial actions (veneration of celestial beings, spirits of ancestors, spirits of mountains and fire) is the word khairkhan / kairakan. The article is devoted to the meanings of this word in Turkic and Mongolian rite acts, revealing of their differences depending on traditions, rite action, language features in the diachronic aspect. The analysis of the theonym khayrkhan / kairakan of Mongolian peoples in comparison with Siberian Turks of the Sayan-Altay area from the point of view of preservation and transformation of the code word in the rite tradition seems relevant. The author aims to identify from a semiotic point of view the meaning of the theohym khairkhan, and its connotations, fixed in tradition. The etymology of the word khairkhan in the Mongolian and Turkic languages of the Sayan-Altay area has been considered. The mythological semantics of this word have been studied on material of the rite texts of Mongolian and Turkic peoples. The main denotations, such as the supreme deity, the guardian spirit (spirits of mountains, fire, ongon-spirits), and totem (bear, snake) were revealed. Depending on the cultural experience of the people, the denotation of theonym changes in different language environments, rite tradition and time continuum. It is assumed that strict observance of ritual, prescribed behavior, transmission of formula expressions without changes contributed to preservation of this word as a key word in the memory of the collective. Its mythological background with ancient sacred roots sounds as echo in ritual action. It is established that khairkhan / kairakan is one of the oldest symbols of the deity in the Turk- Mongolian tradition. If one considers the theonym without going beyond the sustainable cultural context, in Turk-Mongolian mythology it is used in its basic denotative meaning as giving mercy. The author concludes that theonym khairkhan / kayrakan, while maintaining its archetypal mythological meaning, is a steady code word in the Turk-Mongolian rite tradition.
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Маммадова, Самира Джамал кызы. "Lexical units and in common Turkic mythology." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 3(282) (March 2, 2022): 77–82. http://dx.doi.org/10.53598/2410-3489-2021-3-282-77-82.
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В статье проводится этимологический анализ лексических единиц шаман и кам , широко используемых в шаманизме. В ходе исследования анализируются всевозможные варианты и семантические дублеты этих лексических единиц в тюркских языках, изучается этимологическая история и ареал употребления данных слов. Излагаются языковые факты о родственной связи этих лексических единиц в тюркских языках. Установлено, что шаманизм не является религией, по утверждению автора на самом деле - это особая система мировоззрения древних народов. В рамках исследования были использованы историко-сравнительный, сравнительно-типологический методы лингвистики. Изложенные материалы в рамках исследования могут быть полезны для тюркологических и этимологических, в том числе для ностратических исследований. This article provides an etymological analysis of the lexical units “shaman” and “kam”, widely used in shamanism. In the course of the research, all kinds of variants and semantic doublets of these lexical units in the Turkic languages are analyzed, the etymological history and the area of use of these words are studied. The linguistic facts about the relationship of the lexical units “shaman” and “kam” in the Turkic languages are stated. It is noted that shamanism is not a religion. According to the author, shamanism is in fact a special worldview system of ancient peoples. Within the framework of the article, historical-comparative, comparative-typological methods of linguistics were used. The presented materials within the framework of this article can be useful for Turkic and etymological, including Nostratic, studies.
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Konyk, Olexander. "Displays of Socio-Cultural Priorities of the Lower Dnipro Ship-owners in the NaDisplays of Socio-Cultural Priorities of the Lower Dnipro Ship-owners in the Names of Coastal Sailors: the first quarter of the 20th centurymes of Coastal Sailors: the first quarter of the 20th century." Roxolania Historĭca = Historical Roxolania 1 (November 13, 2018): 119. http://dx.doi.org/10.15421/30180108.
