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PHILOLOGICAL SCIENCES / «еЮУШШШМ-ЛШШаИ» #33112©), 2©21
PHILOLOGICAL SCIENCES
УДК 78/07
Jannatova Gunel
Candidate of philological sciences Institute of Folklore National Academy of Sciences of Azerbaijan DOI: 10.24412/2520-6990-2021-33120-12-15 ABOUT EPIC SPACE IN THE "BOOK OF DEDE GORGUD"
Джаннатова Гюнель
Кандидат филологических наук Институт Фольклора Национальной Академии Наук Азербайджана
О ПРОБЛЕМЕ ЭПИЧЕСКОГО ПРОСТРАНСТВА В «КНИГЕ МОЕГО ДЕДА КОРКУТА»
Аннотация.
В фольклоре эпическое пространство - это текст, помещенный на литературный материал (на мысль или же бумагу). Место, где происходят события в художественных произведениях - это эпическое пространство, созданное в мыслях. В эпическом пространстве рассказчик вмешивается в произведение столько, сколько захочет, меняет его, увеличивает или же уменьшает. Эпическое пространство можно рассматривать как большое пространство, в котором помещается сюжет эпоса. В эпическом пространстве эпоса речь говорящего также становится эпической, подчиняющейся структуре эпического пространства. Эпическое пространство эпоса может быть воображаемым пространством или эпическим пространством с историческими границами.
Abstract.
Epic space in folklore is a text placed upon literary material (mind, paper). The epic space in mind is a place where events in works of art take place. The narrator in the epic space interferes with the work as much as he wishes, changing it, increasing, and decreasing it. The epic space can be thought of as a wide space in which the epos's plot is set. The narrator's speech becomes epic too in the epic space of epos, subject to the epic space's structure. The epic space of epos can be either a fictional space or one with a historical frame.
Ключевые слова: эпос, «Книга моего Деда Коркута», пространство, фольклор, историческое время
Keywords: epos, «The book of Dede Gorgud», space, folklore, historical time
The epic space of the epos "Book of Dede Korkut " can exist in epic time or within epic time. Therefore, epic space and epic time are inseparable in the poetics of the epos. Prof. F. Bayat states: "The unity of time and place (in Bakhtin's terms, the chronotope) plays a significant role in disclosing the form, genre, and plot-composition structure of the story in the poetics of the "Book of Dede Korkut." The continuum of time and space is a key functional element in the construction of text. Every single event in Dede Korkut takes place in one place or another (mythological-epic, ours-other, fantastic-real, at one time or another (mythical-epic, general-concrete, retrospective-introspective, prehistoric-historical). In all circumstances, the plot is built on a time and space continuum (Bayat, 2002: 28).
As can be seen from the quote, time plays an important role in the construction of epic space. In the epos, too, all events take place in an epic space. Wherever the heroes of Dede Korkut journey, they leave the epic space of Oguz. In this sense, the Oghuz epic space is larger than the historical space due to its geographical area. It has no borders. This epic space provides the hero's psychological preparation, opportunities to travel, his speech, and conversation with his parents or someone else, which is based on his epic speech, and the features of the epic space are confirmed in the text of the epos. The hero's psychological preparation, journey opportunities, and
conversations with his parents or others are all based on his epic speech, and the characteristics of epic space are reinforced in the epos's text. These time-space relations or features are also reflected in F. Bayat's thoughts. In this letter, he writes: "In any case, the continuum of time and space in the "Book of Dede Korkut" does not correspond to the parameters of mythological or historical truth. If this were the case, many factors, such as the war, its conduct, the course of events, the interference of the guardian spirits in these events, the infidel-Oghuz relations, illness, aging, death, and the like, would have to be perceived as either a physical reality or an imaginary one. In the Dede Korkut stories, an epic unit, the poet's goal is to be "in time" and "in space" (even if this space coincides with geographical toponyms), thereby showing the life of Galin Oguz beys, their deeds, heroism, traditions, and ritual-mythological acts to future generations as a book of spiritual history and memory" (Bayat, 2002: 28-42).
Y.M. Lotman also touched upon the problem of continuum in works of art. He explains the continuum as follows: "The plot of a literary work or artistic work usually develops within a certain local continent. The perception of an unsophisticated reader tends to equate it with the fact that the episodes belong to a real space (for example, geographically). However, the existence of an epic space, which cannot be diminished by a simple repetition of certain local features of the real
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landscape, becomes clear when comparing the embodiment of the same plot through different means of art. The transition to another genre changes the "platform" of the epic space" (Lotman, 1988: 251).
