“GOLDEN SIGN” IN FOLKLORE OF KOMI: A SONG OF THE TYPE “TO BURY GOLD” IN SONG TRADITIONS OF KOMI

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Key words
folklore bilingualism, folk song, plot, variant, textology
Author
TAT’YANA KANEVA
About the Author
TAT’YANA KANEVA
E-mail: t-kaneva@yandex.ru
Tel.: +7 (8212) 39-03-96
55, Oktyabr΄skiy av., Syktyvkar, 167001, Russian Federation
PhD (Philology), associate professor, Russian Philology Department, Institute of Humanities, Pitirim
Sorokin Syktyvkar State University
Acknowledgements

This paper is financially supported by the Government of Komi Republic and the joint grant of the Russian Foundation for Basic Research and the Government of Komi Republic project No. 17-14-11001а (р) “Russian song folklore in the Komi traditions: systematic description and studies (on material of the Folklore Archive of the Syktyvkar State University)”.

Body

The work is devoted to the manifestations of folklore bilingualism of the Komi people who have mastered the Russian song repertoire. Objects of the characteristics were variants of the game song “To bury gold”, recorded from the Komi people and stored in the Folklore Archive of the Syktyvkar State University. This song plot was widely used in Russian traditions, it was associated with a game in which “gold” (a ring, a pin or similar items) are “hidden” and then “discovered” among its participants; in some cases, the goal of the game was to designate sympathy between young people. Love-marriage atmosphere of the game corresponds to the images and motifs of the song: the ring, the couple “a maiden — a nobleman”, braiding the braids, the fall of the ring in “Kalina-malina” (namely, snow ball and raspberry bushes). Komi variants of this song from the Folklore Archive of the SSU were recorded in the 1970s and 1980s in three regions of the Vychegda river basin. When referring to these records, the degree of adaptation of Russian folklore in an environment that is foreign is of interest. Comparing the Komi variants of the song with the actual Russian ones, one can conclude that they are all recognized by “plotforming” motives, the texts show different degrees of assimilation by the Komi singers. The text from the Ust’Vym tradition is presented in the most adequate form. Minor “dark places” are marked in the Kortkeros version. Sysola record gives an example of the most distorted text. Obviously, the subject matter has its own way in each of the three traditions. The work also includes the publication of three considered versions of the song from three Komi traditions, revealed in the Folklore Archive of the SSU.

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