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1

THE PORTRAITS OF DEVILS IN THE 'FUNNY' SHORT STORIES FROM NIKOLAI GOGOL'S COLLECTION 'EVENINGS ON THE FARM NEAR DIKANKA'

100%
Ziolek M.
Przegląd Humanistyczny
|
2005
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vol. 39
|
issue 2(389)
57-71
EN
The authoress depicts and analyses the devils which are the characters of early Gogol's short stories. Genealogy of the devil in the history of human awareness as well as the unique way of depicting it in the Eastern Slavonic culture is considered here. Gogol's devil has folk origins, is portrayed humorously and differs completely from the figure of Satan, the Prince of Darkness, that one could come across more frequently in literature so far and that originates clearly from the Bible.
2
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'GIFTS OF THE LOCAL COUNT' AND 'THE LITTLE GOAT'S TRAVELS' IN THE BALTIC AND SLAVONIC CHANTS

100%
Infantiev B., Pantele G.
Acta Baltico-Slavica
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2004
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vol. 28
199-230
EN
Children joke (play) songs 'Master's gifts' and 'Kid's (lamb's, leveret's) adventures' are extremely popular both in Baltic and in Slavic folklores. An author or a performer of the first song tells in a monologue form about his long-term service for a master (just for a master - not only in Polish, but also in Baltic and Eastern-Slavic songs!): every year he receives some fowl or some domestic animal, including a cow, a bull, a horse, an ox. In Latvian songs (where the performer - a master's servant worked longer than others) he receives a girl, a fellow, even a child, or a house or a whole country seat - in recognition of his service . The comparative uniformity of variants of all Baltic and Slavic folks is marvelling. Even the procedure of purchase of domestic animals is almost identical. The differences are found only in characteristic of domestic animals, which follows each new purchase. If in Latvian songs the practical meaning of someone or other domestic animal in a farm is accented, in Russian songs the animals are mostly characterized by use of sounds they emit or with quibbles based on assonance. Both Russian and Latvian folklorists agree that the considered song had been spread from Polish handwritten selections of the XVIII century, which already in that old times were willingly translated to Russian and widely distributed. This song has come to Latvian folklore from the Lithuanian one. Quite another distribution scheme is offered by another song, which origin is supposedly also the Polish folklore. In this song, the plot basis, which combines both Baltic and Slavic variants, is the dialogue of the point personage with his collocutor.The authors are offering a detailed considerations of similarities and differences of the Latvian, Lithuanian, Russian and Byelorussian versions of songs in question.. In their opinion, analysis of similar elements and peculiarities of considered songs of Baltic and Slavic folks gives at a researcher's disposal the invaluable material for finding out the distributing process of folklore formations, which have neither language nor any other barriers, as well as for finding out the ethno-psychological peculiarities of nations, which are invited now to live in new social and political conditions.
3

BYZANTINE-SLAVONIC SPIRIT IN 'FOREFATHERS' EVE' BY MICKIEWICZ

80%
Krysowski O.
Przegląd Humanistyczny
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2005
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vol. 49
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issue 6(393)
33-44
EN
The leading motive of 'Forefathers' Eve' by Mickiewicz, the places of the drama's action, the characters' figures, the ways to communicate with God and the world of ghosts refer to the ideas typical of Byzantine-Slavonic spirituality and religious tradition. The work introduces the reader into the unknown to the western culture area of the Orthodox Uniate Church and its priest. It allows to look at the picture of the Holy Mother in the way eastern Christians do - with a sense of direct contact with sacrum. Thus it reveals a significant contest of interpretation, surprising with the variety of meanings.
4

VOSTOČNOSLAVJANSKIE ELEMENTY V SLOVACKOM FOLKLORE

61%
Pacsai I.
Slavica Slovaca
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2011
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vol. 46
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issue 2
143 – 155
EN
The aim of the paper is to make a structural comparison of the Russian and Slovak folktales. J. Polívka, K. Horálek and R. Jakobson state in their ethnographic works, that there is a great difference between the Russian and the West-Slavonic folklores. Likewise, they consider the Russian folktales to be of a unique character. These researchers accent the role of specific elements in the opening and closing structures of the Russian folktales as they determine the tales’ importance and emotional character. The results of the author´s comparative research show more similar elements in the structures of the Russian and Slovak folktales. The author has used the tale collections edited by renowned researchers in the field of Slavonic folklore such as A. N. Afanesiew, P. Dobshinsky, and S. Czambel. He has been able to find out similarities not only in the morphology of the tale structures but also in their function, expressivity and humour. The author has examined the cultural and linguistic contacts of the area referred to the Russian cultural zone by N. S. Trubetzkoy. The results of this research show further similarities in the folktales of the Finno-Ugoric and Turkish peoples. The similarities revealed between the structural elements of the Russian and Slovak folktales complete and refine the conclusions of Slavonic researchers concerning the character of the folktales in the examined area. The areal character of the similarities found in the folklore of the Russian cultural zone attests that the theory of N. S. Trubetzkoy concerning the importance of cultural contacts is valid.
5

Běloruské pověsti a legendy o skvrnách na Měsíci

61%
Avilin C.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2011
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vol. 98
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issue 2
172-190
EN
This article is focused on research of interaction and interpenetration of Christian and archaic mythologies and revealing of beliefs' traits of another folks in the etiological legends concerning Moon spots. To solve this problem the following issues are considered to systematization and classification of the complex of etiological legends concerning Moon spots; detection of archaic origins and Christian elements presented in the Moon spots legends; comparative analysis of Belorussian Moon spots legends with such legends of other folks to show genesis and relations of some legends. We used for analysis this sources: ethnographic material from the 19th and 20th century, digital Polesie archive, 'field'-materials collected by the author and another researchers in 2005-2008. As a result we show that some Moon spots legends could migrate to Byelorussia region from Poland, Russia and Lithuania. Also archaic origins in the legends were revealed.
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