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нии ларинкса вверх. Это отражается в виде больших волн пилообразной кривой. Величина смещения ларинкса вверх на рисунке обозначена параметром VLP. Программа Praat измеряет её в относительных единицах. Пики волн смещения ларинкса вверх указаны вертикальными линиями выше глоттограммы. Эти нерегулярные волны соответствуют инфразвуковым колебаниям ларинкса, которые измеряются в Гц. Можно также сказать, что на графике волнистая инфразвуковая кривая промодулирована частотой колебания голосовых связок. Микрофонный сигнал изображён в виде интонограммы в верхней части рисунка.
Аналогично первому эксперименту все абсолютные значения параметров были пересчитаны в относительные (в %). Полученная таким образом таблица была обработана статистическим пакетом SPSS по многомерной линейной модели. Ударность слога (0 или 1) принималась за независимый параметр, остальные 8 параметров считались зависимыми.
Статистический анализ показал, что по раздельности параметры длительности (T) и частоты основного тона (F0) высокозначимо связаны с ударностью слогоносителя (p < 0,001). В такой же степени высокозначимыми оказались интегральные параметры (F0area) и (V), в которые эти параметры совместно входят в качестве компонентов. Несколько меньшая значимость обнаруживается у интенсивности (I) (p = 0,001) и её производного параметра larea (p = 0,002).
Библиографический список
Ларингальные параметры инфразвуковая частота (Sub) и вертикальное смещение ларинкса (VLP) для просодии оказались незначимыми (p = 0,838 и p = 0,897 соответственно).
Результаты обоих экспериментов свидетельствуют о том, что основными характеристиками ваханского ударения являются длительность (T) и частота основного тона (F0). Они маркируют ударный слог почти в 100% случаев. Безусловными коррелятами ударения являются также производные от них интегральные параметры. Значимой, но несколько менее регулярной характеристикой оказывается интенсивность (I) и её интегральная модификация (площадь кривой интенсивности). На данном этапе исследования не удалось найти статистическую связь между ударением и ларингальными параметрами (инфразвуковой частотой и вертикальным смещением ларинкса).
Дальнейшего изучения требует вопрос о том, насколько противопоставлен фактор интенсивности остальным акустическим характеристикам ударения. Это можно сделать анализом через синтез речи с последующим аудированием. Также дальнейшего исследования требует проблема связи работы ларинкса с просодией и интонацией. Для этого необходимо рассмотреть участие в речеобразо-вании такого параметра как коэффициент смыкания голосовых связок (Quotient), который регистрируется глоттографом.
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7. Иванов В.Б. Гласные в речи ваханцев Пакистана, Таджикистана и Китая. Ломоносовские чтения. Востоковедение и Африканистика: тезисы докладов научной конференции. Москва, 2019: 108 - 110.
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10. Иванов В.Б. Гласные и многокомпонентное ударение языка бурушаски. Ломоносовские чтения. Востоковедение: тезисы докладов научной конференции. Москва, 2013: 76 - 78.
11. Hussain Q., Mielke J. Stop laryngeal contrasts of endangered languages of Northern Pakistan. Journal of the Acoustical Society of America (JASA). 2018; Vol. 143, № 3. References
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2. Pahalina T.N. Vahanskijyazyk. Moskva: Nauka, 1975.
3. Gryunberg A.L., Steblin-Kamenskij I.M. Vahanskij yazyk. Teksty, slovar', grammaticheskij ocherk. Moskva: Glavnaya redakciya vostochnoj literatury, 1976.
4. Pahalina T.N. Vahanskij yazyk. Osnovy iranskogoyazykoznaniya. Novoiranskieyazyki. Moskva, 1987.
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6. Pahalina T.N., Lashkarbekov B.B. Vahanskij yazyk. Yazykimira. Iranskieyazyki. Vostochnoiranskie yazyki. Moskva, 2000; T. 3.
7. Ivanov V.B. Glasnye v rechi vahancev Pakistana, Tadzhikistana i Kitaya. Lomonosovskie chteniya. Vostokovedenie iAfrikanistika: tezisy dokladov nauchnoj konferencii. Moskva, 2019: 108 - 110.
