Inna Matyushina | University of Exeter (original) (raw)
Papers by Inna Matyushina
GRAPHOSPHAERA Writing and Written Practices
The present article analyses the means of preserving the past in Icelandic pseudohistorical sagas... more The present article analyses the means of preserving the past in Icelandic pseudohistorical sagas, which include Trójumanna saga, Alexanders saga, Gyðinga saga, Rómverja saga, Breta sögur and Veraldar saga. Ways of representing the past are determined by the semantic, compositional and structural innovations which the creators of pseudohistorical sagas in-troduce under the influence of the Scandinavian saga tradition. The narrative in pseudohis-torical sagas is dominated not by characters but rather by events: descriptions of the inter-nal world of individuals are superseded by the narration of their actions; introspective monologues disappear; authored digressions are omitted, which leads to a narrative de-tachment characteristic of the native sagas of the Icelanders. Direct speech is reduced to brief aphoristic statements, whereas periphrastic constructions and rhetorical formulas are omitted in order to clarify the narrative structure of the sagas. The creators of pseudohis-toric...
Nordic and Baltic Studies Review
The article argues that Clári saga presents a rare example of plot, genre and style contamination... more The article argues that Clári saga presents a rare example of plot, genre and style contamination. Its composition unites two plots: the bridal quest (involving the trials of the eponymous hero) and the taming of the shrew (involving the trials of the heroine). The latter appears unmotivated (because by the end of the bridal quest narrative the heroine is sufficiently tamed by the loss of her virginity) but can be accounted for by the influence of the canons of the fairy tale. In terms of genre, as is shown in the article, Clári saga combines themes and images of the fairy tale, chivalric romance and exemplum. The saga is permeated by characteristically folklore motifs and compositional features: its structure is determined by the use of the sacred number three (three trials of the hero, three trials of the heroine, three scenes of the hero's flogging, three scenes of blows received by the heroine from the hero, three visits of the hero, three scenes of the construction of tents, three episodes of Perus' reign etc), endowed in the narrative with an enhanced magic effect. The genre of romance is dominant in the first part of the saga through the following characteristic features: the action is set in a chivalric milieu; the characters belong to courtly society, with its luxurious way of living and sumptuous feasts; and canons of chivalrous behaviour and courtesy are observed by all characters except the main ones. The second part of the saga with its inherent misogyny and didacticism, focuses on the trials of the spirit and the body, the action takes place in an atmosphere of extreme poverty and is centered on sufferings, hardships and deprivations, aimed at testing the endurance and loyalty of the heroine and providing a model for other women, thus paying tribute to the genre of exemplum. Genre contamination is sustained by the stylistic features of the saga, characteristic of exempla ('learned' style, Latinised syntactic constructions, Latin borrowings), folklore (proverbs, repetitions, parallelisms, an emphasis on numerals) and chivalric romance (cf. the use of words: kurteiss 'courteous, chivalrous', kurteisi 'chivalry, courtesy', riddari 'knight'). Borrowings from Middle Low German, which in the context of the saga in some cases acquire emotionally coloured pejorative connotations, are mostly given the function of a stylistic device and become an integral part of the speech characteristics of heroes. Whether the compiler of the saga was a translator or a creator, whether his name was Bishop Jón Halldórson or Bergr Sokkason, he perfectly mastered the art of narration: by creating the effect of the author's presence through rhetorical questions, by enhancing the impact of the story with the help of references to collective wisdom, proverbs and sayings, by using multiple verbal games and by employing borrowings from Latin and Middle Low German in the speech characterisation of heroes. His literary gift and sense of style made Clári saga not only a model for numerous imitations in the Middle Ages but also a source of entertainment for today's readers.
