Songs and Rituals of the Altai Mounting District from the Stepan Gulyaev’s Collection

2020 ◽  
pp. 70-100
Author(s):  
Л.П. Махова
Keyword(s):  
Russian Literature ◽  
Title Page ◽  
Altai Mountain ◽  
South Siberia ◽  
Wedding Songs ◽  
Wedding Ceremony ◽  
Folk Poetry ◽  
Poetry Collection

В Институте русской литературы Российской академии наук (г.Санкт-Петербург) хранится рукопись С.И.Гуляева, которая состоит из пяти тетрадей: Песни обрядные, Свадебные обряды, Песни круговые, Песни девичьи, женские и юнацкие, Знахарство. В совокупности они составляют самый ранний сборник народной поэзии Алтайского горного округа. Некоторые тексты народных песен и заговоров, а также фрагменты описания свадебного обряда Гуляев записал на Алтае еще в 1820-е годы. Частично материалы сборника были опубликованы в 1848 году в статье Этнографические очерки Южной Сибири . Затем до 1881 года автор вносил в рукопись дополнения: новые записи текстов песен и заговоров, этнографические описания свадебного обряда. В тетрадь Песни круговые он вложил черновик статьи о выпускнике Санкт-Петербургской консерватории, оперном и камерном певце Иване Васильевиче Матчинском, выступившем летом 1875 года с концертом в Барнауле. К статье Гуляев приклеил титульный лист тетради круговых песен, после чего в письме сообщил М.И.Писареву об окончании работы над сборником народной поэзии. Позднее в тетрадь Свадебные обряды собиратель внес описание умыкания невест у крещенской Иордани, случившееся в Барнауле в 1881 году. Тогда же он написал письмо С.Н.Шубинскому с вопросом о возможной публикации своего собрания в журнале Исторический вестник . Не считая заговоров, в четырех тетрадях рукописи содержится 291 текст хороводных (98), свадебных (84), лирических (72), плясовых (16) песен, причитаний (3 свадебных и 2 похоронных), духовных стихов (15) и рацейки (1), из них 156 не были опубликованы при жизни автора. В приложении к статье приводится содержание этих тетрадей сборника с отсылками к публикациям. Некоторые песни из собрания Гуляева в 19662016 годы удалось записать с напевами во время экспедиций Московской консерватории в южные районы Алтайского края. The Manuscript Department of the Russian Literature Institute (St. Petersburg) keeps a Stepan Gulyaevs manuscript, consisting of five notebooks: Ritual Songs, Wedding Ritual, Round Songs, Girls, Womens and Mens Songs, Sorcery. Together they form the earliest collection of the folk poetry of Altai mountain district. Some of these texts, along with the description of the wedding ceremony, were recorded by Gulyaev in Altai back in the 1820s. Partly the material was published in 1848, in Gulyaevs article Ethnographic Essays of South Siberia. After that, until 1881, he was making additions to the manuscript: the new lyrics, healers spells, and other. Gulyaev enclosed inside the Round Songs notebook the draft of his article about the recital of Ivan V.Matchinsky, a singer and a graduate of the St. Petersburg Conservatoire. The recital was held in Barnaul in 1875. Gulyaev glued the title-page of the Round Songs notebook to the article and then reported in the letter to Modest I.Pisarev that he had completed his work on the folk poetry collection. Gulyaev added the Wedding Rituals notebook with the description of the bride theft that happened in 1881 in Barnaul. At the same time he wrote a letter to Sergey Shubinskiy with a question about a possibility to publish his collection in the Historical Herald journal. Besides the spells, the four song notebooks contain 291 lyrics of round songs (98), wedding songs (84), lyrical songs (72), dance songs (16), spiritual poems (15), and other. The contents of these notebooks are attached to the article with the references to the published lyrics. Some of the songs from Gulyaevs collection were recorded with melodies in 19662016 during the expeditions to the southern regions of Altai.

