Hermeneutic analysis of olonkho texts

Abstract

The article proposes an approach based on the use of the properties of the hermeneutic triangle: the narrator-text-reader, which turns out to be optimal for the study of olonkho texts. All the essences of these three elements: the author-narrator (often nameless), the text and the reader-listener naturally flow into each other and serve as a support for each other. Olonkho created a unique type of epos, in which the language of precise artistic sketches, bright plot lines, multi-level architectonics is combined with subtle irony and sincere author's word. As a result, the epic scope is closely intertwined with the chamber and human warmth.

Another approach used in the work is the hermeneutic opposition “world-to-earth”. This makes it possible to establish a complementary connection between a huge reservoir of metaphysical senses and their realization in the middle world. The metaphysical essence of man and the world in the olonkho contributes to the comprehensive disclosure of the personality, the harmony of the images of the heroes and their environment.

The third approach involves the allocation of parts and the corresponding whole, as one of the options for the hermeneutic circle. Such parts of the text provide an intentional focus on the most important thing in this part of the text, filtering out all secondary collateral impressions. An exceptional variety of characteristics creates a complete, stable description that cuts into memory and at the next stages of hermeneutic analysis provides the interaction of the author, text and reader.

These three approaches make it possible to reveal the essence of the author-narrator, the text produced by him and the reader's orientation to the perception of the text. It is shown that the author narrator constantly refers to the “earth”, which contains the main tools of his work. Being focused on the phenomenological limit, it nevertheless constantly deals with other limits: communication and harmony rhythms. Any word, characteristic features, the narrator there chooses images, so that they correspond to the harmony rhythms of this test and fit into the communication systems while increasing their stability and optimality. A similar relationship between the limits is inherent in the reader-listener and the text. Their formation is based on the same interrelated limits.

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