2 research outputs found
Poetics of time in Serbian oral epic poems recorded before V. S. KaradΕΎiΔ and in his collections
ΠΡΠ²ΠΎΠ±ΠΈΡΠ½ΠΈ ΡΠΈΡ ΠΎΠ²ΠΎΠ³ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° Π±ΠΈΠΎ ΡΠ΅ ΠΏΠΎΠΊΠ°Π·Π°ΡΠΈ Π΄Π° Π΅ΠΏΡΠΊΠΎ Π²ΡΠ΅ΠΌΠ΅ Π½Π΅ ΠΌΠΎΡΠ°
ΡΡΠ½ΠΊΡΠΈΠΎΠ½ΠΈΡΠ°ΡΠΈ ΠΊΠ°ΠΎ ΠΈΡΠΊΡΡΡΠΈΠ²ΠΎ ΠΊΠ°ΠΎ βΠ·Π°ΡΠ²ΠΎΡΠ΅Π½ΠΎβ, Π½ΠΈΡΠΈ Π·Π°ΡΠ·ΠΈΠΌΠ°ΡΠΈ βΠΎΡΡΡΠ²ΡΠΊΠΈ ΠΏΠΎΠ»ΠΎΠΆΠ°Ρβ Ρ
ΠΎΠ΄Π½ΠΎΡΡ Π½Π° Π΄ΡΡΠ³Π΅ Π΅ΠΏΠΎΡ
Π΅, ΠΊΠ°ΠΊΠΎ ΡΠ΅ ΡΠΎ ΠΎΠ±ΠΈΡΠ½ΠΎ ΡΠΌΠ°ΡΡΠ°Π»ΠΎ, ΠΏΡΠΈ Π½Π΅ΠΎΠΏΡΠ°Π²Π΄Π°Π½ΠΎΡ Π°Π½Π°Π»ΠΎΠ³ΠΈΡΠΈ ΡΡΠΏΡΠΊΠ΅
Π΅ΠΏΠΈΠΊΠ΅ ΠΈ ΡΡΡΠΊΠΈΡ
Π±ΠΈΡΠΈΠ½Π°. ΠΡΠ½ΠΎΠ²Π½Π° ΠΌΠ΅ΡΠΎΠ΄Π° ΠΎΠ²ΠΎΠ³ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΡΠ΅ ΡΠ΅ΠΌΠΈΠΎΡΠΈΡΠΊΠ°, Π° ΠΊΠ°Π΄Π° ΡΠ΅
ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ΅ ΡΠΊΡΡΡΠ°Π»ΠΎ Ρ Π½Π°ΡΡΠ½ΠΈΠΌ, Π»ΠΈΠ½Π³Π²ΠΈΡΡΠΈΡΠΊΠΈΠΌ, ΠΊΡΠΈΠΆΠ΅Π²Π½ΠΎΠ½Π°ΡΡΠ½ΠΈΠΌ, Π°Π½ΡΡΠΎΠΏΠΎΠ»ΠΎΡΠΊΠΈΠΌ, ΠΈ
Π΄ΡΡΠ³ΠΈΠΌ ΡΠ°Π·Π½Π°ΡΠΈΠΌΠ° (ΡΠ°Π·Π»ΠΈΡΠΈΡΠΈΠΌ ΠΌΠ΅ΡΠΎΠ΄ΠΎΠ»ΠΎΡΠΊΠΈΠΌ ΠΏΠΎΠ»Π°Π·ΠΈΡΡΠΈΠΌΠ°), Π½Π΅ΠΌΠΈΠ½ΠΎΠ²Π½ΠΎ ΡΠ΅ ΠΏΠΎΠΏΡΠΈΠΌΠ°Π»ΠΎ
ΠΈΠ½ΡΠ΅ΡΠ΄ΠΎΡΡΠΈΠΏΠ»ΠΈΠ½Π°ΡΠ½ΠΈ ΠΊΠ°ΡΠ°ΠΊΡΠ΅Ρ ΠΈ Π²ΠΎΠ΄ΠΈΠ»ΠΎ ΡΠ΅ ΠΊΠ° ΠΌΠ΅ΡΠΎΠ΄ΠΎΠ»ΠΎΡΠΊΠΎΠΌ ΠΏΠ»ΡΡΠ°Π»ΠΈΠ·ΠΌΡ.
