Image of a Shamaness in Khakas heroic epic: the case of S. I. Shulbaevʼs tales

В статье впервые рассматривается образ шаманки в героических сказаниях хакасов, тексты алыптыг нымахов, записанные от сказителя С. И. Шулбаева, вводятся в научный оборот. Целью исследования является определение типа женщин, сведущих во всех трёх мирах, сравнение топосов, встречающихся на пути шаманки в Нижнем мире героического эпоса и в путешествии в «мир мертвых» реального шамана. Для осуществления поставленной цели исследования использованы описательный, сопоставительный методы. В героическом эпосе хакасов типы женщин, сведущих во всех трех мирах, обладающих магическими свойствами, волшебными предметами, встречаются часто. Сказитель обозначает их словами пiлiгҷi, кöрiгҷi.В алыптыг нымахе есть много женщин, умеющих предсказывать будущее, благословляющих главных героев на подвиги, давая ценные советы. Есть героини сказаний, умеющие исцелять, лечить богатырей,женщин, умеющих перевоплощаться в различных птиц и зверей. Богатырки, имеющие «птичье» одеяние,являются переходными, когда образ зооморфных помощников уходит, вера, связанная с тотемом-предком, потихоньку угасает, на смену приходят образы женщин-помощниц и советниц эпического богатыря. Новизна исследования в том, что данный тип женщин в эпосе впервые рассматривается на образе шаманки. Ранее обозначались как защитницы рода, советчицы богатыря. В древних хакасских сказаниях образ мужчины-шамана встречается редко. Как мы знаем, данный персонаж был введён намного позднее, когда помощь шамана, имеющего девять бубнов, стал необходим. В сказании «Хубан Арыг» вводится образ Толгай-хама, подробно описано камлание шамана с девятью бубнами. Мы считаем, что данный эпизод более поздно привнесен в тело эпоса, тем более традиции жанра это позволяют. В статье также проведён сравнительный анализ образа шамана в этнографической литературе и в эпосе хакасов. Выявлены схожие элементы в описании дороги героя в «мир мертвых», шаманы имеют одинаковые средства передвижения по потустороннему миру, аналогичные хитрые уловки, помогающие перемещаться в ином мире, похожие способы проверки состояния «души» умершего. Следует отметить, что данное исследование может способствовать дальнейшему раскрытию образа шаманки в эпосе и более глубокому рассмотрению этой проблемы. The article for the first time examines the image of a shamaness in the heroic tales of the Khakases, the texts of Alyptyg nymakhs recorded from the narrator S. I. Shulbaev are introduced into the scholarly turnover. The aim of the study was to determine the type of women versed in all three worlds, to compare the topoi encountered on the way of a shaman in the Under World of the heroic epic and in the journey to the “world of the dead” of a real shaman. Descriptive and comparative methods were used to achieve the goal of the research. In the Khakas heroic epic, the types of women versed in all three worlds, possessing magical properties and magical objects are common, the narrator denotes them by the words piligchi, kerіgchi. The alyptyg nymakh has many women capable of foretelling the future and blessing the main heroes for feats of arms, giving valuable advice; there are heroines of tales able to heal and treat heroes, women who can transform into various birds and beasts. Bogatyrs dressed as “avian” are transitional, when the image of zoomorphic helpers disappears, the belief connected with the totem ancestor slowly subsides, and images of women assistants and advisers to the epic hero replace them. The novelty of the research is that this type of women in the epic was considered in the image of a shamaness for the first time. Earlier they were designated as protectresses of a family, advisers of a bogatyr. In ancient Khakas tales, the image of a male shaman is rare. As we know, this hero was introduced much later, when the help of a shaman with nine tambourines became necessary. In the tale “Khuban Aryg”, the image of Tolgai-khama is introduced, the shaman's calamation with nine tambourines is described in detail. We believe that this episode was introduced into the body of the epic later, all the more so because the traditions of the genre allow it. The article also provides a comparative analysis of the image of the shaman in ethnographic literature and in the Khakas epic. Similar elements in the description of the hero's road to the “world of the dead” were revealed, shamans have the same means of travel in the other world, similar tricks to help travel to the other world, similar ways of checking the state of the “soul” of the deceased. It should be noted that this study can contribute to the further disclosure of the image of a shamaness in the epic and a deeper consideration of this problem.

