Сюжетные мотивы в эпосах «Маадай-Кара» и «Бум-Эрдени»

Despite the extensive study of the Mongolian epic, this study is relevant because the issues of plot structure and poetics of the Oirat epic tradition remain poorly understood. The novelty of the work lies in the analysis of the plot and poetic-stylistic constants of the Oirat heroic epic in a comparative aspect with the versions of the epic “Dzhangar” of the Oirats and Kalmyks. The purpose of the article is to study the plot structure and poetics of the Oirat epic “Egil-Mergen”, recorded by B. Ya. Vladimirtsov in Northwestern Mongolia in 1913–1915 from an unknown Derbet storyteller, a professional rhapsodist. The original text of the epic was published in 1926 by Vladimirtsov in the collection “Examples of Mongolian Folk Literature”. To achieve the goal, the following tasks are solved: to study the plot structure of “Egil-Mergen”, to identify poetic and stylistic constants, and to compare them with the Xinjiang-Oirat and Kalmyk versions of “Dzhangar”. The following folklore methods are used in this work: descriptive, comparative and textual. The original text of the Oirat legend “Egil-Mergen” and its prose translation into Russian by Vladimirtsov, as well as the texts of national versions of “Dzhangar” are used to conduct the study. The study of the Oirat epic “Egil-Mergen” showed that the legend has a two-step text organization. Unlike other Oirat epics, this narrative does not include marriage competitions, difficult tasks of the future father-in-law or passing the test by destroying the enemy mangas. The traditional theme of heroic matchmaking is complicated by the repeated development of the thematic core: the hero Egil-Mergen, after marrying his betrothed and returning to his native nomadic camps, sets out on a campaign again, meets the hero Bayhankhan-Arsalan, who is equal in strength, and, having entered into a duel with him, wins; however, having shown nobility to the defeated, he fraternizes with him and together they destroy the enemies-mangas. The results of a comparative analysis of the poetics of the Oirat epic “Egil-Mergen” and the traditional versions of “Dzhangar” indicate that the heroic epic inherited the features of archaic tales. This is manifested in the presence of ancient motifs (first creation, miraculous birth, heroic matchmaking, etc.) and typical places (description of the miraculous strength of the hero, saddling and praising the horse, dressing the hero, etc.). The epic tradition of the Oirats has preserved unique examples of this early stage of the development of the epic, in which one can trace the process of transformation of the archaic tale into the heroic epic.

The Kalevala and World's Traditional Epics. Studia Fennica Folkloristica. Edited by Lauri Honko. Helsinki: Finnish Literature Society, 2002. When a folk-literary scholar, not herself an expert in poetry, digs into thick texture of this substantial volume on Kalevala and traditional epics, she is very soon enveloped in a quite rare elsewhere in folk-literary scholarship. Not only do scholars proudly proclaim elitism of their object of research, but they also imply that research of epics is an elite branch among varieties of folk-literary study. Most of them situate their research across boundary of literature and oral tradition. Their study is thus most pertinent to all who want to critically examine constructed dimension of category of folk literature in general, and specifically oral literature. One need only read a few stanzas or lines of any piece of poetry to sense poetic refinement and skill invested in creation of poetry. Only seldom does one encounter that level of sophistication in folk prose, and then only in specific forms of folktale that tend to straddle written-oral divide. I am reminded of a discussion I had with late editor of this volume, Lauri Honko, after we had been listening to a brilliant paper on urban legends delivered by one of our colleagues. Honko congratulated himself on having access to such textual riches as Finnish laments or South Indian epics, which he rated much higher than somewhat-in his eyes-banal oral narratives of modern urban cultures. The volume encompasses twenty-eight essays by twenty-seven authors. Honko himself contributed both a theoretical introductory essay and a more traditional comparative study of epics in eastern Baltic region. The essays break down thematically as follows: Kalevala across borders (five essays); European traditional epics (six essays); American and African traditional epics (two essays); Asian epics (six essays); and traditional epics of eastern Baltic region (nine essays). On whole they reflect intensified interest and common work done by scholars in last two decades, led and inspired by Honko himself through epic network he initiated within framework of Folklore Fellows International. Another important and leading figure in field is his close colleague John Miles Foley, founder and editor of Oral Tradition, who has contributed to volume an article that deals with metonymic character of oral with reference to an assumed pool of (113; cf. Honko, Textualizing Sin Epic [Folklore Fellows Communications 264], 1998; Textualization of Oral Epics, 2000). Although dynamics between persistence of traditional forms as textual rhetoric (120) and arena (121) may seem to be yet another refinement of competence-performance complex (e.g., Briggs, Competence in Performance: The Creativity of Tradition in Mexicano Verbal Art, 1998), Foley formulates astutely what seems to be at present a dominant intuition in studies: the old model of Great Divide between orality and literacy has entirely given way in most quarters, pointing toward accompanying demise of absolutist dichotomy of performance versus document (121). That may also provide generalizing perspective that makes this volume as a whole worthwhile reading for all folk-literary scholars and probably textual scholars, without distinguishing between genre and mode. Thus good or bad news, depending on one's point of view, or maybe no news at all, is fact that so-called Homeric question has definitely not disappeared or been rendered irrelevant by recent scholarship. In this sense assumption that A. B. Lord laid down in his Singer of Tales (1960), whereby oral-formulaic theory was to put an end to debate whether Iliad and Odyssey were textual culmination of an oral tradition of generations or rather stroke of a unique genius, Homer, has been disproved. …

