CC BY
57
УДК 81.22
А. Ж. Мартиросян, А. С. Гюрджинян
Мартиросян А. Ж., кандидат филологических наук, доцент кафедры лингвистики и теории коммуникации Ереванского государственного университета языков и социальных наук им. В. Я. Брюсова, Армения; e-maiL: [email protected] Гюрджинян А. С., аспирант кафедры лингвистики и теории коммуникации Ереванского государственного университета языков и социальных наук им. В. Я. Брюсова, Армения; e-maiL: [email protected]
ЛИНГВОСЕМИОТИЧЕСКИЙ АНАЛИЗ СКАЗОК С ПОЗИЦИИ МИФОЛОГИЧЕСКИХ УНИВЕРСАЛИЙ (на материале армянских и английских сказок)
Современная лингвистика использует семиотический подход и рассматривает в качестве предмета своего изучения различные естественные и искусственные системы знаков, такие как миф, ритуал, литература, сказка, фильм, визуальное искусство, музыка, история, самого человека и феномен жизни в целом. Данные феномены, имеющие многослойный характер, изучаются разными дисциплинами. Основное внимание в статье уделяется лингвокультурологическому выражению мифологических универсалий в английских и армянских сказках с целью отразить их лингвокультурологические сходства и различия.
Ключевые слова: система знаков; сказка; миф; мифологические универсалии.
Martirosyan A. Zh.
PhD, Associate Professor, Chair of Linguistics and Theory of Communication, Yerevan Brusov State University of Languages and SociaL Sciences, Yerevan, Armenia; e-maiL: [email protected]
Gyurjinyan A. S.
PhD Student, Chair of Linguistics and Theory of Communication, Yerevan Brusov State University of Languages and SociaL Sciences, Yerevan, Armenia; e-maiL: [email protected]
LINGUO-SEMIOTIC ANALYSIS FROM THE POINT OF MYTHOLOGICAL UNIVERSALS (based on Armenian and English fairy tales)
Modern Linguistics empLoys semiotic approach and considers various naturaL and artificiaL sign systems, such as myth, rituaL, Literature, fairy taLe, fiLm, visuaL art, music, history, man himseLf, the phenomenon of Life in generaL as the subject of its study. These phenomena, having muLtiLayer character, are anaLyzed by different discipLines. The articLe focuses on Linguo-cuLturaL expression of mythoLogicaL universaLs in EngLish and Armenian fairy taLes with the aim to refLect Linguo-cuLturaL simiLarities and differences.
Key words: sign system; fairy taLe; myth; mythoLogicaL universaLs.
Due to its multilayer character, tale has become the subject of investigation not only for philologists and folklorists but also for scholars of other disciplines. Tale is a work of epic (heroic) genre. There are three main types of tales: a) fairy tales (sometimes they are called mythical, fantastic, magical), b) tales that are based on real stories, c) tales about animals [Belokurova 2007, c. 165]
All scholars agree that structural studies of narrative texts can be first found in the book "Morphology of Fairy Tales" written by V. Propp. Being convinced that the study of different structures of tale is a necessary precondition for its historical studies, at the beginning of his book V. Propp proposes the principles of structural description of this folk genre. He states that the structure is a combination of fixed relations, in which its individual parts are involved in interaction with each other or the whole work. At the same time, "motives" are identified by variability and undergo changes. This, however, doesn't violate the structural self-regulation of tales. Thus, motives are not characterized by structural stability [Propp 1988]. According to W. Stannar, initial invariants should not be sought here: invariants are the actions of the heroes that are defined by their roles in the development of this action [Stannar 1966, c. 76]. V. Propp has named this aspect of the actions "functions" and on the basis of the features of these functions has proposed the following 4 main theses [Propp 1988, c. 25]:
1) functions of characters serve as stable, constant elements in a tale, independent of the performer and the manner of performance. They constitute the fundamental components of a tale;
2) the number of functions known to the fairy tale is limited;
3) the sequence of functions is always identical,
4) all fairy tales are of one type in regard to their structure.
Later I. Nastin, another Russian scholar, proposed that tale is a short and brief myth, which, like the primary myth as well as its mythologemes, develops its plot by the same general axes of semiotics and story lines [Nastin 2007, c. 57].