De Per Abbat a Pérez Reverte: el Cid, entre la tradición y el superventas en Sidi

RESUMEN: La reciente incursión de Arturo Pérez-Reverte en territorio cidiano con su novela Sidi era, hasta cierto punto, previsible, pues el interés del autor por la historia y, especialmente, las hazañas bélicas y los héroes es de sobra conocido. Su obra está plagada de personajes como el famoso capitán don Diego Alatriste, pero, mientras que el capitán es un personaje surgido de la imaginación de Pérez-Reverte, el Cid es una figura firmemente integrada en la cultura española: a caballo entre la historia y la fantasía, el Cid cabalga a lomos de su leyenda desde la aparición del Cantar de Mio Cid. Desde entonces, no han sido pocos los autores que han seguido la estela del anónimo poeta y han recogido el mito en sus obras para ofrecernos su particular versión del mismo. Así, el héroe épico se convirtió en protagonista de obras de teatro, cuentos y novelas, y también la música o el cine, que sirvió para darlo a conocer entre el gran público a nivel internacional. A partir de un meticuloso análisis intertextual e interdiscursivo, el presente artículo muestra cómo Sidi incluye alguno de los episodios más famosos de la literatura cidiana, así como los tópicos épicos que configuran a Rodrigo Diaz como caballero ideal. Entre estos elementos tradicionales, se añaden los rasgos fundamentales del héroe cansado que protagoniza los textos revertianos, y, gracias a esta combinación de elementos antiguos y nuevos, el autor ha logrado convertir al Campeador en un personaje propio. ABSTRACT Arturo Pérez-Reverte’s recent incursion in the literary field of el Cid with his novel Sidi was, to a certain extent, predictable, as the author’s interest in history and, especially, war deeds and heroes is very well-known. His works are full of characters like the famous captain don Diego Alatriste, but, whereas the captain is a character born in Pérez-Reverte’s imagination, el Cid is a figure firmly integrated in Spanish culture: halfway between history and fantasy, el Cid’s legend has been developing since the Song of Mio Cid appeared. From that moment onwards, many authors followed the path of the anonymous poet and included this myth in their works to offer their own version of it. Therefore, the epic hero became the protagonist of plays in theatres, tales and novels, and also in music and cinema, which spread the legend internationally amongst a wider audience. Taking a thorough intertextual and interdiscursive analysis as its starting point, this article shows the way Sidi includes some of the most famous literary episodes devoted to el Cid and, also, the topoi that made Rodrigo Díaz an ideal knight. All these traditional elements are blended in the novel with the main features of the ‘tired hero’ who plays the lead in Pérez-Reverte’s texts, and, by this combination of new and old features, the author turns the Campeador into a character of his own.

Lifestyle Media and Changing Political Perceptions Among Russian Protesters in the Second Half of the 2000s

Protests in today’s Russia are still influenced by trends emerged in the 2000s. According to Graeme B. Robertson, in the second half of the 2000s, the repertoire of the Russian protest changed and direct actions were replaced by symbolic actions. The article argues that protest trends and changes in the repertoire of actions were accompanied by the formation of widespread political perceptions among protesters. These perceptions reflected and influenced transformations of Russian protest movements. The article analyzes political discourses of three lifestyle media outlets, namely Afisha, Bol’shoi Gorod, Esquire, GQ and Epic Hero. All of them drew attention to protests and elaborated their own vision of preferable protest methods. This vision denounced direct actions and advocated constructive and non-antagonistic relations between protesters and the authorities.

