Books by Nazarii A Nazarov
Folia Philologica, 2022
This article for the first time proposes a methodological bridge between comparative and histori... more This article for the first time proposes a methodological bridge between comparative and historical linguistics, classical philology (on the one hand) and ethnomusicology (on the other hand). Thus, it is possible to verify the results obtained independently in various fields of humanities of the 20th century. The present article compares rhythmical patterns of songs with explicit ritual use from different ethnic groups speaking Indo-European languages (Slavic, Baltic, Greek, Albanian, Iranian, and others). In these songs, there are two main types of stable rhythm patterns (0101/0100 and 011/010) which correlate with two main types of Indo-European poetic metrical patterns independently reconstructed by Indo-European linguistics. It suggests that folk songs preserved a range of possible Indo-European rhythmic patterns, even though languages have changed prosodic properties over time. The present study follows the track of previous studies, which showed partial parallels in Baltic, Slavic-Balcan, and Indo-Aryan song patterns, which loans could not explain. Further analysis of rhythmic patterns revealed their connections with prosodic and syntactic properties of Indo-European sentence. Relative rhythmic complexity of possible Indo-European musical idiom may be correlated to the rhythmic complexity of textiles that may be connected to some Indo-European speaking ethnic groups. The parallels outside the Indo-European cultural range show possible Uralic and Caucasian components of Indo-European musical idiom, which may indicate components of ethnogenesis of Indo-European ethnic groups. Thus ethnomusicology may be regarded as an independent source for studying prehistory, along with linguistics, archeology, and genetics. Though proposed in the 20th century by B. Bartok, V. Goshovsky, G. Luko, this program of ethnomusicological research has not yet been implemented.
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In the present study, a new approach to historical-comparative studies of Indo-European poetics i... more In the present study, a new approach to historical-comparative studies of Indo-European poetics is suggested. It combines traditional etymological methods with a corpus approach. Thus, to reconstruct the core thesaurus of Common Slavic epic poetic cliches, five independent corpora of Slavic epics were studied (Russian byliny, Ukrainian dumy, Bulgrian, Serbian and Croatian, as well as Slovenian heroic songs). Each of the traditions has a certain range of core formulas which share the common clausula (line’s ending). The clausula words are the most important part of folklore vocabulary as they tend to be the most stable. Their stability over time is enforced by the recurrent metric patterns of the singing that accumulate at the line’s end. Previously, it has been proved that clausule words constitute the core of formulaic expressions inside one tradition (B. Lord), eventually, Levinton showed that such comparison may be made between several cognate traditions, like Serbian, Croation and Eastern Slavic. Nevertheless, the overall comparison of several epic traditions of the Slavs has not yet been accomplished. The present article tends to offer such comparison which can have important outcomes for the study of Common Slavic and, moreover, common Indo-European poetics. Quantitative analysis has shown that each of separate Slavic traditions have a lot of common core formulas. This set of formulaic nests (about 40) can be regarded as a core of Common Slavic epic tradition, preserved in daughter-traditions. The list comprises not only kinship terms, body parts, and natural element, but cultural artefact and tems as well (such as *gordъ, *slovo, *vino, *dvorъ, *vorto). Further etymological comparison with formulas of other Inod-European traditions would show the range of innovations and retentions in Common Slavic poetical thesaurus.
Since in folk poetics, lines’ clausules play a primary role in organizing the text, acting as "nests" of formulas and syntactic organizers of lines, we proposed to focus on the reconstruction of the class of words that could be used in the string clausule in the Common Slavic, and probably the common Indo-European period. In this way, we can come to the reconstruction of the core of the thesaurus of formulas. Elsewhere we have given a list of common Slavic clause words. The task of the present publication is to trace the development of the discovered formulas against the common Indo-European background. For this purpose, the following texts were annotated according to the same principle (with double slash // the boundaries of lines were marked): “Iliad” and “Odyssey”, “Rig Veda”, Latvian mythological songs. Then these texts were processed with a free software tool AntConc. As a result, for each tradition, its own classes of clausule words were found, which were compared with the Proto-Slavic ones.
The next stage involves comparing the main formulaic phrases found in the clauses of different Slavic traditions with etymologically related or semantically equivalent words of the ancient Greek, Latvian, and Vedic traditions, which also have a high frequency in the clausules.
The presence of etymologically related words in different traditions in the clausule provides valuable material for a comparative and historical study of poetic syntax, and more broadly - syntactic distribution and compatibility of proto-language units, since most syntactic patterns were lexically related, that is, they could only be filled with certain classes of vocabulary (Stepanov 6 ). Therefore, the comparison of clauses is a kind of databank for finding out the distribution of certain words in a sentence, namely at the beginning and at the end, in two poetically most significant positions.
Slavic clausules *gordъ, *konь, *mati, *slovo, *govoriti, *moldъ, *golva, *godъ, *polje, *vino, *lĕto, *gospodь, *morje, *dvorъ, and *zemja were analysed
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Видання містить частотний словник українських народних пісень з детальним аналізом (українською і... more Видання містить частотний словник українських народних пісень з детальним аналізом (українською і англійською) тематичних груп лексики та жанрово-стильової дистрибуції лексичних одиниць як елементів екосистеми українського фольклорного мовлення у межах більших екосистем – слов’янської та індоєвропейської.
The publication contains a frequency dictionary of Ukrainian folk songs with a detailed analysis (in Ukrainian and English) of thematic groups of vocabulary and genre-style distribution of lexical units as elements of the ecosystem of Ukrainian folk speech within larger ecosystems - Slavic and Indo-European.
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https://www.literaryshanghai.com/, 2020
Since XVIII c. there have been recorded several hundreds of Ukrainian folk incantations. They wer... more Since XVIII c. there have been recorded several hundreds of Ukrainian folk incantations. They were recited or chanted in semi-whisper, accompanying some ritual manipulations. Their content has astonishing parallels with other Indo-European invocational traditions, e.g. Atharva Veda and Northern Germanic traditions.