Folʹklor: struktura, tipologiâ, semiotika, 2019
International Journal of Language & Linguistics, 2020
The paper attempts to reveal the affinities between skaldic panegyric poetry and the Anglo-Saxon ... more The paper attempts to reveal the affinities between skaldic panegyric poetry and the Anglo-Saxon Chronicle poem on the 'Redemption of the Five Boroughs' included into four manuscripts (Parker, Worcester and both Abingdon) for the year 942. The thirteen lines of the Chronicle poem are laden with toponyms and ethnonyms, prompting scholars to suggest that its main function is mnemonic. However comparison with skaldic drápur points to the communicative aim of the lists of toponyms and ethnonyms, whose function is to mark the restoration of the space defining the historical significance of Edmund's victory. The Chronicle poem unites the motifs of glory, spatial conquest and protection of land which are also present in Sighvat's Knútsdrápa (SkP I 660. 9. 1-8), bearing thematic, situational, structural and functional affinity with the former. Like that of Knútsdrápa, the function of the Chronicle poem is to glorify the ruler by formally reconstructing space. The poem, which, unlike most Anglo-Saxon poetry, is centred not on a past but on a contemporary event, is encomium regis, traditional for skaldic poetry. 'The Redemption of the Five Boroughs' can be called an Anglo-Saxon equivalent of erfidrápa, directed to posterity and ensuring eternal fame for the ruler who reconstructed the spatial identity of his kingdom.
International Journal on Studies in English Language and Literature, 2020
The beauty and the mystery of a small fragment of 45 lines makes it stand out among extant monume... more The beauty and the mystery of a small fragment of 45 lines makes it stand out among extant monuments of Old English poetry; some of its lines are impossible to read, in the central part (lines 12-17) only a few isolated words can be deciphered. Publishers call the surviving fragment 'The Ruin', as it describes a city deserted by its inhabitants and destroyed. The poem is included into the manuscript of the Exeter Book [1], which was presented by Bishop Leofric to the Cathedral Library in Exeter shortly before his death in 1072. The prominence of the motif of ruins in this poem of the Exeter Book can be accounted for by its composition during one of the most unstable periods of English history, marked by the mutinies of Mercian and Northumbrian lords, the raids of the Vikings, and the desolation of buildings. The poem is a meditation on the transience of worldly glory (Fell [2]), which comprises a series of living pictures, juxtaposing images of past magnificence and contemporary decay: the present with its desolated cities is reassessed against the background of past glory. The concept of nostalgia is frequently mentioned by scholars in connection with the Old English 'Ruin', which was called 'an imaginative nostalgia for a glorious past, stimulated by a particular scene spread out before the poet's eyes' (Leslie, [3]) and was said to embody a 'nostalgia for a past that is unbroken, inhabitable, articulate and contiguous as well as a reminder of the speaker's own present state of brokenness, isolation, fallenness, and silence' (Liuzza, [4]). The poem permits various interpretations, which range between historicalarchaeological 1 and allegorical 2 , and account for its special impact on the audience both medieval and modern. The first lines of the poem (Wraetlic is þes wealstan, / wyrde gebraecon 3 , 'This wall-stone is wondrous; calamities broke it') briefly summarise its theme, reminding the audience that all the works of man are as transient as himself. Attention is first drawn to the fate of the buildings (burgstede burston, / brosnað enta geweorc, 2, 'these city-sites crashed, the work of giants is decaying'), and then to its builders 1 Historical-archaeological interpretations concentrate on analysing archaeological, architectural, historical and other extra-linguistic evidence with a view to identifying the place described in the poem (cf. Herben, [5], Herben, [6]. 2 Allegorical explanations of the poem range from suggesting a Christological interpretation (Murgia [7]) and defining the poem as a metaphor for Christ (Cammarota, [8]) to viewing it as a description of the fall of Babylon (Keenan, [9]), or as a body-city riddle (Johnson [10]). 3 The text of 'The Ruin' is quoted from: Klinck [11].
INTERNATIONAL JOURNAL OF LANGUAGE & LITERATURE, 2020
The article is devoted to analysing the representation of emotions in Old Norse chivalric sagas (... more The article is devoted to analysing the representation of emotions in Old Norse chivalric sagas (riddarasögur). Unlike the characters of French romances, who express their feelings in highly expressive monologues, the heroes of Old Norse riddarasögur, are portrayed as seldom showing their emotions and acting only after careful consideration of the implications of their deeds. In riddarasögur, changes in the representation of expressions of feelings remain within the Old Norse tradition of family sagas and kings' sagas; it can be accounted for by the influence of indigenous models of behaviour and by the desire to satisfy the expectations of a contemporary Scandinavian audience. The subgenre of indigenous riddarasögur, which appear in Iceland, the so-called meykongr sögur (maiden-king sagas), is characterized by an inversion of gender roles, influencing the expression of emotions. Feelings are verbalised by men, whereas the heroines of maiden-king sagas prefer to act, verbally and physically humiliating their suitors (in Nitida saga the representation of emotions is used to distinguish a real maiden-king from a false one). The way the emotions of the heroines are implied by their actions in maiden-king sagas can be traced back to indigenous Scandinavian literary traditions.
RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, 2018
Studia litterarum, 2022
Цель статьи состоит в том, чтобы опровергнуть распространенное в современной медиевистике предста... more Цель статьи состоит в том, чтобы опровергнуть распространенное в современной медиевистике представление о том, что «Песнь о Хервёр» составляет позднюю интерполяцию в текст «Саги о Хервёр и Хейдреке конунге». Исследование рукописной вариации в основных редакциях саги, сохранившихся в «Книге Хаука» (H: AM 544), манускриптах из Уппсалы (U: R 715) и Рейкьявика (R: GKS 2845), позволяет пролить свет на структурную организацию «Песни о Хервёр» и оспорить гипотезу о вторичности ее героини по отношению к деве-воительнице из поэмы «О битве готов с гуннами». Как показано в статье, строфа о Хервёр, дочери конунга Хейдрека, которая тематически связана с поэмой «О битве готов с гуннами», однако не принимает участия в ее композиции, дополнительна по отношению к поэтическому тексту и могла быть сочинена составителем прозаической части саги. В статье аргументируется предположение о том, что Хервёр, дочь Хейдрека, играет маргинальную роль в нарративной структуре саги и могла быть введена в контекст битвы готов с гуннами в результате дублирования образа героини «Песни о Хервёр», которой принадлежит центральное положение в композиции саги и которая исполняет большую часть строф в поэтическом диалоге с Ангантюром. Анализ «Песни о Хервёр» в контексте саги и мифологической и героической поэзии позволяет предположить, что прорицание Ангантюра и заклинание Хервёр восходят к устно-поэтической традиции диалога с живыми мертвецами (draugr), нашедшего отражение в песнях «Старшей Эдды». Ключевые слова: рукописная вариация, нарративная структура, саги о древних временах, легендарные саги, дева-воительница, битва готов с гуннами, Книга Хаука, Песнь о Хервёр, Старшая Эдда. Информация об авторе: Инна Геральдовна Матюшина-доктор филологических наук, ведущий научный сотрудник, Институт высших гуманитарных исследований им. Е.М. Мелетинского, Российский государственный гуманитарный университет, Миусская площадь, д. 6,
Drevneishie gosudarstva Vostochnoi Evropy
RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, 2020
RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, 2021
Studia Litterarum, 2019
Цель статьи состоит в том, чтобы обосновать новый (функциональный) подход к изучению формульного ... more Цель статьи состоит в том, чтобы обосновать новый (функциональный) подход к изучению формульного стиля средневековых памятников в контексте развития теории устно-поэтических формул. Согласно формульной теории, восходящей к трудам Милмана Пэрри и Альберта Лорда, формула считается элементом «утилитарным», т. е. необходимым при устном сочинении или импровизации, но не имеющим художественной функции. Формулы участвуют в композиции книжно-письменных поэм, включенных в Англосаксонскую Хронику, однако их изучение до сих пор не привлекало внимания исследователей. Формулы наделяются здесь новыми функциями, позволяющими передать дополнительные смыслы. В статье приводятся аргументы в пользу того, чтобы назвать главную функцию формульного стиля в письменной поэзии «ассоциативной»: в поэмах Англосаксонской Хроники формулы используются для создания образов и мотивов при помощи ассоциаций с традиционными образами и мотивами героической и духовной поэзии. Формулы, исполняющие роль осознанно использованного художественного поэтического приема, наделяются в поэмах Англосаксонской Хроники не только новой ассоциативной функцией, но и новыми коннотациями, которые можно условно охарактеризовать как героизирующие, архаизирующие, ностальгические. Ключевые слова: устная традиция, письменная литература, формула, формульный стиль, древнеанглийская поэзия, Англосаксонская Хроника, Старшая Эдда, образ, тема, мотив. Информация об авторе: Инна Геральдовна Матюшинадоктор филологических наук, ведущий научный сотрудник, Институт высших гуманитарных исследований им. Е.М. Мелетинского, Российский государственный гуманитарный университет, Миусская площадь, д. 6, 125993 ГСП-3, г. Москва, Россия; почетный профессор университета Эксетера,
RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, 2018
Novoe literaturnoe obozrenie, 2021
RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies
GRAPHOSPHAERA Writing and Written Practices
The present article analyses the means of preserving the past in Icelandic pseudohistorical sagas... more The present article analyses the means of preserving the past in Icelandic pseudohistorical sagas, which include Trójumanna saga, Alexanders saga, Gyðinga saga, Rómverja saga, Breta sögur and Veraldar saga. Ways of representing the past are determined by the semantic, compositional and structural innovations which the creators of pseudohistorical sagas in-troduce under the influence of the Scandinavian saga tradition. The narrative in pseudohis-torical sagas is dominated not by characters but rather by events: descriptions of the inter-nal world of individuals are superseded by the narration of their actions; introspective monologues disappear; authored digressions are omitted, which leads to a narrative de-tachment characteristic of the native sagas of the Icelanders. Direct speech is reduced to brief aphoristic statements, whereas periphrastic constructions and rhetorical formulas are omitted in order to clarify the narrative structure of the sagas. The creators of pseudohis-toric...
