МРНТИ 16.21.17
М.М. Aimagambetovа1
1al-Farabi Kazakh National University Almaty, Kazakhstan
ZOONYMS AS A COMPONENT OF NATIONAL CULTURE
Abstract
The article is written within the framework of the grant AP05133019 ―Cultural codes of modern Kazakhstan (literary and media discourses)‖ funded by the Committee of Science of the Ministry of Education and Science of the Republic of Kazakhstan. The article reviews the most typical zoomorphic images used in folktales and involved in modelling kazakh and russian linguistic world view. The characters of russian folktales are presented through the images of wild and domestic animals, the characters of kazakh folktales are zoomorphic images of domestic animals. Some zoomorphic verbs were analyzed possessing national and general characteristics due to the peculiarities of their functioning in speech.
Keywords: zoomorphic images, zoomorphic lexis, national world view.
М.М. Аймағамбетова1
1ҽл-Фараби атындағы Қазақ ұлттық университеті, Алматы, Қазақстан
ЗООНИМ ҦЛТТЫҚ МӘДЕНИЕТТІҢ КОМПОНЕНТІ Аңдатпа
Мақала ҚР БжҒМ ҒК AP05133019 жобасы бойынша гранттық қаржыландыру аясында орын- далған. Мақалада кӛбінесе халық ертегілерінде кездесетін, қазақ және орыс халықтарының әлемдік тілдік бейнесін қалыпптастыратын зооморфтық бейнелер қарастырылады. Орыс халық ертегілерінің кейіпкерлері хайуандар мен ҥй жануарлары бейнелерінде кӛрсетілсе, ал қазақ ертегілеріндгі кейіп- керлер зооморфтық ҥй жануарлары ретінде танытылады. Сӛйлеу тілінде ҧлттық, әмбебап ерек- шеліктерді кӛрсететін зооморфтық етістіктерге талдау жасалынды.
Тҥйін сӛздер: зооморфтық бейнелер, зооморфтық лексика, әлемнің ҧлттық кӛрінісі.
Аймагамбетова М.М.1
1Казахский Национальный университет имени аль-Фараби Алматы, Казахстан
ЗООНИМЫ КАК КОМПОНЕНТ НАЦИОНАЛЬНОЙ КУЛЬТУРЫ Аннотация
Статья подготовлена в рамках гранта AP05133019 «Культурные коды современного Казахстана (литературный и медийный дискурсы)». В статье рассматриваются наиболее типичные зооморфные образы, используемые в народных сказках и участвующие в моделировании казахской и русской языковой картины мира. Персонажи русских народных сказок представлены образами диких и домашних животных, персонажи казахских сказок – зооморфными образами домашних животных.
Были проанализированы зооморфные глаголы, обладающие как национальными, так и универ- сальными характеристиками, обусловленными особенностями их функционирования в речи.
Ключевые слова: зооморфные образы, зооморфная лексика, национальная картина мира.
The language and culture of any nation are of great interest both from a historical, ethnic, and lexicological point of view. The study of the problem of the interaction of language and culture was done by such scholars as V.Humboldt, A.A. Potebnya, J.Grimm, and others. The language influences on people's thinking, due to which a conceptual picture of the world was created, i.e. how a person understood nature and how he contributed this understanding to his culture.
The language is a treasury of the people‘s national culture of the people speaking this language. All life experience and the achievements of culture are recorded in the language, they are reflected in it.
Zoomorphic nominations are specific for the language pictures of the world of different nations, especially the Kazakh and Russian. They reflect culturally-marked, significant for the corresponding ethnos representations of the zoomorphic image in the system of value coordinates which characterize a person
―The language picture of the world is a set of people's ideas about reality at a certain stage of their development and representation of reality reflected in the meanings of language signs. Also it is a linguistic articulation of the world, linguistic ordering of objects and phenomena, information about the world embedded in the system meanings of words‖ [1, 249]. In other words, these are people's ideas about their environment, which are reflected in language and culture. The language picture of the world is a world view through the prism of language. The national language picture of the world is understood as the perception of reality scheme fixed in a specific national language and characteristic for a given national language and ethnic group. The national picture of the world is a scheme of reality perception fixed in a particular national language or ethnic group.
The linguistic picture of the world consists of many fragments, and it can be recreated by studying these fragments. One of these fragments is zoomorphic vocabulary. Zoomorphic images represent an extremely interesting and original linguistic layer, reveal the specifics of the worldview of native speakers and culture.
However, zoomorphic images, striving to preserve universal features, differ in their national originality.
