INTERJECTIVE CONSTRUCTIONS WITH COMPONENT ADA IN THE TURKIC AND MONGOLIAN LANGUAGES: ON THE NATURE OF INTERJECTIONS

Статья посвящена описанию феномена тюркско - монгольской лексемы ада, пока ещё спорной в плане исторической принадлежности, обладающей гибкостью и сложностью семантической структуры. В монгольских и якутском языках ад (также адьарай/ажарай) является полноценной единицей с обобщённой семантикой «демон, злой дух». В тюркских языках слово ада действует как компонент междометных конструкций, имеющих семантические, грамматические и синтаксические особенности. Ада в них полностью десемантизировался, сохранив свои грамматические свойства. Конструкции с ада выражают различные эмоции: удивление, восторг, восхищение и т. д. Лингвоспецифичность хакасских междометных конструкций заключается в том, что они представляют собой реакцию говорящего на чьё - либо высказывание, оцененное как абсурдное, недостоверное. The article is devoted to the description of the phenomenon of the Turkic-Mongolian lexeme of hell, which is still controversial in terms of historical affiliation, and has a flexible and complex semantic structure. In the Mongolian and Yakut languages, ad (also adyaray / azharay) is a full - fledged unit with the generalized semantics of 'demon, evil spirit'. In the Turkic languages, word ada acts as a component of interjective constructions that have semantic, grammatical and syntactic features. Ada in them is completely desemanticized, retaining its grammatical properties. Constructions with ada express various emotions: surprise, delight, admiration, etc. The linguistic specificity of Khakass interjective constructions is that they represent a speaker's reaction to someone's statement, evaluated as absurd, unreliable.

Twin Peaks

Twin Peaks is an American television series that first aired on the ABC network in the United States on 8 April 1990. Despite its critical acclaim the show was cancelled at the end of its second season in 1991 and remained off-air until its third series, titled Twin Peaks: The Return, was aired on the premium television network Showtime in 2017. The show was created by renowned filmmakers David Lynch and Mark Frost, whose television successes included police drama Hill Street Blues, and it was widely promoted as the series that would “change television.” The program, set in the fictional northwestern US town of Twin Peaks, was focused on the central mystery surrounding the murder of local schoolgirl Laura Palmer (Sheryl Lee) and the efforts of FBI agent Dale Cooper (Kyle MacLachlan) in solving the case. The show featured a cast of inhabitants of the town and was renowned for quirky characters, dream sequences, and surrealism, which were seen as hallmarks of David Lynch’s cinematic work. The question of “who killed Laura Palmer?” constituted the key narrative enigma for the first season of the show. When this mystery was resolved at the midpoint of the second series, audience interest waned, and the show’s declining viewing figures led to its cancellation. The program’s original run ended on a cliffhanger where lead character Dale Cooper became possessed by the evil spirit BOB (who was responsible for Palmer’s death while possessing her father Leyland Palmer [Ray Wise]). In 1992, David Lynch directed the prequel film Twin Peaks: Fire Walk with Me, which involved a return to Twin Peaks to depict the events leading up to Laura Palmer’s murder. The film was initially viewed as a disappointment, especially for those who wanted resolution to the show’s cliffhanger ending. Fire Walk with Me has since been reappraised and is now widely viewed as a groundbreaking piece of filmmaking. In 2016, David Lynch and Mark Frost began teasing a Twin Peaks–related announcement on their social media, with The Return of the series on Showtime announced soon after. While some setbacks were encountered when Lynch temporarily departed due to conflicts over budget and artistic vision, Twin Peaks: The Return aired in 2017 and was widely hailed as a return to form for the series. Throughout its history, Twin Peaks has attracted a loyal fanbase and critical attention on issues, including authorship, aesthetics, narrative, and genre.

Тувинская рукопись «Сутры о восьми хулилах»

