Performing schools and tutorial methods in the epic art of bagshy-dessanchy

Искусство туркменских бахши-дестанчи имеет древние истоки и отличается жанровым богатством и стилевым разнообразием. Эпическое наследие туркмен в достаточной степени изучено филологами, этнографами, однако специальных исследований, раскрывающих природу сохранения изустной традиции и описывающих методы передачи эпических жанров из поколения в поколение в Туркменистане, до сих пор нет. Цель статьи – описать бытующие школы эпического сказительства, выявить их жанровые, исполнительские особенности, сохранившиеся в искусстве бахши-дестанчи традиции наставничества, а также охарактеризовать методы, позволяющие сказителям хранить в памяти огромное количество эпических песен и текстов. Для решения намеченных целей были осуществлены следующие задачи: проанализированы эпические жанры различных локальных школ; проведен сравнительный анализ исполнения эпоса одним и тем же сказителем в различные периоды времени, а также наставника и его учеников; определены факторы, влияющие на изменение дестанов. В качестве методологической базы использованы труды А. Лорда, В. В. Бартольда, В. М. Жирмунского, В. Я. Проппа, Е. Э. Бертельса, Б. Н. Путилова, К. Райхла. Источниками для анализа послужили образцы эпического наследия из аудио фонда Туркменской национальной консерватории, а также полевые аудио/видео материалы из личного архива авторов. Впервые в статье в качестве жанров эпических сказителей рассматриваются не только традиционные эпосы и дестаны, но и жанр легенды с музыкой, а также излюбленные в народе музыкально-поэтические транскрипции произведений поэтов-классиков. Проведенные исследования позволили выявить формообразующую роль песен и их функции, осуществляющие развитие музыкальной драматургии в дестанах. Впервые в работе выявлены «песни-маяки», составляющие каркас эпического сказания и способствующие запоминанию повествования в памяти народных сказителей. Незакреплённость песенных мотивов к текстам, а также использование в песнях мелодий-тем (музыкальных напевов, характерных для конкретных локальных школ) определяет особенности туркменского дестанного исполнительства. Учитывая тенденцию к ослабеванию интереса молодого поколения к древней традиции, изучение методов преемственности, используемых в процессе сохранения традиции устного наследия, представляется своевременным и актуальным. The art of Turkmen bagshy-dessanchy (epictellers) is ancient and distinguished by its genre richness and stylistic diversity. The epic heritage of Turkmens has been sufficiently studied by philologists and ethnographers, but there are no special studies in Turkmenistan revealing the nature of the oral tradition preservation and the methods of transmitting epic genres from generation to generation. The purpose of the article was to reveal the genre and performing features of the schools of epic epic-telling in Turkmenistan, describe the traditions of mentoring that have survived in the art of bagshy-dessanchy, and identify methods that allow Turkmen storytellers to keep in memory a huge number of songs and texts. To solve these goals, the following tasks were carried out: the epic legends of various local schools were analyzed; a comparative analysis of the performance of the epic by the same narrator in different periods of time was carried out; revealed differences in the performance of the same legend by the mentor and his students; the factors and means influencing the change of destans have been determined. The works of A. Lord, V. Barthold, V. Zhirmunsky, V. Propp, E. Bertels, B. Putilov, K. Reichl were used in the article as a methodological base. The sources for the analysis were samples of the epic heritage from the Fund of audio materials of the Turkmen National Conservatory, as well as field audio-, videomaterials from the authors’ personal archives. In the article, for the first time, not only epic cycles and destans, but also the genre of legend with music, as well as poetic transcriptions of the classical poet’s works were considered as the main genres of bagshy-destanchy. The studies helped to identify the formative role of epic songs and their important functions, thanks to which the development of the musical dramaturgy in epic genres was carried out. For the first time, we identified the beacon songs, that make up the frame of Turkmen epic works, thanks to which the epic text remembering in the memory of bagshy-dessanchy. The looseness of song motifs with texts, using the theme-melodies (musical tunes, which characteristic of specific local schools) in epic songs showed the particularities of Turkmen destan performance. Taking into account the tendency towards a gradual weakening of the interest of the younger generation in the ancient tradition, the identification of the methods used in the process of preserving the oral epic heritage is highly relevant.