"Mythologies", the seminal work of Barthes [Barthes 1972] merits examination in order to establish background, orientation, and perspective on the importance of myth analysis. At the start, he took myth in its traditional sense as stories that are false or at least unverifiable, and that tend to construct a world view, explain certain practices, or the nature of
social institutions. Later he would determine that myth is a language which focuses on the semiological nature of the phenomena [Ibid.].
The perceptions of the objective world are manifested in various activities of the individual [Martirosyan, Adamyan 2014, c. 161]. The mechanisms of social perception (particularly, identification, social visualization) show that a person exists by perceiving the surroundings exceptionally by assessing. I. Nastin states that on the basis of the formation of assessment process primary mythical images-mythologemes are located. Arising in the process of human activity as expanded myths they create the system of measuring mythical-logical cognition, thus, mentoring perceptive and discourse processes. In other words, the entity lives, assesses itself and others, develops its activity within the scope of mythology. By developing this idea I. Nastin proposes that the same myths (mythologemes) that are encountered in different cultures can be classified into 6 main groups [Nastin 2007, c. 41]. They are as follows:
1. Primary state of existence (being)
2. transgression or other events that result in the damage of existence
3. Twin (identical) myths
4. Myths about the group
5. Restoration of the lost integrity
6. Revelation myths
The first (primary state of existence (being)) mythologeme is met almost in every fairy tale. Tales begin with the description of the primary state of existence (being), when the world lived in peace. The concepts of prosperity, harmony and justice as the expression of the commencement, the structure of existence are described in this universal. For instance:
¿^h dmtfmhm^htpnLtf, tpp qtn qmnh nL qtjp ^mqnLtf t^h
^pmp tfns, tpp qtmtpp ^mph nL tftqp t^h hnunLtf, tpp mtfthnLptp rn^pniJ tp utph nL hmhq^umh mh^pqn^, mph^nLju^ ^nqtftpnLtf pmqm^npnLtf tp pmp^. Upmh pmqm^npp: bpp np fctpmgmL, tf^mp mptg tf^. th mtum^ pmh np ^pth^g jtrnnj pmp^. tfhmj
tptu^h: Ql topp tft^stqnLtf 2^htg Uhtfmhm^mh
^smqmimp mjq^h («¿mqmpmh ¿m^p»):
When good King Arthur reigned, there lived near the Land's End of England, in the county of Cornwall, a farmer who had one only son called Jack... ("Jack the Giant Killer").
The beginning of the tale describes the concepts of prosperity, harmony. In Armenian fairy tale "Zmqmpmh Zm^g" (hereinafter, "Firebird") it is described that in ancient time, when the lamb and the wolf were playing together, and when the rivers were flowing with milk and honey, and there was love everywhere, on the parts of "Sunlight" King Aran reigned. When he was old, he made his mind to build such a thing that would be the memory of him in the world. And in the middle of seven streets he built a "immortal (evergreen)" garden. Thus, in Armenian fairy tale the concept of peace is highlighted. In the Armenian fairy tale the notion of eternal welfare is of great importance, which is reflected in the fact that the king wanted to build an "immortal (evergreen) garden". It is worth to note that the word "immortal" is used to ascribe human characteristics to the garden. In the British fairy tale the image of a good king is highlighted. It is the king who is responsible for the welfare of the nation.