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The report considers the informational possibilities of the documents of the Kherson State Archives for the knowledge of socio-cultural priorities and the real mechanisms of formation of social and national consciousness in the socio-professional group of the Lower Dnipro owners of coasting vessels. The study of the source base gives grounds to assert that the modern funds of the state institutions of the Russian Empire in the Kherson State Archives are only the remnants of the former departmental archives, and the most complete funds presenting the problems in the specified chronological framework, that is, the names of coastal merchant ships of the basin of the Lower Dnipro in the early twentieth century are the funds of Kherson port customs. If we are talking about the most ancient documents found on the subject today, then they are related to the end of the 18th century. Mostly they record the names of military frigates and large merchant ships that entered Kherson port and also have Greek and Turkish names. This allows for interesting parallels in the continuity of the tradition of names, in particular biblical and sacred history. In the main part of the message, the identified names are grouped and analyzed. The hierarchy of priority of ship-owners in the choice of names was as follows: in the first place are the names of their own, followed by the names that personify the biblical and evangelical heroes, saints (the absolute priority of St. Mychola), the fathers of the church, and others. Further in descending order are geographical names, social definitions and family relationships, qualitative definitions, general concepts, natural phenomena, names of historical figures and famous people, historical terms that denoted social division or specific occupations, Soviet and communist names, astronomical names or phenomena, names from the world of birds, names from mythology, fairy tales and Legend, ancient Ukrainian social concepts, ethnonyms, names of authors and literary heroes, names from natural history, exotic names rarely used in the region, names and titles of members of the Russian Imperial House, names from the world of fish, water creatures, names from vegetation and animal world and from the world of insects. The conclusion is that the statistics given in the text show the wide range of preferences of ship-owners, mostly conservative and often romantic and the ones that reflected real social and spatial self-determination, national, and in the Soviet times, more and more political priorities. The potential of the materials used in the study of the problem is far from being exhausted, so the topic remains promising for further research.
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Shukurova Nigina Oripovna and Avezova Nigora Safarovna. "INTERPRETATION OF MYTH AND MYTHOLOGICAL IMAGES IN ENGLISH AND UZBEK LITERATURE." Middle European Scientific Bulletin 6 (November 12, 2020): 54–56. http://dx.doi.org/10.47494/mesb.2020.6.114.
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It is well known from the past that during their centuries-long history, the Turkic peoples have managed to create a multi-layered cultural heritage. One of them is the mythology of the Uzbek and English peoples, which is the product of primitive thinking. Mythology is one of the first examples of artistic thinking of our ancestors. It is the immortal memory of nations, the encyclopedia of knowledge, and the inexhaustible spiritual wealth.
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Timkova, T. M. "Vocabulary Designating the Atmospheric Phenomena in the Turkiс Mythology". Oriental Studies 2013, № 61 (2013): 165–78. http://dx.doi.org/10.15407/skhodoznavstvo2013.61.165.
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Otajanova, Manzura. "A UNIQUE ARTISTIC INTERPRETATION OF THE ETHNOCULTURAL VALUES OF THE TURKIC PEOPLES." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 06 (2021): 108–15. http://dx.doi.org/10.37547/pedagogics-crjp-02-06-21.
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The article analyzes the fact that in the stories of Nodir Normatov, a writer with a unique style of prose, the use of poetic interpretations of ancient images belonging to the most ancient layers of Uzbek mythology to symbolic metaphors, myths and legends served to illuminate the spiritual world.
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А. K. Khussainova, К. T. Tulebayeva, and B. M. Kadyrova. "CONCEPTUAL FEATURES OF THE IMAGES OF «WOMEN» IN TURKIC MYTHOLOGY." Bulletin of Toraighyrov University. Philology series, no. 4.2022 (December 30, 2022): 282–94. http://dx.doi.org/10.48081/dcck8920.
