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DOI: https://doi.org/10.34069/AI/2022.57.09.7
How to Cite:
Vykhrystyuk, M.S., Tokareva, E.Yu., Yarkova, G.A., Baraboshkin, K.E., & Jilkishieva, M.S. (2022). Markers of masculinity in
Khanty, Russian, Kazakh and Chinese folklore: Pragma-Cognitive aspect. Amazonia Investiga, 11(57), 64-72.
https://doi.org/10.34069/AI/2022.57.09.7
Markers of masculinity in Khanty, Russian, Kazakh and Chinese
folklore: Pragma-Cognitive aspect
Маркеры маскулинности в хантыйском, русском, казахском и китайском
фольклоре: прагмо-когнитивный аспект
Received: October 1, 2022 Accepted: November 5, 2022
Written by:
Margarita S. Vykhrystyuk13
https://orcid.org/0000-0001-7955-7351
Evgeniya Yu. Tokareva14
https://orcid.org/0000-0002-7164-9574
Galina A. Yarkova15
https://orcid.org/0000-0001-6324-7674
Konstantin E. Baraboshkin16
https://orcid.org/0000-0001-9020-9630
Maira S. Jilkishieva17
https://orcid.org/0000-0002-6372-8141
Abstract
The article is devoted to the analysis of the
psycholinguistic features of the male portrait in
fairy tales in the different structural linguistic
cultures: Khanty, Russian, Kazakh and Chinese.
The choice is determined by the belonging of
these peoples to traditional cultures with varying
degrees of transformation of behavioral
stereotypes. Traditional culture considers a man
as the head of a large family, a protector, a
breadwinner, a landowner with the competencies
of a fisherman and a hunter, so a woman with
children needs his help and care. In this regard,
the purpose of this study is the need, based on the
psycholinguistic features of personal
characteristics, to reveal the masculine image in
the tales of Khanty, Russians, Kazakhs and
Chinese. The authors analyze the
psycholinguistic and stylistic means of
representing masculine traits in the fairy tales of
these peoples. Kazakh, Khanty, Russian and
Chinese fairy tales for the first time become the
object of psycholinguistic characterization of
13
Doctor of Philology, Professor, Professor of the Department of Philological Education, D. I. Mendeleev Tobolsk Pedagogical
Institute (branch) Tyumen State University (Tyumen).
14
Associate Professor, Candidate of Philological Sciences, Associate Professor of the Department of Theory and Methodology of
Primary and Preschool Education Tyumen State University (Tyumen, Russia).
15
Associate Professor, Candidate of Pedagogical Sciences, Associate Professor of the Department of Pedagogy, Psychology and
Social Education Tyumen State University (Tyumen, Russia)
16
Candidate of Philological Sciences, Ass.Prof., Ass.Prof of Department of Chinese Philology of Institute of Asian and African
Countries in Lomonosov Moscow State University (Moscow)
17
Doctor of Pedagogical Sciences, Professor, Head of the Department of General and Social Pedagogy, M. Auezov South Kazakhstan
University, Shymkent, Kazakhstan.
Vykhrystyuk, M.S., Tokareva, E.Yu., Yarkova, G.A., Baraboshkin, K.E., Jilkishieva, M.S. / Volume 11 - Issue 57: 64-72 /
September, 2022
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personal characteristics on the example of the
image of masculinity. The course of reasoning on
the topic of the study leads the authors to the
conclusion that the analyzed original texts of
fairy tales contrast with a reliable representation
of the ethnic group. The traditional male portrait
is shown from the position of describing the
psycholinguistic features of personal
characteristics, through the relationship of the
main characters, through their external and
internal speech. This approach makes it possible
to identify a set of ethnic, social, historical and
geographical factors inextricably linked with
language, on the one hand, and on the other –
caused by psychological manifestations.
Keywords: psycholinguistics, fairy tales, male
images.
