Том 22, № 3 (2025): WORD, IMAGE, SIGN: CHUVASH HUMANITIES IN THE 21ST CENTURY

The influence of Chuvash-Russian bilingualism on the speech behavior of bilinguals reveals in violations of usage leading to the changes in the grammatical system of the Chuvash language. The special attention is paid to the analysis of changes in the field of syntactic combinability in verb-nominal collocations of the Chuvash language influenced by the dominant Russian language. The topicality is due to the increasing influence of the Russian language grammatical system on the speech peculiarities of the Chuvash speakers who are mainly bilingual. The differences between the Chuvash and Russian languages in the composition of means related to verb government lead to interference phenomena in the verb combinability of the Chuvash language. The aim of this paper is to observe the main tendencies in dynamics both in usage (spoken language, publicistic texts and etc.) and the codified literary language (normative dictionaries). The changes in the rules of verb government in the Chuvash language and preference for certain constructions, both case and postpositional, are studied chronologically from the early ХХ century to the present, special attention is paid to the last few decades. The changes in the structure of some models in verb-nominal word collocations of the Chuvash language, observed throughout this period, represent the change in the way or means of components’ syntactic connection. It is mainly the replacement of the case-forms by the postpositional ones or one form (case or non-case system form) by another one.

The study of the formation and development of functional styles of the Chuvash language is important for understanding the evolution of the literary language. The study of this issue is especially relevant at the present stage, when the Chuvash language is faced with a strong influence of the Russian language, and some changes are being made to the approaches to the study of styles in domestic linguistics. This will allow us to better understand the processes occurring in the modern Chuvash literary language. This study uses the ideas of V.V. Vinogradov, A.I. Gorshkov, N.S. Valgina and other linguists. To date, the most studied part of the functional stylistics of the Chuvash language is the popular scientific style of the Yakovlev period (1871-1917). The purpose of the study is to identify and study the markers that are key elements of the functional styles of the modern Chuvash language using the example of colloquial and journalistic. The article analyzes the linguistic means and techniques used in different styles and identifies their main characteristics at the level of the lexical system, morphological structure and syntactic system. The differences and common features in the composition of linguistic markers of the colloquial and one of the book styles - journalistic at the lexical, morphological and syntactic levels are revealed. The methods of observation, description, compositional and partially content analysis are used. Language markers, as a rule, are illustrated by examples in the Chuvash language with translation into Russian. The results of the study can be useful for linguists in scientific research in the field of stylistics, teachers in the practice of teaching the Chuvash language and all those interested in the issues of functional styles of the Chuvash language.

The paper is devoted to the peculiarities of translating Chuvash adjectives expressing the colour characteristics of objects and phenomena of the poem “Narspi” by K. Ivanov into Russian and German. The purpose of the study is to identify the peculiarities of the translation of the adjectives of the poem “Narspi” into Russian and German on the basis of a comparative analysis. The scientific novelty lies in the fact that for the first time the specifics of the translation of Chuvash adjectives conveying different color characteristics of the poem are being investigated. The study was conducted using the methods of continuous sampling of constructions with adjectives of the poem “Narspi” by K. Ivanov and the method of comparative analysis to identify common and different translation variants. The translation of Chuvash adjectives denoting colors into Russian and German and the techniques of their transmission have not been considered in such detail before. The Chuvash language, a little-spoken language, is compared with Russian and German and studied in more detail thanks to this research analysis. The issues of translating Chuvash works into the languages of other peoples, related to the transfer of the stylistic and national identity of the original, its poetic form, are new material for study. The most common ways of translating Chuvash adjectives into Russian and German are by calculating and selecting equivalents with synonymous meanings.

The paper deals with the issues arising in Christian religious texts when translating from Church Slavonic and Russian into Chuvash. The classification of difficulties to translate types of words and expressions has been given, the methodology of their transfer by means of the recipient language has been proposed. This classification is based on research methods of etymological and contextual analysis adequately taking into account structural and semantic features of the Chuvash language. Possible translation variants have been illustrated by examples from the New and Old Testaments. The translation elements’ examples of Christian-religious discourse into other languages of the Turkic group such as Cuman, Gagauz, Tatar have been given. The article touches upon the linguocultural aspects of translation related to the historical development of a particular ethnic group and its religious and cultural tradition. The approaches proposed in the article can be applied for translating religious and other texts into different languages.

The paper is devoted to the study of the binary opposition FRIENDSHIP - ENMITY in the Chuvash and Russian pictures of the world and the identification of national-cultural features and ways of its representation at the cognitive-discursive level. The purpose of the study is to examine the specifics of the implementation of the concepts under study from the perspective of universal and nationally determined features. The material for the study was proverbs and sayings, selected using a continuous sampling from specialized sources. The following methods were also used in the work: the method of conceptual analysis, the comparative method, the elements of contextual analysis designed to determine the linguistic content of the concepts of FRIENDSHIP - ENMITY. The study revealed that the lexemes “friendship” and “enmity” are part of the main semantic oppositions with a universal code for various languages of the world. The concepts under study have substantial features of the national and international linguistic mentality of peoples, are a reflection of universal human attitudes, and have various angles of verbal characterization. The role of friendship and hostility in people’s lives is defined as socially significant, occupying an important place in the system of cultural values of the Russian and Chuvash peoples.

