Books by Larisa Fialkova / Лариса Фиалкова
This is my Ph.D. thesis "Gogol's Tradition in Russian Fantastic Prose at the Beginning of the 20t... more This is my Ph.D. thesis "Gogol's Tradition in Russian Fantastic Prose at the Beginning of the 20th Century". It has been partially published in several papers. The Doctorate was granted to me in 1985 by the University of Tartu.
Внимание: нумерация страниц для ссылок не годится. Текст образован скреплением разных файлов. Нес... more Внимание: нумерация страниц для ссылок не годится. Текст образован скреплением разных файлов. Несмотря на то, что на первой странице указана часть 2-ая, тут представлена вся книга, за исключением библиографии.
Опечатки в книге "Русская улица в еврейской стране"
Т. 1 стр. 17 вместо (Браун 1990: 8-9) нужно (Браун 1990: 258-259).
Т. 1 стр. 30 Вместо Синельников 2002 нужно Синельников 2004
Т. 1 Стр. 290 вместо (Мороз 2000: 249) нужно (Мороз 2000: 204).
Т. 2 стр. 106 вместо (Ольштайн и Котик 2000: 26) нужно (Ольштайн и Котик 2000: 206).
Т. 2 стр. 165 . Вместо Алла К. 65+ группа неизвестна нужно 4-ая группа.
Т. 2 стр. 185 Вместо Брам К. нужно Брам Х.
Т. 2 стр. 208 Миллер Р. Вместо family stories нужно family histories
Т. 2 стр. 212 в Ольштайн и Котик 2000 вместо стр. 201-237 нужно 201-217
Т. 2 стр. 224 пропущены і в источнике: Фиалкова-Фиалкова, Лариса (1997) Сучасні легенди з України в Ізраїлі. В сб.: Єврейська історія та культура в Україні. Матеріали конференції. Київ: Інститут Іудаїки, 213-218.
Просим нас извинить!
Мария Еленевская и Лариса Фиалкова
When Mountains Meet: Essays in Ukrainian-Israeli Folklore Studies
Larisa Fialkova
Contents
... more When Mountains Meet: Essays in Ukrainian-Israeli Folklore Studies
Larisa Fialkova
Contents
Acknowledgments……………………………………………………………….3
Introduction………………………………………………………………………4
Part I. The Image of Jerusalem in Ukrainian Folklore………………………….10
Part II. Folklore from Ukraine in Israel…………………………………………22
Oleksa Dovbush in Jewish Culture……………………………………………….22
Mysterious Ukraine: Ghost Stories and Stories of Buried Treasures….…………41
Nuclear Humor……………………………………………………………………76
Part III. Incipient Ukrainian Diaspora in Israel………………………………….106
Afterward: Confession of a Former Kyiv Dweller……………………………….164
Summary
Ukrainians and Jews have been neighbors and co-citizens for a long time. They live together nowadays as well. But the circumstances of their co-existence have changed. Both nations have acquired their nation-states, where having changed their status from a minority to a majority group they confront problems they never knew before. But Jews continue to live in Ukraine as a minority, and many Ukrainians for their part have immigrated to Israel as relatives of Jews or Arabs and have got Israeli citizenship. Immigrants from Ukraine (Jews, Ukrainians, and Russians) constitute at the very least one third part of the great wave of the immigration of the 1990s to Israel from the former Soviet Union, and are usually perceived as part of the so-called “Russian Israel”. This book is the first attempt to question this tendency. Does Ukrainian culture affect the identity of the immigrants from Ukraine? What languages do they speak? What stories do they tell? Do they form a distinct group? These are the problems addressed in this book which is based on fieldwork and research by the author between 1992 and 2006.
In the introduction readers are given a short survey of the sparse studies in Jewish-Ukrainian comparative folklore by Israeli folklorists, both professional and amateur. A large collection of songs, including so-called multi-lingual (macaronic) songs, was collected by Meir Noy who published a paper of limited circulation on this issue. This collection is housed in the National library in Jerusalem. Moshe Hoch in his M.A. thesis produced another study on comparative Jewish-Ukrainian musical folklore not published in a monograph form. Amateur research on the Israeli variants of Slavic songs is being conducted by Uri Yakubovich and Ilia Dobosarskii, who have never published the results of their activities. Two collections of Yiddish proverbs from Ukraine, collected respectively by Baruch Hirga, an immigrant from Lviv, and Lev Kirtsman, an immigrant from Khmil’nyts’kii, are stored in the archives of proverbs at the Hebrew University of Jerusalem, while narrative folklore is housed in the Israel Folktales Archives (IFA) named in honor of its founder Prof. Dov Noy. It was he who began the investigation of the Jewish-Ukrainian parallels in prosaic folklore, concentrating on Hucul folklore and paying primary attention to the image of Dovbush in Jewish folklore. Until recently all the stories from Ukraine were dispersed in the IFA among four different card indexes: Russia, Poland, Rumania and Hungary. It was only the author of the current book who formed a separate card index for Ukraine in 1992 (now it contains more than 800 texts) and embarked on systematic research into the life of folklore from Ukraine in Israel.
The first part of the book considers how Palestinian geography is reflected in Ukrainian folklore. Real geography is transformed into a legendary locus where Jerusalem is situated on the banks of the river Jordan. It is full of cedars (folk etymology of the toponym Kidron – kedr (cedar) in Ukrainian and Russian – or transformed memory about the Jewish Temple, built of cedars of Lebanon). Palestine’s geography is linked to or even identified with that of Ukraine: Kyiv is perceived as Jerusalem and the Dnieper as the river Jordan. Historical time is transformed into legendary: Samson the Hero is described as the son of King David (along with Solomon and Joseph) and is perceived as the destroyer of Jerusalem. This city is connected to Ukraine through caves and underground tunnels, and sometimes is seen as the land of the dead. The image of Jerusalem which is formed in Slavic folklore, mainly Russian and Ukrainian, influences the city’s perception by recent immigrants to Israel.