Modernistskiy ekfrasis v esse Mariny Tsvetayevoy „Natal'ya Goncharova. Zhizn' i tvorchestvo”

This article examines Marina Tsvetaeva’s modernist perception of the personality and paintings of the greatest representative of the Russian avant-garde of the 20th century in the essay “Natalia Goncharova. Life and Work” (“Наталья Гончарова. Жизнь и творчество”, 1929). Goncharova’s paintings that Tsvetaeva describes in her essay are indicated. The principles of modernist poetics and ekphrasis are revealed (lyrical subjectivism, ontology, consonance, anagrammatic disclosure of the inner form of a word, mythologization, reader co-creation, dialogism). The similarity between Tsvetaeva’s understanding of painting and poetry is compared to the ontological understanding of art by Martin Heidegger. This can be explained by the tradition of ontological poetry (Friedrich Hölderlin and Rainer Maria Rilke), which is important for both. The ontology of Goncharova’s painting is also considered in the context of the ontology of animals in Russian philosophy at the beginning of the 20th century (Vasily Rozanov) and in the Tahitian Painting of Paul Gauguin. Special attention is paid to ekphrastic poetics (style, tropes, consonance), with the help of which Tsvetaeva authentically transfers the ontologism of Goncharov’s painting in its stylistic diversity (cubism, neo-primitivism, rayonism) to the verbal level. Tsvetaeva and Goncharova in the respective Russian and European context (Gauguin, Rozanov, Heidegger, Rilke) appear as exponents of the ontological turn in the culture of the first half of the 20th century.

ФРАЗЕОЛОШКИ ЖАНРОВИ У ШЋЕПАНУ МАЛОМ (У ПОРЕЂЕЊУ СА ГОРСКИМ ВИЈЕНЦЕМ) PHRASEOLOGICAL GENRES IN STEPHEN THE LITTLE (COMPARED TO THE MOUNTAIN WREATH)

The article aims at the comprehensive analysis of the phraseological level of the Njegos’ poem Stephen the Little. The idioms of the poems have been organized into eight phraseological genres, based on the author's classification already applied to the text of The Mountain Wreath. The author has illustrated each genre with the appropriate examples, as well as their syntactic, semantic, and stylistic features. The high frequency and stylistic diversity of the phraseology of the poem prove the importance of researching its phraseological units in the overall assessment of the poet's idiolect and idio style. This paper, also, highlights the importance of researching the phraseology of Njegos’ works for the study of the overall phraseology of the Serbian language in its diachrony and synchrony, bearing in mind the high share of dialectal and archaic idioms. Moreover, some attested idioms present evidence of old ethnocultural concepts that have been verbalized and preserved in the language of the era, so their reconstruction is valuable for other humanities, as well. The author emphasizes the importance of studying Njegos' phraseology in the Slavic context on the examples of the reconstruction of the meaning of certain archaic idioms.

New findings of petroglyphes at Kanozero in Eloviy 3 panel

For the period 2016–2019 a significant number of previously unknown petroglyphs were revealed in the Elovy 3 panel (the Elovy Island, Kanozero Lake). Detection of petroglyphs was facilitated by the use of photogrammetry techniques, careful night photographing of the panel with petroglyphs. The total number of new revealed rock carvings is is over 150, among them about hundred figures are recognizable and fall into one of the categories accepted in the study of rock art (anthropomorphs, zoomorphs, etc.).These findings expand our ideas about the stylistic diversity of the Kanozero petroglyphs. In this work, new motifs and compositions of rock carvings are introduced, both having analogues and previously not typical for the Kanozero rock art complex.

I Send You My Front-Line Greetings! The Speech Etiquette of Soldiers’ Letters

В статье на основе неопубликованных фронтовых писем и нескольких опубликованных сборников, содержащих около 500 текстов, рассматривается эпистолярий Великой Отечественной войны. Отмечается его неоднородность: существование в нем двух категорий писем в зависимости от социальной дифференциации адресантов и связей их с разными слоями национальной культуры. Основные различия при общей жанровой этикетности проявляются в степени использования готовых форм, стереотипности содержания и формы, а на речевом уровне - в степени формульности и клишированности. Различия касаются также круга используемых формул и характера их функционирования. Для писем людей книжной культуры характерен лаконизм в использовании клише; владея всем набором коллективно выработанных этикетных формул, адресант распоряжается ими свободно, выбирает одну в зависимости от контекста или не пользуется ею совсем. В корреспонденции солдат коллективно выработанные этикетные формы в структуре письма занимают бóльшее место. Расширение этикетной части происходит за счет приемов, характерных для коллективного творчества. Прозаический текст может дополняться эпистолярными стихами, распространенными в бытовой народной переписке. Выявлению стилевого разнообразия может способствовать изучение фронтовых писем в контексте всей массовой эпистолярной традиции, поскольку многие эпистолярные формулы сложились еще до войны или существовали уже в начале века. This article examines the epistolary heritage of the Great Patriotic War based on unpublished front-line letters and several published collections of them, in all about 500 texts. The letters are heterogeneous and may be divided into two categories, depending on the social status of the writers and their connections to different strata of national culture. The main differences in etiquette are manifested in the quantity of ready-made forms; stereotyped content; and at the speech level - in their degree of formality and use of clichés. The differences also relate to the range of formulas used and the way they function. In the letters by people of book culture, laconism in the use of clichés is characteristic; these writers are able to make use of the entire range of collectively developed etiquette formula and to dispose of them freely, depending on the context. In the correspondence of soldiers, collectively developed forms of etiquette occupy a larger place. Increased use of these forms is due to techniques characteristic of collective creativity. The prose text may be supplemented with epistolary verses common in everyday folk correspondence. Identifying stylistic diversity can aid the study of front-line letters in the context of the entire epistolary tradition insofar as many epistolary formulas were formed before the war or existed at the beginning of the century.