The relevance of this study increases in the context of the steady strengthening of the multicultural space in the modern world and the strengthening of the role of intercultural dialogue in it. In the process of searching for optimal forms of dialogue between different cultures, the artistic and verbal experience of national minorities (alias, ‘инородцы’ - inorodtsy) during the formative years of Soviet Russia is very useful. We are interested in the author’s picture of the world of writers in the prism of ethnic self-identification, their search for ways of further existence of the nation in the context of changing reality. The purpose of this article is to identify the author’s pictures of the world in their diversity and evolution. The material used is the works of talented Chuvash writers, which were composed (published, revised or staged) in 1917-1924. The borderline state of several sciences studying man and his culture is described. Literary, psychological and ethnological approaches are used. Comparative analysis with its focus on identifying the singular and unique prevails.

Modern Chuvash literature is distinguished by its ideological, thematic and genre-stylistic richness. Many of the artistic trends of Chuvash prose most clearly manifested themselves in the late 20th - early 21st centuries. The relevance of this study is associated with the need to study the poetics of mysticism as one of the modern trends of Chuvash prose in the context of world artistic trends - magical realism, taking into account their aesthetic connections and differences. Artistic and mystical works in Russian (including Chuvash) literature very often represent a synthesis of Orthodox-religious and national-folklore motifs, images, and themes. Meanwhile, such mysticism in its poetics is very close to magical realism, which originated in Latin American literature. Taking these features into account, the aim of this study was to identify aesthetic parallels between the works of Chuvash mystical prose and magical realism. In accordance with the purpose, the main tasks of the work are formulated: to study the theoretical issues of the poetics of the mystical and magical; to determine the genre and stylistic features of the work of the writers under study; to identify the main elements of the commonality of Chuvash artistic mysticism and magical realism. The works of the Chuvash author Nelli Petrovskaya and the Argentine author Julio Cortazar were selected as research material. The main research methods are comparative-historical and contrastive analysis of works of art. As a result of the study, they came to the conclusion that the mystical and magical in fiction manifest themselves as something inexplicable, miraculous, otherworldly, while the plot of the story is based on real life. Their distinctive feature is that in mystical works religious ideas and symbols are expressed more vividly, while in magical realism the mythological worldview of the people is expressed more vividly. However, it also contains religious symbols.

The paper examines the features of the poetics of free verse of the modern Chuvash poet Stanislav Sadur. The purpose of the study is to determine the specifics of S. Sadur’s free verse. The relevance of the work is caused by the desire to characterize the features of the development of modern Chuvash poetry. The results showed that S. Sadur’s free verse is distinguished by brevity of form, visualization, the presence of a verbal picture, elements of folklore, sound harmony, expression of philosophical meaning, and features of existentialism. The works are similar to an expanded metaphor, built on the type of comparison, figurative-aphoristic expression of meaning, listing or comparison of homogeneous images, experiences. Brevity and originality of form require concentration of thought, capacious expressive means. S. Sadur continues the traditions of free verse developed in Chuvash poetry in the second half of the twentieth century. We consider the poet’s creative searches as an expression of the author’s picture of the world, formed under the influence of Chuvash folklore, the traditions of Chuvash and world poetry, and life experience.

The paper discusses the main features of the musical culture of the ancestors of the Chuvash people at the Volga-Kama stage of its history - the third of the four largest ethnogenetic stages, identified on the basis of the study of the migrations of its Bulgar-speaking ancestors. It is indicated that, in the absence of written and other data on the music of that era, it is possible to reconstruct its main features with the help of comparative-historical and historical-typological studies of the oral musical and poetic heritage of the Chuvash in comparison with the data on the music of related or contacted peoples of that era. Thanks to the research of historians, the idea was established that the Turkic-speaking ancestors of the Chuvash at this stage reached a high level of social organization, housekeeping and musical culture. The significant influence of the musical culture of the Turkic Bulgars on the musical system of the songs of the ancient Magyars, noted in the sources, testifies to the depth of its foundations. Well-preserved forms of pentatonic scale, structural regularities of quantitative rhythmics and plot composition of ritual folk song lyrics of the Chuvash, in the author’s opinion, testify that at the third stage under consideration there were still known intonation and structural foundations of vocal music, as well as musical instruments inherited from previous stages and developed in new conditions. According to historical science, the third ethnogenetic stage of the history of the Chuvash people was the time of formation and crystallization of the main features of the Chuvash people. It is concluded that among them are the properties of the Chuvash musical and poetic system revealed with the help of comparative-historical and historical-typological methods. Adapted to the spatial and temporal conditions of the Volga-Kamya, the music of the Chuvash continues to live.

The image of the bride in world painting is the embodiment of youth and beauty. Reflecting the trends of the time and national ideals of femininity, the artists created a number of outstanding works. Chuvash painters, trying to express their national identity, often sought inspiration in the image of Narspi, the heroine of Konstantin Ivanov’s poem of the same name. In its development, the image of the Chuvash bride has always met the spiritual and aesthetic needs of society. He received a vivid embodiment in the paintings of Moisei Spiridonov, the founder of professional art in the republic. The relevance of the research is caused by a great interest in traditional culture and the search for national identity. In Chuvash art, the wedding ceremony gave a variety of subjects and new artistic forms. The representation of the image of the bride in the works of masters of different times contains the possibility of the most expressive embodiment of the traditions of the native people, as well as the beauty of the national costume. The material for the study was paintings by masters of the twentieth century, as the most adequately embodied folk ritual traditions. The comparative analysis of artistic and stylistic features became its methodological basis. The purpose of this article is to review and analyze works devoted to one of the key subjects of the wedding ceremony - the moment when the bride waits for the groom. This image makes it possible to reveal the deep character of the Chuvash people, their worldview and the meanings of existence. In this perspective, the chosen topic was considered in art history for the first time. The author highlights the most characteristic works of Chuvash artists who embodied the richness of the artistic image through the portrait of the bride.

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