The second part of the book consists of three essays. The opening essay is devoted to Oleksa Dovbush (Dobush), an 18th -century Ukrainian national hero (1700-1745), a leader of opryshki – an anti-feudal and anti-Polish movement, and a Ukrainian Robin Hood. Following Dov Noy’s discovery of his image in Jewish Hasidic legends about the founder of the movement, the Ba’al Shem Tov (Ha-Besht), the author presents newly found Jewish sources on Dovbush as well as a Ukrainian version of his meeting with the Ba’al Shem Tov and a Ukrainian legend of a Jewish girl’s affection for the dying hero. Of special importance is an original poetic translation from Hebrew of Shimshon Meltzer’s ballad “Dobush and Ba’al Shem Tov”. The Jews considered Dovbush (Dobush) a repentant robber, while for the Ukrainians he is first of all an epic hero. Jewish folklore and fiction present an alternative biography of Dovbush, different from the versions known in Ukrainian culture. According to elements found in various sources, Dovbush was born to a widow, fed by the dog, and named by a Jew (the name Dovbush derives in this version from dov – (Hebrew for bear: the baby, being hairy, brought this animal to mind). In his maturity he was impressed by a Jewish saint (the Ba’al Shem Tov or Rabbi Arye), repented, and died in solitude. In still another version Dovbush perished because did not believe the saintly man’s warning. The migration of the Dovbush tradition to Jewish culture goes hand in hand with its adaptation to the new norms and the censorship of the elements that cannot be accepted by the new audience. The second essay is devoted to tales of ghosts and buried treasure (both legends and personal narratives) recorded by the author from a recent immigrant from Odessa, Oleksandr Stanovs’kyi. The narrator is a secular Jew married to a Ukrainian woman, they have a daughter. The couple speak Russian among themselves and at least partly Hebrew with the child. Although all the stories were told in Russian they undoubtedly originated from Ukraine. The stories and their versions from the Internet are analyzed in the context of Odessa regional studies, personal narrative research and comparative folklore about ghosts in mines and caves and about buried treasure. The material illustrates the living belief and narrative tradition imported from Ukraine to Israel. The last essay is devoted to the vernacular commentary on the Chornobyl disaster. Though folklorists have long known Chornobyl as a small Ukrainian town with diverse traditional cultures, from April 26, 1986 it became the symbol of nuclear disaster. Today “Chornobyl’s folklore” is defined exclusively in terms of those narrative forms that developed following the event. These forms include rumors, personal narratives, children’s games, jocular verses and jokes. Previous scholars have largely considered this material from the perspective of individual collections; this essay compares and analyzes comparative material collected in different countries (Ukraine, Russia, Poland, Hungary, Czechoslovakia, and Israel) and in different languages, including material recorded in Israel from the immigrants from Ukraine by the current author. Chornobyl’s folklore is also compared with the humor that spread after the Middletown nuclear disaster in 1979, and the typological resemblance between the two has been traced. Particular attention is paid to the Hasidic element in Chornobyl folklore, where the explosion is perceived as a punishment for the desecration of a Jewish cemetery. The Chornobyl disaster proved to be one of the reasons for emigration from Ukraine to Israel.
The third part of the book discusses an incipient Ukrainian diaspora in Israel. It is based on the material of unfocused interviews with 44 immigrants and focused interviews with 12 immigrants from Ukraine (some interviews in Russian others in Ukrainian) and on participant observation of the functioning of Ukrainian language and culture in Israel. In the last few years Ukrainian has sometimes been heard on the streets of Israel, spoken by adults and children alike; Ukrainian actors visit Israel, and immigrants’ Ukrainian artistic groups are being created. Ukrainian can be seen on posters and billboards, and even in the press. In 2005 Sobornist’, an Israeli literary magazine in Ukrainian was launched. In sum, there are diverse signs of diaspora trends but they are not strong enough to produce positive results. Although many immigrants know Ukrainian to some extent, only a minority perceive it as their native language. Fewer still are ready to invest in its preservation. Others, including those nostalgically attached to Ukrainian cities, food, songs, and dances, feel no symbolic ties with the language itself and form part of the Russian-language Israeli community. In the absence of social and financial investment of the Ukrainian aspect the outlook for the rise of a distinct Ukrainian cultural diaspora in Israel is bleak.
In the afterword the author, a former Kyiv dweller and a Russian-speaking Israeli, confesses the reasons for her emigration from her native and highly cherished city, and reveals her personal way to Ukrainian studies in Israel.
ОТ СОСТАВИТЕЛЕЙ
Пословицы и поговорки - это один из самых популярных жанров устного народного т... more ОТ СОСТАВИТЕЛЕЙ
Пословицы и поговорки - это один из самых популярных жанров устного народного творчества. Они распространены в селах, и в городах, среди людей малограмотных и среди ученых. В них - и народный календарь, и советы на все случаи жизни, и философский подход к миру.
Особое место в фольклоре всех народов занимают пословицы и поговорки на медицинские темы. Пристально наблюдая за жизнью и смертью, врачами и больными, болезнями и лечением, люди из века в век вырабатывали и фиксировали в коротких запоминающихся текстах те знания, которые наука впоследствии разовьет в медицинской этике, медицинской эстетике, деонтологии, диагностике, лечении и, особенно, в профилактике.
Пословицы и поговорки предельно кратко, ярко и четко отражают народный оптимизм и трезвый взгляд на ЖИЗНЬ ( «Пока я жив – смерти нет, когда смерть придет – меня не будет» ); СМЕРТЬ ( « Не жди смерти, сама придет» ); ЗДОРОВЬЕ («Здоровому все здорово.» ); БОЛЕЗНЬ ( « Хворь одна, а болеет ею каждый по-своему.»); ВРАЧЕЙ (« Когда человек болен, врач ему – отец; когда человек выздоравливает, врач ему – друг; когда здоровье человека восстановлено, врач – страж его»); ЗНАХАРЕЙ («Ворожка - на тот свет дорожка»).
В сборниках, посвященных пословицам одного народа, «медицинские» тексты, как правило, не выделяются, а приводятся в алфавитном порядке; в сборниках, посвященных медицине, – разделены по темам. Алфавитный порядок при этом сохранен, но варианты и аналоги не приводятся.
Книга, которую вы держите, - это результат многолетнего собирательства, работы с текстами и над текстами. Мы решили отказаться от алфавитного порядка в пользу тематического, приведя максимальное количество аналогов и вариантов, чтобы попытаться выявить и показать внутреннюю перекличку текстов.