The article deals with the features of the epic tradition (rituals, taboos, Tengrian views, beliefs, ideas related to the performance of epic tales and riddles) of the Uryankhai people of Western Mongolia. It also provides a brief historiographical background on the history of settlement, the main tribal groups and the traditional culture of the Uryankhai people. The main goal of the authors was to identify the ethnic uniqueness of the performing tradition of the Uryankhai people of Western Mongolia with the task of further comparative study of these features with the traditions of the Tuvans and other Mongolian-speaking peoples. When writing the article, the authors used historical-typological and complex methods, as well as field research methods when collecting and recording materials (involved observation, interviews, surveys), applied the review and generalization method. The novelty of the study is that for the first time in Tuvan folklore studies the authors paid attention to the epic traditions of foreign folklore with the task of further comparative study of two different epic traditions - the Tuvans and the Uriankhais. The material for the study was the field materials of the authors obtained during the implementation of the expeditionary project of the Russian Humanitarian Science Foundation-2015: 15-04-18003 e - “Small ethnic groups of Turkic origin (Khotons, Uriankhais of Mongolia and Tuvans of China): spiritual and material culture” (headed by A.S. Dongak); As a result, the authors came to the conclusion that the epic traditions of the Tuvans and the peoples of Western Mongolia have many common features associated with the performance of fairy tales (seasonal timing, musical accompaniment (although the Tuvans did not always practice accompaniment with instruments), a respectful attitude towards the spirits-masters of the fairy tale and nature, the custom of presenting a small gift to the storyteller, etc.).