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Kyiv, 2020
Semiotic fables about silence and other means to convey and to conceal sense and about impossibil... more Semiotic fables about silence and other means to convey and to conceal sense and about impossibility of mutual understanding. These texts are outcome of author's fantasies about real and unreal languages, the languages talked and shared by stones and people.
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Есеї про літературу і переклад, 2006-2013
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Nazarii A. Nazarov. The Ukrainian etymological lexicography: theory, history, and practice. – Man... more Nazarii A. Nazarov. The Ukrainian etymological lexicography: theory, history, and practice. – Manuscript.
Dissertation for obtaining the scientific degree of candidate of philology, specialty 10.02.01 – the Ukrainian language. – Kyiv National Taras Shevchenko University of Ministry of education and science of Ukraine, 2016.
The present study explores factors that influenced Ukrainian practice of
compiling etymological dictionaries in diachronic and synchronic aspects, its
connection with the wider cultural context. Regularity of the consequence of the stages
of lexicography, etymological lexicography included, is demonstrated and its
connection with establishing national state is showed.
The present study is aimed at metalinguistic analysis of Ukrainian and
European etymological lexicography methodological basis. Its main goal is to
explicate interdependencies between ideology (cultural, religious or scientific
22
narrative) and etymologizing patterns in etymological dictionaries, to reveal
reflexes of different scientific epochs in the present state of Ukrainian etymology.
Before etymological dictionary as distinctive genre of linguistic research
appeared, both lexicography and etymology have passed through several
evolutionary stages that coincided with changing of epistemes (according to
Michel Foucault), both having their origins in mythological view on the word as
magical force. Especially strong ties tied Byzantine and Byzantine-oriented
countries’ (such as Ukraine before XIX c.) lexicography and etymology with sacral
sphere. Both first Byzantine (e.g. Suda) and Ukrainian (e.g. that of P. Berynda)
dictionaries bore catechetical functions as well as first etymologizing practices of
these areas belonged to folklore rooted figura etymologica or ‘folk etymology’.
Ukrainian etymology in XIX c. combined results of comparative method
with focus on the inner form of a word (elaborated by O.O. Potebnya), that was
possible due to special attention to the language awareness immanent to folklore
(both O.O. Potebnya and P.Ya. Lukashevych were both linguists and folklorists).
Classical Indo-European etymological dictionaries did not succeed in
handling problem of heterogeneity of the languages they studied because of
methodological biases against material beyond Indo-European range. The
etymologists from the Slavic countries (S. Mladenov, V. Machek, O. Trubachev)
developed their own methodological approach concentrated on the heterogeneity of
the lexicon. Ukrainian school of etymological research (O.S. Melnychuk,
V.T. Kolomiyets, O.B. Tkachenko, A.P. Nepokupnyi etc.) elaborated these
problematic issues mainly ignored in other spheres of Indo-European studies, so
their results have meaning beyond the range of the Ukrainian studies.
In the context of etymological dictionaries of Slavic and other Indo-
European languages, compiled in XVII-XXI c., characteristic features of Ukrainian
etymological dictionaries is showed. Ukrainian etymological lexicography
(especially its monumental work ‘Etymological dictionary of the Ukrainian
language’ directed by acad. O.S. Melnychuk) combined positive aspects of the
methodological approaches developed in the classical Indo-European studies (keen
attention to phonetic correspondences) with innovations of the Slavic and
Ukrainian etymological schools (attention to pre- and non-Indo-European elements
in the lexicon). Also cultural role of the Ukrainian etymological lexicography
cannot be denied: the ‘Etymological dictionary of the Ukrainian language’
received world-wide appraisal of the linguists and augmented cultural prestige of
the Ukrainian language and Ukrainian studies.
Key words: Ukrainian lexicography, etymology, etymological dictionary,
etymologically unclear lexicon, vocabulary
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The book researches genesis of one of the most popular East Slavonic fairy tales (Ukrainian “Ivas... more The book researches genesis of one of the most popular East Slavonic fairy tales (Ukrainian “Ivasyk-Telesyk”, Belorrusian “Pilipka Synok”, Russian “Tereshechka”). Applying linguistic etymological analysis and also ethnomusicological, folkloristic and ethnological methods, the author demonstrates linguistic aspects of ritual-fairy tale relationships. Continuing and developping ideas of V. Propp and A. Nikiforov, on the material of all known variants of one fairy tale the author reveals connections between verbal and actional component of the ritual. On the basis of comparison of Ukrainian, Belorussian, Russian, Polish, Bulgarian, Slovene, Lithuanian, and Modern Greek song and fairy tales minimal Common Slavic ritual and mythological formulae are reconstructed. Also model of the ‘children fairy tale of dramatic genre’ (O.I. Nikiforov’s term) origin is proposed.
+ extensive English summary
У книжці досліджено ґенезу однієї з найпопулярніших східнослов’янських казок – українською вона відома як «Івасик Телесик», білоруського «Піліпка-синок», російською – «Терешечка». Із застосуванням лінгвістичного етимологічного аналізу, а також методів етномузикології, фольклористики та етнології показані мовні аспекти зв’язків тексту казки з обрядами. Як продовження і доповнення думок В.Я. Проппа та О.І. Нікіфорова на матеріалі усіх відомих сюжетних варіантів однієї казки простежено зв’язки словесного і дієвого компонентів ритуалу. На основі зіставлення українських, білоруських, російських, польських, болгарських, словенських, литовських та новогрецьких пісенних і казкових текстів здійснено реконструкцію праслов’янських мінімальних ритуально-міфологічних вербальних формул, пов’язаних зі сферою фертильної магії. Запропонована модель появи з календарного обряду казкового жанру, названого О.І. Нікіфоровим «дитячими казками драматичного жанру».