Jewish Simulations of Pushkin's Stylization of Folk Poetry

2015 ◽  
Vol 59 (2) ◽  
pp. 229-245
Author(s):  
Sara Miriam Feldman
Keyword(s):  
Russian Literature ◽  
Linguistic Features ◽  
East European ◽  
Artistic Production ◽  
Cultural Movements ◽  
History Of ◽  
Eugene Onegin ◽  
European Jewish ◽  
Jewish Intellectuals ◽  
Folk Poetry

This article examines the prosody and other features of Hebrew and Yiddish translations of Eugene Onegin , which were composed as a part of Ashkenazi Jewish cultural movements in Eastern Europe, Russia, and Palestine. Russian literature played an important role within the history of modern literature in both Hebrew and Yiddish. Translating Russian literature tested the limits of the literary Yiddish and Hebrew languages. Due to the novel’s status in the Russian canon and its poetic forms, translating it was a coveted literary challenge for high-culture artistic production in Jewish languages. I examine this phenomenon using Pushkin’s simulation of folk poetry in the “Song of the Girls.” Due to the different social and textual functions of Yiddish and Hebrew, as well as their linguistic features, translatability of even formal characteristics differed from one Jewish language to another. The changes in Hebrew pronunciation during this period were reflected clearly in the changing limits of the ability of writers to translate Onegin . Though motivated by an inward-facing drive to produce modern and Western literature in one Jewish language or another, these translations were also a manifestation of the cultural bond between secular, East European Jewish intellectuals and Russian literature.

The Lemko Wedding Song (Ukrainian, Polish, Slovak): Peculiarity and Usage

Rusin ◽  
2021 ◽  
pp. 277-295
Author(s):  
T. V. Savaryn ◽  
◽  
N. O. Fedchyshyn ◽  
Keyword(s):  
Mental State ◽  
Cultural Economic ◽  
Traditional Family ◽  
Close Proximity ◽  
Wedding Songs ◽  
Wedding Ceremony

The article analyzes Lemko’s wedding and post-wedding songs in comparison with Polish and Slovak ones. As an integral part of all-Ukrainian ceremonial song fund, Lemky wedding song ritualism is distinguished by some specificity due to Polish and Slovak close proximity. Naturally, Lemko song specificity are best revealed when compared with the similar song traditions of the Western Slavs. The similarity of certain elements is better traced in the wedding song ritualism of the East Slovakian, Ukrainians and Slovaks sons, as compared to the Lemky-Polish neighbourhood. While preserving a lot of archaic forms and elements, the Lemko version of the Ukrainian wedding is characterized by some differences, which reflect Lemko’s continuous ethnocultural contacts with neighbouring nations. The wedding song repertory of the three neighbouring nations has been found to impressively reflect its origin from the Proto-Slavic marriage ritualism, based on the monogamous marriage, husbandry lifestyle, close worldview (similar meaning of fire, water, bread, Eden tree, sun-worship, etc.), as well as on the similarity of ritual acts (garlanding, blessing, roundabout the table and dough trough, breaking wedding loaf, etc.). All mentioned above together with the similar dramatization of the wedding ceremony make ethnonational versions of traditional family ritualism – a so-called “Carpathian cycle”. The Lemko wedding song content has been found to preserve archaic motives and images of relict Ukrainian repertory with its typical ample song/choral expression of the content of wedding rituals, young couple’s and their families’ moral and mental state, varied poetic symbolism and stylistics. Long-term endosmosis of cultural, economic, and sociopolitical contacts between neighbouring ethnoses has conditioned the interchange of the elements of wedding song and ritual dramatization with marked Lemko dominant regarding Slovakian wedding song repertory, as well as with regard to the repertory of Polish Gorals, long-standing song strata in particular.

Divine Happiness and Beauty in Wedding Songs

2019 ◽  
pp. 21-74
Author(s):  
Felix J. Meister
Keyword(s):  
Fundamental Aspect ◽  
Wedding Songs ◽  
Wedding Ceremony

This chapter argues that songs performed at archaic and classical weddings conventionally present the happiness of the bridal couple as similar to divine bliss, and the beauty (mostly) of the bride as similar to divine splendour. A first section is dedicated to the history and traditions of wedding songs and the nature of the sources. Subsequent sections examine the various explicit and implicit means by which bridal couples are likened to the gods, particularly in Sappho and wedding songs in drama, but also in later testimonies. Special attention is given to hymnic register, which is pursued and compared in wedding songs for mortal and immortal couples. The results are contrasted with aspects of the wedding ceremony and wedding iconography, where bridal couples are exalted in similar ways. The approximation of the bridal couple to the gods emerges as a fundamental aspect of the Greek wedding itself.