Лев Фиалков (врач), Лариса Фиалкова (фольклорист)
Papers by Larisa Fialkova / Лариса Фиалкова
Studia Mythologica Slavica, 2022
This is the second part of the paper (for introduction and the first part which addresses Mediev... more This is the second part of the paper (for introduction and the first part which addresses Medieval Rus in Peter Morwood’s and Katherine Arden’s trilogies see Studia Mythologica Slavica 24 (2021): 13–32). Alternative Slavic fantasy is defined as fantastika (speculative fiction) created by English-language writers on the basis of real or assumed Slavic folklore, separate from Slavic fantasy per se. The focus of the current part is the logic of interaction between Slavic and/or quasi-Slavic folk plots and characters with Russian and Ukrainian history of the 19th–20th centuries in Evelin Skye’s dilogy and Catherynne Valente’s and Orson Scott Card’s novels.
"Вечный дом" Михаила Булгакова, 2021
Коли наприкінці 1960-х років читачі познайомилися з романом M. Булгакова «Майстер і Маргарита», б... more Коли наприкінці 1960-х років читачі познайомилися з романом M. Булгакова «Майстер і Маргарита», багато з них були збентежені, настільки твір не вписувався у розхожі, традиційні уявлення про літературу 20-30х років. Вражала новизною саме висхідна ситуація твору-поява Князя Темряви, і його екстравагантного почту у Москві. Втім, коли ейфорія захоплення поступилася місцем аналізу, згадалися Мефістофель Гете, і нечиста сила з казок Гофмана, і створені фантазією Гоголя Басаврюк та Петроміхалі, і чорт з «Братів Карамазових» Достоєвського. Усі ці герої одразу ж були зараховані до сімейного альбому булгаківського Воланда і його помічників як сивобороді пращури. Та тривалий час у цьому альбомі були відсутні «фотографії» батьків, братів, сестер, інших родичів інфернальних гостей Москви з «Майстра і Маргарити». Але ж ці родичі квартирували на сторінках книг і журналів першої чверті XX століття. Цікаво, що одні й ті ж самі епізоди класичних творів, вплинувши на кількох письменників ХХ-го століття, набували різного характеру згідно з настановою автора. Так, відома сцена з другої частини «Фауста» про примарні подарунки Сатани відгукнулася в оповіданні О. Ремізова «Оказіон» 2 , а згодом гротесково була осмислена Булгаковим у його романі. О. Ремізов розповідає про дивний магазин «Оказіон», який дуже скидається на той, що відкрили на сцені вар'єте Гелла і Коров'єв. Порівняйте самі: «Как же, есть и пальто, сколько угодно!-продавщица в чёрном, у них все в чёрном, барышня продавщица, на лису
Studia Mythologica Slavica, 2021
Alternative Slavic fantasy is defined here
as fantastika (speculative fiction) created
by Engli... more Alternative Slavic fantasy is defined here
as fantastika (speculative fiction) created
by English-language writers on the basis
of real or assumed Slavic folklore, separate
from Slavic fantasy per se. The focus of the
current paper is the logic of interaction between
Slavic folk plots and characters with
Russian and Ukrainian history. The first part
addresses Medieval Rus in Peter Morwood’s
and Katherine Arden’s trilogies. The second
part, which addresses Russia and Ukraine in
the 19th-20th centuries is published in the
next issue of the journal available on Academia.edu
SEEJ Slavic and East European Journal, 2020
The subject of folklore and literature has long been discussed. What is new is literary writers u... more The subject of folklore and literature has long been discussed. What is new is literary writers using folklorists as literary characters. According to Shelly Ingram, American fiction pictures folklorists as self-confident, but ignorant. Russian fantastika, on the other hand, mythologizes folklorists and attributes supernatural abilities to them. Fictional characters such as witches and shape-shifters behave as if they know folklore scholarship. Famous folklorists such as Propp, Frazer and possibly Nekliudov appear as characters in fantastika. The writers of fantastika draw on published sources rather than their personal experiences of lore and incorporate both applied folklore and folklore scholarship in their works.
Изучение использования фольклора в художественной литературе имеет давнюю историю, но теперь фольклористы сами стали персонажами. Обсуждения их исследований являются частью сюжетов. Как показала Шелли Инграм, американские фантасты видят в фольклористах самоуверенных невежд. Для русской фантастики характерна мифологизация фольклористов, приписывание им сверхъестественных способностей. Фантастический персонаж (например, ведьма или оборотень) может быть знатоком фольклора, а фольклористы (например, Пропп, Фрезер, и, возможно, Неклюдов) иногда оказываются фантастическими персонажами. Источником знаний писателей о легендах и верованиях является не столько устная среда, сколько исследования фольклористов, популярные энциклопедии и путеводители.
Савремена српска фолклористика. 8, Словенски фолклор и књижевна фантастика : зборник радовa, 2020
Alternative Slavic Fantasy of American Writers
This paper discusses a relatively new interest o... more Alternative Slavic Fantasy of American Writers
This paper discusses a relatively new interest of American fantasy literature to Slavic Folklore, which started from the end of 1980s and have developed nowadays mainly among female writers, some of whom are personally acquainted. Its target readers are American youngsters who strive for diversity. Readers from Slavic countries often mistakenly consider this trend as unauthentic cultural appropriation. The paper addresses the channels of authors’ knowledge about Slavic folklore and the methods of their use in the novels. Although the wider context includes 18 novels by 10 writers, the author focuses on novels by Carolyn Janice Cherryh, Leigh Bardugo, Emily A. Duncan and Naomi Novik.