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Статья поступила в редакцию 18.11.19
УДК 398.22 DOI: 10.24411/1991-5497-2019-10225
Illarionov V.V., Doctor of Sciences (Philology), Professor, North-Eastern Federal University n.a. M.K. Ammosov (Yakutsk, Russia), E-mail: 445325@mail.ru Illarionova T.V., Cand. of Sciences (Philology), senior lecturer, North-Eastern Federal University n.a. M.K. Ammosov (Yakutsk, Russia), E-mail: 445325@mail.ru Dmitrieva O.N., Cand. of Sciences (Philology), senior lecturer, North-Eastern Federal University n.a. M.K. Ammosov (Yakutsk, Russia), E-mail: oksanadm2006@mail.ru
FAIRY-TALE MOTIFS OF OLONKHO BY D.A. TOMSKAYA "KEMYUS MEKULUKEEN THE OLD MAN, ELGEEN IEYEKHSIT THE OLD WOMAN". The article considers Olonkho fairy-tale motifs of "Kemyus Mekulukeen the old man, Elgeen Ieyekhsit the old woman" in the context of the Verkhoyansk epic tradition. The relevance of the study lies in the fact that, on the example of the repertoire of D.A. Tomskaya, it is possible to determine features of the epic tradition of the Verkhoyansk olonkhosuts, whose folklore represents the culture of the Northern Yakuts-reindeer herders. As a result of the study, the authors conclude that D.A. Tomskaya introduces traditional fairy-tale motifs into Olonkho. The presence of folk-tales motifs in the repertoire of D.A. Tomskaya can be explained by the fact that in the Northern Olonkho early forms of archaic epic can be found.
Key words: olonkho, epic story, motive, narrator, olonkhosut, tradition, genre, repertoire, Verkhoyansk epic tradition, heroic.
В.В. Илларионов, д-р филол. наук, проф., Северо-Восточный университет имени М.К. Аммосова, г. Якутск, E-mail: 445325@mail.ru Т.В. Илларионова, канд. филол. наук, доц., Северо-Восточный университет имени М.К. Аммосова, г. Якутск, E-mail: 445325@mail.ru О.Н. Дмитриева, канд. филол. наук, доц., Северо-Восточный университет имени М.К. Аммосова, г. Якутск, E-mail: oksanadm2006@mail.ru
СКАЗОЧНЫЕ МОТИВЫ ОЛОНХО Д.А. ТОМСКОЙ «КЕМЮС МЕКЮЛЮКЭЭН СТАРИК, ЭЛГЭЭН ИЭЙИЭХСИТ СТАРУХА»
В настоящей статье рассматриваются сказочные мотивы олонхо «Кёмюс Мёкюлюкээн старик, Элгээн Иэйэхсит старуха» в контексте верхоянской эпической традиции. Актуальность исследования заключается в том, что на примере репертуара Д.А. Томской можно определить особенности эпической традиции верхоянских олонхосутов, фольклор которых представляет культуру северных якутов-оленеводов. В результате исследования авторы делают вывод, что Д.А. Томская в олонхо вводит традиционные сказочные мотивы. Наличие сказочных мотивов в репертуаре Д.А. Томской может быть объяснено тем, что в северных олонхо можно обнаружить ранние формы архаического эпоса.
Ключевые слова: олонхо, эпос, сюжет, мотив, сказитель, олонхосут, традиция, жанр, репертуар, Верхоянская эпическая традиция, героический.
A talented storyteller D.A. Tomskaya-Chaika (born in 1913) at the age of 27 was recognized as the best olonkhosutka of Verkhoyansk ulus [1, p. 4]. Compared to other olonkhosuts, her epic work was almost entirely recorded by folklorists. Studied in this article an Olonkho by D.A. Tomskaya "Kemyus Mekulukeen the old man, Elgeen leyekhsit the old woman" was recorded on tape by V.V. Illarionov, and then it was deciphered by I. I. Struchkova [2].