The Cambridge Stravinsky Encyclopedia

Igor Stravinsky is one of a small number of early modernist composers whose music epitomises the stylistic crisis of twentieth-century music, from the Russian nationalist heritage of the early works, the neo-classical works which anticipate the stylistic diversity of the contemporary musical scene in the early twenty-first century and the integration of serial techniques during his final period. With entries written by more than fifty international contributors from Russian, European and American traditions, The Cambridge Stravinsky Encyclopedia presents multiple perspectives on the life, works, writings and aesthetic relationships of this multi-faceted creative artist. This important resource explores Stravinsky's relationships with virtually all the major artistic figures of his time, painters, dramatists, choreographers and producers as well musicians and brings together fresh insights into to the life and work of one of the twentieth century's greatest composers.

The secrets of Arto Tapio Paasilinna’s stylistics

The article gives an overview of the literary legacy of Arto Tapio Paasilinna — one of the few Finnish authors of the second half of the 20th c. to enjoy international renown. Paasilinna’s 35 novels have been translated into 40 different languages; many of the books have been adapted to films. Russian audiences have yet to discover all of Paasilinna’s works. His books offer perfect material to study Finnish culture, humour, and enigmatic female characters. The present essay dwells on the critic’s impression of several unique stylistic features of Paasilinna’s prose. Finnish humour, attention to detail, and unexpected metaphors, along with other devices used by Paasilinna, allow for a study of Finnish culture that is shown not only through examples of typical behaviour of its remarkable representatives, but also as a mystery behind a façade of what seems like indifference and emotional inadequacy. Finland can boast hundreds of literary professionals, yet Paasilinna holds a special place in the vibrant stylistic diversity of the contemporary Finnish literary process.

Characteristics of The Sentence in The Qur’anic Story

The holy Qur’an has adopted many methods in conveying its message to people, and among these methods is the style of the story that it has paid special attention to, form and content. The Quranic story has occupied a wide area in the Quranic context, and has actively contributed to its statement, rhetoric, miraculousness and verdicts, in addition to the entertainment it contains for the Messenger (may God bless him and grant him peace). From this standpoint, we will focus our research on the characteristics of the sentence in the context of the Qur’anic story, especially the stylistic characteristics. And what it achieves in terms of statement, significance and influence on the recipient's soul, in addition to achieving the mystery of the Quranic miracles, which is one of its goals for which it was revealed. We have examined these distinct characteristics of the sentence in the Qur’anic story through three axes or demands, namely: First: Verbal and semantic consistency. The second: the combination of compound and simple sentences. Third: the stylistic diversity between the nominative and the actual. This brief research discusses the most important advantages of the sentence in the context of the Quranic story. As a major unit in textual analysis, especially the sentences mentioned in the context of the Makkah story; Because of their importance and distinctive characteristics in the overall analysis of those stories, while not forgetting the civil story and indicating the semantic differences between them. The research reached many results, including that the Qur’an story in the Makkah surahs relied remarkably on the narration of events on short sentences. While the story in the Madinah surahs leaned towards long sentences, including that the Qur’an story relied on simple sentences, especially in dialogue stories, rather than on compound sentences, and also that the expression in actual sentences was overwhelming in the narrative use over nominal sentences what fits the actual sentence in its connotation of renewal, occurrence and movement, unlike the nominal one that denotes permanence and continuity.

COMPARATIVE ANALYSIS OF THE TRILOGY THE ORESTEIA BY AESCHYLUS AND THE NOVEL CRIME AND PUNISHMENT BY F. DOSTOEVSKY

The article attempts to make a comparative analysis of the trilogy The Oresteia by Aeschylus and the novel Crime and Punishment by F. Dostoevsky. It is noted that comparative studies investigates the historical processes of differentiation and divergence, convergence and unification of literary phenomena, and one of its tasks is the formation – against the background of existing differences and disagreements – of a synthetic image of literature. Moreover, it integrates the knowledge gained in research about literature, its place in culture and in this circle of civilization. Comparative analysis has been found to be based on the study of genetic and contact relationships. The comparisons of Aeschylus’ trilogy The Oresteia and F. Dostoevsky’s novel Crime and Punishment were made at the level of genetic connections and were based on the subdivision of comparative studies, which concentrates various empirical studies on the influences and relationships of individual literatures. The similarity of works in thematic, ideological, problem aspects, partly – in genre is revealed; differences are noted in the portrayal of the characters, stylistic diversity, and structural features.