At present, the problem of publishing epic texts is considered an urgent area not only in folkloristic science, but also in the cultural sphere of Yakut society. In this regard, the scientific community has been given the task of acquainting and educating those interested in the fundamental principles and modern approaches of editorial practice in order to improve the methodological principles of preparing for print and improve the quality of published epic texts in modern space. The preparation technology of epic texts for publication has a long tradition, developed by considering genre specificity and features of folklore textology. This paper is devoted to cover the experience of Yakut folklorists in preparing for printing and publishing the texts of the Yakut epic olonkho in the republican book series Sakha Booturdara (Yakut Heroes). The series is a 21-volume edition of epic texts selected from each district (ulus) of the Republic of Sakha (Yakutia). The history of creation, the provisions of the series concept are considered, the general principles of preparation for publication are described, the most important results of the serial publication of olonkho texts are presented. The series Sakha Booturdara was created in 2001 and completed in 2019. The main objectives of the series publication are to preserve the epic heritage of the Sakha people; to create a holistic view of the epic traditions in each district (ulus); to put little-known archival texts of olonkho into the scientific circulation; popularization of oral epic tradition. The novelty of the series is the territorial principle of publication, that made it possible to present a wide area of distribution of the epic tradition. Within the series, the olonkho manuscripts stored in the Manuscript Fund of the Archive of the NSC of the Siberian Branch of Russian Academy of Sciences (SB RAS) for the first time were introduced and published by the Institute of Humanitarian Research and Indigenous studies of the North RAS SB. The manuscripts were written down by researchers and freelance correspondents of the Institute of Language and Culture at the SNK of the YaASSR (the IHRISN SB RAS is its assignee). Despite being popular science publication, each published volume was accompanied by a reference and scientific apparatus corresponding to the modern requirements of scientific publications of folklore texts. The publication of volumes of the series Sakha Booturdara is of great cultural and scientific importance, associated with the preservation and popularization of the oral epic heritage of the Yakut people. References Smirnova N. S. O podgotovke tomov serii “Epos narodov SSSR” [On the preparation of volumes of the series “Epic of the peoples of the USSR”]. In: Fol'klor. Izdanie eposa [Folklore. Edition of the epic]. Otv. red. V. M. Gatsak, A. S. Mirbadaleva, A. A. Petrosyan. Moscow, Nauka, 1977, pp. 198-203. Alieva A. I. Izdanie epicheskikh pamyatnikov narodov Yuzhnoi Sibiri v dvuyazychnoi akademicheskoi serii “Epos narodov SSSR” [The publication of epic monuments of the peoples of Southern Siberia in a bilingual academic series “The epic of the peoples of the USSR”]. In: Vestnik Severo-Vostochnogo federal'nogo universiteta imeni M. K. Ammosova: Seriya Eposovedenie [Vestnik of North-Eastern Federal University. Series Epic studies]. 2018, No. 2 (10), pp. 13-21. doi: 1025587/SVFU.2018.10.14549 Kuz'mina E. N. Osnovnye nauchnye printsipy publikatsii fol'klornykh proizvedenii (na materiale tomov serii “Pamyatniki fol'klora narodov Sibiri i Dal'nego Vostoka”) [The main scientific principles of publication of folk texts (based on the series “Monuments of folklore of the peoples of Siberia and the Far East”)]. In: Sibirskii filologicheskii zhurnal [Siberian Journal of Philology]. 2017, No. 1, pp. 5-12. Illarionov V. V., Illarionova T. V. Tipy izdanii olonkho (opyt yakutskikh fol'kloristov) [Types of olonkho editions (experience of Yakut folklorists)]. In: Yazyki i fol'klor korennykh narodov Sibiri [Languages and folklore of the indigenous peoples of Siberia]. 2017, No. 1 (32), pp. 90-97. Mukhopleva S. D., Orosina N. A. Seriya “Samozapisi yakutskogo geroicheskogo eposa olonkho”: obzor tomov [Series “Self-recordings of the Yakut heroic epic olonkho”: a review of volumes]. In: Epicheskoe nasledie narodov Yakutii: traditsii i sovremennost': materialy Respublikanskoi nauchno-prakticheskoi konferentsii (g. Aldan, 8-9 dekabrya 2017 g.) [Epic heritage of the peoples of Yakutia: traditions and modernity: Proceedings of the Republican scientific and practical conference (Aldan, December 8-9, 2017)]. Yakutsk, Media Holding Yakutia, 2018, pp. 36-40. Orosina N. A. “Sakha booturdara” sieriiege olonkho tiekisterin becheekke belemneeһin: sitiһiiler, soruktar [Preparation for printing olonkho texts in the “Sakha Booturdara” series: results, prospects]. In: Namna Olonkho yһyaga: terut ugesteri sergutuu, kharystaaһyn, targatyy: X Eresp. nauch.-prakt. kemp. matyryiaallara (2018 s. akhsynn'y 5 kүne, Nam s.) [Ysyakh Olonkho in the Namsky district: the revival, preservation and dissemination of traditions: Proceedings of the 10th republican scientific and practical conference (v. Namtsy, December 5, 2018)]. Yakutsk, Kytyl, Media Holding Yakutia, 2019, pp. 35-40. (In Yakut lang.) Kuz'mina A. A. Metodicheskie rekomendatsii po izdaniyu i pereizdaniyu tekstov yakutskogo geroicheskogo eposa olonkho [Methodical recommendations for the publication and reprint of texts of the Yakut heroic epic olonkho]. Yakutsk, IGIiPMNS SO RAN, 2016, 56 p. Pukhov I. V. Rabota E. K. Pekarskogo nad tekstom olonkho “Stroptivyi Kulun Kullustuur” (k probleme nauchnogo redaktirovaniya epicheskogo teksta) [The work of E. K. Pekarsky on the text of the olonkho “The Obstinate Kulun Kulustuur” (on the problem of scientific editing of the epic text)]. In: Tekstologicheskoe izuchenie eposa [Textual study of the epic]. Otv. red. V. M. Gatsak, A. A. Petrosyan. Moscow, Nauka, 1971, pp. 170-179. Polozhenie o Nauchno-issledovatel'skom institute yazyka i kul'tury YaASSR pri Sovnarkome YaASSR [Regulation on the Research Institute of Language and Culture of the YaASSR under the Council of People's Commissars of the YaASR]. In: Vypiski iz protokola № 101 zasedaniya sekretariata Yakutskogo OK VKP/b/ ot 25.08.1935 i Postanovleniya № 701 Soveta narodnykh komissarov YaASSR ot 17.09.1935 g. “Ob organizatsii nauchno-issledovatel'skogo Instituta yazyka i kul'tury” [Extracts from the protocol No. 101 of the secretariat meeting of the Yakut OK OKP/b/ 08.25.35 and Decision No. 701 of the Council of People's Commissars of the YaASSR of 09.17.35 “On Organization of the Research Institute of Language and Culture”]. In: Rukopisnyi fond Arkhiva YaNTs SO RAN [Manuscript department of the Archive of the Yakut Scientific Center of the SB RAS]. F. 5, inv. 5, c. 1, 8 s. Orosin K. G. D'uluruiar N'urgun Bootur = Nyurgun Bootur Stremitel'nyi [Nurgun Bootur the Swift]. Vstup. st., per. i komment. G. U. Ergisa. Yakutsk, Kn. izd-vo, 1947, 410 p. (In Yakut and Russ. lang.) Kuruubai khaannaakh Kulun Kullustuur = Stroptivyi Kulun Kullustuur. Yakutskoe olonkho [Obstinate Kulun Kullustuur. Yakut olonkho]. Skazitel' I. G. Timofeev-Teploukhov. Otv. red. A. S. Mirbadaleva. Moscow, Gl. red. vost. lit-ry, 1985, 607 p. (In Yakut and Russ. lang.) Yakutskii geroicheskii epos “Kyys Debiliie” [Yakut heroic epic “Kyys Debiliye”]. Novosibirsk, VO “Nauka”, Sibirskaya izdatel'skaya firma, 1993, 330 p. (Pamyatniki fol'klora narodov Sibiri i Dal'nego Vostoka [Monuments of folklore of the peoples of Siberia and the Far East]). (In Yakut and Russ. lang.) Yakutskii geroicheskii epos. “Moguchii Er Sogotokh” [Yakut heroic epic. “Mighty Er Sogotokh”]. Novosibirsk, Nauka, Sibirskaya izdatel'skaya firma RAN, 1996, 440 p. (Pamyatniki fol'klora narodov Sibiri i Dal'nego Vostoka; T. 10 [Monuments of folklore of the peoples of Siberia and the Far East; vol. 10]). (In Yakut and Russ. lang.) D'үlei neһiliegin olonkholoro [Olonkhos of Zhulejskiy village]. Epp. red. N. I. Popova. Yakutsk, IGIiPMNS SO RAN, 2013, 266 p. (Obraztsy narodnoi literatury yakutov, sobrannye E. K. Pekarskim [Samples of folk literature of the Yakut people, collected by E. K. Pekarsky]). (In Yakut lang.) Kontseptsiya izdaniya serii “Sakha olonkholoro”, osushchestvlyaemoi v sootvetstvii s Rasporyazheniem Pravitel'stva RS(Ya) ot 09.04.2001 g. № 511-r “O merakh po obespecheniyu sokhrannosti eposa olonkho” [Concept of the publication of the series “Sakha olokholoro”, carried out in accordance with the Decree of the Government of the Republic of Sakha (Yakutia) dated 04.09.2001 No. 511-r “On measures to ensure the preservation of the epic olonkho”]. Sost. V. V. Illarionov, S. D. Mukhopleva, L. N. Semenova. [Manuscript]. Yakutsk, 2001. Rasporyazhenie Pravitel'stva RS(Y) ot 09.04.2001 № 511-r “O merakh po obespecheniyu sokhrannosti eposa olonkho” [The order of the Government of the Republic of Sakha (Yakutia) dated 04.09.2001 No. 511-r “On measures to ensure the preservation of the epic olonkho”] [Web resource]. URL: https://www.lawmix.ru/zakonodatelstvo/2311233 (accessed April 1, 2019).