В книге исследован генезис одной из наиболее популярных восточнославянских сказок – на украинском языке она известна как «Ивасык Телесик», на белорусском – «Пилипка Сынок», на русском – «Терешчка». Применяя лингвистический этимологический анализ, а также методы энтомузыкологии, фольклористики и этнологии, автор показывает языковые аспекты связи текста сказки с обрядами. Как продолжение и дополнение мыслей В.Я. Проппа и А.И. Никифорова на материале всех известных сюжетных вариантов одной сказки прослежены связи словесного и акционного компонентов ритуала. На основании сопоставления украинских, белорусских, русских, польских, болгарских, словенских, литовских и новогреческих песенных и сказочных текстов реконструированы минимальные ритуально-мифологические формулы, связанные со сферой фертильной магии. Предложена модель возникновения из календарного обряда сказочного жанра, названного О.И. Никифоровым «детскими сказками драматического жанра».
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This anthology comprises original texts of Sumerian, Ancient and Modern Greek, Persian, Polish, E... more This anthology comprises original texts of Sumerian, Ancient and Modern Greek, Persian, Polish, English, French, Turkish poems with poetic translation into Ukrainian.
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Papers by Nazarii A Nazarov
Folia Philologica, 2021
The present article suggests a tool for describing and analyzing the folklore texts' symmetry... more The present article suggests a tool for describing and analyzing the folklore texts' symmetry by introducing basicconcepts of abstract algebra: set theory, group theory, function, equation, and symmetry. The mathematical model showsthe internal homogeneity of folklore texts composition that is valid across the genre boundaries. The compositionallymeaningful entities of different language levels that constitute the core of a compositional pattern can be divided intotwo sets connected by a function of symmetrical reflection. Each element of the first set A is projected onto the elementof the second set B. The set A can be called input, the symmetrical set B – output. On the metrics and rhyme level, it isa constant reiteration of the same pattern reflected ad infinitum. On the level of syntactic order, this function connectssentences that constitute parallelistic structures. Thus, the composition and perception of folklore texts resemblea succession of linguistic equations: a singe...
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Movoznavstvo , 2023
The oldest chronicle of the Kyivan Rus, preserved under the conventional title The Tale of Bygone... more The oldest chronicle of the Kyivan Rus, preserved under the conventional title The Tale of Bygone Years (Pověst' vremennyh lět), has almost always been the focus of attention for historians, but much less often for linguists and literary scholars. Therefore, its composition as a literary monument remains not fully researched, and the status of individual episodes is uncertain. In the present article, the author attempts to carry out a comprehensive study of various witnesses to the text of the chronicle, which convey its composition at different stages of formation. Finally, after comparing independent evidence (the Latin translation by Jan Dlugosz, the outline by Jan Binwilski, Novgorod 1st Chronicle, Radziwiłł and Hypatian manuscripts), the author concludes that the chronicle was the result of the gradual integration of independent corpora of texts-historical, documentary, legal, literary, religious, including those with pagan motifs-and thus can be considered a summa textorum of Kievan Rus of the pre-Mongol period. The list of episodes of the chronicle up to the 1070s was studied (up to this moment, common episodes can be traced in the Novgorod and Kyivan chronicles) at various hypothetical stages of its formation. As a result of the comparison of textual layers within the annals, the hypothesis is substantiated that to explain each stage of formation it is necessary to operate with units smaller than the entire chronicle compilation. Independent functioning of compositionally completed episodes should be assumed. So each episode deserves to be explored in terms of its individual textual history and aesthetic features. The article proposes to reassess the literary heritage of Kyivan Rus' and to talk not about a unique chronicle, but about a substantial library of texts, united into one corpus at a certain stage of the existence of literature of Kyivan Rus. The proposed theory is proposed to be called a dynamic model of compilation of the chronicle text.
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Folia Philologica
This article for the first time proposes a methodological bridge between comparative and historic... more This article for the first time proposes a methodological bridge between comparative and historical linguistics, classical philology (on the one hand) and ethnomusicology (on the other hand). Thus, it is possible to verify the results obtained independently in various fields of humanities of the 20th century. The present article compares rhythmical patterns of songs with explicit ritual use from different ethnic groups speaking Indo-European languages (Slavic, Baltic, Greek, Albanian, Iranian, and others). In these songs, there are two main types of stable rhythm patterns (0101/0100 and 011/010) which correlate with two main types of Indo-European poetic metrical patterns independently reconstructed by Indo-European linguistics. It suggests that folk songs preserved a range of possible Indo-European rhythmic patterns, even though languages have changed prosodic properties over time. The present study follows the track of previous studies, which showed partial parallels in Baltic, Sl...
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In the present article, a new approach to historical-comparative studies of IndoEuropean poetic i... more In the present article, a new approach to historical-comparative studies of IndoEuropean poetic is suggested. It combines traditional etymological methods with corpus approach. Thus, to reconstruct the core thesaurus of Common Slavic epic poetic cliches, five independent corpora of Slavic epics were studied (Russian byliny, Ukrainian dumy, Bulgrian, Serbian and Croatian, as well as Slovenian herois songs). Each of the traditions have a certain range of core formulas which share the common clausula (line’s ending). The clausula words are the most important part of folklore vocabulary as they tend to be the most stable. Their stability over time is enforced by the recurrent metric patterns of the singing that accumulate at the line’s end. Previously, it has been proved that clausule words constitute the core of formulaic expressions inside one tradition (B. Lord), eventually, Levinton showed that such comparison may be made between several cognate traditions, like Serbian, Croation an...