Understanding of zoomorphisms is provided by the stereotype of images generated by certain animals in the language (for language zoomorphisms) and by the imagery generated by certain animals in a certain situation (for speech zoomorphisms). As A.Uteuliyeva says, the zoomorphic metaphor models the image of a person according to the principle of ―mirror reflection‖ [1, 247]. Anthropomorphic properties (character traits, behaviors, ways of human life) are attributed to the animal‘s image on the one hand, and zoomorphic characteristics (habits, temper, appearance of the animal) are transferred to the human being on the other hand. Based on this cognitive mechanism, universal typological models of the zoomorphic metaphor are formed: ―the appearance of an animal – the appearance of a person‖, ―the behavior of an animal – the behavior of a person‖, etc.
Anthropocentricity is the main feature of the linguistic picture of the world, which is created by zoomorphic images. Each linguistic culture has its own set of lexical units – zoonyms, which are regularly used as a zoromorphic characteristic of a person.
We find many examples of zoonyms in the literature. M.N. Epstein in his work ―Nature, the World, the Cache of the Universe ...‖ asserts that ―the images of animals in literature are a kind of mirror of humanistic self-consciousness. Just as the self-determination of a person is impossible outside of its relation to another person, so the self-determination of the whole human race cannot be accomplished outside of its relation to the animal kingdom‖ [2, 87-88].
Zoonyms include mythological characters, for example, the Dragon. It is the most prominent representative of Chinese mythology and one of the signs of the Chinese traditional calendar. T.I. Shamyakin writes: ―The appealling to the Chinese calendar is also the basis in order to find out the origins of the symbolism of some popular animalistic images in world culture‖ [3, 10]. The Chinese national calendar includes 12 characters: a mouse (rat), a bull, a tiger, a hare (cat), a dragon, a serpent, a horse, a sheep (goat), a monkey, a pet, a dog and a pig. The dragon is the only one mythological, and not real, character of the Eastern horoscope in comparison with others. The Chinese consider themselves as children of the Dragon.
According to T.I. Shamyakina‘s ―The traditional Chinese calendar and the Slavic mythological parallels‖ we learn that the Dragon is ―a purely positive creature in China (unlike Europe). It is a defender and a guardian of the country‖ [41, p. 64]. However, the Dragon embodies a complex of negative qualities in European literature. Even the names of literary works themselves testify to this, for example E.Schwartz ―To Kill the Dragon‖, H.Stevens ―Tame Your Dragons‖. T.I. Shamyakin speaks about the fact that ―modern psychology, following the fiction, defines the symbolism of the dragon as something terrible, difficult and scary, that a person must overcome. Only the one who defeats the dragon becomes a hero‖ [3, 64].
A similar trend is seen in the semantics of the word pig. It always has a metaphorically negative meaning in the Russian (a sloppy, dirty, ungrateful person), although ―wild boar is a symbol of military power and fertility in the myths of most European peoples‖ [3, 159]. But a pig is not considered unclean in China. It is endowed with a whole complex of positive meanings: a symbol of wealth, happiness, and male sexuality.
Zoonyms are endowed with their own specific comprehension about the surrounding reality In different cultures, i.e. they may contradict the stereotypes of the perception of certain animals that have developed in another culture. Thus, we can say that the expressed national specificity is inherent in the linguistic consciousness of any nation and reflects the peculiarities of the people‘s life, its traditions, culture, stereotypes, myths in the semantics of the language.
Animals, drawn by man into the world of his transformations, play a symbolic role in the picture of the world, act as reference carriers of certain human qualities and reflect the experience of the people speaking this language. It is interesting the description of the language symbols and stereotypes for the disclosure of the cultural content of zoomorphic images. So all these mental structures are cultivated objects, they are involved in culture and are indicated in the language. There are two variants of using the zoomorphic images in the Kazakh and Russian literature. First of all, zoomorphic symbolics of a positive nature corresponds with the day, spring, summer, etc. and negative – with time and seasons, the most dangerous – night, winter.