In both eastern Tibet and in Mongolia, the Buddhist cult surrounding the figure of Ling Gesar (Gling ge sar) or Geser Khan in Mongolian versions is an outgrowth of Gesar’s standing as the eponymous hero of an elaborate oral epic tradition. Today, the epic and the Buddhist cult exist side by side in a relationship of symbiosis. Gesar’s sanctification as an enlightened being—as the combined manifestation of the Three Bodhisattva Lords and as an “emissary” or “manifestation” of Padmasambhava—whose tricksterism is enacted on behalf of the forces of goodness, justice, and the White Side in its perennial battle against the forces of evil, injustice, and the Dark Side—is both an outgrowth but also a source of nourishment for the epic tradition as it has continued to adapt and develop up to our own times. The Gesar/Geser epic, in all the three main regions in which it survives (eastern Tibet and its neighboring regions, the Mongolic regions as far west as Kalmykia, and Ladakh and neighboring regions), is a living and mobile tradition of oral recitation and improvisation. The available textual corpus of this epic is very large, though none of it is very old (the oldest available epic texts in Tibetan are from the 17th century and in Mongolian are from 18th century). Thanks in part to sustained state patronage in the PRC, there are now over 200 published volumes of non-duplicating Gesar epic narrative and song, mostly from eastern Tibet. A lot of this material is of a directly oral provenance. Many modern volumes are the direct transcriptions (with some editing) of the oral repertoires of contemporary bards, some of which have been very lengthy. To take one example, the recorded repertoire of the bard Samdrup (Bsam grub) (1922–2011) was over 3,000 hours long, much of which has now been published. As for literary versions, the authors of Gesar epic texts often make explicit the debt that their tellings owe to oral renditions that they have heard. The mid-18th-century author of the famous Horling Yülgyé (Hor gling g.yul ’gyed), for example, mentions that he based his telling on the oral repertoires of “some twenty bards,” several of whom he cites by name. Due to the heterogeneity and sheer volume of this available textual corpus, it is hard to make categorical assertions about the relationship between Buddhism and the epic tradition, since that relationship varies from version to version. However, some general observations may be offered. In the ritual cult devoted to Gesar that evolved from the epic tradition, matters are somewhat clearer. In the ritual texts devoted to Gesar—which are mostly offering texts—the unruly polyphony of the epic (many bards, many characters, many perspectives) is replaced with a neater integrated vision, in which the hero is praised as a totalizing culture hero and enlightened lord—a hero in every register, both worldly and spiritual, both chivalric and shamanistic.