Hebrew-Catalan Medieval Wedding Songs: Satirical Functions of the Hebrew Component and Other Linguistic Aspects

2016 ◽  
Vol 4 (2) ◽  
pp. 166-202
Author(s):  
Ilil Baum
Keyword(s):  
Iberian Peninsula ◽  
Present Article ◽  
Spoken Language ◽  
Oral Traditions ◽  
Linguistic Repertoire ◽  
Wedding Songs ◽  
Wedding Ceremony

The Hebrew-Catalan documents of the Jews of medieval Catalonia have not been thoroughly analyzed thus far. The present article analyzes five unique wedding songs of the fourteenth–fifteenth centuries written in Catalan using Hebrew characters (edited in 1970 and 1974). In this study special attention is given to the humorous and satirical functions of the Hebrew component. This sophisticated use of the Hebrew component may imply more widespread oral traditions of parodic character related to the wedding ceremony among the Jews of Catalonia and the Iberian Peninsula. The notion of “Judeo-Catalan” is discussed in the framework of linguistic repertoire while demonstrating undocumented or rarely documented phonetic, semantic, and lexical features of medieval Catalan. The use of a different orthographic system allows for a written representation of the pronunciation of medieval Catalan, whereby the boundaries between the spoken and the written are blurred, creating a sort of a “written-spoken language.”

scholarly journals Siberian Free Verse of the 1920s – 1930s: General and Special in a New Poetic Form

2020 ◽  
Vol 15 (2) ◽  
pp. 129-155
Author(s):  
Yu. B. Orlitsky
Keyword(s):  
Twentieth Century ◽  
Russian Literature ◽  
Significant Part ◽  
Free Verse ◽  
Poetic Form ◽  
Poetic Tradition ◽  
Siberian Branch ◽  
Different Types ◽  
Russian Poetry ◽  
Folk Poetry

Since the beginning of the twentieth century, free verse (vers libre) begins an active penetration into Russian poetry, decisively moving from the category of a marginal poetic phenomenon into the most active forms of national verse. Since the end of the 1910s Russian free verse also appears in the thriving Siberian poetry. First of all, this occurs in the works of authors who work with verse in line with the main currents of the general Russian poetic tradition – relatively speaking, among the Siberian futurists, acmeists, and imagists. The article examines the process of the emergence of free verse (free verse) in the Siberian branch of Russian poetry in the first third of the twentieth century. Examples of early free verse from periodicals and books of the 1920s – 1930s, which were created in line with the all-Russian trends in the development of versification, are given. However, if we talk about the absolutely specific features of the Siberian free verse of the first third of the twentieth century, then this is, without a doubt, its use in translations and arrangements (including quite free ones) of the lyrics and epic of the peoples of Siberia. Publishing interlinear translations was common practice in those years. However, falling into the context of Russian literature, these interlinear translations were already perceived as poems, and precisely as written in free verse. The most productive source of Siberian free poetry can be considered the so-called “self- laying”, author’s variations on the themes of which are published by Anton Sorokin, Vsevolod Ivanov, Leonid Martynov and Pavel Vasiliev. Of particular interest are the Altai and Khakass “songs” of Ivan Eroshin, a significant part of which is also written in free verse. For the most part, these are small stylized lyric poems. His “Songs of Altai” is a rare example in world poetry of the reincarnation of a European poet into foreign characters – hunters, shepherds, even girls – on whose behalf most of the miniatures of the books “Blue Yurt” and “Songs of Altai” are written, performed by different types of verse. In total, from 1923 to the beginning of the 1950s, Eroshin wrote more than 40 vers libre, distinguished by the utmost laconicism combined with a bright “barbaric” imagery. A special place among the stylists of folk poetry (including the folklore of the peoples of Siberia) in Soviet poetry of these years is occupied by the poet and playwright Andrei Globa. His cycle of 1922 “Kyrgyz Songs”, consisting of 17 poems, was written mainly in free verse. His collection “Songs of the Peoples of the USSR”, which has survived three editions, includes translations and stylizations of works of different genres, many of which are also written in free verse. In addition, the paper examines the features of the use of free verse in translations and free transcriptions of the folklore of the peoples of Siberia, performed by V. Zazubrin, O. Cheremshanova, E. Tager.