The article aims to introduce a manuscript of the “Sūtra of Eight Khulils” in Mongolian, part of the collection in Aldan-Maadyr National Museum of the Tuva Republic. The idea of eight khulils, or eight trigrams, which symbolize eight great elements (fire, earth, metal, sky, water, mountain, wood, and air / wind) and form the basis of the Tibetan-Mongolian astrological system may be traced back to ancient Chinese divinatory practices which one can find in Yi jing, or Book of Changes. Despite the title, the Sūtra has nothing in common with canonical Mahāyāna sūtras either in content or composition. No parallel work of the Tibetan canon identified as an original for the sutra in question, assumingly, it is either a translation from Chinese or of purely Mongolian origin. The body of the text is preceded by schematic pictures of eight khulils, supplied with indications of eight directions (life, health, luck, happiness, evil, illness, evil spirit and five demons), each direction having eight combinations that are differently positioned (south, north, east, west and four intermediary directions), depending on khulil. Then, there is a short instruction on what one should or should not do in these eight directions, as well as an explanation of negative consequences of abiding in each of the eight khulils and methods of their neutralization. This passage contains a list of places and situations that should be avoided, including demons (albin, aišiginar (Skt. piśāca), bug demons, demons of curses, etc.) that can do harm to humans, diseases, unfavorable objects, beings, types of food, as well as unfavorable directions and time periods. Also, Buddhist texts and various offerings needed for the ritual are mentioned, such as “Vajravidāraņa-dharaṇī”, “Sitātapatrā-dharaṇī”, “Sutra of Eight Luminous of Heaven and Earth”, and “Paňcarakṣā”. Of great interest are the respective lists of Buddhist ritual texts, dungli and kereg ritual offerings, classifications of Bon and Buddhist priests to perform such rituals, and lamas who can take donations; their further investigation may shed additional light on the Buddhist practices of the Mongolian peoples. The fact that the manuscript repository of the National Museum of the Republic of Tuva includes about sixteen texts devoted to eight khulils may indicate that khulil divination was quite widespread and popular in the local tradition of Tuvan Buddhism.

Satanological Myth in the Coptic literature and its development

The article deals with the satanic myth, its Biblical genesis and further development in Judaism and early Christianity as well as its variants in Coptic literature. The myth is based on the story about the fall of the Supreme Angel and his subsequent transformation into an evil spirit. Two versions of the myth are known conventionally called “The proud man” and the “Envious man”. The first is the “legend of Lucifer” when Satan wished to become higher than God or equal to Him and was cast down. This legend goes back to the Biblical prophets as well as the pre-Christian exegesis. The second version describes how Satan was cast down for refusing to worship Adam. This legend is partly rooted in the book of Job and could have developed as a result of two coexisting, however, separate motives were found in the Jewish and early Christian exegesis. Both variants occur in great detail in various Coptic texts, including magical ones. The Biblical basis of the myth enlarged by various additions. Besides, there is also a version, which comprises details from both legends. The Satanological myth, like other apocryphal legends about angels and demons based upon the Biblical narrative in Coptic literature is developed in two ways: 1) personification of abstract concepts and properties, 2) allegorical interpretation of stories regarding Biblical characters as legends about angels or demons.

Мифологический персонаж (з)мора / мара в традиции Южного Подлясья в польской и общеславянской перспективе

The author analyzes the field materials collected during her expedition to the Southern Podlasie (Łuków-Siedlce-Garwolin region in Poland) in 2017 and sheds light on the local version of the supernatural being under the name “zmora”. In this territory zmora is endowed with a function (not typical in other Polish local traditions) to tangle and braid the horses’ manes. Meanwhile the informants put aside zmora’s traditional function (that is to suffocate a sleeping person) or do not mention it at all. Zmora from Southern Podlasie is regarded in a wider Polish and all-Slavic perspective. Such parameters as the supernatural being’s name, its origin, appearance, behavior, time of the activity, its functions as well as the amulets and preventive measures used against this evil spirit are examined. The author concludes that in the studied Slavic archaic area zmora has partially taken over the functions of the house spirits, that is reflected in the entire fragment of the mythological characters’ system associated linked to the domestic and economic (cattle-breeding) sphere.

MAGICAL REALISM: THE STORY OF MAGOMED-RASUL «THE EVIL FORCE»

The article considers the main characteristics of novel of mystical character. «Evil spirit» by People’s writer of Dagestan Rasulov Magomed-Rasul. The author reveals causal characteristics of behavior of the heroes of the story, converts them to the Buddhist doctrine of the reincarnation of the human soul.

Frame approach towards studying cultural phenomena

  The object of this research is the religious sphere, apprehended as a fragment of the cultural worldview. The unit, which allows conducting the analysis and studying the structure of cultural worldview alongside other, is the frame of cultural phenomenon. Cultural invariants are referred to as basic frames. The subject of this research is one of the major cultural phenomena, the basic frame of the Christian culture – “sin”. The author focuses on the structure of cultural phenomenon, analyzing its levels, vertex nodes (slots) and optional nodes (terminal slots). The key research method is the frame analysis. The commonly used in sociological, linguistic, and cognitive research frame analysis is a universal tool, effective and adequate to the goals and tasks of culturology. The novelty of this study is define by the lack of works on the frame analysis of cultural phenomena in the context of its relevance for the scientific community. This article is a contribution to the discussion that has unfolded in recent years on the capabilities of frame analysis in culturology. The conducted analysis demonstrates that the frame correlated with the concept of sin has a multi-level structure. The main attributes of the frame are the slots or vertex nodes – quality inherent to human, grounds for punishment, enemy, evil, evil spirit, illness, mistake, and misfortune. The terminal (optional) slots include the atoning sacrifice and forgiveness.  