Introduction. The article examines the motif of heroic duel (combat) as an important segment of the epic plot, and our comparative analysis of the nuclear basis of the motif and its variation list proves instrumental in delineating a structural-meaningful model motif invariant inherent to the epic of Mongolic peoples and depicting military conflicts. The issue has never been dealt with in this perspective. Goals. The work seeks to determine a variation row of the invariant motif in national epic traditions of Buryats, Kalmyks, Mongols, and Oirats. Materials. The variation row to be extracted from Mongolic epic narratives, namely: Buryat uligers of Abai Geser (Ungin version of P. Petrov) and Abai Geser Khubun (Ekhirit-Bulagat version of M. Emegenov), Baga Dorbet and Eelyan Ovla’s cycles of the Kalmyk Epic of Jangar, Xinjiang Oirat version of the Jangar, Oirat Mongolian tuuli texts titled Daini Kyurel and Khan Kharangui, and a Khalkha tuuli titled Agiyin Ulan Khan. Methods. To identify the typology and variable interpretations of the motif, the study uses elements of the comparative-typological and comparative-historical methods. The ‘heroic duel (combat)’ motif model is viewed as an element that hypothetically can act as the most important lever within the plot development mechanism, e.g., evolving from a motif ― a ‘simplest narrative unit’ ― to a plot, and vice versa. When it comes to identify the motif, its dualistic nature, variety of its properties and features noted by Russian and foreign scientists are taken into account. Results. The comparative insight into the motif of heroic duel (combat) makes it possible to single out the motif as an essential constructive and meaningful element of the plot, examine the degree of productivity and mobility of the motif in genetically related though stadially differing epics, as well as in ones belonging to various taletelling traditions, observe heroic confrontation patterns in epics of Mongolic peoples. Conclusions. The study concludes that motif invariants tend to form a plot basis, while motif variants express certain features (stadial, national, local) of each epic tradition.

