Информационные технологии в фольклористике: Сб. мат. Владикавказ: СОИГСИ ВНЦ РАН, 2018
В статье рассматривается описанное В. Ф. Миллером представление осетин, согласно которому душа че... more В статье рассматривается описанное В. Ф. Миллером представление осетин, согласно которому душа человека после смерти проходит семь звеньев небесной цепи. Солидаризируясь с трактовкой данного мотива как прохождения душой семи небес, относительно мнения об иранском происхождении данной концепции автор отмечает, что в иранскую эсхатологию эта идея проникла относительно поздно из вавилонской религии. Сопоставление с оригинальным осетинским источником позволяет уточнить сообщение Миллера: прохождение семи звеньев цепи возвращает душе её первоначальный вид (состояние), а не «человеческий облик», что также находит близкие соответствия в вавилонской мифологии. Автор приходит к выводу о том, что рассмотренное представление не может быть реликтом иранской мифологии и восходит, вернее всего, к вавилонской концепции о прохождении душой человека семи небесных сфер.
The article deals with the view of Ossetians described by V. F. Miller, according to which the soul of a man after death passes through the seven chain of heaven. The author agrees with the interpretation of this motive as the passage of the soul of the seven heavens, but regarding the opinion about the Iranian origin of this concept notes that in the Iranian eschatology this idea penetrated relatively late from the Babylonian religion. Comparison with the original Ossetian source allows us to clarify Miller's message: the passage of the seven links of the chain returns to the soul its original appearance (state), not "human appearance", which also finds close matches in Babylonian mythology. The author comes to the conclusion that the considered idea can not be a relic of Iranian mythology and goes back, most likely, to the Babylonian concept of the passage of the human soul of the seven celestial spheres
Статья посвящена рассмотрению малоизученного персонажа осетинской нартиады - дочери морского влад... more Статья посвящена рассмотрению малоизученного персонажа осетинской нартиады - дочери морского владыки по имени Дзерасса. Анализ нартовского сказания о Дзерассе позволил выявить ряд важных признаков, свидетельствующих об архаичной основе данного сюжета, а также о типологическом единстве Дзерассы с богинями-прародительницами архаичных мифологий. Присутствующий в сказании мотив разделяющего меча находит многочисленные фольклорные параллели, но вопрос о его происхождении требует дальнейшего изучения.
The aim of the research is to determine the mythological content of the image of Dzerassa and try to identify its areal relations. The achievement of this aim involves an extensive use of comparative material from other folklore and mythological traditions in the Indo-European area and beyond. The source base of the research is the most authoritative scientific edition of the Ossetian Nart legends, as well as materials of Ossetian ethnography. Comparative material is represented by the data of the German-Scandinavian epos, fairy tale folklore of the peoples of Europe, and medieval chivalry novels. The study is based on a comparative methodology. The combination of a comparative mythological method and historical typological analysis allows a comparison of the Nart tales with texts belonging to other folk traditions in order to create a more complete picture of the Ossetians’ traditional worldview.
The study examined the motives of the tales of Dzerassa, which until now have not been developed to a sufficient degree. (1) The transformation of Dzerassa into a fox finds close matches in the folklore of Northern European peoples, especially of the Saami, which is probably due to the contacts between the Indo-Iranians and Finno-Ugric tribes. (2) Dzerassa’s healing with a miraculous apple can be traced to the Ossetian funeral ritual, in which the apple was associated with a set of ideas about immortality. (3) The theme of the “symbol of purity” (an unsheathed sword) is similar to European epic tales and medieval chivalric novels. The context of the Dzerassa legend provides evidence in favor of the fact that this motif dates back to the ancient legal tradition. (4) Twins as a twofold character. In the legend of Dzerassa, the twins Akhsar and Akhsartag act as a single character. Dzerassa gets pregnant simultaneously from the two brothers and gives birth to twins, who are considered to be sons of both Akhsar and Akhsartag. These motives find typological conformity far beyond the existence of the Nart epic tales. There is no doubt that the legend of Dzerassa and the Nart twins is part of the archaic mythological legacy. The image of Dzerassa has distinctive traits of the ancient Mother Goddess, which can be seen in the motif of Dzerassa turning into a fox, as well as in that of Akhsar and Akhsartag acting as a dual character and as the progenitors of the main characters. The sword between Dzerassa and Akhsar/Ahsartag has numerous folklore and ethnographic analogies, but the question of its origin is still not resolved and requires a further study
В статье рассматривается рукописное наследие Е.Г. Пчелиной посвящённое изучению образа трёхногого... more В статье рассматривается рукописное наследие Е.Г. Пчелиной посвящённое изучению образа трёхногого коня в осетинской нартиаде. Анализ неопубликованных архивных материалов позволяет проследить происходившие в трактовке Пчелиной изменения, а также выявить в её аргументации как спорные моменты, так и ценные наблюдения, ведущие к решению поставленного вопроса.