Nordic and Baltic Studies Review
The article argues that Clári saga presents a rare example of plot, genre and style contamination... more The article argues that Clári saga presents a rare example of plot, genre and style contamination. Its composition unites two plots: the bridal quest (involving the trials of the eponymous hero) and the taming of the shrew (involving the trials of the heroine). The latter appears unmotivated (because by the end of the bridal quest narrative the heroine is sufficiently tamed by the loss of her virginity) but can be accounted for by the influence of the canons of the fairy tale. In terms of genre, as is shown in the article, Clári saga combines themes and images of the fairy tale, chivalric romance and exemplum. The saga is permeated by characteristically folklore motifs and compositional features: its structure is determined by the use of the sacred number three (three trials of the hero, three trials of the heroine, three scenes of the hero's flogging, three scenes of blows received by the heroine from the hero, three visits of the hero, three scenes of the construction of tents, three episodes of Perus' reign etc), endowed in the narrative with an enhanced magic effect. The genre of romance is dominant in the first part of the saga through the following characteristic features: the action is set in a chivalric milieu; the characters belong to courtly society, with its luxurious way of living and sumptuous feasts; and canons of chivalrous behaviour and courtesy are observed by all characters except the main ones. The second part of the saga with its inherent misogyny and didacticism, focuses on the trials of the spirit and the body, the action takes place in an atmosphere of extreme poverty and is centered on sufferings, hardships and deprivations, aimed at testing the endurance and loyalty of the heroine and providing a model for other women, thus paying tribute to the genre of exemplum. Genre contamination is sustained by the stylistic features of the saga, characteristic of exempla ('learned' style, Latinised syntactic constructions, Latin borrowings), folklore (proverbs, repetitions, parallelisms, an emphasis on numerals) and chivalric romance (cf. the use of words: kurteiss 'courteous, chivalrous', kurteisi 'chivalry, courtesy', riddari 'knight'). Borrowings from Middle Low German, which in the context of the saga in some cases acquire emotionally coloured pejorative connotations, are mostly given the function of a stylistic device and become an integral part of the speech characteristics of heroes. Whether the compiler of the saga was a translator or a creator, whether his name was Bishop Jón Halldórson or Bergr Sokkason, he perfectly mastered the art of narration: by creating the effect of the author's presence through rhetorical questions, by enhancing the impact of the story with the help of references to collective wisdom, proverbs and sayings, by using multiple verbal games and by employing borrowings from Latin and Middle Low German in the speech characterisation of heroes. His literary gift and sense of style made Clári saga not only a model for numerous imitations in the Middle Ages but also a source of entertainment for today's readers.