Epithets are defined as word patterns or sentences that complement a name with an adjective, adjective phrase, or another noun. Epithets serve an important role in epics by describing the qualities that distinguish a hero's name from others. Epithets, which frequently appear in epic texts, reveal the worldview of the society, the expectations from the hero, the hero's successes and failures, the qualities of their enemies, and essentially the richness of the language in terms of adjectives. These adjective patterns, called epithets, which provide information about heroes, also enhance the aesthetic quality of the text they are part of. In this regard, epithets are of great importance for both linguistic and cultural studies. This study examines "heroic epithets" frequently found in Turkish epics, which are considered significant for epic language and our cultural history. The research includes epics from various Turkish traditions: Oghuz Khan, Dede Korkut, the Kyrgyz epics of Manas, Kurmanbek, Janysh Baiysh, Seyitbek, and Er Töstük; the Kazakh epics of Koblandy Batyr, Alpamys Batyr, and Kambar Batyr; the Altai epics of Er Samyr, Ak Taychi, Kökin Erkey, Altai Buuçay, Kozyn Erkeş Közüyke, and Ösküs Uul; the Khakas epics of Huban Arig, Altin Arig, Altin Chus, Khan Kiçegey, Hara Molat, Altin Taychi, Alip Sarig Plat Hys, Kök Khan, and Khan Mirgen; and the Shor epics of Ak Khan and Kagan Kes. The study identifies and classifies the epithets found in these epics, and it is observed that the frequently used epithets convey the mindset within the epic, the most important qualities sought in a hero, and the expectations of the people. The significant epithets used in Turkish epics are discussed under specific headings, and prominent examples from the Turkish world’s epic tradition are examined comparatively. In conclusion, it is determined that the epithets used to describe heroes in epic texts from various geographies of the Turkish world reflect a historical continuity and provide insights into Turkish cultural history

The authors of the article analyse the specifics of the depiction of sound and music in the heroic epic poetry of peoples of Siberia, who have preserved their epic tradition until recently. The authors refer to a number of epic texts by Altaians, Buryats, Tuvinians, Khakassians, and Shors. As demonstrated by the review of theoretical works carried out in the article, the musical aspect of the epic, which has attracted the attention of scholars, was focused on the study of epic intonation, timbre, and the use of musical instruments to accompany the storytelling (V. I. Verbitsky, V. V. Radlov, N. P. Dyrenkova, A. V. Anokhin, N. A. Baskakov, L. P. Potapov, Yu. I. Sheikin, R. B. Nazarenko, G. B. Sychenko, O. E. Dobzhanskaya, etc.). The use of the typological method makes it possible to carry out a comparative analysis of text fragments from the epics of the Turco-Mongol peoples, based on which it is concluded that noise sounds are conveyed in texts using onomatopoeias and ideophones. Music is conveyed through the description of its impact on characters, animals, and natural objects. It can be healing and destructive. These descriptions contain a sound code, which, like all other techniques of the epic, is aimed at conveying epic images. The oral nature of the functioning of folklore works makes it possible to use expressive techniques and means that give life to a certain monotony in the performance of monumental epic texts. More particularly, these include various ideophones. Descriptions of sounds, singing, and music are presented in stable poetic stereotypes in heroic epic poetry, which constitute the fund of the “common places” of the epic. The comparison of these descriptions shows their similarity in the structural, poetic, and compositional form, as well as in the same set of artistic and pictorial means used to create images.

In the article, using the example of the olonkho “Alandaaiy-Kulandaaiy Bogatyr” by Ekaterina Ivanova, the main mythological motifs that still remain outside the field of view of researchers are analyzed, and this is the relevance of the study. The purpose of the presented work is to analyze the mythological motifs in a separate olonkho text, determine their role in the plot of the epic and establish a connection with the mythology of the Sakha people. To achieve this goal, the study was based on comparative, structural-semantic and inductive methods, which together allow us to reveal the features and role of mythological motifs in constructing the plot of the analyzed olonkho. The study revealed that the olonkho “Alandaaiy-Kulandaaiy Bogatyr” by Ekaterina Ivanova is two-generation: if the first hero, the bogatyr Alandaaiy-Kulandaaiy, is a rejected descendant of the aiyy deities, settled by the celestial parents in the Middle World, then the second, his son Moluo Daadar already appears as a defender of the aiyy aimaga and uraanghai Sakha tribe. As a result of the study of mythological motifs, it was established that they underline the text of the olonkho, tying the fabric of the epic narrative into a single whole. The main mythological motif from the point of view of constructing the plot of the olonkho is the motif of the messenger-crane, who explains the origin of the hero and initiates a heroic military campaign, conditioned by the motif of matchmaking. All identified motifs of mythological origin are classified into five groups, in which the most common are the mythological motifs of werewolfism. It has been established that the metamorphoses of the characters are used to explain their ability to travel to the Upper and Lower Worlds, which, according to traditional ideas of the Sakha people, are inaccessible to an ordinary person. The ability of the hero Moluo Daadar to numerous metamorphoses is explained by his heroic training and training in magic. Thus, it was revealed that mythological motifs enrich the plot of the epic with mythological ideas well known to the epic audience, which makes the plot of the olonkho recognizable to listeners and contributes to its adequate perception.