These processes in the epos are carried out in an epic space. This epic space is called epic space as the mythological worldview is at the bottom of the texts. Rather, in the epos, epic space has turned mythological consciousness into the background, and mythological events have descended to the bottom of the text. The peculiarity of epic creativity is that it allows one to epicize the literary text in a historical time period and allows it to be traversed through epic space and epic time. The fact that toponyms are also historical places here provides confidence in the course of events, but that does not take it away from the real ground. However, the epos does not depict historical events in the epic space as they occur, it attempts to preserve the vestiges of those historical events in an artistic manner, at the expense of certain strokes. For example, in history, the historical attacks of Aghgoyunlu bey Turali bey on Byzantium are replaced by the example of Ganturali who went to Trabzon to demonstrate valor on the way of Seljan Khatun. Although Trabzon is an infidel country, it is an epic space. Yet, in historical events, Byzantium is a historical place. The heroism shown by Turali bey in the historical place is replaced by his physical strength in epic space and time, fighting with a lion, and a bull. Since the narrator is also aware of Turali bey's heroism, it can be concluded that he epicized this famous hero in the epos. Ganturali's victory over three wild animals was nourished by folklore traditions. The motive of fighting with wild animals on the way to a girl is very common in Azerbaijani fairy tales. So, historical heroism acts as a basis for heroism in the epic space. Here, the narrator utilizes the praise of Ganturali's 40 heroes as an artistic detail in increasing his power. A one-on-one battle with three animals is accompanied by three praises of Ganturali's heroes, and the act of praise turns into an artistic category. This depends on the different parameters of the approach to epic time and epic space. Linguistically successful reading of "Book of Dede Korkut" makes it easier to evaluate epic events. The narrator's knowledge of historical events leads him to use the facts correctly on the spot. The "reading" of the text in a diachronic direction helps to investigate the historical event on the basis of an epic event, and the "reading" in a synchronous direction helps to use it as an artistic detail. F.Bayat writes: "When diachrony plays a dominant role in the reading of the text, the concept of space, as well as time, is brought to the historical time and space plane... In diachronic reading (outward interpretation), the autochthonous poetic architectonics of the text is disturbed. Synchrony (synchronous reading) interprets poetic space and time in accordance with the nature of the text, but also in accordance with the laws of autochthonous creativity, mainly by revealing the inner elements" (Bayat, 2002: 28).
Epic space necessitates revealing the course of events in synchrony. In this discovery process, the diachronic direction plays a secondary role and serves
as historical "evidence". Historical space and epic space are organically integrated in this approach. The events in historical space do not appear to be fiction, and the events in epic space do not appear to be fiction either.
In fact, the concept of objective time exists in our minds. Man thinks about time, treating it as a model of thinking. The concept of historical space also exists only in our consciousness. This is a normal physical time. Human intellect epicizes it (Hajili, 1985). In the epos "The Book of Dede Korkut,", the individualization of the narrator, his confirmation by the name of Dede Korkut,, with the help of historical space and time, figurative time, turns them into epic time and epic space. Prof. Asif Hajili shows three signs of figurative time and space in figurative time:
-The place of the author's image in time and space; -Time-space nature of the reflected environment; -Symbolic time-space model typical of the genre tradition.
He shows that these features and characteristics are in the structure of artistic speech (epic speech) and narration, in the historicity of artistic thinking, in the epoch-making of plot, character, and color, and in the conditional-metaphorical outlook (Hajili, 2005). The image of Dede Korkut, in the epos "The Book of Dede Korkut," exists in time and space and cannot be imagined outside this chronotp. To be more precise, Dede Korkut was formed by time and space. The existence of the Oghuz public space in time and space is also a historical process. This historical process arises in the mythic mind, becomes epic, characterized, allowing it to describe itself in epic time and space.
In epic time, events are always imagined as having taken place in the past; time moves slowly; and accordingly, space exits the locality, and epic space loses its physical conditionality.
Epic time refers to the time interval between when events occur and when they are recounted in the epos. Time, in any text, is associated with the purpose of the action and its associative links within the plot, both above and below the plane. The text grabs the reader's attention as an epic discourse (universal). It has dimensions like any other space, such as width, length, and depth. The width and length of space are understood as its physical elements, but the depth is about its content. All three dimensions form the text. These dimensions can be interpreted in the epos "Book of Dede Korkut " in the same way: the width of the text as the shape on the surface, the length as the scope of the text or visible shape, and the depth as the profound meaning lying beneath the text or invisible shape (Khalil, 2019: p. 14).