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Сучасні дослідження з іноземної філології, 2021
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Folia Philologica, 1, 34–54,, 2021
The present article suggests a tool for describing and analyzing the folklore texts' symmetry by ... more The present article suggests a tool for describing and analyzing the folklore texts' symmetry by introducing basic concepts of abstract algebra: set theory, group theory, function, equation, and symmetry. The mathematical model shows the internal homogeneity of folklore texts composition that is valid across the genre boundaries. The compositionally meaningful entities of different language levels that constitute the core of a compositional pattern can be divided into two sets connected by a function of symmetrical reflection. Each element of the first set A is projected onto the element of the second set B. The set A can be called input, the symmetrical set B – output. On the metrics and rhyme level, it is a constant reiteration of the same pattern reflected ad infinitum. On the level of syntactic order, this function connects sentences that constitute parallelistic structures. Thus, the composition and perception of folklore texts resemble a succession of linguistic equations: a singer introduces independent variables that should be given a specific dependent variable, which can be chosen only from the thesaurus of elements accepted by a specific folklore tradition. The function that associates elements of the input set with the output set is the folklore poetics itself, so it can be defined in a series of elementary equations that show the connection between the number of compositionally significant elements and other properties of the texts, mainly the type of symmetry that is inherent to a particular text. Though all main types of symmetry can be detected in the folklore texts, they can be reduced to a basic operation of reiterating a small number of elements
belonging to one set, connected by an operation of symmetrical reflection constituting a group of symmetry. Composition patterns of seemingly different genres (riddles, ritual songs, cumulative fairytale, magical fairytale) have one fundamental feature in common that underlies them: when the enumeration of the input set A is over, the level of freedom for the choice of the output set B is highly restricted, as each of the linguistic equations (L. Zadeh) should be solved: the hero, once born, should be either married or killed, the riddle should be answered traditionally, set of images of human life should be confronted with the set of corresponding images of nature (in ritual songs), etc., thus giving the recipient pleasure of constant reiteration and decipherment of already known patterns. In this case, the new meaning of folklore texts can be revealed. By introducing repetitive patterns of composition, they introduced elementary classification and logic tools. In this case, phenomena like I Quing turned out to be not an exception but rather a logical continuation of binary logic of folklore text composition, so overtly represented in the Balto-Slavic area but valid for a much broader realm of folklore traditions.
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Contemporary Studies in Foreign Philology, 2021
We proposed a corpus approach to the study of the poetics of related Indo-European folklore tradi... more We proposed a corpus approach to the study of the poetics of related Indo-European folklore traditions. Since in folk poetics, lines’ clausules play a primary role in organizing the text, acting as "nests" of formulas and syntactic organizers of lines, we proposed to focus on the reconstruction of the class of words that could be used in the string clausule in the Common Slavic, and probably the common Indo-European period. In this way, we can come to the reconstruction of the core of the thesaurus of formulas. Elsewhere we have given a list of common Slavic clause words. The task of the present publication is to trace the development of the discovered formulas against the common Indo-European background. For this purpose, the following texts were annotated according to the same principle (with double slash // the boundaries of lines were marked): “Iliad” and “Odyssey”, “Rig Veda”, Latvian mythological songs. Then these texts were processed with a free software tool AntConc. As a result, for each tradition, its own classes of clausule words were found, which were compared with the Proto-Slavic ones.The next stage involves comparing the main formulaic phrases found in the clauses of different Slavic traditions with etymologically related or semantically equivalent words of the ancient Greek, Latvian, and Vedic traditions, which also have a high frequency in the clausules.The presence of etymologically related words in different traditions in the clausule provides valuable material for a comparative and historical study of poetic syntax, and more broadly – syntactic distribution and compatibility of proto-language units, since most syntactic patterns were lexically related, that is, they could only be filled with certain classes of vocabulary (Stepanov 6 ). Therefore, the comparison of clauses is a kind of databank for finding out the 100distribution of certain words in a sentence, namely at the beginning and at the end, in two poetically most significant positions.Slavic clausules *gordъ, *konь, *mati, *slovo, *govoriti, *moldъ, *golva, *godъ, *polje, *vino, *lĕto, *gospodь, *morje, *dvorъ, and *zemja were analysed.
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New Philology, 2021
In the present article, a new approach to historical-comparative studies of Indo-European poetic ... more In the present article, a new approach to historical-comparative studies of Indo-European poetic is suggested. It combines traditional etymological methods with corpus approach. Thus, to reconstruct the core thesaurus of Common Slavic epic poetic cliches, five independent corpora of Slavic epics were studied (Russian byliny, Ukrainian dumy, Bulgrian, Serbian and Croatian, as well as Slovenian herois songs). Each of the traditions have a certain range of core formulas which share the common clausula (line's ending). The clausula words are the most important part of folklore vocabulary as they tend to be the most stable. Their stability over time is enforced by the recurrent metric patterns of the singing that accumulate at the line's end. Previously, it has been proved that clausule words constitute the core of formulaic expressions inside one tradition (B. Lord), eventually, Levinton showed that such comparison may be made between several cognate traditions, like Serbian, Croation and Eastern Slavic. Nevertheless, the overall comparison of several epic traditions of the Slavs has not yet been accomplished. The present article tends to offer such comparison which can have important outcomes for the study of Common Slavic and, moreover, common Indo-European poetics. Quantitative analysis has shown that each of separate Slavic traditions have a lot of common core formulas. This set of formulaic nests (about 40) can be regarded as a core of Common Slavic epic tradition, preserved in daughter-traditions. The list comprises not only kinship terms, body parts, and natural element, but cultural artefact and tems as well (such as *gordъ, *slovo, *vino, *dvorъ, *vorto). Further etymological comparison with formulas of other Inod-European traditions would show the range of innovations and retentions in Common Slavic poetical thesaurus.
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Movoznavstvo, 2015
Through etymological analysis, it is shown that the oldest Indo-European poetic formulas "wheel o... more Through etymological analysis, it is shown that the oldest Indo-European poetic formulas "wheel of the sun", "fabric of song", etc. have been preserved in Ukrainian and Byelorussian folklores, the Slavic reflexes of which were not previously introduced into scientific circulation.
