Аллитерационно-ассонансная звуковая гармония в языке якутского героического эпоса олонхо
Alliteration-assonance Sound Harmony in the Language of Olonkho – Sakha Heroic Epos
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In this article, the author considers the issues of alliteration-sound harmony in Sakha heroic epos, analyzing the material of the text of ‘Dyuluruyar Nyurgun Bootur’ (‘Energetic Nyurgun Bootur') olonkho by K.G. Orosin (1947). In this connection, the author touches on the problems of the structure of rhythmical-syntactical parallelism since parallelism and alliteration-assonance harmony have close interrelationship with each other because of the laws of language. The author shows how the structure of rhythmical-syntactical parallelism forms. It allows emphasize that word recurrences are available. They take various positions within the structural formation of parallelism. As an additional means of sound organization of epic text, the olonkho rhyme has been analyzed. Proceeding from it, the author emphasizes the substantial reasons for the appearance of rhyme in the language of Sakha heroic epos. As a result of the analysis conducted, the author has determined the rhyme-forming and metrical functions of alliteration-assonance sound harmony in the Sakha epos as well as the author has determined a style-forming character of this type of the method of art in folk versification of the Sakha. This circumstance is connected with the law of syn-harmony – basic normality of ethnic language.
Abstract
In this article, the author considers the issues of alliteration-sound harmony in Sakha heroic epos, analyzing the material of the text of ‘Dyuluruyar Nyurgun Bootur’ (‘Energetic Nyurgun Bootur') olonkho by K.G. Orosin (1947). In this connection, the author touches on the problems of the structure of rhythmical-syntactical parallelism since parallelism and alliteration-assonance harmony have close interrelationship with each other because of the laws of language. The author shows how the structure of rhythmical-syntactical parallelism forms. It allows emphasize that word recurrences are available. They take various positions within the structural formation of parallelism. As an additional means of sound organization of epic text, the olonkho rhyme has been analyzed. Proceeding from it, the author emphasizes the substantial reasons for the appearance of rhyme in the language of Sakha heroic epos. As a result of the analysis conducted, the author has determined the rhyme-forming and metrical functions of alliteration-assonance sound harmony in the Sakha epos as well as the author has determined a style-forming character of this type of the method of art in folk versification of the Sakha. This circumstance is connected with the law of syn-harmony – basic normality of ethnic language.
참고문헌 (11)
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