scholarly journals Evolution of the wedding in the Voroniaky region: in the footsteps of Oscar Kolberg and Osyp Rozdolskyy

Ethnomusic ◽  
2020 ◽  
Vol 16 (1) ◽  
pp. 115-140
Author(s):  
Anthony Potoczniak ◽  
Keyword(s):  
Methodological Approach ◽  
Field Work ◽  
Geographic Area ◽  
Folk Song ◽  
Oral Traditions ◽  
Research Areas ◽  
Wedding Songs ◽  
Field Notes ◽  
Wedding Ceremony ◽  
The 19Th Century

Contemporary folk expeditions “retracing the footsteps of predecessors” belong to some of the most important and far-reaching research areas of folkloristics. Ethno- graphic materials representing different epochs from a geographic area can be used for comparative study. As a result, it is possible to consider evolutionary processes and external influences on oral traditions of a geographic area over a period of time. Thanks to the existence of ethnographic field notes of the traditional wedding ceremony in the Voronyaky region (Brody district, Lviv oblast) made in the second half of the 19th century, these processes can be observed and quantified. Collected by prominent collectors of musical folklore Oscar Kolberg (1814–1890) and Osyp Rozdolsky (1872–1945), these records of folk traditions are unparalleled in their his- torical and ethnographic significance in Ukrainian folklore studies. Not only do they establish a reference point to critically assess the collection of folk music of the previ- ous era, they also provide evidence of how the wedding tradition has changed in the region by comparing them to more recent field recordings. Thus, this study has several objectives. First, it examines the extent of ethno- graphic work completed by O. Rozdolsky and O. Kolberg in the Voronyaky region. Next, the methodological approach to collecting music is assessed, which determines how representative these materials are to the geographic area in question. The eth- nographic materials from different periods are compared to determine the structural, semantic, and repertoire changes of the wedding ceremony. Lastly, an analysis of the wedding ritual cycle as practiced in the Voronyaky region – its ethnography and melo- typology – is completed based on extensive contemporary field work of the region conducted by the author. A comparison of the collected folk song materials from different time periods shows the extent of the changes of the Voronyaky wedding ceremony, especially in its song texts, the order of rituals, its form, and content. While a trend of the simplifica- tion of the wedding ritual (e.g., the length of the traditional wedding is shortened from two days to one day), the process of how the modern wedding ceremony has been simplified from its previous practice is described. Similarly, the study shows how the repertoire of older wedding songs are performed less frequently or have also been shortened compared to earlier recordings from the last century. A similar tendency is observed with the melodies from the different periods in both quantitative and qualitative terms. A musical analysis and comparison of the melodies show a decrease in the total number of melodies performed throughout the ceremonies. Some of the melodies have been replaced by new ones, usually composed songs of literary origins associated with new wedding ceremonies. This simplifica- tion of the ceremony also affected the song forms themselves, which is most vividly expressed in the wedding chants and the recitative songs, which in more recent times have adopted more strophic forms.

Kuban Ukrainian-Cossack Wedding: Songs & Ceremonial, structural analysis

Ethnomusic ◽  
2018 ◽  
Vol 14 (1) ◽  
pp. 47-73
Author(s):  
Nadiya Suprun-Yaremko ◽  
Keyword(s):  
Structural Analysis ◽  
Russian Federation ◽  
Initiation Rites ◽  
The Core ◽  
Wedding Songs ◽  
Historical Origin ◽  
Current Article ◽  
Wedding Ceremony ◽  
Rites Of Initiation ◽  
Mixed Types