Another aspect of using zoomorphic images is class and professional affiliation. It is often to use the images of strong and predatory animals among warriors: a wolf, a leopard, a lion, a tiger, etc. The totemic representations of the Kazakhs are preserved in narrations about the patrons of domestic animals. For example, the patron saint of cattle was Zengi-baba, the patron saint of sheep – Shopan-ata, camels – Oysyl- kara, Zhylkyshy-ata – horses, and Chekchekat – goats. The images of wild animals clearly predominate over domestic images in Russian literature: they are a fox, a wolf, a bear, a hare, and a bird is a crane, a heron, a thrush, a woodpecker, a sparrow, a raven, etc. Pets are much rarer: it is a dog, a cat, a goat , ram, horse, pig, bull, from domestic birds are goose, duck and rooster. In the Kazakh literature we use zoomorphic images of domestic animals more often: horses, camels, sheep, cows, etc. The use of these or other zoomorphic images has deep roots which lie in the historical, spiritual and religious culture of peoples. An example of the expression of national-cultural specifics of both the Russian and Kazakh languages can serve as a zoomorphic image of a cat (Kazakh ‗мысық‘). The word ‗cat‘ has contradictory connotative signs in Russian. For instance, the tender or loving woman; a clever, flexible person, able to jump and climb easily and quickly; a light and inaudible gait is called a cat walk. In such stable expressions as a dead cat, like cats and dogs, negative connotative values are presented. But the cat‘s zoomorphic image of the Russian language is not as negative as in the Kazakh. Cat is a favorite animal in the Russian language picture of the world. But this image was not allowed to pregnant women and young children in Kazakh culture. In this connection we have some phraseological units in Kazakh language. They are: мысық тілеу, мысық дҽме (cat's desire – desire that is not so significant, most likely not fulfilled), in which a negative meaning is manifested.
One of the good examples of zoomorphic images is a snake. In the Kazakh traditions the snake personifies: a symbol of secret knowledge and wisdom; a symbol of eternal life and renewal. According to the Kazakhs, the snakes are the most loyal to their family, they always live with the whole family and therefore are not afraid of anyone. It was believed that angels walk in the form of a snake. If snake penetrated the yurt, it was considered by the Kazakhs as a good sign. Even if it was poisonous, the snake was not killed, but respectfully sacked out, pouring milk and ayran on it [4, 32]. But in Russian the snake is a temptress, ugly and mean. For example, in all Russian fairy tales there is always a struggle between warriors and the Zmei-Gorynych (dragon). It is said about the harm and evil that the Serpent constantly inflicts on the entire Russian people.
It is used verbs that are directly related to the animal itself for a more accurate description of the "nature"
of the animal. For example, when describing an image of a dog, the author uses the verb to dog, the fox is cunning. The same goes for Kazakh: ittenu (иттену) (earn disrespect for one‘s behavior), tulkilenu (тҥлкілену) (flatter), арыстаншылу (trying to achieve the unrealizable, literally have big ―lion plans‖), etc.
Zoomorphic verbs are units of a secondary nomination, in the process of which expressive and emotionally estimated shades are created in a word. A large number of zoomorphic verbs expresses negative connotative meanings, which are noted in dictionaries by disfigures, colloquially, roughly vernacular, disapproving, expletive, etc. Some zoomorphisms from which verbs are formed can combine positive and negative connotative signs. Despite the fact that the zoomorphic verbs derived from the names of these animals have mostly connotative signs of the same direction, there is often a certain opposite in emotional evaluation. In
Russian насобачиться means "learn to do something cleverly, to gain experience in something‖, and has a positive assessment. Kazakh verbs are also replete with contradictory connotative signs, иттену means ―to earn disrespect, distrust by his behavior,‖ is evaluated negatively; the same verbal evaluation has the verb иттесу – ―feuding with someone‖, but the verbs итырыктау and итшілеу are used in neutral emotional coloration. Thus, the verb ityryktau (итырыктау) means "tired", itshіleu (итшілеу) is "to experience adversity and hardship"; the semantics of the latter also contains an element of pity. The use of these verbs is usually focused on the spoken language. The use of phrasal verbs helps to avoid regular expressions and help to make the language more «alive» [5, 119].
Zoomorphic verbs make up a significant layer in the vocabulary of the languages being described – to a greater extent they prevail in Russian and to a lesser extent in Kazakh. Zoomorphic images are systemically organized fragments of secondary nomination in the language pictures of the world of the Kazakh and Russian peoples.
Our study showed the ethnocultural specificity of the conceptualization of the human intellectual sphere, which is based on the inclusion of zoomorphic images. We have identified the most typical zoomorphic images used in the modeling of the Kazakh and Russian language picture of the world. Each of the used zoomorphic images represents a certain national cultural phenomenon, the symbols, standards of the cultural space of the Kazakh and Russian ethnic groups.
References:
1 Baturova G.O. Concept and conceptualization // Vestnik KazNU, 2013. – №1. – P.245-249.
2 Epstein M.N. “Nature, the World, the Cache of the Universe ...”: The system of landscape images in Russian poetry: Scientific-popul. – M.: Higher education. school, 1990. – 303 p.
3 Shamyakina T. The Traditional Chinese Calendar and Slavic Mythological Parallels. – Minsk: Ed.
Center of BSU, 2010. – 169 p.