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Slavia Orientalis, 2019
The present article introduces a new approach to the Old Russian texts by revealing metrical patt... more The present article introduces a new approach to the Old Russian texts by revealing metrical patterns underlying seemingly prose texts of the chronicle Povest vremen-nykh let. These patterns proved to be a shared feature of Eastern Slavic oral epic traditions. Thus, ideas of Ivan Franko about metrical character of the chronicles and Ivan Nikiforov's claim about metrical affi nities of Eastern Slavic epic traditions are developed and enriched by up to date linguistic as well as ethnomusicological observations. Metrical affi nities of certain fragments of the chronicle Povest vremennykh let and Eastern Slavic epic give new clues to the possible persistence of oral epic in written form and consequently broaden the range of Old Russian texts that can be regarded as epic. Poetical epic corpus, enlarged in this way, gives a new relevant context to Slovo o polku Igoreve, authenticity of which can be proven now with more certainty on the basis of metrical affinities with the fragments of chronicle of presumably oral origin.
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ScandoSlavica, 2017
The present article discusses possible survivals of Indo-European poetical language and myth in f... more The present article discusses possible survivals of Indo-European poetical language and myth in formulaic entities of Baltic and Slavic lullabies and mythological songs. Though Slavic folklore has only sparse survivals of common Indo-European myth about the Divine Twins, valuable information is furnished by formulaic dictions kept by one of the most concise folklore genres, lullabies. Ukrainian, Russian, Belorussian, Lithuanian and Latvian lullabies about two cats might reflect ancient beliefs, because cat has substituted more ancient mythologically meaningful words. Still, the lullabies represent the last stage of the formula development. Its origins can be traced to solar and lunar mythological songs of the Balts and Slavs and its cognate reflexes can be found also in ancient Scandinavian folk ballads. In these songs, etymological and metrical core-formula of the lullabies and their mythological substrates can be found. This study for the first time introduces Slavic folklore material for reconstructing the Indo-European poetical clichés connected with “Dioscurian” beliefs.
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Books by Nazarii A Nazarov
Since in folk poetics, lines’ clausules play a primary role in organizing the text, acting as "nests" of formulas and syntactic organizers of lines, we proposed to focus on the reconstruction of the class of words that could be used in the string clausule in the Common Slavic, and probably the common Indo-European period. In this way, we can come to the reconstruction of the core of the thesaurus of formulas. Elsewhere we have given a list of common Slavic clause words. The task of the present publication is to trace the development of the discovered formulas against the common Indo-European background. For this purpose, the following texts were annotated according to the same principle (with double slash // the boundaries of lines were marked): “Iliad” and “Odyssey”, “Rig Veda”, Latvian mythological songs. Then these texts were processed with a free software tool AntConc. As a result, for each tradition, its own classes of clausule words were found, which were compared with the Proto-Slavic ones.
The next stage involves comparing the main formulaic phrases found in the clauses of different Slavic traditions with etymologically related or semantically equivalent words of the ancient Greek, Latvian, and Vedic traditions, which also have a high frequency in the clausules.
The presence of etymologically related words in different traditions in the clausule provides valuable material for a comparative and historical study of poetic syntax, and more broadly - syntactic distribution and compatibility of proto-language units, since most syntactic patterns were lexically related, that is, they could only be filled with certain classes of vocabulary (Stepanov 6 ). Therefore, the comparison of clauses is a kind of databank for finding out the distribution of certain words in a sentence, namely at the beginning and at the end, in two poetically most significant positions.
Slavic clausules *gordъ, *konь, *mati, *slovo, *govoriti, *moldъ, *golva, *godъ, *polje, *vino, *lĕto, *gospodь, *morje, *dvorъ, and *zemja were analysed
The publication contains a frequency dictionary of Ukrainian folk songs with a detailed analysis (in Ukrainian and English) of thematic groups of vocabulary and genre-style distribution of lexical units as elements of the ecosystem of Ukrainian folk speech within larger ecosystems - Slavic and Indo-European.
Dissertation for obtaining the scientific degree of candidate of philology, specialty 10.02.01 – the Ukrainian language. – Kyiv National Taras Shevchenko University of Ministry of education and science of Ukraine, 2016.
The present study explores factors that influenced Ukrainian practice of
compiling etymological dictionaries in diachronic and synchronic aspects, its
connection with the wider cultural context. Regularity of the consequence of the stages
of lexicography, etymological lexicography included, is demonstrated and its
connection with establishing national state is showed.
The present study is aimed at metalinguistic analysis of Ukrainian and
European etymological lexicography methodological basis. Its main goal is to
explicate interdependencies between ideology (cultural, religious or scientific
22
narrative) and etymologizing patterns in etymological dictionaries, to reveal
reflexes of different scientific epochs in the present state of Ukrainian etymology.
Before etymological dictionary as distinctive genre of linguistic research
appeared, both lexicography and etymology have passed through several
evolutionary stages that coincided with changing of epistemes (according to
Michel Foucault), both having their origins in mythological view on the word as
magical force. Especially strong ties tied Byzantine and Byzantine-oriented
countries’ (such as Ukraine before XIX c.) lexicography and etymology with sacral
sphere. Both first Byzantine (e.g. Suda) and Ukrainian (e.g. that of P. Berynda)
dictionaries bore catechetical functions as well as first etymologizing practices of
these areas belonged to folklore rooted figura etymologica or ‘folk etymology’.
Ukrainian etymology in XIX c. combined results of comparative method
with focus on the inner form of a word (elaborated by O.O. Potebnya), that was
possible due to special attention to the language awareness immanent to folklore
(both O.O. Potebnya and P.Ya. Lukashevych were both linguists and folklorists).