Key words: Slavic Fantasy, American Fantasy, Slavic Folklore, Carolyn Janice Cherryh, Leigh Bardugo, Emily A. Duncan and Naomi Novik
Iudaica Russica, 2020
Dennis Sobolev's Literary Haifa on the Crossroads of Times, Cultures and Genres Abstract: Dennis ... more Dennis Sobolev's Literary Haifa on the Crossroads of Times, Cultures and Genres Abstract: Dennis Sobolev's novel Legends of Carmel Mountain: Fourteen Stories about Love and Time consists of 14 stories with autonomous plots with the Haifa's locus as a unifying factor. Some of them resemble urban or mountain folklore, e.g. about the dragon who inhabits Carmel Mountain or a ghost of the white monk in its tunnels. However, the author invented them and ignored actual local folklore. Haifa is at the same time very recognizable and fantastic. The plots contain numerous intercultural references to various male and female golems/ dolls, transformations of humans into beasts as well as to necrophilia. Among them are medieval Jewish sources e.g. Solomon ibn Gabirol, Hebrew writer Shmuel Yossef Agnon, the Arabian Nights, Argentinean writer Jorge Luis Borges, and Russian writer Andrei Bely etc., all of them are both sophisticated and partially misleading. The symbolical meanings of numbers (14 stories) are in fact connected to seven doubles from the Book of Creation (Sefer Yetzirah) meaning both the best and the worst things in the world. The stories are connected not by the characters but rather by their symbolic meanings.
Евреи, 2018
Это последняя верстка
The Representation of the Relationship between Center and Periphery in the Contemporary Novel, 2018
Slavic Review, 2008
... project this book would not have seen light. Finally our thanks go to our family members Isan... more ... project this book would not have seen light. Finally our thanks go to our family members Isanna Likhtenshtein, Lev Fialkov, Lilia Dashevskaya, Janos Makowsky, and Zenaida Turaeva. In the five years we were occupied with ...
Міхаїл Булгаков. Ідентифікація. Місце. Час: Збірник наукових матеріалів, 2017
Folklorica, 2015
The events of 2014 in Ukraine triggered a wave of discussions and narratives rewriting history an... more The events of 2014 in Ukraine triggered a wave of discussions and narratives rewriting history and reexamining allegiances and cultural affinities. Material for the study was drawn from Facebook, blogs and internet discussion forums, folk humor disseminated online, personal correspondence and participant observation. This essay discusses how opinions are formed in the diaspora and how they are affected by different sources of information. The attitude to events in Ukraine has turned into a litmus test in personal relations, sometimes leading to a break up of friendships and family relations. Our analyses will disclose ambivalences in the perception of Ukrainian crisis in the diaspora. Those who support Ukraine do not necessarily come from that country or have cultural affinities with it and not all Ukrainian supporters identify with democratic values. Critics of the current Ukrainian government do not always support the actions of Putin's Russia. Among them there are also people from Ukraine and able to speak Ukrainian. Like many political conflicts this one fueled nationalism not only in the participating countries but also in the Russian-speaking diaspora.
Новое литературное обозрение, 2017
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Books by Larisa Fialkova / Лариса Фиалкова
Опечатки в книге "Русская улица в еврейской стране"
Т. 1 стр. 17 вместо (Браун 1990: 8-9) нужно (Браун 1990: 258-259).
Т. 1 стр. 30 Вместо Синельников 2002 нужно Синельников 2004
Т. 1 Стр. 290 вместо (Мороз 2000: 249) нужно (Мороз 2000: 204).
Т. 2 стр. 106 вместо (Ольштайн и Котик 2000: 26) нужно (Ольштайн и Котик 2000: 206).
Т. 2 стр. 165 . Вместо Алла К. 65+ группа неизвестна нужно 4-ая группа.
Т. 2 стр. 185 Вместо Брам К. нужно Брам Х.
Т. 2 стр. 208 Миллер Р. Вместо family stories нужно family histories
Т. 2 стр. 212 в Ольштайн и Котик 2000 вместо стр. 201-237 нужно 201-217
Т. 2 стр. 224 пропущены і в источнике: Фиалкова-Фиалкова, Лариса (1997) Сучасні легенди з України в Ізраїлі. В сб.: Єврейська історія та культура в Україні. Матеріали конференції. Київ: Інститут Іудаїки, 213-218.
Просим нас извинить!
Мария Еленевская и Лариса Фиалкова
Larisa Fialkova
Contents
Acknowledgments……………………………………………………………….3
Introduction………………………………………………………………………4
Part I. The Image of Jerusalem in Ukrainian Folklore………………………….10
Part II. Folklore from Ukraine in Israel…………………………………………22
Oleksa Dovbush in Jewish Culture……………………………………………….22
Mysterious Ukraine: Ghost Stories and Stories of Buried Treasures….…………41
Nuclear Humor……………………………………………………………………76
Part III. Incipient Ukrainian Diaspora in Israel………………………………….106
Afterward: Confession of a Former Kyiv Dweller……………………………….164
Summary
Ukrainians and Jews have been neighbors and co-citizens for a long time. They live together nowadays as well. But the circumstances of their co-existence have changed. Both nations have acquired their nation-states, where having changed their status from a minority to a majority group they confront problems they never knew before. But Jews continue to live in Ukraine as a minority, and many Ukrainians for their part have immigrated to Israel as relatives of Jews or Arabs and have got Israeli citizenship. Immigrants from Ukraine (Jews, Ukrainians, and Russians) constitute at the very least one third part of the great wave of the immigration of the 1990s to Israel from the former Soviet Union, and are usually perceived as part of the so-called “Russian Israel”. This book is the first attempt to question this tendency. Does Ukrainian culture affect the identity of the immigrants from Ukraine? What languages do they speak? What stories do they tell? Do they form a distinct group? These are the problems addressed in this book which is based on fieldwork and research by the author between 1992 and 2006.
In the introduction readers are given a short survey of the sparse studies in Jewish-Ukrainian comparative folklore by Israeli folklorists, both professional and amateur. A large collection of songs, including so-called multi-lingual (macaronic) songs, was collected by Meir Noy who published a paper of limited circulation on this issue. This collection is housed in the National library in Jerusalem. Moshe Hoch in his M.A. thesis produced another study on comparative Jewish-Ukrainian musical folklore not published in a monograph form. Amateur research on the Israeli variants of Slavic songs is being conducted by Uri Yakubovich and Ilia Dobosarskii, who have never published the results of their activities. Two collections of Yiddish proverbs from Ukraine, collected respectively by Baruch Hirga, an immigrant from Lviv, and Lev Kirtsman, an immigrant from Khmil’nyts’kii, are stored in the archives of proverbs at the Hebrew University of Jerusalem, while narrative folklore is housed in the Israel Folktales Archives (IFA) named in honor of its founder Prof. Dov Noy. It was he who began the investigation of the Jewish-Ukrainian parallels in prosaic folklore, concentrating on Hucul folklore and paying primary attention to the image of Dovbush in Jewish folklore. Until recently all the stories from Ukraine were dispersed in the IFA among four different card indexes: Russia, Poland, Rumania and Hungary. It was only the author of the current book who formed a separate card index for Ukraine in 1992 (now it contains more than 800 texts) and embarked on systematic research into the life of folklore from Ukraine in Israel.