From the very beginning of the tale the reader has a certain epic, relaxed mood. But this mood is deceptive, because transgression or other events that will lead to the damage of the existence will be described. In this case the involvement of a chaotic factor in the development of the universe and the supposition of the diabolical nature that is unfamiliar to the universe and violates its integrity is being described. For instance:
Upmh pmqmLnp^ pmqmpnLJ J^. mqpmm qmnmi q^h t L^hnLJ. QLhthnLJ t J^. J^hnL^mp npq^: Optp^g J^. op tu qmnmi^ mqth h^LmhqmhnLJ t, nL u^pmp ^mqnq t niqniJ: Utpp ^tp t qthnLJ, qhniJ mhpmnmJ Ujq^h, np ^mqnq ptp^: Ujqt^mhhtpp ^mqnq ^th mm^u: Lniumpmg^h ^mnmip qtp t qthnLJ, ¿.tnhtpp qt^^. tpq^hp rnmpmbni J nL £mnmqm& mpti^ qtJp ^mh^niJ mh^bniJ t: ^mnmih mh^bniJ t pt
^t, Uurn&nj hpmJmhnq Ujqfth snpmhnLJ t. kmhms stptLp pm^LnLJ t, ^mnLqp i]isiu'UiilJ, gmpqp ^nL? qmnhnLJ, mjqt^mhhtph tj_ qn^frm, qmdmh nL mqmh qmqmhhtp th qmnhnLJ, ^m^nLJ th pmLnLshtph nL uqunLJ ]02nmt^ ^pmp tL nLJ qmpnqmhmh («Zmqmpmh Zm^p»):
.. .The Mount of Cornwall was kept by a huge giant named Cormoran. He was eighteen feet in height, and about three yards round the waist, of a fierce and grim countenance, the terror of all the neighbouring towns and villages... ("Jack the Giant Killer").
Armenian fairy tale "Firebird" tells about a poor woman who lives in King Aran's city and has a son. One day the son of this old woman gets ill and wants some grapes. The mother goes to the "Immortal, evergreen
garden" to bring some grapes but the gardeners do not give any grapes to this old woman. So, the mother spreads up her hands to heaven and imprecates a curse. Then, by the order of God the garden withers, the green leaves fall down, the gardeners become harsh, cruel and greedy beasts, run away to the forest and begin killing each other. In the Armenian fairy tale the withered garden, the falling of green leaves, the fact that people become beasts, as well as the existence of discord (begin murder each other) symbolize the misfortune. In Armenian fairy tale the reason for the misfortune is the curse. In the British fairy tale the reason is the fierce and grim giant, who terrorizes the neighboring towns and villages.
Thus, the act of transgression becomes one of the incentives for the development of fairy tale plot. Further actions and functions of the heroes follow these events. Defending the evil becomes the primary function of the main hero and his actions are aimed at restoring the lost integrity. The main characters in the tale are the cultural heroes who demonstrate supernatural abilities since early childhood. This I. Nastin calls twin myths.
Unlike myths, where the image of the cultural hero is more vividly described and he is endowed with supernatural power, in fairy tales the same character undergoes some changes. Demythologization of the hero in tales is completed by the designation of the representative from a socially unfortunate and humble family, tribe or village. In tales the hero fights not against the fictitious mythological evil powers, but the difficulties encountered in life. The characters are endowed not with supernatural powers, but with a certain skill, have some advantages over others. For example, the hero is wise, resourceful, able to find a way out of difficult situations or possesses secret knowledge. For instance:
...Upmhg phsmh^p^. sqth" Umtf^ip, 2ms fchjnp nL mspmpmg tpt^m t L^hnLtf, ^mhpfr ^mpdmpmhnLtfp ^mpgmgmfr. ^mpqm^tshtp^g 2ms pmh un^npmfr. 2ms pmhfr t]_ frpm fchjpn^p hmumfr («Umtf^hl^ mnm^p»):
There was once a very learned man in the north-country who knew all the languages under the sun, and who was acquainted with all the mysteries of creation. ...He had one big book.. ..it contained all the secrets of the spiritual world. ("The master and his pupil").
In the Armenian fairy tale "Fable about Samvel", the hero is the eldest son of the family, who is a very intelligent child, has studied in the monastery college, has learnt a lot from his masters and has achieved a lot
owing to his wit. Thus, the hero is distinguished by intelligence, by being educated and polite and having an observant eye. In British fairy tales the cultural hero is learned and has secret knowledge, he knows all the secrets of creation as well as all the secrets of the spiritual world. In both cultures the characters belong to masculine gender. This may be due to the fact that the role of the man is overemphasized in both cultures.