ΠΡΠ΅Π΄ΠΌΠ΅Ρ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° Π±ΠΈΠΎ ΡΠ΅ ΡΠ°Π·ΠΌΠΎΡΡΠΈΡΠΈ ΠΊΠ°ΠΊΠΎ ΡΠ΅ Π²ΡΠ΅ΠΌΠ΅ Ρ ΠΏΠ΅ΡΠΌΠΈ (Π½Π°ΡΠ°ΡΠΈΠ²Π½ΠΎ Π²ΡΠ΅ΠΌΠ΅)
ΠΊΠΎΠ½ΡΡΠΈΡΡΠΈΡΠ΅ Ρ ΠΏΠΎΡΠ΅ΡΠ΅ΡΡ Ρ ΡΠ΅Π°Π»Π½ΠΎ ΠΏΠΎΡΡΠΎΡΠ΅ΡΠΈΠΌ (ΠΈΡΡΠΎΡΠΈΡΡΠΊΠΈΠΌ, ΡΡ. ΠΎΠ±ΡΠ΅ΠΊΡΠΈΠ²Π½ΠΈΠΌ) Π²ΡΠ΅ΠΌΠ΅Π½ΠΎΠΌ,
ΠΊΠ°ΠΎ ΠΈ ΡΠΎ ΠΊΠ°ΠΊΠΎ ΠΎΠ½ΠΎ ΡΡΠ½ΠΊΡΠΈΠΎΠ½ΠΈΡΠ΅ Π½Π° ΡΠ°Π²Π½ΠΈ Π±ΠΈΠΎΠ³ΡΠ°ΡΡΠΊΠΎΠ³ Π²ΡΠ΅ΠΌΠ΅Π½Π° Π»ΠΈΠΊΠ°, ΠΎΠ΄ΡΠ΅ΡΠ΅Π½ΠΎΠ³ ΠΏΡΠ΅ ΡΠ²Π΅Π³Π°
ΡΠΎΡΠΈΠΎΠΊΡΠ»ΡΡΡΠ½ΠΈΠΌ ΡΠ΅Π°Π»ΠΈΡΠ°ΠΌΠ° Π΄ΡΡΡΡΠ²Π° Ρ ΠΊΠΎΠΌΠ΅ Π²Π°ΡΠΈΡΠ°Π½ΡΠ° Π΅Π³Π·ΠΈΡΡΠΈΡΠ°, Π²Π΅Π·Π°Π½ΠΈΠΌ Π·Π° ΡΠ°Π·Π»ΠΈΡΠΈΡΠ΅
ΡΠ·ΡΠ°ΡΠ½Π΅ ΠΈΠ΄Π΅Π½ΡΠΈΡΠ΅ΡΠ΅. ΠΠΎΡΠ΅ΡΠ½Π° ΡΠ°ΡΠΊΠ° ΠΎΠ΄ ΠΊΠΎΡΠ΅ ΡΠ΅ Π΄Π°ΡΠ΅ ΡΠ°ΠΌΠ΅ΡΠ°Π²Π° Π±ΠΈΠΎΠ»ΠΎΡΠΊΠΎ ΠΈ ΡΠΎΡΠΈΡΠ°Π»Π½ΠΎ Π²ΡΠ΅ΠΌΠ΅
ΡΠ΅ ΡΠΎΡΠ΅ΡΠ΅ ΡΡΠ½Π°ΠΊΠ°, ΠΊΠΎΡΠ΅ ΡΠ΅, ΠΏΠΎ ΠΏΡΠ°Π²ΠΈΠ»Ρ, Π½Π΅ΡΠ²Π°ΠΊΠΈΠ΄Π°ΡΡΠ΅, ΠΊΠ°ΠΎ, ΡΠΎΡΡΠ°Π»ΠΎΠΌ, ΠΈ ΡΠ΅Π³ΠΎΠ²ΠΎ ΠΏΠΎΡΠ΅ΠΊΠ»ΠΎ.
ΠΠ΅ΡΠΈΡΡΡΠ²ΠΎ ΡΡΠ°ΡΠ΅ ΡΡΠ°Π·ΠΌΠ΅ΡΠ½ΠΎ ΠΊΡΠ°ΡΠΊΠΎ, Π° ΠΏΡΠ΅Π²Π°Π·ΠΈΠ»Π°ΠΆΠ΅ΡΠ΅ Π»ΠΈΠΌΠΈΠ½Π°Π»Π½ΠΎΠ³ ΡΡΠ°ΡΡΡΠ° Π΄Π΅ΡΠ΅ΡΠ° ΠΎΡΡΠ²Π°ΡΡΡΠ΅
ΡΠ΅ ΠΏΡΠ²ΠΈΠΌ ΠΏΠΎΠ΄Π²ΠΈΠ³ΠΎΠΌ, ΠΎΠ΄Π½ΠΎΡΠ½ΠΎ ΡΡΠ½Π°ΡΠΊΠΎΠΌ ΠΆΠ΅Π½ΠΈΠ΄Π±ΠΎΠΌ, ΡΠΈΠΌΠ΅ ΡΠ΅ ΡΡΠ½Π°ΠΊΡ Π°Π΄ΠΎΠ»Π΅ΡΡΠ΅Π½ΡΡ ΠΎΠ±Π΅Π·Π±Π΅ΡΡΡΠ΅
Π½ΠΎΠ²ΠΈ ΡΡΠ°ΡΡΡ β ΠΌΠ»Π°Π΄ΠΎΠ³ ΡΠ°ΡΠ½ΠΈΠΊΠ°.