Despite the fact that the content of the Yakut heroic epic is limited to genre specifics and epic canons (epic time and space, the system of images), its plot composition is rich and diverse. The theme of creating a family is the main theme of Olonkho. Heroic matchmaking becomes an integral part of the biography of the hero. The theme of the protection of the Aiyy aimaga tribe from the abaahy tribe occupies the second important place in the epic. Folklorist N.V. Emelyanov distributes the plots of the Yakut heroic epic into the following thematic groups: Olonkho about the settlement of the Middle world by the tribes of Uraankhay Sakha; Olonkho about ancestors of Uraankhay Sakha and Olonkho about heroes, defenders of tribe Aiyy aimaga and Uraankhay Sakha [3; 4; 5]. Olonkho of D.A. Tomskaya "Kemyus Mekulukeen the old man, Elgeen leyekhsit the old woman" refers to the story of the defenders of the tribe of Aiyy aimaga and Uraankhay Sakhalar.
By her own definition of the storyteller, Olonkho "Kemyus Mekulukeen the old man, Elgeen leyekhsit the old woman" is 'seem Olonkho' - short, small Olonkho. Its volume is really quite small, and the storyline is quite different from the traditions of the heroic epic. So, there are clearly fabulous motives in it. First of all the origin of this Olonkho is almost no different from the beginning of any Yakut fairy tale: Northern sky Arching arc, Eastern sky Bent,
Southern sky
Pinning foot,
Once upon a time
An old woman named
Elgeen Ieyekhsit
And an old man named
Kemyus Mekulukeen... [2, l. 1].
If in all other Olonkho heroes live not knowing needs, in affluence, then heroes of this Olonkho of D.A. Tomskaya are three brothers: surly Bogatyr Kyunneeyi, hiding its force in breast Bogatyr Tyuenek Bege and feeble Toyon Nelyuyu are poor, capable extract on livelihood only fish. The depiction of heroes by the poor is more typical for fairy-tale than for epic works: the heroes of most of Yakut fairy tales come from a poor family. The fact that the youngest of the brothers - the heroes of Olonkho - suffers from a serious illness, is paralyzed, brings this Olonkho closer to folk legends, namely to the cycle of "Nyirbakaan", where there is a similar character Bokshong Belgetii (boskhon - 'paralyzed, feeble'). This gives grounds for assumptions about a common ancient mythological basis of both of the characters. Nyyraaiy Baay Toyon has borne twins - a boy and a girl, who actually are the children of the abaahy. But for the time being, even parents do not know about this, only the eldest daughter of this worthy family guesses about the true origin of the twins.
Heroes of Olonkho - the poor, who do not even have horses.
To a distant place,
Where do the winged get to,
Three times having bred Chicks,
Where do quadrupeds get to,
Nine times in a row calving,
Heroes fall,
Moving sometimes on all fours, Sometimes rolling head over heels, Sometimes on their two [1, 10].
Olonkho tells the story of how the older brothers bullied the younger brother -Toyon Nelyuyu:
When meat is eaten, Give him a bone, When you drink tea, Give him a brewing [1, p. 2].
When Nyyraaiy Baay Toyon gives the brothers a real bull, the seniors eat all the meat themselves, not giving the younger a single piece. Similar storylines can be found, for example, in Olonkho "Kenyul Buurai" by N.A. Abramova from Megino-Kanga-lassky ulus (district): the youngest of the five brothers Talysaar Saar suffers numerous insults and humiliations. According to the plot of the popular fairy tale "Menik Menigiy-een", the elders also often hurt and oppress the younger brother and he alone performs all the work on the farm.
However, in Olonkho by D.A. Tomskaya Toyon Nelyuyu is weak only at the beginning of the narrative. After the brothers leave, he takes out the bull's leg hidden by the brothers with his teeth and eats it, rolling it on the ground because of his infirmity. Then he crawls after his brothers and only stops at the hitching post of Nyyraaiy Baay Toyon. In most of the Olonkho heroes gain strength by drinking the living water or a dip in the ocean. In the same Olonkho Toyon Nelyuyu finds forces for such a long road, gorging on fresh meat, which he never before tasted.