Introduction
Russian linguo-culture is a specific intersection
of the interaction of the Slavic-Russian, Ugric-
Khanty, Turkic-Kazakh and Sino-Tibetan
language groups, which demonstrates the
presence of overlapping images in folklore, as
well as similar behavioral etiquette features of
interpersonal communication. We understand the
linguo-cultural concept as a linguo-mental a unit
in which language, consciousness and culture are
closely intertwined. We believe that the concept
actualizes the impersonal and objectivist concept
of the ethno-semantic personality as fixed in the
system of natural the language of the basic
national-cultural prototype of the native speaker
of this language. Consideration of cultural
concepts should be associated with the study of
texts, primarily folklore texts. It is fairy-tale
folklore that fixes and verbalizes these concepts
as a kind of reflection of national culture and
consciousness. Therefore, folklore texts, in
particular, fairy tales, are attractive for linguo-
culturology, because they are collectively
anonymous, traditionally stable, and represent
samples of national culture. Consideration of the
interaction of the peoples of Siberia and China
seems at first glance far-fetched. However,
according to historians, the indigenous peoples of
Siberia had close contacts with China in pre-
Mongol times, which was confirmed in the
material and spiritual culture of both peoples
(Barinova, 2012; Gao, Tender, 2020). Before
starting a comparative analysis, I would like to
say that fairy tales contain indications of
Chinese-Khanty relations in the distant past. So,
in Khanty folklore there is a fairy tale "Red
Dragon", which tells about the love of a Khanty
girl Ugra with a guy Scherka and an angry father.
As a result, the father asked the shaman to
summon a Red Dragon to separate the lovers. But
nothing came of the shaman, as a result of the
battle there was a Samara hill with a bridge over
the river, which was popularly called the "Red
Dragon". The very idea of the sacralization of
petronyms and oronyms is not new in traditional
culture (Islamova et al., 2021; Martazanov et al.,
2021), while the euphemistic reinterpretation of
the mountain as a man is associated with a stable
universal association of something "sharp and
jagged, but impregnable", or something
"towering, outstanding, dominant", but at the
same time a time of “impregnable, massive and
awe-inspiring.” As we can see, these
comparisons practically coincide with the image
of a man in a traditional patriarchal society. This
and other fairy tales not only show the image of
a man, but also the attitude towards other cultures
within the framework of the "friend–foe"
dichotomy.
Traditional fairy tales of the peoples of China and
Ugra deserve special attention, because they help
to understand the traditional role models of
behavior that are reproduced in the Chinese and
Khanty communities. Despite such a remote
distance in space, the tales of these peoples reveal
a number of unique parallels that allow us to pay
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more attention to the question of the possible
unity of the Ural and Sino-Tibetan peoples in the
distant past. researchers. The study of the
folklore of the Khanty people is very relevant
today. Today, the Khanty people are more
traditional, as they try to adhere to the usual way
of life. However, both peoples are quite isolated
from the general socio-cultural field of world
culture, which is also of interest for in-depth
analysis.
The purpose of the article is to analyze male role
models in the traditional fairy-tale discourse of
different structural languages, using the example
of Russian, Kazakh, Chinese and Khanty
languages, which represent different language
families. The goal is set by the following
hypothesis: the traditional fairy-tale discourse
translates the behavioral universals of gender
opposition.
The purpose of the article is to analyze male role
models in the traditional fairy-tale discourse of
different structural languages, using the example
of Russian, Kazakh, Chinese and Khanty
languages, which represent different language
families. The goal is set by the following
hypothesis: the traditional fairy-tale discourse
translates the behavioral universals of gender
opposition.
Materials and methods
The material of the study was the texts of Khanty
folk tales "The origin of As Tyzhiki", "Mengki
and giants and Ai Puhle", "The merchant's
youngest grandson", "The boy from the side
where the sun rises ...", "The Stories of the old
Khanty" 1994; "The boy is the root", "Im-Hits
and Voshing Urt", "Boy Ide", "Ermak", "Im-
Hits". Kazakh folk tales are represented by such
works of oral folk art as "Aldar-Kose and bai
Shigaybai", "Atumtai and Nasharvan",
"Daughter of the vizier", "Batyr Boran", "Golden
Knife", "Zhigit and Rich Man". Russian folk
tales: "The Frog Princess", "Prince Elisey and the
Famously One-eyed", "Sister Alyonushka and
Brother Ivanushka", "Ivan the Cow's Son", "Ivan
the Peasant's Son and the Miracle Yudo", "About
Ivan the Hero and the Evil Dragon". Chinese
Fairy tales: "Immortal Great Shun", "In Search of
Pleasure", "Yellow Stork", "Red Lily", "Magic
Picture", "Kind Daughter-in-law", "Mountains of
Immortality", "Mother and Son Bridge", "About
how Cha turned into a dragon".