Classical Indo-European etymological dictionaries did not succeed in
handling problem of heterogeneity of the languages they studied because of
methodological biases against material beyond Indo-European range. The
etymologists from the Slavic countries (S. Mladenov, V. Machek, O. Trubachev)
developed their own methodological approach concentrated on the heterogeneity of
the lexicon. Ukrainian school of etymological research (O.S. Melnychuk,
V.T. Kolomiyets, O.B. Tkachenko, A.P. Nepokupnyi etc.) elaborated these
problematic issues mainly ignored in other spheres of Indo-European studies, so
their results have meaning beyond the range of the Ukrainian studies.
In the context of etymological dictionaries of Slavic and other Indo-
European languages, compiled in XVII-XXI c., characteristic features of Ukrainian
etymological dictionaries is showed. Ukrainian etymological lexicography
(especially its monumental work ‘Etymological dictionary of the Ukrainian
language’ directed by acad. O.S. Melnychuk) combined positive aspects of the
methodological approaches developed in the classical Indo-European studies (keen
attention to phonetic correspondences) with innovations of the Slavic and
Ukrainian etymological schools (attention to pre- and non-Indo-European elements
in the lexicon). Also cultural role of the Ukrainian etymological lexicography
cannot be denied: the ‘Etymological dictionary of the Ukrainian language’
received world-wide appraisal of the linguists and augmented cultural prestige of
the Ukrainian language and Ukrainian studies.
Key words: Ukrainian lexicography, etymology, etymological dictionary,
etymologically unclear lexicon, vocabulary
+ extensive English summary
У книжці досліджено ґенезу однієї з найпопулярніших східнослов’янських казок – українською вона відома як «Івасик Телесик», білоруського «Піліпка-синок», російською – «Терешечка». Із застосуванням лінгвістичного етимологічного аналізу, а також методів етномузикології, фольклористики та етнології показані мовні аспекти зв’язків тексту казки з обрядами. Як продовження і доповнення думок В.Я. Проппа та О.І. Нікіфорова на матеріалі усіх відомих сюжетних варіантів однієї казки простежено зв’язки словесного і дієвого компонентів ритуалу. На основі зіставлення українських, білоруських, російських, польських, болгарських, словенських, литовських та новогрецьких пісенних і казкових текстів здійснено реконструкцію праслов’янських мінімальних ритуально-міфологічних вербальних формул, пов’язаних зі сферою фертильної магії. Запропонована модель появи з календарного обряду казкового жанру, названого О.І. Нікіфоровим «дитячими казками драматичного жанру».
В книге исследован генезис одной из наиболее популярных восточнославянских сказок – на украинском языке она известна как «Ивасык Телесик», на белорусском – «Пилипка Сынок», на русском – «Терешчка». Применяя лингвистический этимологический анализ, а также методы энтомузыкологии, фольклористики и этнологии, автор показывает языковые аспекты связи текста сказки с обрядами. Как продолжение и дополнение мыслей В.Я. Проппа и А.И. Никифорова на материале всех известных сюжетных вариантов одной сказки прослежены связи словесного и акционного компонентов ритуала. На основании сопоставления украинских, белорусских, русских, польских, болгарских, словенских, литовских и новогреческих песенных и сказочных текстов реконструированы минимальные ритуально-мифологические формулы, связанные со сферой фертильной магии. Предложена модель возникновения из календарного обряда сказочного жанра, названного О.И. Никифоровым «детскими сказками драматического жанра».
Papers by Nazarii A Nazarov
belonging to one set, connected by an operation of symmetrical reflection constituting a group of symmetry. Composition patterns of seemingly different genres (riddles, ritual songs, cumulative fairytale, magical fairytale) have one fundamental feature in common that underlies them: when the enumeration of the input set A is over, the level of freedom for the choice of the output set B is highly restricted, as each of the linguistic equations (L. Zadeh) should be solved: the hero, once born, should be either married or killed, the riddle should be answered traditionally, set of images of human life should be confronted with the set of corresponding images of nature (in ritual songs), etc., thus giving the recipient pleasure of constant reiteration and decipherment of already known patterns. In this case, the new meaning of folklore texts can be revealed. By introducing repetitive patterns of composition, they introduced elementary classification and logic tools. In this case, phenomena like I Quing turned out to be not an exception but rather a logical continuation of binary logic of folklore text composition, so overtly represented in the Balto-Slavic area but valid for a much broader realm of folklore traditions.
Since in folk poetics, lines’ clausules play a primary role in organizing the text, acting as "nests" of formulas and syntactic organizers of lines, we proposed to focus on the reconstruction of the class of words that could be used in the string clausule in the Common Slavic, and probably the common Indo-European period. In this way, we can come to the reconstruction of the core of the thesaurus of formulas. Elsewhere we have given a list of common Slavic clause words. The task of the present publication is to trace the development of the discovered formulas against the common Indo-European background. For this purpose, the following texts were annotated according to the same principle (with double slash // the boundaries of lines were marked): “Iliad” and “Odyssey”, “Rig Veda”, Latvian mythological songs. Then these texts were processed with a free software tool AntConc. As a result, for each tradition, its own classes of clausule words were found, which were compared with the Proto-Slavic ones.
The next stage involves comparing the main formulaic phrases found in the clauses of different Slavic traditions with etymologically related or semantically equivalent words of the ancient Greek, Latvian, and Vedic traditions, which also have a high frequency in the clausules.
The presence of etymologically related words in different traditions in the clausule provides valuable material for a comparative and historical study of poetic syntax, and more broadly - syntactic distribution and compatibility of proto-language units, since most syntactic patterns were lexically related, that is, they could only be filled with certain classes of vocabulary (Stepanov 6 ). Therefore, the comparison of clauses is a kind of databank for finding out the distribution of certain words in a sentence, namely at the beginning and at the end, in two poetically most significant positions.