A special motif of this Olonkho is the image of Toyon Nelyuyu being inside a black stone the size of a cow's belly until the beginning of the main events of Olonkho. He appears only at the moment when the son of Nyyraaiy Baay Toyon breaks up the black stone with a fireplace poker. Such a wonderful episode can only be in a fairy tale. After that, Toyon Nelyuyu takes on the traditional qualities of a hercules-Aiyy, for example, he can easily throw a hercules-Abaahy up for the seven heavens or throw away down under nine Hells.
In any Olonkho heroes-Aiyy and Abaahy, as well as some other characters have the gift of reincarnation. This Olonkho by D.A. Tomskaya is no exception. For example, it describes how the shaman Aan Aikhaljin, warning the hero, whom she must marry, about the machinations of his sister-abaahy, turns into motley cloud and evaporates.
It is obvious that, although Olonkho "Kemyus Mekulukeen the old man, Elgeen Ieyekhsit the old woman" is short, it has a lot of wonderful motifs, and panels of fabulous nature. It testifies to surprisingly rich imagination of the storyteller D.A. Tomskaya.
In this work there are motifs that occur in many Olonkho included in the collection of I.A. Khudyakov [6]. For example, in this Olonkho mother advises sons marry, so as only marriage will bring them happiness. She points out where they should go to find their future wives. Such a motive exists in all the works, written by I.A. Khudyakov, except of Olonkho "Old Man Uranykaan". In Olonkho "Khaan Djargystay" from the same collection the hero Urung Uolan is building his house [6]. And in Olonkho of D.A. Tomskaya told that heroes catch fish and even for go to Nyyraaiy Baay Toyon as mowers the sake of livelihood. Storyteller through the description of the struggle of heroes for survival reflects the daily life of earthly people. There is a departure from the heroic pathos of epic works: the heroes of her Olonkho live, rather, like the heroes of fairy tales.
Let's note some more general plot motives. In some Olonkho, recorded by I.A. Khudyakov, it is told that, having received an injury, the heroes spit and stroke the sore spot, and then the wound heals. A similar episode is also in Olonkho of D.A. Tomskaya: Toyon Nelyuyu, by ripping out lungs and heart of halve boy-twin-brother, who in fact was brat-abaahy, intends to kill him, but Nyyraaiy Baay Toyon begs to spare his son, promising to give Toyon Nelyuyu give away in marriage and half wealth in addition. Toyon Nelyuyu returns to their place the organs, spitting three times on the palm of his hand, stroking the wound, and the son of Nyyraaiy Baay Toyon returns to life.
In Olonkho "Khaan Djargystay" Urung Uolan is put down to the Lower world (the underworld), and in Olonkho by D.A. Tomskaya girl-twin-Abaahy, angry because Toyon Nelyuyu has chosen as bride not her, but her older sister, puts Toyon Nelyuyu into the quagmire and then when he got out safely, sends him to the Lower World. If Urung Uolan's sister saves with the help of magic food brought from her father, then in Olonkho D.A. Tomskaya Toyon Nelyuyu avoids imminent death with the help of a magic handkerchief received from shamanka Aan Aikhaljyn, whom he must marry. In this episode we see, as in most fairy tales, the motive of a miracle, the role of a wonderful object here is given to a magic scarf.
In Olonkho "Bert Hara" the protagonist brings back to life his father, who was killed by shaman girls. In the analyzed Olonkho wife Toyon Nelyuyu, the shamanka Aan Aikhaljyn, revives his older brothers, who were only skeletons. Most epic texts contain episodes of the resurrection of the heroes with the help of living water - this also applies to fairy-tale motives. It should be noted that, although in Olonkho of D.A. Tomskaya often uses fairy-tale motifs, the storyteller does not violate the epic traditions of the Verkhoyansk olonkhosuts. In Olonkho of D.A. Tomskaya there are descriptions similar to the descriptions from the works included in the collection of I.A. Khudyakov. Let us compare the fragments of "portraits" of a beautiful girl from Olonkho "The Old Man Uranycan" and "Kemyus Mekulukeen the old man, Elgeen Ieyekhsit the old woman":
Through the clothes the body is seen,
What did you eat?"