Women, Violence, Sovereignty: “Rakshasa” Marriage by Capture in Modern Indian Political Thought

Nineteenth-century colonial jurists, sociologists, and Indian nationalists revived the ancient Indian legal concept of rakshasa marriage by bride capture after vanquishing her kinsmen, which the Hindu “lawgiver” Manu condemned but permitted to the warrior caste alone. Only the Kshatriyas, India's designated sovereigns, could break patriarchal and brahmanical authority in this way. But rakshasa marriage was also identified with the demon Ravana, who abducted Sita in the epic Ramayana, and with Hindu nationalism's Muslim enemy. Preoccupied with the loss of kshatriyahood, Hindu nationalism uniquely premised sovereignty on the power to dispossess enemy Fathers of their women: from Bankim Chandra Chattopadhyay's celebration of epic hero Arjuna and Krishna's own rakshasa marriages, to the appropriation of this supposedly Muslim method by the architect of Hindutva, Vinayak Damodar Savarkar (1883–1967). Transcending the “sexual contract” in the Indian case, rakshasa marriage's association of bride capture and miscegenation with sovereignty sheds new light on gendered Partition violence, beyond brahmanical notions of (defiled) purity and honor.

The linguistic personality of the poet Vali through Krishna Vijayam

Epics and Puranas are the most prominent elements of the language that show case the importance and importance of a language. These are the mirrors of time, and there are numerous epic stories. The legends of these legends, which have been written and written from time to time, are known to the stories and philosophies of literary taste. The purpose of this article is to explain the linguistic character of the poet Theerata viḷaiyattup pillai in the first part of the book Krishna Vijayam, written by the poet Vaali, with Krishna, the head of Villiparatham, the epic hero. Vaali, who has written over ten thousand film music albums, has made several achievements in the field of cinema but has also contributed to tamil films. His poetry, which had its own place in the history of Tamil poetry, has its own significance.

Rethinking of the Pan-Epic Value Category “Heroic Anger” in Russian Bylinas: The Knight’s “Fury / Resentment” as a Christian Concept

Purpose. The article examines the concept of anger, which should be placed among the central concepts of the world’s folk epics. Results. According to axiological analysis, pre-Christian epic poetry renders anger as a certain “indicator” of heroic nature peculiar to this or that character: the epic hero is “obliged” to feel this emotion when public evaluation of his personal honor (the one made either by his relatives or his bride, lord, rival, etc.) does not meet his own idea of those honors which should be granted to him as a possessor of miraculous strength. Such an underestimation is treated by the character as a kind of disgrace, and, consequently, provokes his anger – a feeling that induces him to restore “justice” through violent means. Russian folk epics, however, should be considered as a principal exception from this rule: bylinas don’t render the “fury” – or the “resentment” – of the knight as his response to the underestimation of personal honor. In Russian heroic songs, the pagan understanding of anger mentioned above is replaced by a new treatment of this feeling: now, anger is conceived as a manifestation of “love-eagerness” focused on those external realities and objective categories, which presuppose their own “honor”. Also, bylinas are remarkably distinct from other folk epics by their two opposed types of heroic characters: here, we find both “pagan knights” (Volkh, Dunay, Vasiliy Buslaev, Ivan Godinovich, Sukhman) and “Christian knights” (Ilya, Dobrynya, Alesha, Mikula, etc.). If the former ones are angry because of their personal disgrace (and, as a rule, perish), the latter ones become angry when certain individuals, objects, and value categories (“God’s law”, “honorable icons”, widows, orphans, etc.) are insulted or devoid of their sacredness; in bylinas, these heroes are invariably rendered as victorious, though their feats – the ones caused by “fury” and “eagerness” – do not increase their own property honor. Conclusion. Among the world’s folk epics, only Russian bylinas render the hero’s anger as a Christian concept presupposing both righteous zeal and love.

