АКТУАЛЬНЫЕ ПРОБЛЕМЫ МОНГОЛОВЕДНЫХ И АЛТАИСТИЧЕСКИХ ИССЛЕДОВАНИЙ.Материалы III Международной научной конференции, посвященной 80-летию академика РАЕН, профессора В.И. Рассадина, 30-летию создания тофаларской письменности и 20-летию сойотской письменности 11-14 ноября 2019 г.
This article aims to introduce to a wider audience the special and diverse world of Mongolian ritual poetry. Despite the effects of the socialist era and the intensive changes brought about by contact with global culture more recently, contemporary Mongolian society has still preserved a significant space for traditional lifestyle and worldview. The characteristics of this region were built up by the weaving together of different ethnic and religious traditions (including Zoroastrism, Tengrism, local Shamanic traditions, and different schools of Tibetan Buddhism), as well as from other historical and cultural features. All of these have contributed to the unique skein of images and meanings dwelling in the world of Mongolian ritual poetry, invocations, prayers, verbal charms - a world manifest in everyday life and practice. In this article, I shall discuss some basic types of Mongolian ritual poetry, focusing on the genres performed by non-professional lay people, dom shivshleg. My paper is based on archival and published Mongolian sources, as well as on fieldwork data collected by the author in different parts of Mongolia.
The article deals with the collection of arabographic manuscripts, litographs and old-printed books of the Yalta Historical and Literary Museum. It contains about 200 items and was primarily formed by the manuscripts which were brought to the Oriental Museum in Yalta in course of archeographic and ethnographic expeditions of the 1920s to the Tatar villages of the Crimean southern coast. The Oriental Museum was established in Yalta in 1921 and existed until 1930. One of the main goals of the Museum was to preserve the traditional culture of the Muslims of Crimea, especially the Crimean Tatars. The expeditions carried out by the Museum under supervision of Yakup Kemal (1887–1938), the director of the Museum. He held this position till March 1929. In 1930, the Oriental museum was merged with the Yalta Museum of Local Lore – later the Yalta Historical and Literary Museum. It is considered that the closure and disbandment of the Oriental Museum in Yalta led to the liquidation of its funds and archives, but the collection of its manuscripts (and also litographs and old-printed books) in Turkic, Arabic and Persian languages was preserved and later was found in the funds of the Yalta Historical and Literary Museum. Some of those manuscripts were attributed and described in accordance with the established in Russian oriental codycology scheme of description of arabographic manuscripts. The collection includes copies of the Koran, manuals on Arabic and Persian languages, dictionaries, treatises on Sufism. Most of the collection consists of manuscripts in Ottoman Turkish language on various branches of Islamic theology and law, as well as treatises on astronomy and medicine. Only a few works of literature can be distinguished among Turkic manuscripts of this collection (these are various destans, poetical divans, didactical treatises).
Khamnigan is a Mongolic language spoken in China. The speakers are usually polylingual having good command in Mongolian Khamnigan, Evenki Khamnigan, and Chinese. Previousely Khamnigans had intensive contacts with Russian. Although now there are no contacts with Russian culutre and language the Khamnigan language had profound traces of contacts featuring plenty of lexical and morphological borrowings. The paper analyzes various pecularities of these borrowings and their functioning in modern Khamnigan.
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.