ΠΠ°Π΄Π° ΡΠ΅Π΄Π½ΠΎΠΌ ΠΎΡΠ²ΠΎΡΠΈ ΡΡΠ°ΡΡΡ ΡΠ°ΡΠ½ΠΈΠΊΠ°, Π³Π»Π°Π²Π½ΠΈ ΡΡΠ½Π°ΠΊ ΠΎΡΡΠ°ΡΠ°ΠΊ ΠΆΠΈΠ²ΠΎΡΠ° ΠΏΡΠΎΠ²ΠΎΠ΄ΠΈ Ρ ΡΠ΅Π³ΠΎΠ²ΠΎΠΌ
ΡΡΠ°Π»Π½ΠΎΠΌ ΠΏΠΎΡΠ²ΡΡΠΈΠ²Π°ΡΡ ΠΈ Π΄ΠΎΠΊΠ°Π·ΠΈΠ²Π°ΡΡ, ΠΈΠ· ΡΠ΅Π΄Π½ΠΎΠ³ ΠΏΠΎΠ΄Π²ΠΈΠ³Π° Ρ Π΄ΡΡΠ³ΠΈ. ΠΡΠ΅Π»ΠΎ Π΄ΠΎΠ±Π°, ΡΡΠΎΠ³Π°,
ΡΡΠ½ΠΊΡΠΈΠΎΠ½ΠΈΡΠ΅ ΠΊΠ°ΠΎ Π½Π΅ΠΌΠ°ΡΠΊΠΈΡΠ°Π½ΠΈ (ΡΠΎΠ±ΠΈΡΠ°ΡΠ΅Π½ΠΈ) ΡΠ·ΡΠ°ΡΠ½ΠΈ ΠΈΠ΄Π΅Π½ΡΠΈΡΠ΅Ρ ΡΡΠ½Π°ΠΊΠ°. ΠΡΠ΅Π΄Π°Π²Π°ΡΠ΅ΠΌ
ΡΡΠ½Π°ΡΠΊΠΈΡ
Π°ΡΡΠΈΠ±ΡΡΠ° (ΠΊΠΎΡΠ° ΠΈ ΠΎΡΡΠΆΡΠ°) ΡΠΈΠ½Ρ, ΡΡΠ½Π°ΠΊ ΡΠ΅ ΠΎΠ΄ΡΠΈΡΠ΅ ΡΠ²ΠΎΠ³ ΡΡΠ°ΡΡΡΠ° ΠΈ ΠΏΡΠ΅Π»Π°Π·ΠΈ Ρ
ΠΊΠ°ΡΠ΅Π³ΠΎΡΠΈΡΡ ΡΡΠ°ΡΠΈΡ
Π»ΠΈΡΠ°. ΠΠ·Π»Π°Π·Π°ΠΊ ΠΈΠ· ΡΠ°ΡΠ½ΠΈΡΠΊΠΎΠ³ ΡΡΠ°ΡΡΡΠ° ΠΎΡΡΠ²Π°ΡΡΡΠ΅ ΡΠ΅ Π½Π° Π΄Π²Π° Π½Π°ΡΠΈΠ½Π° β
ΠΏΡΠΎΠΌΠ΅Π½ΠΎΠΌ Π΄Π΅Π»ΠΎΠΊΡΡΠ³Π° β ΡΠ»Π°ΡΠΊΠΎΠΌ Ρ Π΄Π΅Π»ΠΎΠΊΡΡΠ³ ΡΠ°Π²Π΅ΡΠ½ΠΈΠΊΠ° (ΠΌΡΠ΄ΡΠ°ΡΠ°), ΠΈΠ»ΠΈ ΠΎΠ΄Π»Π°ΡΠΊΠΎΠΌ Ρ ΡΠΌΡΡ, ΠΏΡΠΈ
ΡΠ΅ΠΌΡ ΡΠ΅ Π½Π΅ΠΎΠ±ΠΈΡΠ½ΠΎΠΌ ΡΡΠ½Π°ΠΊΡ, ΡΠ°ΠΎΠ±ΡΠ°Π·Π½ΠΎ ΡΠΈΠΆΠ΅ΠΈΠΌΠ° ΠΏΠ΅ΡΠ°ΠΌΠ° ΠΎ ΡΠΌΡΡΠΈ ΡΡΠ½Π°ΠΊΠ°, ΠΎΠ΄Π³ΠΎΠ²Π°ΡΠ°ΡΠΈ
βΠ½Π΅ΠΎΠ±ΠΈΡΠ½Π°β ΡΠΌΡΡ. ΠΠ³ΡΠ°Π½ΠΈΡΠ΅Π½Π° ΡΠΎΡΠ΅ΡΠ΅ΠΌ ΠΈ ΡΠΌΡΡΡ, Π±ΠΈΠΎΠ³ΡΠ°ΡΠΈΡΠ° Π΅ΠΏΡΠΊΠΎΠ³ ΡΡΠ½Π°ΠΊΠ°, Ρ ΠΊΠΎΠ½ΠΊΡΠ΅ΡΠ½ΠΎΠΌ
ΡΠΈΠΆΠ΅Ρ, Π°ΠΊΡΡΠ°Π»ΠΈΠ·ΠΎΠ²Π°ΡΠ΅ ΡΠ΅Π΄Π°Π½ ΠΎΠ΄ (ΠΎΠ±ΠΈΡΠ½ΠΎ Π½Π°ΡΠ²Π°ΠΆΠ½ΠΈΡΠΈΡ
) ΡΡΠ΅Π½ΡΡΠ°ΠΊΠ° ΠΈΠ· ΠΆΠΈΠ²ΠΎΡΠ° Π»ΠΈΠΊΠ° (ΠΏΡΠ²ΠΈ
ΡΡΠΊΠΎΠ±, ΠΆΠ΅Π½ΠΈΠ΄Π±Ρ ΠΈ ΡΠ»), ΠΏΠ»Π΅ΡΡΡΠΈ ΠΎΠΊΠΎ ΠΎΠ²Π΅ ΡΠ°ΡΠΊΠ΅ Π²ΡΠ΅ΠΌΠ΅Π½ΡΠΊΡ Π°ΡΠΌΠ°ΡΡΡΡ ΠΏΠ΅ΡΠΌΠ΅...The previous goal of this research was to show that epic time does not have to function
exclusively as βclosedβ, nor to hold βthe island positionβ put against the other epochs, the
opinion that prevailed in recent times when Serbian folk epic and Russian epic folk songs
(byliny) were compared. The main method of this research is semiological, but when the
reseached mingled with scientific, linguistic, literary scientific, antropological and other types of
knowledge (different methodological points of departure), it inevitably took interdisciplinary
character and lead to methodological pluralism.