Slavic clausules *gordъ, *konь, *mati, *slovo, *govoriti, *moldъ, *golva, *godъ, *polje, *vino, *lĕto, *gospodь, *morje, *dvorъ, and *zemja were analysed
The publication contains a frequency dictionary of Ukrainian folk songs with a detailed analysis (in Ukrainian and English) of thematic groups of vocabulary and genre-style distribution of lexical units as elements of the ecosystem of Ukrainian folk speech within larger ecosystems - Slavic and Indo-European.
Dissertation for obtaining the scientific degree of candidate of philology, specialty 10.02.01 – the Ukrainian language. – Kyiv National Taras Shevchenko University of Ministry of education and science of Ukraine, 2016.
The present study explores factors that influenced Ukrainian practice of
compiling etymological dictionaries in diachronic and synchronic aspects, its
connection with the wider cultural context. Regularity of the consequence of the stages
of lexicography, etymological lexicography included, is demonstrated and its
connection with establishing national state is showed.
The present study is aimed at metalinguistic analysis of Ukrainian and
European etymological lexicography methodological basis. Its main goal is to
explicate interdependencies between ideology (cultural, religious or scientific
22
narrative) and etymologizing patterns in etymological dictionaries, to reveal
reflexes of different scientific epochs in the present state of Ukrainian etymology.
Before etymological dictionary as distinctive genre of linguistic research
appeared, both lexicography and etymology have passed through several
evolutionary stages that coincided with changing of epistemes (according to
Michel Foucault), both having their origins in mythological view on the word as
magical force. Especially strong ties tied Byzantine and Byzantine-oriented
countries’ (such as Ukraine before XIX c.) lexicography and etymology with sacral
sphere. Both first Byzantine (e.g. Suda) and Ukrainian (e.g. that of P. Berynda)
dictionaries bore catechetical functions as well as first etymologizing practices of
these areas belonged to folklore rooted figura etymologica or ‘folk etymology’.
Ukrainian etymology in XIX c. combined results of comparative method
with focus on the inner form of a word (elaborated by O.O. Potebnya), that was
possible due to special attention to the language awareness immanent to folklore
(both O.O. Potebnya and P.Ya. Lukashevych were both linguists and folklorists).
Classical Indo-European etymological dictionaries did not succeed in
handling problem of heterogeneity of the languages they studied because of
methodological biases against material beyond Indo-European range. The
etymologists from the Slavic countries (S. Mladenov, V. Machek, O. Trubachev)
developed their own methodological approach concentrated on the heterogeneity of
the lexicon. Ukrainian school of etymological research (O.S. Melnychuk,
V.T. Kolomiyets, O.B. Tkachenko, A.P. Nepokupnyi etc.) elaborated these
problematic issues mainly ignored in other spheres of Indo-European studies, so
their results have meaning beyond the range of the Ukrainian studies.
In the context of etymological dictionaries of Slavic and other Indo-
European languages, compiled in XVII-XXI c., characteristic features of Ukrainian
etymological dictionaries is showed. Ukrainian etymological lexicography
(especially its monumental work ‘Etymological dictionary of the Ukrainian
language’ directed by acad. O.S. Melnychuk) combined positive aspects of the
methodological approaches developed in the classical Indo-European studies (keen
attention to phonetic correspondences) with innovations of the Slavic and
Ukrainian etymological schools (attention to pre- and non-Indo-European elements
in the lexicon). Also cultural role of the Ukrainian etymological lexicography
cannot be denied: the ‘Etymological dictionary of the Ukrainian language’
received world-wide appraisal of the linguists and augmented cultural prestige of
the Ukrainian language and Ukrainian studies.
Key words: Ukrainian lexicography, etymology, etymological dictionary,
etymologically unclear lexicon, vocabulary
+ extensive English summary
У книжці досліджено ґенезу однієї з найпопулярніших східнослов’янських казок – українською вона відома як «Івасик Телесик», білоруського «Піліпка-синок», російською – «Терешечка». Із застосуванням лінгвістичного етимологічного аналізу, а також методів етномузикології, фольклористики та етнології показані мовні аспекти зв’язків тексту казки з обрядами. Як продовження і доповнення думок В.Я. Проппа та О.І. Нікіфорова на матеріалі усіх відомих сюжетних варіантів однієї казки простежено зв’язки словесного і дієвого компонентів ритуалу. На основі зіставлення українських, білоруських, російських, польських, болгарських, словенських, литовських та новогрецьких пісенних і казкових текстів здійснено реконструкцію праслов’янських мінімальних ритуально-міфологічних вербальних формул, пов’язаних зі сферою фертильної магії. Запропонована модель появи з календарного обряду казкового жанру, названого О.І. Нікіфоровим «дитячими казками драматичного жанру».
В книге исследован генезис одной из наиболее популярных восточнославянских сказок – на украинском языке она известна как «Ивасык Телесик», на белорусском – «Пилипка Сынок», на русском – «Терешчка». Применяя лингвистический этимологический анализ, а также методы энтомузыкологии, фольклористики и этнологии, автор показывает языковые аспекты связи текста сказки с обрядами. Как продолжение и дополнение мыслей В.Я. Проппа и А.И. Никифорова на материале всех известных сюжетных вариантов одной сказки прослежены связи словесного и акционного компонентов ритуала. На основании сопоставления украинских, белорусских, русских, польских, болгарских, словенских, литовских и новогреческих песенных и сказочных текстов реконструированы минимальные ритуально-мифологические формулы, связанные со сферой фертильной магии. Предложена модель возникновения из календарного обряда сказочного жанра, названного О.И. Никифоровым «детскими сказками драматического жанра».
belonging to one set, connected by an operation of symmetrical reflection constituting a group of symmetry. Composition patterns of seemingly different genres (riddles, ritual songs, cumulative fairytale, magical fairytale) have one fundamental feature in common that underlies them: when the enumeration of the input set A is over, the level of freedom for the choice of the output set B is highly restricted, as each of the linguistic equations (L. Zadeh) should be solved: the hero, once born, should be either married or killed, the riddle should be answered traditionally, set of images of human life should be confronted with the set of corresponding images of nature (in ritual songs), etc., thus giving the recipient pleasure of constant reiteration and decipherment of already known patterns. In this case, the new meaning of folklore texts can be revealed. By introducing repetitive patterns of composition, they introduced elementary classification and logic tools. In this case, phenomena like I Quing turned out to be not an exception but rather a logical continuation of binary logic of folklore text composition, so overtly represented in the Balto-Slavic area but valid for a much broader realm of folklore traditions.