The battle with the snakes (battle with chaos, as a non-regulated movement and antisystem) is another form of twin myths. Instead of snakes various types of beasts or giants are very often presented in tales. They violate the initial order of the world trying to maintain their achievements in every way. Cultural heroes are fighting against giants or beasts, trying to bring back the initial state of the world. For instance:
..Up^ Uptqh tJ tu, pn utL Jmhh tJ ptptp qmh^nLJ t Uptqp, jmpnLJ mqtqp nL htmn^ qmpqnLJ UtL qtLfr. Jtgrntqfr q^frh: nnhmjnq pmLmjmLJ t qtmh^h nL 2nLh^p ^hm^ Jnh^nLJ... ("Zmqmpmh Zm^p"):
.Then having tantalised the giant for a while, he gave him a most weighty knock with his pickaxe on the very crown of his head, and killed him on the spot. ("Jack the Giant Killer").
In Armenian tale "Firebird" brave Areg strains the bow and arrow, strikes the black devil in the middle of the head. The dragon prostrates itself on the ground and roars while dying. In the tales of both cultures wild animals, demons, giants usually have several heads, and the hero is able to defeat them and win by cutting their heads. In the Armenian tale bow and arrow are used as a weapon, in the British fairy tale the weapon is the pickaxe.
In British fairy tales sea monsters are usually met. This can have its cognitive background and be explained by the geographical position of the country. For instance:
.The dairymaid said that a great beast with three heads was in the loch, which was to devour someone every year. ("Sea-maiden").
Myths about groups (nation, tribe, clan, an army, fraternity, church, union, community) are also highlighted in fairy tales. The groups represent the idea of carrying and retaining the initial primary state of world creation and are united by common ideas, emotional experience as well as by family ties. For instance:
Upmh pmqmLnpp UunLtf t.
- U j npgfrp. shuhnLtf tf tfhp stpnLphmh qmpqh nL ^mnpp ^mgmL: Uhp mjqnL tf^m^ £mph nL hhmpp ¿mqmpmh ¿mLfh t, np m^pnLtf t ^m^mpqm^mh m2^mphfnLtf: sqhpp tf, hdnjqhhpp hushgtf,
qthfhph mntp, qhmgtf ^m^mpqm^mh m2^mphfp, ¿mqmpmh ¿mLfp qstf, np tfhp UjqnLtf hpq^, np hnp^g ^nL2p ^mpq qmnhmj, qmqmhp tfmpq: IJhh sgth nL tffrght^ sqth hh husnLtf, £mtfpmj ph^hnLtf: Onfp m^^tph tL t nLqnLtf qhmj, ^hh pnqhnLtf: Pmjg QhnLtf. mhnLtf ^hh mhnLtf, ^h h ^mpnqmhnLtf jhs ^mhhp Um tL 4hp t ^hhnLtf hpmhg jhshL^g qhnLtf: («¿mqmpmh ¿m^f>>):
.Now Jack the Giant-Killer, coming that way, was so taken with the generosity of the prince that he desired to be his servant. This being agreed upon, the next morning they set forward on their journey (seek his fortune in the principality of Wales, where lived a beautiful lady possessed with seven evil spirits) together. ("Jack the Giant Killer").
In Armenian tale "Firebird" King Aran tells his sons that the glory of their kingdom has been destroyed and only Firebird can save their garden. He says that it lives in the magic world and orders his sons to travel to that world to find Firebird. The elder sons saddle the horses and start out on their journey. The youngest brother wants to join them but they don't want him to do that. However, the youngest son follows them. In fairy tales the actions of groups are mainly directed at the restoration of justice and the initial order of the world. In Armenian tale family ties and the idea of fraternity are highlighted. They are united by the idea of defeating evil forces, whereas, in British fairy tale the king and peasant boys are united by the idea and the aim to search for the fortune, for which there will be a need to fight against the evil force.
The next mythologeme which is distinguished by I. Nastin is the restoration of the lost integrity. These are myths about Gods, sacrifice, mystical adventures. Unlike myths, the journeys in tales made by the heroes are more vividly described. After the misfortune, the hero has to know about the disaster. In tales this is presented in various ways (for example, the mother's story, the story of passers-by, etc.). But the pivotal part is not how the hero learns about the misfortune but the way he starts out on the journey. For instance:
...Hpshq hu, hh j, ^m^mp^m^mh m2^mphf, fhq hhf qm^u: ^hn Ltf, qhn Ltf, 2ms hh qhnLtf, pt tq tL UusnLmh q^s^, qhnLtf hh
hmuhnLJ J] mtq, nLp tptp ^mJ^mj pmdmhLnLJ th. Jtqp Jt&, Jtqp
J^htq, Jtqh tL htq ("Zmqmpmh Zm]p"):
.Where are you, hey, magical world, we are coming to you. So on they went. God knows how long they were on their way. Further they went and reached a place where three roads were divided: one was wide, one was of medium width, and one was narrow (Armenian tale "Firebird").