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"When studying the concept of «woman» in Kazakh literature, first of all, we take into account that the concept of concept is a complex structure transmitted by the ethno-cultural concept of a centuries-old idea of being, cultural values, short and deep truths transmitted from generation to generation, stored in our consciousness. In order to become a concept of conceptuality, it is necessary that the words used by the people have a close connection with the centuries-old culture, traditions, religion, mentality of this people, have an ethno-cultural degree. Speaking about the concept of «woman», it is necessary to distinguish these ethno-cultural characteristics. The article is aimed at identifying and studying conceptual concepts related to the image of a «woman» in Turkic mythology, including in Kazakh folklore. At the same time, identifying the ancient Turkic mythological «female» images, we tried to highlight their functions in the formation of modern «female» concepts. First of all, the «female» images in ancient history were identified and the characteristic features of each of them were classified. If such images as Tomiris, Queen Zarina, Elbilge-khatun were the starting point for the formation of the concept of «warrior», then the wolf in the legend of the Turkic history of creation served as the basis for the formation of ideas about «mother wolf» and «generation of the blue wolf». The fact that the opening of the door to the world of light by man is connected with the female substance gave rise to the conceptual concepts of «The Virgin», «Creator», «Light», «Mother Earth». The images of «women» in folklore samples also create complex semantic constructions. The creation of a historical description of the concept of «woman» will undoubtedly make it possible to highlight the internal cognitive structure of the modern conceptual system of «woman». "
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ŞENGÜL, Fatih. "Ares: A Greek God of Turkic Origin." Journal of Old Turkic Studies 7, no. 1 (2023): 194–99. http://dx.doi.org/10.35236/jots.1223101.
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The naming Ares, which is the god of war in Greek Mythology and seems to be of the Scythian, occurs in the work of Homeros before the Scythians arrived in the Eastern Europea. This fact confirms that the mentioned word belongs to the language of an indigeneous Scythian community. In this paper, the present-day remnants and equivalents of the Scythian word in Turkic and Slavic languages will be shown.
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Erkoç. "Elements of Turkic Mythology in the Tibetan Document P.T. 1283." Central Asiatic Journal 61, no. 2 (2018): 297. http://dx.doi.org/10.13173/centasiaj.61.2.0297.
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Erkoç, H. Į. "Elements of Turkic Mythology in the Tibetan Document P.T. 1283." Central Asiatic Journal 61, no. 2 (2018): 297–311. http://dx.doi.org/10.13173/caj/2018/2/5.
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Бурибаева, А., Д. Б. Аманжолова та Н. Ж. Шаймерденова. "Шапошников Александр Константинович:жизнь в науке и творчестве". Turkic Studies Journal 4, № 4 (2022): 149–70. http://dx.doi.org/10.32523/2664-5157-2022-4-149-170.
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The article is dedicated to the memory of Alexander Konstantinovich Shaposhnikov, Candidate of Philological Sciences, Doctor of Philosophy (PhD), researcher of the Department of Etymology and Onomastics of the V.V. Vinogradov Institute of the Russian Language of the Russian Academy of Sciences. As a student of Ninel Zeynalovna Gadzhieva, he received her advice in the field of comparative studies, Turkology and Altaic studies, which were later embodied in the candidate’s thesis of A.K. Shaposhnikov, as well as in many research works. Later, his supervisor was an outstanding researcher, academician Oleg Nikolaevich Trubachev. The talented student of the academician continued the research of his teacher and became a famous lexicographer, etymologist, author and compiler of a number of academic, popular academic works and translations. The topic of the candidate’s dissertation «The experience of reconstruction of the relic language (based on materials 169М.А. Бурибаева, Д.Б. Аманжолова, Н.Ж. Шаймерденова Turkic Studies Journal 4 (2022) 149-170related to the Khazar Khaganate)» was carried out under the supervision of N.G. Gadzhieva and O.N. Trubachev in 1992. This research direction became the starting point in all the further activities of A.K. Shaposhnikov, defining the scope of his scientific interests related to historical lexicography, etymology, ancient onomastics, mythology, as well as translations of ancient texts (from ancient Greek, Latin). For several years, he was the head of the annual readings in memory of Academician of the Russian Academy of Sciences O.N. Trubachev from the cycle «Northern Black Sea Region: to the origins of Slavic culture».A.K. Shaposhnikov has repeatedly visited Kazakhstan and participated in linguistic forums, closely cooperated with Kazakh researchers engaged in etymological research, Turkic-Slavic language contacts, the language of monuments of Russian writing of various periods, and, most importantly, lectured and participated in a joint (with Kazakh researchers) international project on the lexicographic description of Turkisms in Slavic languages in 2013-2014. A.K. Shaposhnikov together with Kazakh researchers worked on the project «Corpus of Turkic language units in East Slavic languages: ways of penetration and adaptation», the purpose of which was a comprehensive synchronic and diachronic study of the features of semantics and functioning of Turkisms in heterogeneous and homogeneous languages, followed by the compilation of a Dictionary of Turkisms. Alexander Konstantinovich Shaposhnikov died from complications caused by viral pneumonia on July 7, 2021, leaving behind numerous studies in the field of lexicography, etymology and onomastics.