The main point of this research was to figure out the way in which time in a poetic
narrative (narrative time) relates to the real (historical, i.e., objective) time, as well as the way it
functions as biographical time of the character determined by sociocultural facts in which a
variation exists, connected to different age identities. The starting point from which biological
and social time measures is the birth of a hero. His birth as well as his origin is highly unusual.
The period of childhood lasts relatively shortly. The liminal phase of the child is abandoned with
his first achievement, or heroic marriage. The adolescent then acquires a new status β status of
young warrior.
Once the status of warrior is acquired, the hero spends the rest of his life in constant
confirmation, more with every battle. Adulthood, therefore, functions as an unmarked (usual)
maturity identity of the hero. By handing down his heroic symbols (the horse and the weapon) to
his son, the hero renounces his status and becomes old. His leaving is accomplished in two ways
β by changing the surrounding β becoming an advisor or a sage β or by dying whereby the
unusual hero, in compliance with the the plots of the hero's death poems, faces unusual death.
Bounded by birth and death, biography of an epic hero in a particular plot actualizes one of the
(usually most important) moments of his life (the first conflict, marriage, etc.) weaving around
this point the temporal foundation of the poem.
Time in oral folk epic creates a very compound system of relations β both in extra-poetic
reality and within the βepic timeβ. The first type of relationship is achieved with breaking
through the barrier of the (recent) past in chronicle modeled poems, by introducing the narrators
alter ego, a narrator β participant (i.e., by introducing the internal perspective of the text). Unlike..