At the base of the throat,
Like a swallow turning black,
Moving, trembling ... [2, p. 27].
Through clothes
The body glows,
... What did you eat?"
At the base of the throat,
Like a black stoat,
Spinning, shaking [2].
As you can see, both descriptions are virtually indistinguishable from each other. The heroic appearance of Toyon Nelyuyu is also described in Olonkho by D.A. Tomskaya as it is accepted in epic texts: Three fathoms tall, His face was as pale as glass, Eyes-as black stones, Lips-as hard stones. To the shoulder blades long Golden Curly hair, Similar to bit rings Round eye, Like a rearing horse
Straight nose,
Similar to Kamchatka beavers
Black eyebrows,
Wrists - that tree without bark,
Forearms-strong, as barrel,
His thighs are powerful, as the trees,
Three-layer shell of silver.
Such a hero is the son of Aiyy ... [2, p. 24].
In Olonkho the full description of how the feeble, paralyzed person suddenly takes shape of the bogatyr-aiyy is given. Then the story follows the heroic exploits of the protagonist, and at the end tells about his marriage.
Here is how in Olonkho the epic fight of heroes during which they trample the earth is presented:
Trampled mother earth so, What of raw wood
Will not work and sticks for barbecue, On the milky white snow Are seen no traces of the ground, No lynx,
Библиографический список
I do not know the day or the night,
Their breath,
Like fire, the column rose
The battle began Aiyy with Abaahy [2, p. 27].
A huge impression on the audience produces the colorfulness of language in a Olonkho by D.A. Tomskaya. For example, the expression "if you meet an obstacle", the storyteller makes very expressive: When in the Middle world Will come for you The hour of trial, and Misfortune will overtake you, When you suffer failure...
Traditional epic formulas and descriptions are used in various episodes of this Olonkho: for example, in descriptions of the hero, acquaintance of heroes with each other, blessing of parents of the daughter getting married.
Thus, in Olonkho "Kemyus Mekulukeen the old man, Elgeen leyekhsit the old woman" are often used mythological and fairy-tale motifs, a storyteller does not violate the epic traditions of the Verkhoyansk olonkhosuts. Being a wonderful storyteller, D.A. Tomskaya in Olonkho also introduces traditional fairy-tale motifs.
1. Ючюгэй Юдюгюйэн, Кусаган Ходжугур. ОлонхосутД.А. Томская. Составители В.В. Илларионов, В.С. Никифорова. Якутск: ИГИиПМНС СО РАН, 2011.
2. Кемюс Мекюлюкян старик, Элгээн Иэйэхсит старуха. Олонхосут Д.А. Томская. Фонозапись В.В. Илларионова, расшифровка И.И. Стручковой. Рукописный архив ИГИПМНС СО РАН, ф. 5, оп. 7, д. 147, 49 л.
3. Емельянов Н.В. Сюжеты олонхо о защитниках племени. Новосибирск: Наука, 2000.
4. Емельянов Н.В. Сюжеты олонхо о родоначальниках племени. Москва: Наука, 1990.
5. Емельянов Н.В. Сюжеты ранних типов якутских олонхо. Москва: Наука, 1983.
6. Образцы народной литературы якутов. Под редакцией Э.К. Пекарского. Петербург: б/и, 1918.
References
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6. Obrazcy narodnojliteraturyyakutov. Pod redakciej 'E.K. Pekarskogo. Peterburg: b/i, 1918.