Mute/Silent languages - Collection of semiotic fables.
Η ΚΑΤΑΓΩΓΗ ΤΟΥ ΕΛΛΗΝΙΚΟΥ ΔΡΑΜΑΤΟΣ
Η καταγωγή του Αρχαίου Ελληνικού Δράματος ακόμα και τώρα, στο ξεκίνημα του εικοστού πρώτου αιώνα, είναι τόσο αμυδρή, όπως ήταν και για τους πρώτους Ευρωπαίους επιστήμονες – Πλάτωνα και Αριστοτέλη. Αλλά το πιο προβληματικό είναι η προέλευση της δομής του Ελληνικού Δράματος. Γιατί όμως τα μέρη της τραγωδίας και της κωμωδίας (όπως είναι η παράβαση, ο κώμος, το σύνταγμα, ο αγών κτλ.) έχουν τις δικές τους θέσεις και εμφανίζονται μόνο κατά σειρά και σχεδόν χωρίς να έχουν σχέση με την υπόθεση του έργου; Μήπως πρέπει να ψάξουμε μια κάποια βάση για αυτήν την δομή, σαν αυτή την οποία βρήκε ο Β. Προππ για να εξηγήσει την δομή του λαϊκού παραμυθιού;
Για αυτά τα ερωτήματα δεν υπάρχει συγκεκριμένη απάντηση. Ο Χέρντερ είπε ότι αιτία γι' αυτό είναι το πως όσον αφορά τις έρευνες σχετικά με το Ελληνικό Δράμα δεν χρησιμοποιούνται παρά μόνο αποκλειστικά ινδοευρωπαϊκές πηγές. Εμείς δεν ξέρουμε την πρώτη μορφή του Ελληνικού Δράματος (δεν έχουμε τα κείμενα που υπήρχαν πριν από τον Αισχύλο), ενώ από την άλλη ξέρουμε μια προγενέστερη μορφή θεάτρου - αυτή των Σαμανικών Τελετουργιών των σιβηρικών λαών, όπως ήταν οι Ιακούτοι και άλλα συγγενικά προς αυτούς τουρκικά φύλα.
Έχουμε πολλά κείμενα τα οποία εμπεριέχουν στοιχεία για τις Σαμανικές Τελετουργίες. Θα μπορούσαμε μέσα σε αυτά να βρούμε την απάντηση για την προέλευση της δομής του Αρχαίου Ελληνικού Δράματος; Ας δούμε αν υπάρχουν αντιστοιχίες μεταξύ της δομής του Δράματος και των Σαμανικών Τελετουργιών.
Τα Σαμανικά Μυστήρια ('καμ') και Η Ελληνική Τραγωδία ή Κωμωδία περιλαμβάνουν τα εξής μέρη:
- το διάγγελμα στους θεόμορφους δαίμονες, τους οποίους μαζεύει ο Σαμάν για να τον βοηθούν = ο Χορός που εμφανίζεται πρώτος στην σκηνή στα Ελληνικά Δράματα και που επίσης είναι θεόμορφος στις κωμωδίες του Αριστοφάνη ή αποτελείται από σάτυρους στα σατυρικά δράματα.
- το ταξίδι στον Κάτω Κόσμο με διαλογικό αγώνα μεταξύ του Σαμάν και του αυτοκράτορα των νεκρών ή του δαίμονα της αρρώστιας κτλ. = στο Ελληνικό Δράμα το αντίστοιχο είναι το σύνταγμα της κωμωδίας και ο αγών της τραγωδίας, συχνά με την μορφή της στιχομυθίας όπως είναι για παράδειγμα ο διάλογος ανάμεσα στην Ηλέκτρα, την αδερφή της και την μητέρα της στο έργο 'Ηλέκτρα' του Ευριπίδη. Εδώ πρόκειται για την λεγόμενη αριστοτελική καταστροφή - ο άρρωστος είτε θα γίνει καλά είτε όχι, ο πρωταγωνιστής της τραγωδίας είτε είναι αίτιος είτε όχι.
- το γύρισμα του Σαμάν στον Πάνω Κόσμο και η πρόγνωση για το μέλλον των ακροατών = το αντίστοιχο μέρος του Ελληνικού Δράματος είναι οι μονόλογοι του άγγελου (ή η πρόγνωση του μάντη, για παράδειγμα του Τειρεσία)
-η διάλυση των βοηθών του Σαμάν = η εξαφάνιση του Χορού στο τέλος
Αυτές οι αντιστοιχίες είναι κοινές και στα άλλα παραδοσιακά θέατρα, όπως είναι το γιαπωνέζικο Νο και το αρχαίο ινδικό, γιατί και εκείνα διατηρούν μια μορφή αρχαίας ιεροτελεστίας. Για παράδειγμα, στο Δράμα Νο υπάρχει η όμοια σειρά των μερών.
Αυτό σημαίνει πως το Ελληνικό Δράμα έχει ιστορία πιο μεγάλη και πιο γεμάτη και οι ερευνητές του θα βρουν κι άλλες σχέσεις του με τα μυστήρια του ανθρώπινου πολιτισμού.