4 Sapashev O.S. Reflection of the picture of the world in the Kazakh vocabulary // Bulletin of the Kazakh National University, 2006. – №3. – P.30-34.
5 Fedorova M.F. Origin and development of English phrasal verbs // Bulletin. Series «Philological sciences», 2018. – №1(63). – P.108-119.
МРНТИ 16.21.07
S.M. Altybayeva1
1Kazakh Ablai Khan University of International Relations and World Languages, Almaty, Kazakhstan
MYTHOLOGICAL TIME AND SPACE:
CATEGORY-BASED CHARACTERISTICS
Abstract
The article is written within the framework of the grant AP05133019 ―Cultural codes of modern Kazakhstan (literary and media discourses)‖ funded by the Committee of Science of the Ministry of Education and Science of the Republic of Kazakhstan. The article presents the main categorical characteristics of mythological time and space (myth chronotope). These elements of the myth poetic works play a key role in the construction of the narrative structure of the text. They give the work also the necessary informative and cognitive impulse. Myth chronotop informs the text of both timeless orientation and a specific time – the first creation. It is precisely the temporal and spatial markers of the myth that are implicitly embedded in the text; they define a great length of plot action. The axiological aspect of the myth is realized in the text through the introduced object-material components, which also form the basis of the myth chronotope.
Keywords: myth chronotope, mythological time, mythological space, narrative structure, myth poetics.
С.М. Алтыбаева1
1Абылай хан ат. Қазақ халықаралық қатынастар жҽне ҽлем тілдері университеті, Алматы қ., Қазақстан
МИФОЛОГИЯЛЫҚ УАҚЫТ ЖӘНЕ КЕҢІСТІК:
КАТЕГОРИЯЛЫҚ СИПАТТАМАЛАРЫ Аңдатпа
Мақала ҚР БжҒМ ҒК AP05133019 жобасы бойынша гранттық қаржыландыру аясында орын- далған. Мифологиялық уақыт пен кеңістіктің (мифохронотоп) негізгі категориялық сипаттамалары келтірілген. Мифопоэтикалық жҧмыстың бҧл элементтері мәтіннің баяндау қҧрылымын қҧруда маңызды рӛл атқарады. Олар сондай-ақ қажетті ақпаратты-танымдық серпін береді. Мифохронотоп мәңгілік бағдарлаудың және белгілі бір уақыттың мәтінін – бірінші туындыны хабарлайды. Мәтінде сӛзсіз енгізілген аңыздың уақытша және кеңістіктік маркерлері дәл осы сюжеттік әрекеттің ҥлкен ҧзындығын анықтайды. Мифтің аксиологиялық аспектісі мәтінде мифохротоптың негізін қҧрайтын объектілердің нақты компоненттері арқылы жҥзеге асырылады.
Тҥйін сӛздер: мифохронотоп, мифологиялық уақыт, мифологиялық кеңістік, әңгіме қҧрылымы, мифопоэтика.
Алтыбаева С.М.1
1Казахский университет международных отношений и мировых языков имени Абылай хана
г. Алматы, Казахстан
МИФОЛОГИЧЕСКОЕ ВРЕМЯ И ПРОСТРАНСТВО:
КАТЕГОРИАЛЬНЫЕ ХАРАКТЕРИСТИКИ Аннотация
Статья подготовлена в рамках гранта AP05133019 «Культурные коды современного Казахстана (литературный и медийный дискурсы)». В статье представлены основные категориальные харак- теристики мифологического времени и пространства (мифохронотопа). Указанные элементы мифопоэтики произведения играют ключевую роль при построении повествовательной структуры текста. Они придают произведению также необходимый информативно-когнитивный импульс.
Мифохронотоп сообщает тексту одновременно вневременную ориентацию и конкретное время – первотворения. Именно временные и пространственные маркеры мифа имплицитно встроены в текст, задают большую протяженность сюжетного действия. Аксиологический аспект мифа реализуется в тексте через введенные предметно-вещные компоненты, которые также формируют основу мифо- хронотопа.
Ключевые слова: мифохронотоп, мифологическое время, мифологическое пространство, повест- вовательная структура, мифопоэтика.
Myth poetic paradigm of modern literature includes the following important conceptual and category- based elements: myth, new myth, mythologem, archetype, additional conventional-metaphorical form, acquiring the status of myth; mythonym, myth toponym, myth zoonym, monomyth, mythological story, mythological image, mythological motif, mythological time and space (myth chronotop), myth symbolic, mythological meta narrative, mythological event, mythograf and others. Selected concepts and categories perform any additional features deepen the artistic conception of the text, or are its basis, and in postmodernist texts – their artistic concept. Naturally, called the myth poetic elements do not exist at work in isolation: they are interconnected, often interdependent, connected by numerous semantic, structural, logical, intertextual, narrative, mental, emotive and other ties [1, 133].