Статья посвящена изучению употребления пословиц в огузском эпосе и в азербайджанской письменной литературе. Цель настоящей статьи – выявление функционально-семантических особенностей пословиц. Ставятся следующие задачи: проанализировать материалы азербайджанской художественной литературы «Книга моего Деда Коркута» и тексты «Огузнаме», в т. ч. творчества М. П. Вагифа, С. Вургуна, Б. Вагабзаде и др., выявить пословичные единицы и дать их функционально-семантическое описание по диахроническому направлению.Новизна работы заключается в том, что впервые рассматриваются функционально-семантические особенности пословиц в комплексном подходе в эпической и литературной традиции.Материалом для исследования являются огузский эпос «Книга моего Деда Коркута» и цикл эпических текстов по общему называнию «Огузнаме», материалы азербайджанской художественной литературы.При анализе применены описательный, историко-сравнительный и структурно-семантический методы. Проведен историко-сравнительный и функционально-семантический анализ пословиц, выявленных в фольклорно-эпической и литературной традициях.Анализ подтверждает, что пословицы носят в себе народные традиции и стереотипные поведенческие формулы народной мудрости. Они самостоятельно существуют в фольклорной традиции народа и как духовные ресурсы обогащают как эпическую традицию, так и художественную литературу. Пословицы наблюдаются в диахроническом плане в двух формах. В эпосе они сохраняются в оригинале или в малых изменениях. Поскольку нам известны богатые образцы пословичных изречений, зафиксированных в разные времена, эти списки пословиц нам позволят сравнить их и определить изменения в структурно-семантическом освещении. Исходя из этого диахронического анализа можно определить семантический инвариант пословиц и его разные релевантности в среде художественного текста. Сравнительный анализ пословиц такого рода также помогает для систематизации и описания изменений в функционально-семантической структуре.Перспективы изучения пословиц в фольклорной и литературной традиции видится в том, что это позволит проследить функционально-семантические изменения в развитии художественного облика изречений в двух традициях одного народа.

Soybean mosaic virus (SMV) is one of the most serious viral pathogens, causing reductions in soybean yield worldwide. Using more than 350 time-stamped SMV coat protein encoding gene sequences from more than a dozen countries and regions in Central Asia, East Asia, North America, South America, and Western Europe, we investigated the phylodynamics of SMV to understand the origin and dispersal of the virus via Bayesian phylogeographic inference. Our analysis revealed that the most recent common SMV ancestor occurred in approximately 1511 (95% credibility interval, 1075-1848) Common Era, and the evolutionary rate of the coat protein gene was 3.751 × 10-4 substitutions/site/year (95% credibility interval, 2.694 × 10-4-4.879 × 10-4). Our results suggest that the SMV population may have originated in South Korea and that South Korea has been the major center for the dissemination of SMV. The virus first began to emigrate from Korea to China in the late 17th century, and it took more than 150 years to spread from South Korea to Japan. However, after the 20th century, SMV spread from South Korea to South America, North America, and Western Europe. Furthermore, our results suggest that the migration history of SMV may be related to important human historical events.IMPORTANCESoybean mosaic virus (SMV) is a pathogen that severely affects soybean production areas around the world and can cause up to an 86% reduction in soybean yield. This article provides a comprehensive reconstruction of the phylogeographic history of SMV. Our results revealed the geographic origin and migration history of SMV on a global scale and that the migration history of SMV is correlated with human factors. These results have important implications for the sustainable management of soybean production in the field.