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ТУАЛЛАГОВ, А. А. "ABOUT SOME FOLKLORE “PARALLELS”." Kavkaz-forum, no. 9(16) (March 28, 2022): 87–102. http://dx.doi.org/10.46698/vnc.2022.16.9.007.
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Среди многочисленных параллелей материалам Нартовского эпоса осетин особое место в какой-то момент заняли материалы шорского фольклора. Они, в свою очередь, послужили основанием для утверждений различных авторов о монгольском влиянии на эпос, о тесных контактах тюрков и сармато-алан, об иранских корнях в этногенезе хакасов, о наличии «аланского цикла» в шорском фольклоре, о тюркском источнике в одном из образов пантеона кавказских народов, о центральноазиатских корнях этногенеза алан. Данное положение объективно определяет актуальность заявленной к исследованию проблемы. Научная новизна заключается в непосредственном обращении к соответствующим материалам и историографии самой проблемы. Целью исследования служит верификация известных на сегодняшний день оснований для указанных утверждений методом текстуального исследования, индуктивного и логического анализа при соблюдении принципа системности изложения.Проведенное исследование позволяет согласиться с заключением, что в трактовке «аланского наследия» в шорском фольклоре мы сталкиваемся с «научной мифологией», порожденной недобросовестностью ее авторов, ненаучные методы и принципы работы которых нашли свое продолжение в стремлении других авторов постулировать наличие несуществующих «параллелей» в фольклорно-этнографическом наследии народов Северного Кавказа. Полагаемые сходные мотивы в хакасском фольклоре и в осетинском эпосе не предоставляют в распоряжение исследователей объективных оснований для их возведения к единому источнику. Не все из приводимых в таком контексте наблюдений точны для осетинских материалов или столь однозначны в своих трактовках. Поэтому следует, в частности, воздержаться от их привлечения и в контексте аланской проблематики. Among the numerous parallels to the materials of the Nart epic of the Ossetians, the materials of the Shor folklore at some point took a special place. They, in turn, served as the basis for the assertions of various authors about the Mongolian influence on the epic, about the close contacts of the Turks and the Sarmatian-Alans, about Iranian roots in the ethnogenesis of the Khakases, about the presence of an «Alanian cycle» in Shor folklore, about a Turkish source in one of the images of the pantheon of the Caucasian peoples, about the Central Asian roots of the ethno genesis of the Alans. This provision objectively determines the relevance of the problem stated for the study. The scientific novelty lies in the direct appeal to the relevant materials and the historiography of the problem itself. The purpose of the study is to verify the currently known grounds for these statements by the method of textual research, inductive and logical analysis while observing the principle of systematic presentation.The conducted research allows us to comply with the conclusion that in the interpretation of the «Alanian heritage» in Shor folklore we are faced with a «scientific mythology» generated by the dishonesty of its authors, the unscientific methods and principles of which have found their continuation in the desire of other authors to postulate the existence of non-existent «parallels» in folklore and ethnographic heritage of the peoples of the North Caucasus. Supposedly similar motives in Khakas folklore and in the Ossetian epic do not provide researchers with objective grounds for their construction to a single source. Not all of the observations cited in this context are accurate for Ossetian materials or so unambiguous in their interpretations. Therefore, it is necessary, in particular, to refrain from involving them in the context of the Alanian problem.
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Avtandil, A. "TREE CULT IN THE MYTHOLOGY OF THE TURKIC AND SLAVIC PEOPLES." East European Scientific Journal 2, no. 6(70) (2021): 34–36. http://dx.doi.org/10.31618/essa.2782-1994.2021.1.70.75.