Darchiev A. V. On the Question of Mythological Basis of the Ossetian Legend of Sameli // Izvestiy... more Darchiev A. V. On the Question of Mythological Basis of the Ossetian Legend of Sameli // Izvestiya SOIGSI. 2014. Iss. 14 (53). P.73-78.
The article considers a little-studied character of Ossetian mythology named Sameli. The author concludes that the image of Sameli is the result of contamination of the Ossetian bound personage of the Promethean type and the main representer of Judaic demonology named Samael. A specific attention is given to the motive of zoomorphic transformation, contained in the myth.
Информационные технологии в фольклористике: Сб. мат. Владикавказ: СОИГСИ ВНЦ РАН, 2018
В статье рассматривается описанное В. Ф. Миллером представление осетин, согласно которому душа че... more В статье рассматривается описанное В. Ф. Миллером представление осетин, согласно которому душа человека после смерти проходит семь звеньев небесной цепи. Солидаризируясь с трактовкой данного мотива как прохождения душой семи небес, относительно мнения об иранском происхождении данной концепции автор отмечает, что в иранскую эсхатологию эта идея проникла относительно поздно из вавилонской религии. Сопоставление с оригинальным осетинским источником позволяет уточнить сообщение Миллера: прохождение семи звеньев цепи возвращает душе её первоначальный вид (состояние), а не «человеческий облик», что также находит близкие соответствия в вавилонской мифологии. Автор приходит к выводу о том, что рассмотренное представление не может быть реликтом иранской мифологии и восходит, вернее всего, к вавилонской концепции о прохождении душой человека семи небесных сфер.
The article deals with the view of Ossetians described by V. F. Miller, according to which the soul of a man after death passes through the seven chain of heaven. The author agrees with the interpretation of this motive as the passage of the soul of the seven heavens, but regarding the opinion about the Iranian origin of this concept notes that in the Iranian eschatology this idea penetrated relatively late from the Babylonian religion. Comparison with the original Ossetian source allows us to clarify Miller's message: the passage of the seven links of the chain returns to the soul its original appearance (state), not "human appearance", which also finds close matches in Babylonian mythology. The author comes to the conclusion that the considered idea can not be a relic of Iranian mythology and goes back, most likely, to the Babylonian concept of the passage of the human soul of the seven celestial spheres
Статья посвящена рассмотрению малоизученного персонажа осетинской нартиады - дочери морского влад... more Статья посвящена рассмотрению малоизученного персонажа осетинской нартиады - дочери морского владыки по имени Дзерасса. Анализ нартовского сказания о Дзерассе позволил выявить ряд важных признаков, свидетельствующих об архаичной основе данного сюжета, а также о типологическом единстве Дзерассы с богинями-прародительницами архаичных мифологий. Присутствующий в сказании мотив разделяющего меча находит многочисленные фольклорные параллели, но вопрос о его происхождении требует дальнейшего изучения.
The aim of the research is to determine the mythological content of the image of Dzerassa and try to identify its areal relations. The achievement of this aim involves an extensive use of comparative material from other folklore and mythological traditions in the Indo-European area and beyond. The source base of the research is the most authoritative scientific edition of the Ossetian Nart legends, as well as materials of Ossetian ethnography. Comparative material is represented by the data of the German-Scandinavian epos, fairy tale folklore of the peoples of Europe, and medieval chivalry novels. The study is based on a comparative methodology. The combination of a comparative mythological method and historical typological analysis allows a comparison of the Nart tales with texts belonging to other folk traditions in order to create a more complete picture of the Ossetians’ traditional worldview.
