PLOT AND COMPOSITION OF INCANTATIONS WITH “I’LL GET UP BLESSED WITH HOLY CROSS”BEGINNING IN SIBERIAN TRADITION

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Key words
incantation, beginning, index, motif, Siberian tradition
Author
TAT’YANA LEONOVA
About the Author
TAT’YANA LEONOVA
Tel.: +7 (3812) 23-12-20
4a, Partizanskaya str., 644037, Omsk, Russian Federation
Full Professor, professor, department of Literature and Culture Studies, Omsk State Pedagogical University
Body

Incantation form opening with the beginning formula “I’ll get up blessed with Holy Cross…” is complicated in its structure and marked with highly developed narration. It appears in different regions of Russia. It seems necessary to summon new sources in order to continue investigation of manifestations of this beginning formula, which appear in Siberian tradition. Plots with the meeting motif are drawn under consideration in this paper. Expectance of joining certain plot to the given beginning depends on the possibility of meeting motif manifestation in this plot. Usage of recent text editions fills up concept of plot toolkit of incantations of Siberia. Evaluation of texts proves, that there in Omsk region of Irtysh the river’s basin appearance of the charm’s model with the beginning has been steady and rich in motifs and plots to the same extent, as in other regions of the Western Siberia. But it has suffered processes of evolution, that have caused changes of the personage system, vanishing of archaic images, forthcoming of new motifs and plot versions, obtaining of new functions by incantations and reduction of texture. Incantation tradition of Omsk region of Irtysh the river’s basin is affected by ethnic heterogeneity of population. Investigation of the given composition and plot model promotes revealing of general tendencies of development and distinctiveness of the region’s incantation tradition. Structure type of charms opening with the beginning formula, verbalized in the 1st person, make evident those tradition features, which are related with changes in performer’s world-view and their reception of the aesthetics and pragmatics of this genre.

References

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