Release:2017, Vol. 3. №2
About the authors:Yulia A. Tsimbalova, Postgraduate Student, Russian and Foreign Literature Department, University of Tyumen; firstname.lastname@example.org
The purpose of this article is to identify and study new material for insight into the ontological discourse in the cultures of Europe and Asia.
Nowadays the ontological prose is considered to be a specific type of literary discourse about the world. Due to this fact, the problem of correlation of the ethnic-specific and archaic-typological has been intensively discussed. This issue becomes topical when expanding the outline for study of this phenomenon. Thus, the topos of river (including another sings: mountain, tree, hearth, crossing, etc.) with structure-figurative and semantic content is supposed to be a significant object of research for specialists, following the ethno-philological reflection approach of the fiction. This is especially important when the works of artists with different religious confessions (paganism/orthodoxy) are compared.
The analysis of an outstanding Khanty writer Ye. Aipin’s and Russian writer V. Belov’s stories revealed, on the one hand, the archetypical base of the image of river, its connection with constitutive parts of traditional culture (space, genus, memory), on the other hand, the difference of national variations of the image of river (for example, the intuition of flow in the Khanty world view).
The observations and conclusions of the authors record a significant number of semantic variants of the narrative models with the inclusion of toposes in the text in the experience of the Christian story master and place the narrative tightness in the experiments of pagan writer. The substantivation of the river from the characters and their fates in the texts of the Vologda writer is presented more frequently and approved by the author as existential norm.