The first part of the book considers how Palestinian geography is reflected in Ukrainian folklore. Real geography is transformed into a legendary locus where Jerusalem is situated on the banks of the river Jordan. It is full of cedars (folk etymology of the toponym Kidron – kedr (cedar) in Ukrainian and Russian – or transformed memory about the Jewish Temple, built of cedars of Lebanon). Palestine’s geography is linked to or even identified with that of Ukraine: Kyiv is perceived as Jerusalem and the Dnieper as the river Jordan. Historical time is transformed into legendary: Samson the Hero is described as the son of King David (along with Solomon and Joseph) and is perceived as the destroyer of Jerusalem. This city is connected to Ukraine through caves and underground tunnels, and sometimes is seen as the land of the dead. The image of Jerusalem which is formed in Slavic folklore, mainly Russian and Ukrainian, influences the city’s perception by recent immigrants to Israel.
The second part of the book consists of three essays. The opening essay is devoted to Oleksa Dovbush (Dobush), an 18th -century Ukrainian national hero (1700-1745), a leader of opryshki – an anti-feudal and anti-Polish movement, and a Ukrainian Robin Hood. Following Dov Noy’s discovery of his image in Jewish Hasidic legends about the founder of the movement, the Ba’al Shem Tov (Ha-Besht), the author presents newly found Jewish sources on Dovbush as well as a Ukrainian version of his meeting with the Ba’al Shem Tov and a Ukrainian legend of a Jewish girl’s affection for the dying hero. Of special importance is an original poetic translation from Hebrew of Shimshon Meltzer’s ballad “Dobush and Ba’al Shem Tov”. The Jews considered Dovbush (Dobush) a repentant robber, while for the Ukrainians he is first of all an epic hero. Jewish folklore and fiction present an alternative biography of Dovbush, different from the versions known in Ukrainian culture. According to elements found in various sources, Dovbush was born to a widow, fed by the dog, and named by a Jew (the name Dovbush derives in this version from dov – (Hebrew for bear: the baby, being hairy, brought this animal to mind). In his maturity he was impressed by a Jewish saint (the Ba’al Shem Tov or Rabbi Arye), repented, and died in solitude. In still another version Dovbush perished because did not believe the saintly man’s warning. The migration of the Dovbush tradition to Jewish culture goes hand in hand with its adaptation to the new norms and the censorship of the elements that cannot be accepted by the new audience. The second essay is devoted to tales of ghosts and buried treasure (both legends and personal narratives) recorded by the author from a recent immigrant from Odessa, Oleksandr Stanovs’kyi. The narrator is a secular Jew married to a Ukrainian woman, they have a daughter. The couple speak Russian among themselves and at least partly Hebrew with the child. Although all the stories were told in Russian they undoubtedly originated from Ukraine. The stories and their versions from the Internet are analyzed in the context of Odessa regional studies, personal narrative research and comparative folklore about ghosts in mines and caves and about buried treasure. The material illustrates the living belief and narrative tradition imported from Ukraine to Israel. The last essay is devoted to the vernacular commentary on the Chornobyl disaster. Though folklorists have long known Chornobyl as a small Ukrainian town with diverse traditional cultures, from April 26, 1986 it became the symbol of nuclear disaster. Today “Chornobyl’s folklore” is defined exclusively in terms of those narrative forms that developed following the event. These forms include rumors, personal narratives, children’s games, jocular verses and jokes. Previous scholars have largely considered this material from the perspective of individual collections; this essay compares and analyzes comparative material collected in different countries (Ukraine, Russia, Poland, Hungary, Czechoslovakia, and Israel) and in different languages, including material recorded in Israel from the immigrants from Ukraine by the current author. Chornobyl’s folklore is also compared with the humor that spread after the Middletown nuclear disaster in 1979, and the typological resemblance between the two has been traced. Particular attention is paid to the Hasidic element in Chornobyl folklore, where the explosion is perceived as a punishment for the desecration of a Jewish cemetery. The Chornobyl disaster proved to be one of the reasons for emigration from Ukraine to Israel.
The third part of the book discusses an incipient Ukrainian diaspora in Israel. It is based on the material of unfocused interviews with 44 immigrants and focused interviews with 12 immigrants from Ukraine (some interviews in Russian others in Ukrainian) and on participant observation of the functioning of Ukrainian language and culture in Israel. In the last few years Ukrainian has sometimes been heard on the streets of Israel, spoken by adults and children alike; Ukrainian actors visit Israel, and immigrants’ Ukrainian artistic groups are being created. Ukrainian can be seen on posters and billboards, and even in the press. In 2005 Sobornist’, an Israeli literary magazine in Ukrainian was launched. In sum, there are diverse signs of diaspora trends but they are not strong enough to produce positive results. Although many immigrants know Ukrainian to some extent, only a minority perceive it as their native language. Fewer still are ready to invest in its preservation. Others, including those nostalgically attached to Ukrainian cities, food, songs, and dances, feel no symbolic ties with the language itself and form part of the Russian-language Israeli community. In the absence of social and financial investment of the Ukrainian aspect the outlook for the rise of a distinct Ukrainian cultural diaspora in Israel is bleak.
In the afterword the author, a former Kyiv dweller and a Russian-speaking Israeli, confesses the reasons for her emigration from her native and highly cherished city, and reveals her personal way to Ukrainian studies in Israel.
Пословицы и поговорки - это один из самых популярных жанров устного народного творчества. Они распространены в селах, и в городах, среди людей малограмотных и среди ученых. В них - и народный календарь, и советы на все случаи жизни, и философский подход к миру.
Особое место в фольклоре всех народов занимают пословицы и поговорки на медицинские темы. Пристально наблюдая за жизнью и смертью, врачами и больными, болезнями и лечением, люди из века в век вырабатывали и фиксировали в коротких запоминающихся текстах те знания, которые наука впоследствии разовьет в медицинской этике, медицинской эстетике, деонтологии, диагностике, лечении и, особенно, в профилактике.