The epos serves as a reminder of past heroism. In this instance, the epos becomes a type of content-text that can take any shape, depending on the scale of time and space as well as the depth of events. The following relationships make up the epic spatial features of the epic text:
a reflection of reality. -description of the life of the characters, -explanation of the hero character in the plot, Objectivity and the investigator's attitude towards the heroes and the space depicted. A.F. Losev writes:
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"There are two main features of epic time. First, the protagonist builds his life in his own way, which necessitates stability, self-confidence, and reliability. Second, the self-aware hero is presented here as a separate convex aspect of the reality depicted on the plane. Time, as if it were precisely stated, cannot be imagined in a pure and independent flow (Losev, 1977: 41-42).
From the quote, we can see that epic space can not be envisioned apart from epic time. In this epic realm, the hero's life also depends on time. A. E. Ivanesko writes: "One of the main aspects of the epic world is the organization of space and the quality of time. The study of the chronotope of literary and folklore works, as well as the study of space-time structures of the heroic epos, has a wide historiography. In all forms of pre-authorial oratory, space and time have been determined to be perceived not as objective and abstract lengths and periods, but as an objective world (typically in the form of a tangible visual image: world tree, world mountain, first victim, etc.) and the behavior of an active character in line with "internal outlook" (M.I. Steblin-Kamenskiy). (Ivanesko, 2014: 26-27).
The space has a feature defined as being organizational. Organization is also a matter of time. The organization of space can also be found in pre-epic myths.
Space is not merely an empty space; it is also something that encompasses us. In this space, we are not alone. We are surrounded by the domains of space. A river, sea, mountain, etc., acts as a domain of space. We see them being sanctified in mythological space, eventually becoming a part of our conscious mind.Just as the organization of a space is understood as the furnishing of an empty room with various equipment, the organization of an epic space is regarded as the combination of complementary elements like plot, drama, conflict, dialogue, monologue, etc. Each element has a place in the epic space. There is a kind of mobility between these elements and space. A. E. Ivanesko interprets this process as follows:
Dynamic lines are more typical of the spatial organization of the Nart universe: epic space is a field of heroic activity; it is the constant spatial movements of the character, forming various elements of the story (the appearance of the protagonist, the attributes of heroism, the local context), a single series of events. (257, 258)Ivanesko
Epic space, or epic time, is a system of signs that reflect and convey important information to the listener in the process of cognition and evaluation. There is an interaction between them.
Thus, the epic world is in a defined setting; it has some features of its geographical size (factual areas, relationships with landscape features) and, nevertheless, it is a product of poetic abstraction. Epic work flows over time, but the latter is not homogeneous, yet nonlinear and subjective.
Received directly from the performer, the information trapped inside epos is visually transmitted to mind. I. Kant perceives time and space as one of the a priori forms of emotional thinking. For Kant, human feelings represent space, and time is a form of
perception of these feelings, a period appeared within consciousness level.
In literary works, space is regarded as an epic space, where characters dwell on, movements are regulated or carried out, or it could be regarded so. The key distinguishing characteristics of epics are the sequential succession of events within the plot, the existence of a definite distance between epic events and the time of their narration - time, and the fact that these events take place in epic space. It is very common in epics to depict various movements in certain time and space, stretching the plot in this way. The epic is not restricted by volume, plot line and number of characters; also the plot line is defined by the narrator's image. He narrates by combining occurrences from the past with those from the present. Also, the epic includes descriptions of activities, movement of chacters, extensive explanations pertinent to space and time, dialogues, monologues (monologue is mainly encountered in epic poems). Apart from portraits of the hero, his characteristics, landscape descriptions, epics contain the gestures, facial expressions and hand movements of lover.
The narrator acts as a mediator between the listener and the events. In the plot, he appears as the third person. Apart from outlining the epic narrative, he is of the organizer and builder. In the epic period, organization is defined as the ability to connect characters, their destinies, moods, etc. and the plot in one dimension. With his speech behavior, arranges the themes, placing them in chronological order. Rustam Kemal writes: " The objective of the fatic speech genres in "Book of Dede Korkut" is to carry information in the epic space at various operating levels (communication, news, ritual-dialogues, dreams, etc.). It's worth noting that the characters' communicative and speech behavior in "Book of Dede Korkut " is primarily based on fatal genres. Boylan 's dialogue is structured around speech acts and genres of speech that are related to them (news/communication, ritual-dialogues, argument-word fight, dreaming). The quarrels and angry statements of the Oghuz beys are acts of expressive semantic fatic speech. (Kamal, 2013: 99).