The study examined the motives of the tales of Dzerassa, which until now have not been developed to a sufficient degree. (1) The transformation of Dzerassa into a fox finds close matches in the folklore of Northern European peoples, especially of the Saami, which is probably due to the contacts between the Indo-Iranians and Finno-Ugric tribes. (2) Dzerassa’s healing with a miraculous apple can be traced to the Ossetian funeral ritual, in which the apple was associated with a set of ideas about immortality. (3) The theme of the “symbol of purity” (an unsheathed sword) is similar to European epic tales and medieval chivalric novels. The context of the Dzerassa legend provides evidence in favor of the fact that this motif dates back to the ancient legal tradition. (4) Twins as a twofold character. In the legend of Dzerassa, the twins Akhsar and Akhsartag act as a single character. Dzerassa gets pregnant simultaneously from the two brothers and gives birth to twins, who are considered to be sons of both Akhsar and Akhsartag. These motives find typological conformity far beyond the existence of the Nart epic tales. There is no doubt that the legend of Dzerassa and the Nart twins is part of the archaic mythological legacy. The image of Dzerassa has distinctive traits of the ancient Mother Goddess, which can be seen in the motif of Dzerassa turning into a fox, as well as in that of Akhsar and Akhsartag acting as a dual character and as the progenitors of the main characters. The sword between Dzerassa and Akhsar/Ahsartag has numerous folklore and ethnographic analogies, but the question of its origin is still not resolved and requires a further study
В статье рассматривается рукописное наследие Е.Г. Пчелиной посвящённое изучению образа трёхногого... more В статье рассматривается рукописное наследие Е.Г. Пчелиной посвящённое изучению образа трёхногого коня в осетинской нартиаде. Анализ неопубликованных архивных материалов позволяет проследить происходившие в трактовке Пчелиной изменения, а также выявить в её аргументации как спорные моменты, так и ценные наблюдения, ведущие к решению поставленного вопроса.
Darchiev A. V. On the Question of Mythological Basis of the Ossetian Legend of Sameli // Izvestiy... more Darchiev A. V. On the Question of Mythological Basis of the Ossetian Legend of Sameli // Izvestiya SOIGSI. 2014. Iss. 14 (53). P.73-78.
The article considers a little-studied character of Ossetian mythology named Sameli. The author concludes that the image of Sameli is the result of contamination of the Ossetian bound personage of the Promethean type and the main representer of Judaic demonology named Samael. A specific attention is given to the motive of zoomorphic transformation, contained in the myth.
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Papers by Anzor Darchiev
The article deals with the view of Ossetians described by V. F. Miller, according to which the soul of a man after death passes through the seven chain of heaven. The author agrees with the interpretation of this motive as the passage of the soul of the seven heavens, but regarding the opinion about the Iranian origin of this concept notes that in the Iranian eschatology this idea penetrated relatively late from the Babylonian religion. Comparison with the original Ossetian source allows us to clarify Miller's message: the passage of the seven links of the chain returns to the soul its original appearance (state), not "human appearance", which also finds close matches in Babylonian mythology. The author comes to the conclusion that the considered idea can not be a relic of Iranian mythology and goes back, most likely, to the Babylonian concept of the passage of the human soul of the seven celestial spheres
The aim of the research is to determine the mythological content of the image of Dzerassa and try to identify its areal relations. The achievement of this aim involves an extensive use of comparative material from other folklore and mythological traditions in the Indo-European area and beyond. The source base of the research is the most authoritative scientific edition of the Ossetian Nart legends, as well as materials of Ossetian ethnography. Comparative material is represented by the data of the German-Scandinavian epos, fairy tale folklore of the peoples of Europe, and medieval chivalry novels. The study is based on a comparative methodology. The combination of a comparative mythological method and historical typological analysis allows a comparison of the Nart tales with texts belonging to other folk traditions in order to create a more complete picture of the Ossetians’ traditional worldview.