Пословицы и поговорки предельно кратко, ярко и четко отражают народный оптимизм и трезвый взгляд на ЖИЗНЬ ( «Пока я жив – смерти нет, когда смерть придет – меня не будет» ); СМЕРТЬ ( « Не жди смерти, сама придет» ); ЗДОРОВЬЕ («Здоровому все здорово.» ); БОЛЕЗНЬ ( « Хворь одна, а болеет ею каждый по-своему.»); ВРАЧЕЙ (« Когда человек болен, врач ему – отец; когда человек выздоравливает, врач ему – друг; когда здоровье человека восстановлено, врач – страж его»); ЗНАХАРЕЙ («Ворожка - на тот свет дорожка»).
В сборниках, посвященных пословицам одного народа, «медицинские» тексты, как правило, не выделяются, а приводятся в алфавитном порядке; в сборниках, посвященных медицине, – разделены по темам. Алфавитный порядок при этом сохранен, но варианты и аналоги не приводятся.
Книга, которую вы держите, - это результат многолетнего собирательства, работы с текстами и над текстами. Мы решили отказаться от алфавитного порядка в пользу тематического, приведя максимальное количество аналогов и вариантов, чтобы попытаться выявить и показать внутреннюю перекличку текстов.
Лев Фиалков (врач), Лариса Фиалкова (фольклорист)
http://www.youtube.com/watch?v=TEaAB0FlbTk
http://www.mau-nau.org.ua/_private/novyny/novyny2.htm
Papers by Larisa Fialkova / Лариса Фиалкова
as fantastika (speculative fiction) created
by English-language writers on the basis
of real or assumed Slavic folklore, separate
from Slavic fantasy per se. The focus of the
current paper is the logic of interaction between
Slavic folk plots and characters with
Russian and Ukrainian history. The first part
addresses Medieval Rus in Peter Morwood’s
and Katherine Arden’s trilogies. The second
part, which addresses Russia and Ukraine in
the 19th-20th centuries is published in the
next issue of the journal available on Academia.edu
Изучение использования фольклора в художественной литературе имеет давнюю историю, но теперь фольклористы сами стали персонажами. Обсуждения их исследований являются частью сюжетов. Как показала Шелли Инграм, американские фантасты видят в фольклористах самоуверенных невежд. Для русской фантастики характерна мифологизация фольклористов, приписывание им сверхъестественных способностей. Фантастический персонаж (например, ведьма или оборотень) может быть знатоком фольклора, а фольклористы (например, Пропп, Фрезер, и, возможно, Неклюдов) иногда оказываются фантастическими персонажами. Источником знаний писателей о легендах и верованиях является не столько устная среда, сколько исследования фольклористов, популярные энциклопедии и путеводители.
This paper discusses a relatively new interest of American fantasy literature to Slavic Folklore, which started from the end of 1980s and have developed nowadays mainly among female writers, some of whom are personally acquainted. Its target readers are American youngsters who strive for diversity. Readers from Slavic countries often mistakenly consider this trend as unauthentic cultural appropriation. The paper addresses the channels of authors’ knowledge about Slavic folklore and the methods of their use in the novels. Although the wider context includes 18 novels by 10 writers, the author focuses on novels by Carolyn Janice Cherryh, Leigh Bardugo, Emily A. Duncan and Naomi Novik.
Key words: Slavic Fantasy, American Fantasy, Slavic Folklore, Carolyn Janice Cherryh, Leigh Bardugo, Emily A. Duncan and Naomi Novik
Опечатки в книге "Русская улица в еврейской стране"
Т. 1 стр. 17 вместо (Браун 1990: 8-9) нужно (Браун 1990: 258-259).
Т. 1 стр. 30 Вместо Синельников 2002 нужно Синельников 2004
Т. 1 Стр. 290 вместо (Мороз 2000: 249) нужно (Мороз 2000: 204).
Т. 2 стр. 106 вместо (Ольштайн и Котик 2000: 26) нужно (Ольштайн и Котик 2000: 206).
Т. 2 стр. 165 . Вместо Алла К. 65+ группа неизвестна нужно 4-ая группа.
Т. 2 стр. 185 Вместо Брам К. нужно Брам Х.
Т. 2 стр. 208 Миллер Р. Вместо family stories нужно family histories
Т. 2 стр. 212 в Ольштайн и Котик 2000 вместо стр. 201-237 нужно 201-217
Т. 2 стр. 224 пропущены і в источнике: Фиалкова-Фиалкова, Лариса (1997) Сучасні легенди з України в Ізраїлі. В сб.: Єврейська історія та культура в Україні. Матеріали конференції. Київ: Інститут Іудаїки, 213-218.
Просим нас извинить!
Мария Еленевская и Лариса Фиалкова
Larisa Fialkova
Contents
Acknowledgments……………………………………………………………….3
Introduction………………………………………………………………………4
Part I. The Image of Jerusalem in Ukrainian Folklore………………………….10
Part II. Folklore from Ukraine in Israel…………………………………………22
Oleksa Dovbush in Jewish Culture……………………………………………….22
Mysterious Ukraine: Ghost Stories and Stories of Buried Treasures….…………41
Nuclear Humor……………………………………………………………………76
Part III. Incipient Ukrainian Diaspora in Israel………………………………….106
Afterward: Confession of a Former Kyiv Dweller……………………………….164
Summary
Ukrainians and Jews have been neighbors and co-citizens for a long time. They live together nowadays as well. But the circumstances of their co-existence have changed. Both nations have acquired their nation-states, where having changed their status from a minority to a majority group they confront problems they never knew before. But Jews continue to live in Ukraine as a minority, and many Ukrainians for their part have immigrated to Israel as relatives of Jews or Arabs and have got Israeli citizenship. Immigrants from Ukraine (Jews, Ukrainians, and Russians) constitute at the very least one third part of the great wave of the immigration of the 1990s to Israel from the former Soviet Union, and are usually perceived as part of the so-called “Russian Israel”. This book is the first attempt to question this tendency. Does Ukrainian culture affect the identity of the immigrants from Ukraine? What languages do they speak? What stories do they tell? Do they form a distinct group? These are the problems addressed in this book which is based on fieldwork and research by the author between 1992 and 2006.