Recounting the story, the narrator sometimes uses a temporary distance. The epic also draws attention as a combination of detective speech and character language. Shahla Huseynli notes this process as follows: "In an epic narrative, there are two ways to define a formula. Using the first method, the narrator forms the text. The first way is used by the explorer and forms the text. Indeed, this is the most common way. However, there exists a second way to determine the formula (specifically, the fairy tale formula), and it is no less important than the first one. The second method is particularly related to the fact that the listener, who is well-versed in the structure and spirit of the story, as well as the color of the genre (owing to the popularity of the genre), perceives these patterns as formulas. That is, standardization in these patterns, as well as rhythmic identity, are so obvious that, due to the nature of recurrence, they can easily seep into the memory of the listener and live here" (Huseynli, 2019: 43).
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Conclusion. There are the following criteria for the narration of an epic:
-Absolute distance between the narrator and the character;
-The narrator is very knowledgeable;
-Investigator's inclination or adherence to maximum objectivity;
-The narrator's epic worldview, etc.
An epic space is a space that exists in the mind of the narrator.
References
1. Bayat, F (2002). Epic Problem of Time and Space (based on the Stories of Dede Korkut) // Dede Korkut, No. 1, p.28-42 // Bayat F. Epik zaman va makan problemi (Dada Qorqud boylari asasinda)// Dada Qorqud, 2002, № 1, s.28 - 42 //
2. Lotman, Y.M. (1988). In the School of Poetic Words: Pushkin, Lermontov, Gogol, M.: Enlightenment, 414 p. // Лотман Ю.М. В школе поэтического слова: Пушкин. Лермонтов. Гоголь. М.: Просвещение, 1988, 414 с.
3. Hajili, A. (1985). Time and its poetic-mythical perception // Science and Life, 1985, No 10 // A.Hacili. Zaman va onun poetik-mifik qavrayi§i//Elm va hayat, 1985, № 10
4. Khalil, A. (2019). Initiation, sacralization, and sacrifice in the Oghuz epic, by Agaverdi Khalil // Popular Front, 2019, January 31, No 20, p.14 // Agaverdi Xalil. Oguz eposunda inisiasiya, sakralla§dirma va qurbam//Xalq cabhasi, 2019, 31 yanvar, № 20, s.14
5. Losev, A.F. (1977). Ancient Philosophy of History. Nauka, M., 1977, 208 p. // Лосев А.Ф. Античная философия истории. М.: Наука, 1977, 208с.
6. Ivanesko, A. (2014). Borders and frontiers in South Russian history: Proceedings of the All-Russian Scientific Conference. - Rostov-on-Don: Yuzhnogo Federal University Publishing House, 2014, 627 p. // А.Е.Иванеско .Границы и пограничье в южнороссийской истории: Материалы Всероссийской научной конференции (г. Ростов-на-Дону, 26-27 сентября 2014 г.). - Ростов-на-Дону: Издательство Южного федерального университета, 2014, 627 с. - С. 253 - 263
7. Kamal, R. (2013). KDQ: Speech genres and behavioral poetics. B: Nurlan, 148 p. // Rustam Kamal/ KDQ: Nitq janrlari va davrani§ poetikasi. B: Nurlan, 2013, 148 s.
8. Huseynli. Sh. (2019). Epic formulas in Azerbaijani folklore. Baku: Science and education, 184 p. // §ahla Huseynli. Azarbaycan folklorunda epik formullar. B., Elm va tahsil, 2019, 184 s.
УДК: 8.81
Гордиенко Д.Я.,
Ростовский Государственный Экономический Университет(РИНХ) к.ф.л., доцент кафедры иностранных языков для экономических специальностей Лешневская К.В. Ростовский Государственный Экономический Университет(РИНХ) ст. преподаватель кафедры иностранных языков для экономических специальностей DOI: 10.24412/2520-6990-2021-33120-15-17 ОСОБЕННОСТИ ФУНКЦИОНИРОВАНИЯ НОВЕЙШИХ АНГЛИЦИЗМОВ В ЭКОНОМИЧЕСКОМ ДИСКУРСЕ
Gordienko D. Ya.,
Rostov State University of Economics (RINH) Ph.D., Associate Professor of the Department of Foreign Languages
for economic specialties Leshnevskaya K. V. Rostov State University of Economics (RINH) Art. lecturer at the Department of Foreign Languages
for economic specialties
FEATURES OF THE FUNCTIONING OF THE NEWEST ANGLICISM IN THE ECONOMIC
DISCOURSE
Аннотация.
В данной статье рассматривается проблема заимствования русским языком элементов английского языка (англицизмов) с точки зрения функционирования их в русскоязычном экономическом дискурсе. Целью исследования является анализ англицизмов, содержащихся в современных публикациях на экономическую тему. Выявляются основные тенденции использования англицизмов как лексических заимствован-