Folʹklor: struktura, tipologiâ, semiotika, 2019
International Journal of Language & Linguistics, 2020
The paper attempts to reveal the affinities between skaldic panegyric poetry and the Anglo-Saxon ... more The paper attempts to reveal the affinities between skaldic panegyric poetry and the Anglo-Saxon Chronicle poem on the 'Redemption of the Five Boroughs' included into four manuscripts (Parker, Worcester and both Abingdon) for the year 942. The thirteen lines of the Chronicle poem are laden with toponyms and ethnonyms, prompting scholars to suggest that its main function is mnemonic. However comparison with skaldic drápur points to the communicative aim of the lists of toponyms and ethnonyms, whose function is to mark the restoration of the space defining the historical significance of Edmund's victory. The Chronicle poem unites the motifs of glory, spatial conquest and protection of land which are also present in Sighvat's Knútsdrápa (SkP I 660. 9. 1-8), bearing thematic, situational, structural and functional affinity with the former. Like that of Knútsdrápa, the function of the Chronicle poem is to glorify the ruler by formally reconstructing space. The poem, which, unlike most Anglo-Saxon poetry, is centred not on a past but on a contemporary event, is encomium regis, traditional for skaldic poetry. 'The Redemption of the Five Boroughs' can be called an Anglo-Saxon equivalent of erfidrápa, directed to posterity and ensuring eternal fame for the ruler who reconstructed the spatial identity of his kingdom.
International Journal on Studies in English Language and Literature, 2020
The beauty and the mystery of a small fragment of 45 lines makes it stand out among extant monume... more The beauty and the mystery of a small fragment of 45 lines makes it stand out among extant monuments of Old English poetry; some of its lines are impossible to read, in the central part (lines 12-17) only a few isolated words can be deciphered. Publishers call the surviving fragment 'The Ruin', as it describes a city deserted by its inhabitants and destroyed. The poem is included into the manuscript of the Exeter Book [1], which was presented by Bishop Leofric to the Cathedral Library in Exeter shortly before his death in 1072. The prominence of the motif of ruins in this poem of the Exeter Book can be accounted for by its composition during one of the most unstable periods of English history, marked by the mutinies of Mercian and Northumbrian lords, the raids of the Vikings, and the desolation of buildings. The poem is a meditation on the transience of worldly glory (Fell [2]), which comprises a series of living pictures, juxtaposing images of past magnificence and contemporary decay: the present with its desolated cities is reassessed against the background of past glory. The concept of nostalgia is frequently mentioned by scholars in connection with the Old English 'Ruin', which was called 'an imaginative nostalgia for a glorious past, stimulated by a particular scene spread out before the poet's eyes' (Leslie, [3]) and was said to embody a 'nostalgia for a past that is unbroken, inhabitable, articulate and contiguous as well as a reminder of the speaker's own present state of brokenness, isolation, fallenness, and silence' (Liuzza, [4]). The poem permits various interpretations, which range between historicalarchaeological 1 and allegorical 2 , and account for its special impact on the audience both medieval and modern. The first lines of the poem (Wraetlic is þes wealstan, / wyrde gebraecon 3 , 'This wall-stone is wondrous; calamities broke it') briefly summarise its theme, reminding the audience that all the works of man are as transient as himself. Attention is first drawn to the fate of the buildings (burgstede burston, / brosnað enta geweorc, 2, 'these city-sites crashed, the work of giants is decaying'), and then to its builders 1 Historical-archaeological interpretations concentrate on analysing archaeological, architectural, historical and other extra-linguistic evidence with a view to identifying the place described in the poem (cf. Herben, [5], Herben, [6]. 2 Allegorical explanations of the poem range from suggesting a Christological interpretation (Murgia [7]) and defining the poem as a metaphor for Christ (Cammarota, [8]) to viewing it as a description of the fall of Babylon (Keenan, [9]), or as a body-city riddle (Johnson [10]). 3 The text of 'The Ruin' is quoted from: Klinck [11].
INTERNATIONAL JOURNAL OF LANGUAGE & LITERATURE, 2020
The article is devoted to analysing the representation of emotions in Old Norse chivalric sagas (... more The article is devoted to analysing the representation of emotions in Old Norse chivalric sagas (riddarasögur). Unlike the characters of French romances, who express their feelings in highly expressive monologues, the heroes of Old Norse riddarasögur, are portrayed as seldom showing their emotions and acting only after careful consideration of the implications of their deeds. In riddarasögur, changes in the representation of expressions of feelings remain within the Old Norse tradition of family sagas and kings' sagas; it can be accounted for by the influence of indigenous models of behaviour and by the desire to satisfy the expectations of a contemporary Scandinavian audience. The subgenre of indigenous riddarasögur, which appear in Iceland, the so-called meykongr sögur (maiden-king sagas), is characterized by an inversion of gender roles, influencing the expression of emotions. Feelings are verbalised by men, whereas the heroines of maiden-king sagas prefer to act, verbally and physically humiliating their suitors (in Nitida saga the representation of emotions is used to distinguish a real maiden-king from a false one). The way the emotions of the heroines are implied by their actions in maiden-king sagas can be traced back to indigenous Scandinavian literary traditions.
RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, 2018
Studia litterarum, 2022
Цель статьи состоит в том, чтобы опровергнуть распространенное в современной медиевистике предста... more Цель статьи состоит в том, чтобы опровергнуть распространенное в современной медиевистике представление о том, что «Песнь о Хервёр» составляет позднюю интерполяцию в текст «Саги о Хервёр и Хейдреке конунге». Исследование рукописной вариации в основных редакциях саги, сохранившихся в «Книге Хаука» (H: AM 544), манускриптах из Уппсалы (U: R 715) и Рейкьявика (R: GKS 2845), позволяет пролить свет на структурную организацию «Песни о Хервёр» и оспорить гипотезу о вторичности ее героини по отношению к деве-воительнице из поэмы «О битве готов с гуннами». Как показано в статье, строфа о Хервёр, дочери конунга Хейдрека, которая тематически связана с поэмой «О битве готов с гуннами», однако не принимает участия в ее композиции, дополнительна по отношению к поэтическому тексту и могла быть сочинена составителем прозаической части саги. В статье аргументируется предположение о том, что Хервёр, дочь Хейдрека, играет маргинальную роль в нарративной структуре саги и могла быть введена в контекст битвы готов с гуннами в результате дублирования образа героини «Песни о Хервёр», которой принадлежит центральное положение в композиции саги и которая исполняет большую часть строф в поэтическом диалоге с Ангантюром. Анализ «Песни о Хервёр» в контексте саги и мифологической и героической поэзии позволяет предположить, что прорицание Ангантюра и заклинание Хервёр восходят к устно-поэтической традиции диалога с живыми мертвецами (draugr), нашедшего отражение в песнях «Старшей Эдды». Ключевые слова: рукописная вариация, нарративная структура, саги о древних временах, легендарные саги, дева-воительница, битва готов с гуннами, Книга Хаука, Песнь о Хервёр, Старшая Эдда. Информация об авторе: Инна Геральдовна Матюшина-доктор филологических наук, ведущий научный сотрудник, Институт высших гуманитарных исследований им. Е.М. Мелетинского, Российский государственный гуманитарный университет, Миусская площадь, д. 6,
Drevneishie gosudarstva Vostochnoi Evropy
RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, 2020
RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, 2021
Studia Litterarum, 2019
Цель статьи состоит в том, чтобы обосновать новый (функциональный) подход к изучению формульного ... more Цель статьи состоит в том, чтобы обосновать новый (функциональный) подход к изучению формульного стиля средневековых памятников в контексте развития теории устно-поэтических формул. Согласно формульной теории, восходящей к трудам Милмана Пэрри и Альберта Лорда, формула считается элементом «утилитарным», т. е. необходимым при устном сочинении или импровизации, но не имеющим художественной функции. Формулы участвуют в композиции книжно-письменных поэм, включенных в Англосаксонскую Хронику, однако их изучение до сих пор не привлекало внимания исследователей. Формулы наделяются здесь новыми функциями, позволяющими передать дополнительные смыслы. В статье приводятся аргументы в пользу того, чтобы назвать главную функцию формульного стиля в письменной поэзии «ассоциативной»: в поэмах Англосаксонской Хроники формулы используются для создания образов и мотивов при помощи ассоциаций с традиционными образами и мотивами героической и духовной поэзии. Формулы, исполняющие роль осознанно использованного художественного поэтического приема, наделяются в поэмах Англосаксонской Хроники не только новой ассоциативной функцией, но и новыми коннотациями, которые можно условно охарактеризовать как героизирующие, архаизирующие, ностальгические. Ключевые слова: устная традиция, письменная литература, формула, формульный стиль, древнеанглийская поэзия, Англосаксонская Хроника, Старшая Эдда, образ, тема, мотив. Информация об авторе: Инна Геральдовна Матюшинадоктор филологических наук, ведущий научный сотрудник, Институт высших гуманитарных исследований им. Е.М. Мелетинского, Российский государственный гуманитарный университет, Миусская площадь, д. 6, 125993 ГСП-3, г. Москва, Россия; почетный профессор университета Эксетера,
RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, 2018
Novoe literaturnoe obozrenie, 2021
RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies