ИМЕТО НА ДЕВОЙКАТА – СПАСИТЕЛКА НА МАЛТА, В НАРОДНАТА ПАМЕТ НА БЪЛГАРИТЕ / THE NAME OF THE VIRGIN SAVIOR OF MALTA IN THE FOLK MEMORY OF THE BULGARIANS (original) (raw)
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«И ПОДНИМЕТ ЩИТ ДЕВИЦА…»: ДЕВА-ВОИТЕЛЬНИЦА В ЛИРИКЕ А. БЛОКА (Статья первая)
"И ПОДНИМЕТ ЩИТ ДЕВИЦА...": ДЕВА-ВОИТЕЛЬНИЦА В ЛИРИКЕ А. БЛОКА. (СТАТЬЯ ПЕРВАЯ) // Новый филологический вестник. 2019. № 2 (49). С. 160-176., 2019
В первой статье двухчастного цикла рассматривается образ девы-воительницы в ранней лирике А. Блока (1898–1904). Показывается, что он представлен весьма широко, но не в чистом виде: воительница, как правило, интерпретируется Блоком как вариант «софийной» героини. Выявляются источники этого образа у Блока; первая линия рецепции представлена тетралогией Р. Вагнера «Кольцо нибелунга», «Сагой о Вёльсунгах», переложениями песен «Старшей Эдды», другая – поэзией и философией Вл. Соловьева с отразившимся в них гностическим мифом в двух взаимодополнительных вариантах – о пленной, спящей Мировой Душе, подлежащей спасению героем, и о плененном злыми силами герое, освобождаемом софийной героиней (причем вагнеровская интерпретация истории Зигфрида и Брунгильды рассматривается как имплицитно содержащая в себе оба варианта софийного мифа). Показано также влияние Овидиевых «Любовных элегий» на формирование концепта «любви-войны» у Блока. Рассмотрены константные мотивы ранней лирики Блока, составляющие как сюжет о воительнице, так и софийный сюжет (огонь на горе вкупе с брачным мотивом, пробуждение спящей героини, священная весна, измена героя и / или унижение героини, прозрение на пороге смерти и др.). Показаны модификации архетипических мотивов любви-вражды и любви-борьбы, поединка, рокового неузнания. Выявлены постоянные взаимопревращения двух вариантов образа софийной героини у Блока: спящей царевны, т.е. героини пассивной, и воительницы, героини активной, соответственно в двух ролях участвующей в сюжете спасения. This first article of the two-part cycle considers the image of the female warrior in the early lyrics by A. Blok (1898–1904). The author demonstrates that it is strongly represented there but not in its pure form – the female warrior is usually interpreted by Blok as a variant of Sophia-like character. The sources of this image at Blok are revealed: R. Wagner’s tetralogy Der Ring des Nibelungen, the Völsunga Saga, more or less loose translations of the Poetic Edda form one line of his creative reception, while another one is represented by the poetry and philosophy of Vladimir Solovyov reflecting the Gnostic myth in its two variants – of the imprisoned, enchanted, and sleeping World Soul waiting to be rescued by the hero, and of the hero which is kept by the forces of evil and released by the Sophia-like heroine (Wagner’s interpretation of Siegfried and Brünnhilde is considered here as implicitly containing both variants of “Sophian myth”). The article also shows the influence of Ovid’s Amores on Blok’s concept of “love as war”. The constant motifs of Blok’s early lyrics constituting the plot about female warrior, as well as the Sophian plot are analyzed (fire surrounding mountain together with nuptial motif, awakening of the sleeping heroine, sacral spring, betrayal committed by the hero and / or humiliation of the heroine, epiphany and recognition at death’s door etc.). The modifications of archetypal motifs of love-hate and love-fight, of the duel, of fatal non-recognition are demonstrated. The paper also reveals constant mutual metamorphoses of two variations of Blok’s Sophia-like heroine (sleeping beauty, i.e. passive character, and female warrior, i.e. active character) which participates in the plot of salvation accordingly those two roles.
"И ПОДНИМЕТ ЩИТ ДЕВИЦА…": ДЕВА-ВОИТЕЛЬНИЦА В ЛИРИКЕ А. БЛОКА (СТАТЬЯ ВТОРАЯ)
"И ПОДНИМЕТ ЩИТ ДЕВИЦА…": ДЕВА-ВОИТЕЛЬНИЦА В ЛИРИКЕ А. БЛОКА (СТАТЬЯ ВТОРАЯ) // Новый филологический вестник. 2019. № 4 (51). С. 187-209., 2019
Во второй статье двухчастного цикла рассматривается образ девы-воительницы в лирике Блока 1905–1916 гг. Показано, что если ранее вагнеровские мотивы были вынесены на маргиналии, то с 1905 г. они встраиваются в основной сюжет. И если для более ранней лирики главными из них были пламя вокруг спящей Брунгильды и ее пробуждение героем, то во втором томе их место занимает мотив измены и смерти Зигфрида – наряду с анамнесисом, т. е. припоминанием (утерянного героического прошлого), а в третьем – мотив забвения, рокового неузнания «первой любви». Описывается соотношение с валькирией образов девызмеи (во втором томе лирики) и лебединой девы (во втором и третьем). Выявляется соположение образа воительницы не только с Девой Марией и ангелом, но и с Родиной (Русью) в третьем томе. Указывается, что в типологическом отношении блоковская креативная рецепция образа воительницы включает две сюжетные возможности, казалось бы, противоположные: с одной стороны, происходит испытание силы лирическим героем и воительницей, причем оно сопровождается гибелью персонажей, а с другой, происходит их отказ от испытания силы, и поединок замещается любовным преследованием, эротическим поиском. Благодаря тому, что у Блока главной сюжетной коллизией является гностическая коллизия спасения, пробуждения одного персонажа другим, причем статус «спасающего» и «спасаемого» оказывается меняющимся, нестабильным (как и факт осуществления / неосуществления интенции спасения), эти сюжетные возможности чередуются, мерцают, взаимоотражаются. The second article of the two-part cycle considers the image of the female warrior in Blok’s lyrics of 1905–1916. While in the earlier lyrics Wagnerian motifs were marginal, since 1905 they are woven into the main plot. Previously, key motifs related to the Ring tetralogy in Blok’s poetic works were fire surrounding the sleeping heroine and her awakening but in the second volume of Blok’s poetry they are overshadowed by the motif of Siegfried’s betrayal and death – together with the motif of anamnesis, i.e. recalling (of the lost heroic past), and in the third volume – by the motif of oblivion, of fatal non-recognition of the “first love”. The relation between Valkyria and the images of snake maiden (in the second volume) and swan maiden (in the second and third volumes of Blok’s lyrics) is described. Characteristic for the third volume juxtaposition of the female warrior not only with Virgin Mary and angel but also with Russia (Rus’) as homeland is revealed. The author shows that Blok’s creative reception of the image of female warrior typologically includes two plot possibilities which usually appear as contradicting. On the one hand, the contest of strength between the lyrical hero perceived as a warrior and the female warrior happens (and finishes with the death of one or both characters), and on the other hand, this contest is replaced by love pursuit, erotic quest. Due to the fact that Blok’s main plot is Gnostic plot of salvation, of the awakening of one character by another one while the status of the saving / being saved is changing, non-stable (same as the fact of implementation or non-implementation of salvation), those plot possibilities alternate, flicker, reflect one another.
Тамгата хералдичен знак на прабългарския владетелски род Дуло в нейната представителна функция
THE HERALDIC SIGN TAMGHA OF THE PROTO-BULGARIAN RULER CLAN DULO IN HER REPRESENTATION FUNCTION (short version)
In essence and function, the heraldic sign tamgha of the Proto-Bulgarian ruler's clan Dulo is a sign of ownership with one primary-basic function-the possession, and two secondary-derived and additional functions-the representative and the protective (apotropheic). Khan Asparuh ordered the tamgha of the Dulo clan to be carved on a suitable stone and to be built over the main gate of the Belgorod Fortress as a sign that there is a descendant of the Dulo clan, who is also a ruler, a khan of the entrusting Proto-Bulgarian tribes. He directed the repair of the Drustar fortress and ordered the tamgha of Dulo clan to be carved on the fortress walls. The wall in front of the village of Byala, Varna district is the last and the most southern wall that Khan Asparuh builds. On it the tamgha of the Dulo clan is carved between two Runic letters, so the whole inscription translates as The State of Dulo. The urns with the ashes of the khans and their wives from the First Bulgarian Kingdom are stored in a special pit into the most hidden underground tunnel connected to the palace of Khan Krum. The title канартигин is formed on the basis of the Proto-Bulgarian expression *каган-ирт-тикин, literally "prince-after-kagan", i.e. "crown prince". Прабългаристиката, но и болгаристиката, като водещ и основен дял на тюркологията за Късната античност и Ранното средновековие има за предмет на изследване прародината, про-изхода, етническата принадлежност, етногеографията, социалната организация, антропологията, езика, материалната и духовна култура на прабългарите или от чисто научна гледна точка-на болгарите. При тази своя същност и съдържание прабългаристиката представлява синкретично комплексна и мултидисциплинарно-интегративната научна област със своя собствено специ-фична методология и понятийно-категориален апарат. Поради това тя се припокрива, съвпада, даже и обема, без обаче да преминава и да се разлива в тях, с части от антропологията, линг-вистиката, историографията, археологията, изворознанието, етногеографията, етнографията, фолклора, епиграфиката, нумизматиката, хералдиката и т.н. на прабългарската етнокултурна общност. Списание ЕПОХИ Издание на Историческия факултет на ВТУ "Св. св. Кирил и Методий" Journal EPOHI [EPOCHS]
2019
In essence and function, the heraldic sign tamgha of the Proto-Bulgarian ruler clan Dulo is a sign of ownership with one primary-basic function-the possession, and two secondary-derived and additional functions-the representative (representative) and the protective (apotropheic). Khan Asparuh ordered the tamgha of the Dulo clan to be carved on a suitable stone to be built over the main gate of the Belgorod Fortress as a sign that there is a descendant of the Dulo clan, who is also a ruler, a khan of the entrusting Proto-Bulgarian tribes. He directed the repair of the Drustress fortress and ordered the tamgha of Dulo clan to be carved on the fortress walls. The wall in front of the village of Byala, Varna district is the last and the most southern wall that Khan Asparuh builds. On it the tamgha of the Dulo clan is carved between two Runic letters, so the whole inscription translates as The State of Dulo. The urns with the ashes of the khans and their wives from the First Bulgarian Kingdom are stored in a special pit into the most hidden underground tunnel connected to the palace of Khan Krum. The title канартигин is formed on the basis of the Proto-Bulgarian expression *каган-ирт-тикин, literally "prince-after-kagan", i.e. "crown prince".
Болг. Димитър: имя, образ, ритуал
Отговорността пред езика. 10. СБОРНИК, ПОСВЕТЕН НА 65-ГОДИШНИНАТА НА ПРОФ. Д-Р ДИМИТЪР ПОПОВ, 2024
The article contains a brief ethnolinguistic analysis of the status and life of the personal name Dimitar, one of the most frequent names in the Bulgarian anthroponymycon. This personal name goes through many modifications on the Bulgarian territory, it produces a vast system of hypocorisms and female personal names. St Demetrius of Thessaloniki is seen as a brother of St George, the patron of blacksmiths, he is ‘in charge’ of autumn’s clouds and rains, snow. October 26th is an important day in the ritual year, which divides the year into two halves – summer and winter.
МИФОЛОГЕМА «ДРЕВО» И ЕЕ ОБРАЗНОЕ ВОПЛОЩЕНИЕ В ТАТАРСКОЙ ЛИТЕРАТУРЕ
МИФОЛОГЕМА «ДРЕВО» И ЕЕ ОБРАЗНОЕ ВОПЛОЩЕНИЕ В ТАТАРСКОЙ ЛИТЕРАТУРЕ, 2022
Аннотация. В статье проведено научное рассмотрение мифологического символизма как образа Древа (Мирового, Жизни, Рода), так и различных видов деревьев в контексте мифологии и верований татарского народа и их отображения в произведениях татарской литературы XX-XXI в. Многообразные виды деревьев представляются неотъемлемой частью мифологии природного мира. Авторами проведен анализ символики образов Тополя, Липы, Ивы, Рябины, Лиственницы, Дуба, Березы и др. и выявлена их символика и функции в художественных произведениях. Результаты исследования представляются значимыми как в перспективе дальнейшего сравнительно-сопоставительного изучения фольклора и литературы, так и мифопоэтики татарской литературы в целом.
2023
The article examines the calendar references and the three main types of texts (Passion, Synaxarion notices, and hymnographic office) in Slavic manuscripts used for the ecclesiastical veneration of the Persian martyr Golin-douch (6th century) in the Balkans. According to her Passion, dotted with many curious details, the saint lived in prison for 18 years, then was thrown into a deep pit to be eaten by an enormous serpent, handed over to debauchers, condemned of beheading, decapitated, but miraculously restored to live and freed by an angel, so she preached Christ’s teachings for the rest of her life. The presented linguistic arguments allow us to assume that the Passion of St. Golindouch by Eustratius (fragmentarily preserved only in Russian Reading Menaia of the 15th – 16th centuries) was translated relatively early in Eastern Bulgaria. In the South Slavic manuscript tradition, the full account of the ordeals of the Persian martyr is preserved, albeit in a condensed form, devoid of interesting facts and with ex-changed order of some episodes, in the rather detailed Synaxaion notices (Prolog readings) about her, which were widespread in the Balkans in several versions in the Slavic Synaxaria (the Prolog and the Verse Prolog). Special attention is paid to the Middle Bulgarian translation of her hymnographic service made in the 13th century, found so far only in two Bulgarian copies – in the Menaia Grig. 1/5 of the Odessa State Scientific Library (13th century) and Hilandar 609 (14th century). The evidence from different types of primary sources reveals that in Constantinople the cult of St. Golindouch remained active until the 10th and early 11th century. Later, both in Byzantium and in the Balkan Slavic countries it was confined only to the liturgical books, containing the relevant texts for her church commemoration.