In this series, a special place is occupied by mythological time and space, or else by the myth-chronotope.
They give also the creation the necessary informative and cognitive impulse.
Mythological time: definition, content
Fundamental categories of myth poetics of the work are mythological time and mythological space. They make up the mythological chronospace (myth chronospace). As noted, "in the myth poetic chronotope, time
thickens and becomes a form of space (it is "spasialized " and thus, postponed, extensituated), its new ("fourth") dimension. Space, on the other hand, "infects" by internally-intensive properties of time ("temporalization" of space), is drawn into its movement, becomes inherently rooted in a myth unfolding in time, a story (i.e., text). Everything that happens or can happen in the world of mythopoetic consciousness is not only determined by the chronotope, but also chronotopically in essence, in its origins" [2] (translated by author – S.A.).
Mythological time is the time of "first creation", hence its sacralization, sanctity. In the mythologies of all nations, mythological time of events is marked by a special status of "timelessness", if we mean ordinary human time.
J.Lotman, E.Meletinsky singled out the maximum "length" of the myths of time: "In any typical myth, mythological (state) event is separated from the "present" time by a certain long period of time: as a rule, mythological stories refer to "old times, "initial times". The sharp distinction between mythological period and modern ("sacred and "profane" time) is characteristic of the most primitive mythological notions, there is often a special designation for ancient mythological times. Mythological time is the time when everything was not as it is now. The mythical past is not just the preceding time, but a special epoch of the first creation, mythical time precedes the beginning of the empirical time; mythical epoch is the era of perverse subjects and first actions " [3] (translated by author – S.A.).
Mythological time is inherently paradigmatic: "Everything that happened in the mythical (world) time acquires the significance of the paradigm, is considered as a precedent, serving as a model for reproduction as the given precedent took place in the "primitive times". Therefore, the myth usually combines two aspects (narrative – A.S.) – a story about the past (diachronic aspect) and a mean of explaining the present, and sometimes the future (the synchronic aspect). For primitive consciousness, all that we have now is the result of the deployment of the original precedent. Mythical time is the time of the unfolding of the mythological plot, therefore it is conceived as "here and now" regardless of real empirical time" [ibid.] (translated by author – S.A.).
For example, myths about the creation of the world, including the Quranic, Biblical myths, Regional myths (Hindu, Egyptian, Sumerian-Akkadian, Proto-Türkic), calendar myths reflect "time", conceivable beyond historical time.
In the folk literature, the interpretations of myths of sacral semantics are popular, since it is their
"consecration" that enables the writer to project the events of the text into a timeless universal semantic plane.
V.Toporov in the work "Space and Text" substantiate expanded connotations of the myth chronotope:
"The space-time continuum is inextricably linked with material filling (creator, gods, people, animals, plants, elements of sacral topography, sacralized and mythologized objects from the sphere of culture, etc.) all that
"organizes" space in one way or another, collects it, unites it, rooted it in a single center (the language of space compressed to the point ...) – thus, the Cosmos differs from non-space, Chaos, where space is absent.
Space and time can be understood as properties of things. Space liberates site for sacred objects, revealing their highest essence, giving this essence life, being, meaning; it opens the possibility of the formation and organic living of space by the cosmos of things in their mutual belonging. Thus, things do not only constitute space, through its boundaries separating space from non-space, but also organize it structurally, giving it significance and meaning (semantic settlement of space)" [4] (translated by author – S.A.).
Temporal markers of mythological time in a literary text can be:
• abstract concepts hinting at the maximum remoteness of the narrated event from the time of the narrator ("in the distant past", "at that glorious time", etc.);
• a precedent through allusion to a specific archetypal hero ("during the reign of the first ruler of Upper and Lower Egypt" by W.Golding, "times of Gody and Moira" by M.Druon);
• a hint on the length of a specific time in this context ("for two thousand years of my night", time of the year ("time of the Nile flood" by Golding);
• markers that characterize the quality of the passage of time (long / short, slow / fast, sudden);
• markers of the beginning and end of a sacred concept ("the beginning of the world", "the end of the world") and others.
These markers group events in a special way, their sequence or, conversely, illogicality. In the latter case we are talking about the desynchronization of the mythological time of the eventual outline of the work.
Mythological space: definition, content.