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The article discusses the mythical nature of the tree cult, which is widespread in the mythology of the Turkic and Slavic peoples. The article comparatively shows that the tree, with its rich symbolism, acts as the beginning of life, parent, healer, protector, savior and other functions. Trees such as beech, fir, pine, oak, willow and others are considered sacred. The fact that the tree, preserving its original traces in myths, beliefs and trials, ancient rituals, the transformation of the tree into a symbol of eternity and youth, its function as a world (life) tree, has raised it to the level of a cult. The sacredness of oak, pine, fir in the Slavs, pine, maple, willow and other trees in the Turks, as well as a number of common mythological motives are related to these features.
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Kupriianova, I. V. "«CULTURAL ROBBERY» OF UKRAINE BY RUSSIA IN UKRAINIAN HISTORICAL MYTHOLOGY." Topical Issues of Culture, Art, Education 40, no. 2 (2024): 37–46. http://dx.doi.org/10.32340/2949-2912-2024-2-37-46.
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The article examines the myth of the historical cultural and educational superiority of the Ukrainian community over the Great Russian community in the Middle Ages and in Modern Times, and the cultural "colonization" of "Turkic Muscovy" by Ukraine. According to this pseudo-historical construction, Russia stole the Ukrainian cultural and educational potential in the reign of Peter the Great, when prominent Ukrainian educators were taken from its territory to Moscow. This concept is detrimental to historical truth, since it perverts the true causes and nature of real events dating back to the processes of reunification of Ukraine with Russia in the 17th–18th centuries and the formation of a single religious and cultural space.
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R., Abilkhamitkyzy, and Begalieva L.B. "The artistic image of an angel in the Turkic world: yesterday and today." Keruen 75, no. 2 (2022): 104–16. http://dx.doi.org/10.53871/2078-8134.2022.2-08.
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Abstract. The angel is a mythological character common to the Turkic peoples. Along with the spread of Islam and the glorification of God, its angels also became popular and praised. The duties and responsibilities of the four great angels given in the Qur’an, as well as people’s views and understanding of them, have been mentioned in the works written over the centuries and have become synonymous with kindness and honesty, purity and chastity. The article focuses on the use of everyday religious legends, fairy tales, and mythological stories about an angel in Turkic peoples and Kazakh poetry. There is a myth at the beginning of every fairy tale and song, that is, today’s fairy tales and songs can be carefully considered, based on certain rules, sorting and separating the ancient ideas about greed.The names of the angels «Gabriel», «Azrael», and «Munkir-Nankir» are found in epics and myths. Angels were messengers between the prophets and Allah, who sent down the Koran from heaven to earth. In this article we mentioned the nature and characteristics of the angel in folklore and literature with the character of «angel» in the Holy Qur’an. Specifically, in the ayats of the Holy Qur’an, Muslims should believe in angels as much as they believe and not question them. They are to be regarded as executors of the command of the Most High. However, in the folklore that arose after the spread and assimilation of Islam, the image of the angel Azariel began to be portrayed in a negative, deadly way. In other words, people adapted to their understanding and way of life. The singing of angels in the image of a beautiful woman and a newborn child is commonplace in Turkic poetry.It is well known that the literature of Turkic peoples has many common characters, similar and recurring plot lines, mythical legends, and folklore genres. One of the important topics is the study of the concept of «angel» common with the Islamic world, the nature and similarity of angelic religious epics in the transmission in the literature of Turkic peoples, the reflection of the image of «angel» in the understanding of people in literature. It is the development of the concept of «angel» that moved from mythology to folklore, from folklore to literature, turned into a motive network of numerous fairy tales and legends, epics, in the process of development the acquisition of individual character traits and descriptions inherent in each of the Turkic peoples, a topic requiring a comparative study. The article, as far as possible, noted the changed version of Әzireil into Esrel, Esrel, Esrelĕ, Esrelĕ; also noted the angels Harut and Marut, which God brought down to earth to help the people who are so strongly endowed with magic; the display in fiction of the angels Mănkүr-Nүkіr and Israfil asking many questions.The artistic image of the mythic hero-Angel, common to the Turkic peoples, is a viable subject. Therefore, it is important for us to understand their essence and meaning. The presentation of the characters common to the mythology of Turkic peoples is a complex and fascinating task.Such research is born only as a result of many years of research. In the future, we will continue our research on the common characters in the mythology of Turkic peoples.