In the introduction readers are given a short survey of the sparse studies in Jewish-Ukrainian comparative folklore by Israeli folklorists, both professional and amateur. A large collection of songs, including so-called multi-lingual (macaronic) songs, was collected by Meir Noy who published a paper of limited circulation on this issue. This collection is housed in the National library in Jerusalem. Moshe Hoch in his M.A. thesis produced another study on comparative Jewish-Ukrainian musical folklore not published in a monograph form. Amateur research on the Israeli variants of Slavic songs is being conducted by Uri Yakubovich and Ilia Dobosarskii, who have never published the results of their activities. Two collections of Yiddish proverbs from Ukraine, collected respectively by Baruch Hirga, an immigrant from Lviv, and Lev Kirtsman, an immigrant from Khmil’nyts’kii, are stored in the archives of proverbs at the Hebrew University of Jerusalem, while narrative folklore is housed in the Israel Folktales Archives (IFA) named in honor of its founder Prof. Dov Noy. It was he who began the investigation of the Jewish-Ukrainian parallels in prosaic folklore, concentrating on Hucul folklore and paying primary attention to the image of Dovbush in Jewish folklore. Until recently all the stories from Ukraine were dispersed in the IFA among four different card indexes: Russia, Poland, Rumania and Hungary. It was only the author of the current book who formed a separate card index for Ukraine in 1992 (now it contains more than 800 texts) and embarked on systematic research into the life of folklore from Ukraine in Israel.
The first part of the book considers how Palestinian geography is reflected in Ukrainian folklore. Real geography is transformed into a legendary locus where Jerusalem is situated on the banks of the river Jordan. It is full of cedars (folk etymology of the toponym Kidron – kedr (cedar) in Ukrainian and Russian – or transformed memory about the Jewish Temple, built of cedars of Lebanon). Palestine’s geography is linked to or even identified with that of Ukraine: Kyiv is perceived as Jerusalem and the Dnieper as the river Jordan. Historical time is transformed into legendary: Samson the Hero is described as the son of King David (along with Solomon and Joseph) and is perceived as the destroyer of Jerusalem. This city is connected to Ukraine through caves and underground tunnels, and sometimes is seen as the land of the dead. The image of Jerusalem which is formed in Slavic folklore, mainly Russian and Ukrainian, influences the city’s perception by recent immigrants to Israel.
The second part of the book consists of three essays. The opening essay is devoted to Oleksa Dovbush (Dobush), an 18th -century Ukrainian national hero (1700-1745), a leader of opryshki – an anti-feudal and anti-Polish movement, and a Ukrainian Robin Hood. Following Dov Noy’s discovery of his image in Jewish Hasidic legends about the founder of the movement, the Ba’al Shem Tov (Ha-Besht), the author presents newly found Jewish sources on Dovbush as well as a Ukrainian version of his meeting with the Ba’al Shem Tov and a Ukrainian legend of a Jewish girl’s affection for the dying hero. Of special importance is an original poetic translation from Hebrew of Shimshon Meltzer’s ballad “Dobush and Ba’al Shem Tov”. The Jews considered Dovbush (Dobush) a repentant robber, while for the Ukrainians he is first of all an epic hero. Jewish folklore and fiction present an alternative biography of Dovbush, different from the versions known in Ukrainian culture. According to elements found in various sources, Dovbush was born to a widow, fed by the dog, and named by a Jew (the name Dovbush derives in this version from dov – (Hebrew for bear: the baby, being hairy, brought this animal to mind). In his maturity he was impressed by a Jewish saint (the Ba’al Shem Tov or Rabbi Arye), repented, and died in solitude. In still another version Dovbush perished because did not believe the saintly man’s warning. The migration of the Dovbush tradition to Jewish culture goes hand in hand with its adaptation to the new norms and the censorship of the elements that cannot be accepted by the new audience. The second essay is devoted to tales of ghosts and buried treasure (both legends and personal narratives) recorded by the author from a recent immigrant from Odessa, Oleksandr Stanovs’kyi. The narrator is a secular Jew married to a Ukrainian woman, they have a daughter. The couple speak Russian among themselves and at least partly Hebrew with the child. Although all the stories were told in Russian they undoubtedly originated from Ukraine. The stories and their versions from the Internet are analyzed in the context of Odessa regional studies, personal narrative research and comparative folklore about ghosts in mines and caves and about buried treasure. The material illustrates the living belief and narrative tradition imported from Ukraine to Israel. The last essay is devoted to the vernacular commentary on the Chornobyl disaster. Though folklorists have long known Chornobyl as a small Ukrainian town with diverse traditional cultures, from April 26, 1986 it became the symbol of nuclear disaster. Today “Chornobyl’s folklore” is defined exclusively in terms of those narrative forms that developed following the event. These forms include rumors, personal narratives, children’s games, jocular verses and jokes. Previous scholars have largely considered this material from the perspective of individual collections; this essay compares and analyzes comparative material collected in different countries (Ukraine, Russia, Poland, Hungary, Czechoslovakia, and Israel) and in different languages, including material recorded in Israel from the immigrants from Ukraine by the current author. Chornobyl’s folklore is also compared with the humor that spread after the Middletown nuclear disaster in 1979, and the typological resemblance between the two has been traced. Particular attention is paid to the Hasidic element in Chornobyl folklore, where the explosion is perceived as a punishment for the desecration of a Jewish cemetery. The Chornobyl disaster proved to be one of the reasons for emigration from Ukraine to Israel.
The third part of the book discusses an incipient Ukrainian diaspora in Israel. It is based on the material of unfocused interviews with 44 immigrants and focused interviews with 12 immigrants from Ukraine (some interviews in Russian others in Ukrainian) and on participant observation of the functioning of Ukrainian language and culture in Israel. In the last few years Ukrainian has sometimes been heard on the streets of Israel, spoken by adults and children alike; Ukrainian actors visit Israel, and immigrants’ Ukrainian artistic groups are being created. Ukrainian can be seen on posters and billboards, and even in the press. In 2005 Sobornist’, an Israeli literary magazine in Ukrainian was launched. In sum, there are diverse signs of diaspora trends but they are not strong enough to produce positive results. Although many immigrants know Ukrainian to some extent, only a minority perceive it as their native language. Fewer still are ready to invest in its preservation. Others, including those nostalgically attached to Ukrainian cities, food, songs, and dances, feel no symbolic ties with the language itself and form part of the Russian-language Israeli community. In the absence of social and financial investment of the Ukrainian aspect the outlook for the rise of a distinct Ukrainian cultural diaspora in Israel is bleak.
In the afterword the author, a former Kyiv dweller and a Russian-speaking Israeli, confesses the reasons for her emigration from her native and highly cherished city, and reveals her personal way to Ukrainian studies in Israel.
Пословицы и поговорки - это один из самых популярных жанров устного народного творчества. Они распространены в селах, и в городах, среди людей малограмотных и среди ученых. В них - и народный календарь, и советы на все случаи жизни, и философский подход к миру.
Особое место в фольклоре всех народов занимают пословицы и поговорки на медицинские темы. Пристально наблюдая за жизнью и смертью, врачами и больными, болезнями и лечением, люди из века в век вырабатывали и фиксировали в коротких запоминающихся текстах те знания, которые наука впоследствии разовьет в медицинской этике, медицинской эстетике, деонтологии, диагностике, лечении и, особенно, в профилактике.
Пословицы и поговорки предельно кратко, ярко и четко отражают народный оптимизм и трезвый взгляд на ЖИЗНЬ ( «Пока я жив – смерти нет, когда смерть придет – меня не будет» ); СМЕРТЬ ( « Не жди смерти, сама придет» ); ЗДОРОВЬЕ («Здоровому все здорово.» ); БОЛЕЗНЬ ( « Хворь одна, а болеет ею каждый по-своему.»); ВРАЧЕЙ (« Когда человек болен, врач ему – отец; когда человек выздоравливает, врач ему – друг; когда здоровье человека восстановлено, врач – страж его»); ЗНАХАРЕЙ («Ворожка - на тот свет дорожка»).
В сборниках, посвященных пословицам одного народа, «медицинские» тексты, как правило, не выделяются, а приводятся в алфавитном порядке; в сборниках, посвященных медицине, – разделены по темам. Алфавитный порядок при этом сохранен, но варианты и аналоги не приводятся.
Книга, которую вы держите, - это результат многолетнего собирательства, работы с текстами и над текстами. Мы решили отказаться от алфавитного порядка в пользу тематического, приведя максимальное количество аналогов и вариантов, чтобы попытаться выявить и показать внутреннюю перекличку текстов.
Лев Фиалков (врач), Лариса Фиалкова (фольклорист)
http://www.youtube.com/watch?v=TEaAB0FlbTk
http://www.mau-nau.org.ua/_private/novyny/novyny2.htm
as fantastika (speculative fiction) created
by English-language writers on the basis
of real or assumed Slavic folklore, separate
from Slavic fantasy per se. The focus of the
current paper is the logic of interaction between
Slavic folk plots and characters with
Russian and Ukrainian history. The first part
addresses Medieval Rus in Peter Morwood’s
and Katherine Arden’s trilogies. The second
part, which addresses Russia and Ukraine in
the 19th-20th centuries is published in the
next issue of the journal available on Academia.edu
Изучение использования фольклора в художественной литературе имеет давнюю историю, но теперь фольклористы сами стали персонажами. Обсуждения их исследований являются частью сюжетов. Как показала Шелли Инграм, американские фантасты видят в фольклористах самоуверенных невежд. Для русской фантастики характерна мифологизация фольклористов, приписывание им сверхъестественных способностей. Фантастический персонаж (например, ведьма или оборотень) может быть знатоком фольклора, а фольклористы (например, Пропп, Фрезер, и, возможно, Неклюдов) иногда оказываются фантастическими персонажами. Источником знаний писателей о легендах и верованиях является не столько устная среда, сколько исследования фольклористов, популярные энциклопедии и путеводители.
This paper discusses a relatively new interest of American fantasy literature to Slavic Folklore, which started from the end of 1980s and have developed nowadays mainly among female writers, some of whom are personally acquainted. Its target readers are American youngsters who strive for diversity. Readers from Slavic countries often mistakenly consider this trend as unauthentic cultural appropriation. The paper addresses the channels of authors’ knowledge about Slavic folklore and the methods of their use in the novels. Although the wider context includes 18 novels by 10 writers, the author focuses on novels by Carolyn Janice Cherryh, Leigh Bardugo, Emily A. Duncan and Naomi Novik.
Key words: Slavic Fantasy, American Fantasy, Slavic Folklore, Carolyn Janice Cherryh, Leigh Bardugo, Emily A. Duncan and Naomi Novik
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Abstract
Autoethnography is a comparatively new research method. It presupposes conscious reflections about the self as an individual and as a member of a specific group, constant movement from the individual to the collective, and critical assessment of the behaviors and attitudes observed. Autoethnography often comes to the foreground in the periods of crisis and rapid changes in the surrounding social structure and in the personal lives of all citizens, including researchers. In the Soviet period Jewish studies were not part of the ethnographic agenda. The disintegration of the Soviet Union, the emergence of new states, and mass emigration were among the factors that stimulated autoethnographic research among ex-Soviet Jews.
This essay analyzes various forms of autoethnography and looks into its advantages and pitfalls. We discuss the questions of researchers’ visibility, the need to put one’s own experience in a general context and the dilemmas of “taking sides” that emerge in the studies of one’s own community. We focus on the autoethnographic work of our colleagues, émigré scholars and our own research projects conducted among Russian-speaking Jews in Israel. It is our goal to show that what began as isolated everyday attempts by ex-Soviet Jews to explain their culture, habits and values to members of their new host society—colleagues, neighbors, or incidental acquaintances—developed into formal formats of communication. Media publications, works of fiction, and academic texts are different manifestations of negotiations of the group’s place in a new society.
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It's a presentation of Fialkova's book "Koly hory skhodiat'sia" and of a special issue of "Narodna tvorchist' ta etnohrafia" devoted to Israeli folklore studies and ethnology, which she co-edited with Ukrainian colleagues Larysa Vakhnina and Lesya Mushketyk. The presentation took place in Rylsky Institute of Art studies, Folklore and Ethnology in 2009