The study examined the motives of the tales of Dzerassa, which until now have not been developed to a sufficient degree. (1) The transformation of Dzerassa into a fox finds close matches in the folklore of Northern European peoples, especially of the Saami, which is probably due to the contacts between the Indo-Iranians and Finno-Ugric tribes. (2) Dzerassa’s healing with a miraculous apple can be traced to the Ossetian funeral ritual, in which the apple was associated with a set of ideas about immortality. (3) The theme of the “symbol of purity” (an unsheathed sword) is similar to European epic tales and medieval chivalric novels. The context of the Dzerassa legend provides evidence in favor of the fact that this motif dates back to the ancient legal tradition. (4) Twins as a twofold character. In the legend of Dzerassa, the twins Akhsar and Akhsartag act as a single character. Dzerassa gets pregnant simultaneously from the two brothers and gives birth to twins, who are considered to be sons of both Akhsar and Akhsartag. These motives find typological conformity far beyond the existence of the Nart epic tales. There is no doubt that the legend of Dzerassa and the Nart twins is part of the archaic mythological legacy. The image of Dzerassa has distinctive traits of the ancient Mother Goddess, which can be seen in the motif of Dzerassa turning into a fox, as well as in that of Akhsar and Akhsartag acting as a dual character and as the progenitors of the main characters. The sword between Dzerassa and Akhsar/Ahsartag has numerous folklore and ethnographic analogies, but the question of its origin is still not resolved and requires a further study
Keywords: Ossetian mythology, Svanian legends, Gnostic doctrine, rabbinical Judaism, Sameli, Samaal, Samael
The article considers a little-studied character of Ossetian mythology named Sameli. The author concludes that the image of Sameli is the result of contamination of the Ossetian bound personage of the Promethean type and the main representer of Judaic demonology named Samael. A specific attention is given to the motive of zoomorphic transformation, contained in the myth.
The article deals with the view of Ossetians described by V. F. Miller, according to which the soul of a man after death passes through the seven chain of heaven. The author agrees with the interpretation of this motive as the passage of the soul of the seven heavens, but regarding the opinion about the Iranian origin of this concept notes that in the Iranian eschatology this idea penetrated relatively late from the Babylonian religion. Comparison with the original Ossetian source allows us to clarify Miller's message: the passage of the seven links of the chain returns to the soul its original appearance (state), not "human appearance", which also finds close matches in Babylonian mythology. The author comes to the conclusion that the considered idea can not be a relic of Iranian mythology and goes back, most likely, to the Babylonian concept of the passage of the human soul of the seven celestial spheres
The aim of the research is to determine the mythological content of the image of Dzerassa and try to identify its areal relations. The achievement of this aim involves an extensive use of comparative material from other folklore and mythological traditions in the Indo-European area and beyond. The source base of the research is the most authoritative scientific edition of the Ossetian Nart legends, as well as materials of Ossetian ethnography. Comparative material is represented by the data of the German-Scandinavian epos, fairy tale folklore of the peoples of Europe, and medieval chivalry novels. The study is based on a comparative methodology. The combination of a comparative mythological method and historical typological analysis allows a comparison of the Nart tales with texts belonging to other folk traditions in order to create a more complete picture of the Ossetians’ traditional worldview.
The study examined the motives of the tales of Dzerassa, which until now have not been developed to a sufficient degree. (1) The transformation of Dzerassa into a fox finds close matches in the folklore of Northern European peoples, especially of the Saami, which is probably due to the contacts between the Indo-Iranians and Finno-Ugric tribes. (2) Dzerassa’s healing with a miraculous apple can be traced to the Ossetian funeral ritual, in which the apple was associated with a set of ideas about immortality. (3) The theme of the “symbol of purity” (an unsheathed sword) is similar to European epic tales and medieval chivalric novels. The context of the Dzerassa legend provides evidence in favor of the fact that this motif dates back to the ancient legal tradition. (4) Twins as a twofold character. In the legend of Dzerassa, the twins Akhsar and Akhsartag act as a single character. Dzerassa gets pregnant simultaneously from the two brothers and gives birth to twins, who are considered to be sons of both Akhsar and Akhsartag. These motives find typological conformity far beyond the existence of the Nart epic tales. There is no doubt that the legend of Dzerassa and the Nart twins is part of the archaic mythological legacy. The image of Dzerassa has distinctive traits of the ancient Mother Goddess, which can be seen in the motif of Dzerassa turning into a fox, as well as in that of Akhsar and Akhsartag acting as a dual character and as the progenitors of the main characters. The sword between Dzerassa and Akhsar/Ahsartag has numerous folklore and ethnographic analogies, but the question of its origin is still not resolved and requires a further study
Keywords: Ossetian mythology, Svanian legends, Gnostic doctrine, rabbinical Judaism, Sameli, Samaal, Samael
The article considers a little-studied character of Ossetian mythology named Sameli. The author concludes that the image of Sameli is the result of contamination of the Ossetian bound personage of the Promethean type and the main representer of Judaic demonology named Samael. A specific attention is given to the motive of zoomorphic transformation, contained in the myth.