在M. Dochinets的“印痕与宝藏”收藏中,跨斯卡帕特人家庭仪式的民族语言特征

Оlha Pyskach
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摘要

本文考察了家庭仪式在艺术风格语境下的行为、现实对象和言语元素的再现特性;对特兰斯喀尔巴阡人的家庭仪式的艺术表现的具体情况,与多奇涅茨先生本人作为一个含蓄的叙述者的个性有关的,已经加以追查;对礼仪名称的语义、构词和词源进行了分析。跨喀尔巴阡人的家庭仪式在短篇小说《马戏团》、《琥珀中的蚂蚁》、《家鸟》(出生仪式)中被艺术地再现;《黑色天使》、《蜡戒指》(丧礼);“母亲的面包”(婚礼)。在多奇涅茨的作品中,家庭仪式既通过艺术形象表现出来,也通过作者本人作为隐式叙述者的哲学、传统民间和宗教观念的棱镜表现出来。他的艺术世界图景再现了乌克兰民族世界观和世界思考的独特性。最生动地再现了家庭仪式的动作元素,包括为死者洗衣、在死者附近守夜、邀请婚礼、给年轻人送礼物等。在其中的大多数,异教和基督教的传统是紧密交织在一起的,固定在喀尔巴阡人的精神意识中。多契涅茨小说中家庭仪式的现实对象计划的特殊性,是在人们的神话和宗教观念的基础上形成的神秘的、象征的特征的反映。所分析的文集中家庭仪式的言语语境主要由词汇来表示,偶尔也由短语来表示。就起源而言,这些大多是带有原斯拉夫根和一些借用的乌克兰专有名称。大多数仪式提名都是乌克兰语,主要用于文学语言,除了少数辩证词(sváyba, krúzhmo, uprovíd, dérevúsche)。灵魂、蜡烛、十字架、蜡环等名字具有内在的象征意义。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Ehnolinguistic features of family rituals of Transcarpatians in M. Dochinets’s “Indents and treasures” collection
The paper examines the reproduction peculiarities of action, real-object and verbal elements of family rituals in the context of artistic style; the specifics of the artistic representation of the family rituals of Transcarpathians in connection with the personality of M. Dochynets himself as an implicit narrator has been traced; semantic and word-forming and etymological analysis of ceremonial names has been carried out as well. The family rituals of Transcarpathians are artistically reproduced in the short stories “Circus”, “Ant in Amber”, “Domestic Bird” (birth ceremony); “Black Angel”, “Wax Rings” (funeral rite); “Mother’s Bread” (wedding ceremony). Family rituals in M. Dochynets’s works are represented both through artistic images and the prism of philosophical, traditional folk and religious ideas of the author himself as an implicit narrator. The picture of his artistic world reproduces the peculiarities of the national Ukrainian worldview and world consideration. Action elements of family rites are most vividly reproduced, including washing and dressing of the deceased, night vigil near the deceased, wedding invitations, gift giving to the young, etc. In most of them, pagan and Christian traditions are closely intertwined, fixed in the mental consciousness of Transcarpathians. The specificity of the real-object plan of family rites in M. Dochynets’s novel is the reflection of mystical, symbolic features formed on the basis of mythical and religious ideas of the people. The verbal context of the family rituals of the analyzed collection is represented mainly by lexemes and occasionally by phrasemes. By origin, these are mostly Ukrainian proper names with Proto-Slavic roots and a few borrowings. Most of the ceremonial nominations are the words of Ukrainian origin used mostly in the literary language, with the exception of a few dialectical words (sváyba, krúzhmo, uprovíd, dérevúsche). Symbolic meaning is inherent in such names as soul, candle, cross, wax rings, etc.
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