Статья поступила в редакцию 17.11.19
УДК 398.22 DOI: 10.24411/1991-5497-2019-10226
Illarionov V.V., Doctor of Sciences (Philology), Professor, North-Eastern Federal University n.a. M.K. Ammosov (Yakutsk, Russia), E-mail: 445325@mail.ru Illarionova T.V., Cand. of Sciences (Philology), senior lecturer, North-Eastern Federal University n.a. M.K. Ammosov (Yakutsk, Russia), E-mail: 445325@mail.ru Dmitrieva O.N., Cand. of Sciences (Philology), senior lecturer, North-Eastern Federal University n.a. M.K. Ammosov (Yakutsk, Russia), E-mail: oksanadm2006@mail.ru
CREATIVITY OF THE STORYTELLER D.A. TOMSKAYA IN THE CONTEXT OF THE VERKHOYANSK EPIC TRADITION. The article examines the Verkhoyansk epic tradition on the example of the repertoire of the 20th century storyteller Daria Andreevna Tomskaya. The aim of the article is to study the genre originality of Olonkho, the richness of the epic repertoire, the peculiarities of the performance of the storyteller D.A. Tomskaya in the context of the Verkhoyansk epic tradition. To achieve these objectives the researchers perform analysis of two Olonkho texts "Erbeger Erchimneekh Eliter Bergen" and "Khaan Ilbisteen bukhatyyr" from the repertoire of D.A. Tomskaya. Olonkho of D.A. Tomskaya has characteristics of an epic tradition of the Northern Yakuts, more in vocabulary than in story-shaped system, but a genre of Olonkho signs that the narrator remains primarily within the framework of general Yakut epic tradition.
Key words: epic tradition, plot, composition, Olonkho, olonkhosut, exposition, development of action, denouement.
В.В. Илларионов, д-р филол. наук, проф., Северо-Восточный университет имени М.К. Аммосова, г. Якутск, E-mail: 445325@mail.ru Т.В. Илларионова, канд. филол. наук, доц., Северо-Восточный университет имени М.К. Аммосова, г. Якутск, E-mail: 445325@mail.ru О.Н. Дмитриева, канд. филол. наук, доц. Северо-Восточный университет имени М.К. Аммосова, г. Якутск, E-mail: oksanadm2006@mail.ru
ТВОРЧЕСТВО СКАЗИТЕЛЬНИЦЫ Д.А. ТОМСКОЙ В КОНТЕКСТЕ ВЕРХОЯНСКОЙ ЭПИЧЕСКОЙ ТРАДИЦИИ
В настоящей статье рассматривается верхоянская эпическая традиция на примере репертуара сказительницы XX века Дарии Андреевны Томской. Целью статьи является изучение жанрового своеобразия олонхо, богатство эпического репертуара, особенности исполнения сказительницы Д.А. Томской в контексте верхоянской эпической традиции. Для достижения цели поставлена задача проанализировать два текста олонхо из репертуара Д.А. Томской «Эрбэгэр Эрчимнээх Элитэр Бэргэн» и «Хаан Илбистээн бухатыыр». Олонхо Д.А. Томской имеет характерные особенности, присущие эпической традиции северных якутов, больше в лексике, нежели в сюжетно-образной системе, но жанровые признаки олонхо этого сказителя остаются преимущественно в рамках общеякутской эпической традиции.
Ключевые слова: эпическая традиция, сюжет, композиция, олонхо, олонхосут, экспозиция, завязка, развитие действия, развязка.
Introduction
One of the most talented olonkhosuts is D.A. Tomskaya. Daria was 23 years old when A.A. Savvin included her in the list of the most famous olonkhosuts of Verkhoy-ansky district. In 1994-1997, we managed to record on tape and to interpret several of Olonkho of D.A. Tomskaya: "Erbeger Erchimneekh Eliter Bergen", "Khaan Ilbisteen bukhatyyr", "Kemyus Mekulukeen the old man, Elgeen leyekhsit the old woman".
In 1987, the participants of the joint folklore expedition made an audio recording of Olonkho by D.A. Tomskaya "Yuchyugei Yuedyuyeen", and V.S. Nikiforova deciphered it. In addition, in the funds of the radio Committee there is a recording of Olonkho by D.A. Tomskaya "Ayaanay Bergen", and in the House of folk art there are several deciphered tape and video recordings of this Olonkho talented storyteller. In 1994-1997-ies folklorists E.A. Leontieva and C.D. Mukhopleva also worked with D.A. Tomskaya.