".the next morning they set forward on their journey together..." ("Jack the Giant Killer").
This is typical not only of fairy tales, but also of epic poems and novels. This is how Don Quixote is built. On his way the hero can become involved in all kinds of adventures. Adventures are identical and are subject to certain strict laws. This is the first observation. The second observation is that the tale misses the point of the movement. Movement is not described in detail, it is mentioned only two or three times. For example, the first part of the journey is described in the following way: in English - "So on they went, jiggelty-jolt, jiggelty-jolt. They went a little further and they met a goat ...", in Armenian - "... Finally, it does not matter whether far or near, he comes to a royal city" [Propp 2000, c. 257].
If the beginning of the tale describes the primary state of existence, the end of the tale points to or predicts the creation of a new world, which is called a revelation myth. The fairy-tale ending describes the death of someone or the marriage of a couple. All these are thought to predict the creation of a new world order. Sometimes the ending describes the primary state of existence, thus forming a frame. For instance:
<<DtpnLh] Upmh pmqmLnpp ]p pmqmLnpnLp]Lhp jmh&htg Uptq]h: Up] Uptqp pmqJtg hop qmh]h, tqmL mp] mppmj nL th tpqhpfr upujfrmn mptL] hJmh, mpmpsmqmh u]png, mpqmp nL pmp] pmqmLnptg jmp nL jmL]stm ("Zmqmpmh Zm]p"):
.So married they were, and the whole kingdom was filled with joy at the wedding. Furthermore, the king bestowed on Jack a noble castle, with a very beautiful estate thereto belonging, where he and his lady lived in great joy and happiness all the rest of their days... ("Jack the Giant Killer").
In the Armenian tale "Firebird" the old king Aran gives his kingdom to Areg. Brave Areg takes the throne of his father, becomes a brave king and reigns over the kingdom with love, kindness and fairness. Here, the notion of eternity is linked to the concepts of fairness, kindness and love. The
А. Ж. Мартиросян, А. С. Гюрджинян
ending of the British fairy tale is noted for the marriage, and the concepts of joy and happiness are highlighted.
Thus, the hero of the tale is a young man, who wants to have a family, and it is very important to test whether he is mature enough to marry. So, the hero has to overcome obstacles, which will result in self-refinement, inner transformation.
In the Armenian fairy tale the concept of peace is highlighted. In the Armenian fairy tale the notion of eternal welfare is of great importance. In the British fairy tale the image of a good king is highlighted. It is the king who is responsible for the welfare of the nation. In British fairy tales sea monsters are usually met which is rare in Armenian fairy tales. This can have its cognitive background and be explained by the geographical position of the countries.
In Armenian tale family ties and the idea of fraternity are highlighted. They are united by the idea of defeating evil forces, whereas, in British fairy tale the group is united by the aim to search for the fortune, for which there will be a need to fight against the evil force. In Armenian fairy tales the notion of eternity is linked to the concepts of fairness, kindness and love. The ending of the British fairy tales are noted for the marriage, and the concepts ofjoy and happiness are highlighted.
Thus, it can be concluded that as the tale is a cultural unit, the work of a representative of a nation or an ethnic group, the perceptions and cultural peculiarities of or specific to a particular nation are encrypted in it. Moreover, the tale can be considered as a cognitive unit and averbally expressed text in which mythologemes are vividly expressed and embody the knowledge of the early understanding of the world. In the fairy tales of different cultures the perceptions of the concepts are expressed in the language and can both be the same and different as the linguistic picture of the world includes universal, culture-specific and individual features. The analysis of mythologemes has also brought us to a conclusion that the main theses on fairy tales set forth by V. Propp help to circumscribe the structure of the tale by distinguishing and analyzing mythologemes on its various levels.
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УДК 815.512