The article refers to the epic texts of Dolgan olonkho as a reflection of the cultural, linguistic, as well as ethno-identical features of Dolgans, which are the northernmost and one of the youngest Turkic ethnic groups in the modern world. Dolgan olonkho is considered as a set of ethnic texts of the indigenous small-numbered people of Siberia and Russia, which are the objects of “near” anthropology and act in the context of a comprehensive cultural turn of the sciences as objects of humanities as a whole, as well as potential objects of ethnic translation. The ethnic texts contain cultural information and memory generated throughout the entire existence of the ethnic group and reflect its the most important real and mythological past, which determines the research relevance. Culturonyms are recognized as a regular form of cultural information and memory verbalization, which in relation to translating culture turns out to be xenonyms and act as the main units of ethnic translation, which implies the obligatory and most complete reconstruction of “foreign” cultural information in translated texts. The novelty of the study is determined by the consideration of Dolgan epic texts in the context of ethnic translation – a multifunctional intercultural communicative activity that performs culture preservation, research, language revitalization, educational, pedagogical, and identity constructing tasks, as well as provides access to representatives of other world cultures and researchers to the unique culture of the Russian North. The purpose of the study was to analyze the existing experience of translating the Yakut olonkho, created by the closely related to Dolgans Sakha ethnic group, in light of the possibility of using it as a “translation benchmarking” tool (as one of the best examples of translation of a Turkic-language epic), which allows for the application of basic strategies, principles, and techniques of translation of ethnic texts that have already proven their effectiveness in Yakut Translation Studies. The ethnic translation approach to the texts of the Dolgan olonkho is based on the general scientific methodological principle of complementarity, which involves the combined use of methods and ideas from Cultural Studies, Folklore Studies, Linguistics, and Translation Studies, as well as the principles of Hermeneutics, which are used descriptively and prescriptively. The theoretical and practical significance of the analysis suggests the possibility of using its results to create general and particular theories of ethnic translation, understood as “near” Translation Studies, as well as to develop academic courses on Epic Studies, Siberian Studies, Cross-cultural Communication, Ethnic Linguistics and other sections of modern humanities.

The work on creating comparative plot-thematic indexes of the Kyrgyz “minor” epics Kojojash, Er Töshtük, Janysh and Baiysh, Kurmanbek, Er Tabyldy is approaching its final stage. They are being compiled by folklorists working at various universities in Kyrgyzstan and scholars from the National Academy of Sciences of the Kyrgyz Republic, who are utilizing the experience gained from the previous creation of the plot-thematic index for the epic of Manas. These indexes allow scholars to easily and quickly find the information they need within the epic texts, which in turn should contribute to the emergence of new scientific concepts in epic studies. This article discusses the forthcoming index for the Er Töshtük epic, which holds an important place among other plot-thematic indexes of Kyrgyz “minor” epics, describing its thematic sections as well as the features of its structure.

Twenty genic- and genomic SSR markers were used to study genetic diversity and geographical differentiation of barley from 29 countries through analysis of a worldwide collection of 304 ICARDA’s barley landraces. Of these, 19 loci were highly polymorphic in the material studied. Based on Nei-distance matrix, Principal Component Analysis (PCoA) and cluster analysis using UPGMA associated with AMOVA the data revealed countries’ grouping within regions. Three distinct germplasm pools were identified in the landraces. The first of these was from Eastern Africa (Eritrea and Ethiopia) and South America (Ecuador, Peru and Chile) suggesting that barley introduced to South America might have originated specifically from East Africa or that they share a common genetic basis for adaptation. The second was the Caucasus (Armenia and Georgia) and the third included the remaining regions of Central Asia, Near East, Northern Africa and Eastern Asia. Genetic diversity of barley subspecies (Six-rowed barley, Two-rowed barley, H. spontaneum C. Koch and H. agriocrithon Aberg) also discriminates them into three groups: cultivated barleys (Six-rowed barley and Two-rowed barley), wild barley H. spontaneum and subspecies H. agriocrithon. These results associated with parsimony analysis demonstrate that H. agriocrithon and H. spontaneum might be distinct and do not support a hybrid origin for H. agriocrithon suggesting further investigation of the basis of more intense sampling of the two subspecies H. spontaneum and H. agriocrithon.

Neogene floras of the mountain regions of central Asia and Southern Kazakhstan (palynological data of the Tien Shan and the Pamirs)