The image of the gloomy warrior in M. M. Kheraskov's poem “Vladimir” and in A. S. Pushkin's fairy tale “Ruslan and Lyudmila”

The article uses a comparative text analysis of the poem “Vladimir” and the fairy tale “Ruslan and Lyudmila” to reveal a number of parallels associated with the image of the warrior Rogdai. Previously, researchers have not considered this aspect of the works in detail. The character has a conventionally historical prototype – the epic hero Rogdai is mentioned in the “Core of Russian History” by A. I. Mankiev, and his laconic description in the source sets the type of character in Kheraskov’s and Pushkin’s poems. In both works Rogdai occupies a prominent position at the court of Prince Vladimir of Kiev, and is distinguished by his strength and violent temper. Kheraskov's poem emphasizes the immorality of the character, which is due to the didactic message of “Vladimir” and the need to discredit the warrior who is an opponent of Christianity, while Pushkin omits the ethical points. As the plot develops, the relatively neutral character becomes the antagonist of the main hero – Kheraskov's Vladimir and Pushkin's Ruslan – and at a certain point fights with them, which results in the warrior's dishonorable death. The comparison of “Vladimir” and “Ruslan and Lyudmila” shows that, in addition to the name, Rogdai has similar characteristics in the works of Kheraskov and Pushkin; the image is created according to the model of the epic hero, overshadowed by negative traits. The texts show common motifs - the anger, resentment and vindictiveness of the hero, the corrupting influence of the evil spirit and its helpers, Rogdai's wandering through the desert places, his death at the hands of the enemy. The similarity between Kheraskov's and Pushkin's characters of the same name leads to the conclusion that the image of the gloomy warrior from the poem “Vladimir” was borrowed into Ruslan and Lyudmila.

Transformation of auxiliary mythological characters in the heroic epic of the Turkic peoples

The image of the myth in the epic of the Turkic peoples is preserved in the function of auxiliary characters. The plot, motive, and mythology of the myth have a structural meaning at different levels of the epic, as well as the image of the characters and the burden on them. Among them are a tulpar, an auxiliary, a hero's wife, or a girl in love with him, a ghost, a saint, a fairy, a diyu, etc., who saves the hero from trouble. It is no coincidence that in the heroic epic the hero's spirit is associated with the cult of ancestors. Because it is a myth that the source of unparalleled strength and courage is realized through this arrow. At first, the protagonist, although he is alone and alone, walks alone, attacks the enemy alone and goes on a campaign. If this model repeats the image of a mythical hero acting alone, then he performs a feat that an ordinary person cannot do with the help of an auxiliary character (spirit), which is in line with the same mythical logic. The problem here is not only that the supporting character is in a mythical image, but also that the pattern of action of the epic hero repeats the mythical model. This is a sign that both the skeleton of the myth and the system of images are repeated in the epic. Of course, it is obvious that epic has changed and adapted to nature. We notice that the image and activity of the auxiliary mythological characters in the heroic epos of the Turkic peoples relate to the history of the formation of the epic genre. They are in the plot of the epic together with the protagonist of the epic. Actions and concepts such as ancestral cult, communication with other worlds, the help of heroes to help the hero to win, to achieve his goals are derived from the model of myth.

BYLINA ON THE RUSSIAN FRONTIER: DECONSTRUCTION OF THE PRE-CHRISTIAN EPIC HERO AS A PLOT FUNCTION OF THE FOLK EPIC «ALYOSHA POPOVICH AND TUGARIN THE SERPENT»

The author reveals values that motivate Alyosha Popovich and Tugarin the Serpent, compares the structures of their value centers, and concludes that these characters demonstrate an opposed - i. e., pagan versus Christian - understanding of such categories as glory, honor, and strength. The article proposes a hypothesis that the function of the bylina (Russian heroic epic) about Alyosha Popovich and Tugarin is to correct the listener’s value centre in order to devaluate in it pagan axiological paradigm. According to the author, precisely such actuality of the genre purpose accounts for the fact that the Siberian variants of the bylina are more profound and vivid than the ones written down in the European part of Russia.