Artistic and Aesthetic Representation of the Mythological Image of the Water Damosel in the Bashkir Folk Epic (on the Material of the Epics “Akbuzatˮ and “Zayatulyak and Khyuhyluˮ)

Using the Bashkir epics “Akbuzatˮ and “Zayatulyk and Khyukhyluˮ, the article examines the mythical image of the water damosel – khaukhylu, which has significant artistic and aesthetic functions. This image takes a special place in the mythology of all peoples and in ancient sacred beliefs. Due to the fact that after the adoption of Christianity / Islam among the peoples, all the once sacred, pagan deities – the keepers of rivers and lakes, mountains and natural boundaries, forests and fields, as well as the ones connected with home, were endowed with a negative characteristic and began to be represented as an evil spirit. Such a fate was waiting for, for example, the traditional hero Baba Yaga – Yashchura, raised to the rank of a positive character, deified by the canon of the ancient Slavs, she was the keeper of the clan, its traditions and customs. Accordingly, after the adoption of Christianity, Yashchura took on that negative, pernicious character known to us from Slavic folk tales and folkloric accounts. As E.V. Pomerantsev correctly states, in the artistic and aesthetic sense in mythological legends and folkloric accounts there are always similar motives of “sudden meetingˮ, “sinking into the underwater kingdomˮ, “awards of the water kingˮ, “... the marriage of a hero in the underwater kingdomˮ, etc. In the Bashkir epic monuments observed in the article, these motives are strictly traced and successfully actualized.

Ghost Theme is Ancient Kannada and Tamil texts

As members of Dravidian family of Languages, Kannada and Tamil are close to each other. Apart from linguistic and grammatical similarities there are comparable elements in literary texts also. There are similar motifs and themes in Ancient Kannada and Tamil literary works. Though a few studies have concentrated in the similarities of Kannada and Tamil grammars, very little is done on the similar features of literary works. This paper makes an attempt to bring out a surprising motif of ghosts that occur in Ancient Kannada and Tamil texts. Tolkappiyam is an early grammatical work in Tamil and date of which is believed to be from 1 to 3 AD. This book speaks of a concept of ‘Thodakkaanji’. This concept is explained by commentators as not allowing the evil spirit to eat the body of the hero who died during a war. The same concept, though the technical term to denote the concept is absent, is present in the Kannada text ‘Sahasa Bheema Vijaya or Gadhayuddha’ by the Ranna, who belongs to the tenth century. While the theme of the narration centers around the battle of maces between Bhima and Duryodhana on the last day of the eighteen-day war, the poet uses a technique similar to flashbacks. This technic we can see in Tamil as a “Singanokku” which is used in grammar text to explain the ‘noorpaa’. Ranna the Kannada poet gives the details of an incident of the war field where the dead leader’s body is guarded from evil spirits/ ghosts by the fellow warriors whose wounds are less fatal. Tolkappiyam is an earlier work and Ranna’s work is late period. But that the particular theme of Thodakkanchi occurs in the Kannada and Tamil contexts merits mention and study a rare example which has not been brought out by anybody so far. Such similar points of comparison are brought out elaborately in this article.

The Value of Collaboration between Psychiatrists and Exorcist Priests

The article presents the issues of cooperation between psychiatrists and exorcist priests, taking into account the psychiatrist, exorcist priest, patient, and the unusual disease of possession, paying particular attention to when and why the cooperation is essential. And it is necessary mainly in difficult cases of possession. Possession does not only exist as another mental illness; possession is a parapsychological disease, an unusual disease in which supernatural phenomena occur, and is therefore more than a patient’s conviction that he or she will be subjected to demons. Possession is the real seizure of the possessed body by an evil spirit. Possession needs a specific diagnosis and treatment, by a unique specialist, which is an exorcist priest. For the work of exorcist priests, it is very important the cooperation with psychiatrists, who recognize and treat cases of pseudo-possessions and mental illnesses that may coexist with possessions. The article also points out when psychiatrists should refer patients to an exorcist priest. The golden rule turns out to be to give the psychiatrist what belongs to psychiatrists, and to the exorcist priest what belongs to exorcists.