Зохиолын дүрийн хэв шинжийг уйлах уярах үйлдэлтэй холбох нь (Ч. Лодойдамбын “Тунгалаг Тамир” романы баатруудын жишээгээр)
Connecting typologies of literary protagonists with the speech acts of crying (based on examples from Ch. Lodoidamba’s Tungalag Tamir)
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This article, a continuation of the author’s research on certain speech acts in Mongolian, examines the typological features of lexical and non-lexical means of expressing the speech act of crying as exhibited by the main protagonists of Tungalag Tamir (The Clear Tamir) by Ch. Lodoidamba, a work forever immortalized as the most famous novel of modern Mongolian literature. Specifically, this article identifies verbal and non-verbal instances of the verb uil- ‘to cry’ and its synonyms, as well as instances of laughter in this famous novel. The main conclusions reached include the following: - Wealthy Itgelt laughs 45 times—more than any other character—but does not cry at all; Takhar Badarch laughs 20 times and only cries once when he begs for his life after committing a crime against the Revolution; Tömör laughs 20 times and “cries” to himself 3 times; Revolutionary Erdene laughs 15 times and “cries” 2 times to himself; Beautiful Dulmaa laughs 10 times and cries 15 times; the naive Khongor laughs 10 times and cries 7 times. The frequency of these acts may become a powerful tool in defining the unique characteristics and typologies of each particular character in the story. - In this novel, of the 24 characters who cry not in a group but alone, 11 are male and 13 are female. This indicates that the number of males and females is generally approximately the same. - The characters who cry the most—Dulmaa, Dolgor, and Bat—are the characters who endure the most life difficulties. Thus, the fact that Dolgor and Bat laugh less than 10 times and its connection with their life situations is doubly proven. Although Dulmaa cries the most, she also cries 10 times, proving that she is a typologically unique character who is also “hearty, friendly, brave, courageous, and cheerful”. - The act of crying of Dulmaa, Dolgor, Bat, and Solongo is expressed using the most lexical patterns and with many different imageries, connected with the life situations they endure. However, as for Solongo, since she usually cries together with Süren and Doljin, this needs to be explained differently. - The fact that most of the findings of the fields of psychology and psycholinguistics on the act of crying as expressing individual people’s physical and emotional states generally conforms with the changes and growth of the characters in this novel is not a coincidence, and is solid proof that the author was able to create truly lifelike characters in his novel in terms of their language and actions.
Abstract
This article, a continuation of the author’s research on certain speech acts in Mongolian, examines the typological features of lexical and non-lexical means of expressing the speech act of crying as exhibited by the main protagonists of Tungalag Tamir (The Clear Tamir) by Ch. Lodoidamba, a work forever immortalized as the most famous novel of modern Mongolian literature. Specifically, this article identifies verbal and non-verbal instances of the verb uil- ‘to cry’ and its synonyms, as well as instances of laughter in this famous novel. The main conclusions reached include the following: - Wealthy Itgelt laughs 45 times—more than any other character—but does not cry at all; Takhar Badarch laughs 20 times and only cries once when he begs for his life after committing a crime against the Revolution; Tömör laughs 20 times and “cries” to himself 3 times; Revolutionary Erdene laughs 15 times and “cries” 2 times to himself; Beautiful Dulmaa laughs 10 times and cries 15 times; the naive Khongor laughs 10 times and cries 7 times. The frequency of these acts may become a powerful tool in defining the unique characteristics and typologies of each particular character in the story. - In this novel, of the 24 characters who cry not in a group but alone, 11 are male and 13 are female. This indicates that the number of males and females is generally approximately the same. - The characters who cry the most—Dulmaa, Dolgor, and Bat—are the characters who endure the most life difficulties. Thus, the fact that Dolgor and Bat laugh less than 10 times and its connection with their life situations is doubly proven. Although Dulmaa cries the most, she also cries 10 times, proving that she is a typologically unique character who is also “hearty, friendly, brave, courageous, and cheerful”. - The act of crying of Dulmaa, Dolgor, Bat, and Solongo is expressed using the most lexical patterns and with many different imageries, connected with the life situations they endure. However, as for Solongo, since she usually cries together with Süren and Doljin, this needs to be explained differently. - The fact that most of the findings of the fields of psychology and psycholinguistics on the act of crying as expressing individual people’s physical and emotional states generally conforms with the changes and growth of the characters in this novel is not a coincidence, and is solid proof that the author was able to create truly lifelike characters in his novel in terms of their language and actions.