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Dugarov, Bair S. "Theophoric Names in the “Heavenly” Prologue of the Buryat Epic Cycle Geseriada." Вопросы Ономастики 18, no. 3 (2021): 110–22. http://dx.doi.org/10.15826/vopr_onom.2021.18.3.036.
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Amongst other epic interpretations of religious mythology, the famous poems of Homer and Hesiod certainly rank the highest. Hesiod’s Theogony can be considered the most complete and consistent source on the history and genealogy of the Greek gods, as well as the theophoric naming tradition related to the Olympic pantheon. Typologically, the same can be said about the Buryat epic cycle Geseriada which has a detailed prologue in each of its variants, describing the world of the higher deities of Buryat mythology or Tengris (from the Turkic-Mongolian Tengri ‘heaven, celestial’) in connection with the main character’s heavenly genesis. It brings to our attention the names of the celestials as such, totaling to a symbolic sacred number of 99 deities, of which (according to the dualistic principle) 55 are western gods, 44 are eastern ones. This paper gives the first look on the most characteristic theonyms within the pantheon, reflecting its uranic backbone and structure and also communicating the essence of this deity through its meaning and etymology. For example, the names suggest the importance of the large clan if the thunderstorm tengris, led by Huhedei Mergen ‘Heavenly Shooter,’ whose name reflects the status of the Thunderer. It should be noted that many epithets of Tengris have later evolved into separate name variants. In this vein, the epithets altan ‘golden,’ shara ‘yellow,’ dulete ‘fiery’ indicate their belonging to the class of solar deities. The most archaic layer of names associates with the eastern gods of matriarchal origin, attributed to the celestials of the older generation. There are also Turkic names in the pantheon, most likely, dating back to the ancient times of the Turkic-Mongolian ethnolinguistic community.
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Ivanova, Elena E. "On Studying the Mountain Mythonymy of the Urals: Mythonyms Motivated by Social Vocabulary." Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, no. 4 (2023): 234–50. http://dx.doi.org/10.15826/izv2.2023.25.4.071.
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This article discusses the mountain metonymy of the Urals, i.e. the designation of supernatural anthropomorphic creatures that store the riches of the subsoil (minerals and metals) and contribute to or hinder their discovery, extraction, and processing. Russian mountain mythology has been studied by folklorists, but the linguistic aspect is only beginning to be explored. The material for the article was collected in the field between 2020 and 2023, and derived from dictionaries, folklore texts, and authorial literature. The author mostly focuses on Middle Ural and South Ural mythonyms; for comparison, the article draws on material of other zones connected with the Urals geographically or historically (Bashkiria, Siberia). The article provides detailed descriptions of the motivations of mythonyms and the conditions for the appearance of nominations. Mountain mythonymy can be divided into several groups depending on the motivation, i. e. the thematic group of vocabulary underlying the mythonym. This article analyses mythonyms motivated by social vocabulary, namely, denoting a person or kinship: золотая девка (golden girl), каменная девка (stone girl), горная девка (mountain girl), чудская девица (Chudskaya maiden), горный батюшка (mountain father), горная матка (mountain mother), Шубин (Shubin), etc. The article reveals and explains the specificity of Ural mountain mythonymy: thus, the девка token is used for the nomination of female spirits, whereas the баба nomination is characteristic of traditional Russian peasant mythology. An expressive feature of Ural mountain mythonymy is the presence of mythonyms formed from toponyms (девка Азовка, девка Дедюрка). The article proves that the formation of mountain mythonymy was influenced by the mythology of the Russian peasantry, the mythology of the autochthonous peoples of the Urals (Turkic and Finno-Ugric), as well as the terminology of mining actively developing in the Urals in the eighteenth and nineteenth centuries.