In current article author presents traditional Kuban Ukrainian-Cossack wedding, on the ground of typological data, archived in 268 items, recorded in 46 settlements of historical Chornomorya (contemporary Kyban lowlands region of Russian Federation), transcribed and archived according to the historically reconstructed wedding ceremony of procession 29 magical rites. Overall the collection is subdivided upon the rites of initiation, wedding & post-wedding ceremonies; by 62 structural-melodical typology-recitatory-exclamational (134), cantilena (31), of mixed types (102), dancant (1). The recitatory-exclamatory songs constitute the core of wedding ceremonies, cantilena mixed - the historical epic songs, cantilena mixed dancant – the core of common non-ritual songs. The initiation rites (82) correspond to 10 ceremonies-wooing, betrothal, engagement, crowning of a wreath, maiden evensongs, summon songs, wedding feast, orphan songs, wedlock. 178 items illustrate 16 wedding rites of ceremony, according to wedlock, wedding feast, redemption of the bride, treatment of bride, ritual maiden evensongs, wedlock attire, the departure of the bride. 8 songs correspond to three rites of post-wedding ceremony. The recitatory-exclamatiory songs are performed on every ceremony of a rite (as an integral rite) or interferential (as co-habitative, musicianship of a ceremonial), formulating a polythem atic and polysemantic ceremony. In dramatical-epic songs the melodic embellishments flourish over the vocalized vowels. 15 non-ritual lirycal songs were performed irregarding of the ceremony. Ethnomusical analysis arguably supports the theory of common historical origin and background of songs and rites under consideration, preserved in commemoration of singers, the legacy of kuban history' historical traditions, of rytmicall cowariative combinatories and art of vocalizing and embellishments.

scholarly journals Gallipoli poet N.V. Stanyukovich’s collection “From the ashes”: image-motive structure

Neophilology ◽  
2021 ◽  
pp. 495-502
Author(s):  
Stanislav V. Kopyryulin
Keyword(s):  
Russian Literature ◽  
Creative Activity ◽  
Train Station ◽  
Russian Army ◽  
Sound Color ◽  
Poetry Collection ◽  
Creative Career

We consider the structure of unrenowned poetry collection “From the ashes” (1929) by undeservedly forgotten Gallipoli poet N.V. Stanyukovich. The relevance of the study is due to the need to address little-known phenomenon of the Russian literature abroad – writers’ creative activity in the Gallipoli camp of the Russian Army of Baron P.N. Wrangel in 1920–1921. The purpose of the study is to examine the features of image-motive structure of the collection “From the ashes” by N.V. Stanyukovich. Based on the use of biographical, structural-typological, cultural-historical approaches, we analyze the image-motive dominants of the collection “From the ashes”, which include the motives of war, death, life, fate, homesickness, hearts, creativity, images of the steppe, graves , war horse, train station, etc. We pay attention on the fact how N.V. Stanyukovich uses sound, color, compositional, rhythmic techniques in his works, which testifies to the maturity of the writer’s creative manner. We suggest that the Gallipoli sitting became the most tragic page in N.V. Stanyukovich’s life, despite the fact that it contributed to the beginning of his creative career. After the collection “From the ashes”, poet avoids Gallipoli theme, although military problems remain relevant.

Typography, Genre, and Authorship in The Passionate Pilgrim (1599) and Shake-speares Sonnets (1609)

2020 ◽  
pp. 57-104
Author(s):  
Erin A. McCarthy
Keyword(s):  
Title Page ◽  
History Of ◽  
Poetry Collection

This chapter argues that Thomas Thorpe’s 1609 edition of Shake-speares Sonnets was stymied by the success of The Passionate Pilgrim, a poetry collection first published by William Jaggard in 1599 and reprinted in 1612. Critics have suggested that the success of Jaggard’s volume may “have spoiled the market for authentic ‘sugred Sonnets’ by Shakespeare.” But to date, no one has read The Passionate Pilgrim as a sonnet sequence in its own right. This chapter outlines a history of sonnet publication that reveals striking resemblances between The Passionate Pilgrim and the printed English sonnet sequences then in fashion. Moreover, every element of the book—the title page, the poems it contained, and even its format—seems designed to highlight its place within Shakespeare’s oeuvre. Thus, when Thorpe’s Shake-speares Sonnets was printed in 1609, it appeared to be less sequence-like and less Shakespearean than The Passionate Pilgrim.

scholarly journals Symbols of Time in Russian Wedding Folklore of Udmurtia

2021 ◽  
pp. 251-266
Author(s):  
S. V. Tolkacheva
Keyword(s):  
The Sun ◽  
Wedding Songs ◽  
Udmurt Republic ◽  
Wedding Ceremony ◽  
Time Periods ◽  
Artistic Images ◽  
Artistic Image

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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