Methods of descriptive, comparative and
linguistic analysis were used to obtain objective
conclusions. When analyzing the personal traits
of masculinity and masculinity, the presented folk
tales were considered using the methods of
component analysis and structural-semantic.
Results
The psycholinguistic analysis of the personal
characteristics of a collective male portrait in
traditional folk tales is based on the following
parameters: 1) portrait characteristics of the
characters based on the author's speech;
2) markers of the external and internal speech of
the characters; 3) extralinguistic background
knowledge this allows you to describe the inner
male world in linguocultures of traditional
orientation and determine the role of men in
society, in the family, in society. Thus, the
reproduction of the ethnosociocultural matrix
takes place (Jorgensen, 2018; Karabulatova, et
all, 2021; Vykhrystyuk et al., 2020). The male
portrait in traditional fairy tales has universal
features for most cultures of the world,
demonstrating the diversity of human character.
We will meet naive simpletons, powerful
villains, cunning adventurers, fearless heroes and
selfless altruists. These masculine characteristics
form a bizarre palette of masculine behavior. The
motives and fabulous adventures of the
characters vary depending on the given archetype
of behavior. For example, in Chinese and
Russian fairy tales we will meet the image of a
poor student, an apprentice / pupil. And in
Kazakh and Khanty fairy tales we will see
images of an orphan shepherd, a poor young
man. Such dichotomies as "rich man - poor man",
"young man - maiden", "mother - son", "emperor
- warrior", "wizard/shaman - simple man",
"grandmother/grandfather - grandson" are
ubiquitous. Such oppositions help the recipient
of a traditional fairy tale to socialize.
The gender aspect of the consideration of the
male portrait in the traditional folk tale of China
and Ugra allows us to determine the dominant
role of men in a patriarchal traditional society.
The peculiarities of presenting a verbal portrait
of a man's appearance in Khanty tales are due to
the extremely harsh conditions of the Arctic
Siberian climate. As a result, Khanty fairy tales
do not focus on a detailed description of a man's
appearance. As a rule, the representation of the
main character goes through an indication of age
and position in society: puχ ‘boy, son’’, χu, iki
‘man, husband’, aśi ‘father’, urti ‘uncle
(mother's side)’, jaj ‘brother’, pirś iki ‘elder’, χiłi
‘grandson’, λεχu ‘nephew’, χotkuśa ‘the owner of
the house’, the owner of the taiga, the hero-sage
etc.
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The representation of a man in a Chinese fairy
tale is similar. The emphasis is on social status: a
poor man, an orphan, a monk, an old man, a
husband, a young man. At the same time, the
appearance turns out to be absolutely
unrepresentative, therefore, the recipient of the
fairy-tale discourse can model the appearance
himself, since there is no description of the face,
or it is given extremely briefly. Chinese fairy
tales are classic fairy tales "田螺姑娘" ("Fairy of
shells"), "后羿射日" ("Shooting the sun"), "女娲
补天" ("Leaky sky"), "神笔马良" ("Magic
brush"), "牛郎织女" ("Nylan and Zhi-Nuits"). In
China, there is a proverb "A man gave birth to a
man, and a werewolf gave birth to a werewolf."
Each person has his own family, clan. This is
typical for both real life and fairy tales. The
father, brothers, sisters of the hero occupy an
important place in both Khanty, Russian, and
Chinese fairy tales. Almost all fairy tales begin
with information about the origin of the hero; it
gives an incentive to the development of the plot
and determines the movement of events. There
are similarities and differences between Chinese,
Khanty and Russian fairy tales. For example,
usually the main character of Russian fairy tales
is named Ivan. This is a collective image of a
Russian man – patient, moderately frivolous. But
at times when serious trials arise before him, he
shows inflexibility, self-sacrifice, even heroism.
At such moments, he becomes purposeful,
courageous, responsible. The most common
types of men in traditional fairy tales are: male
hero, male infante (prince/ fool), male patriarch
(king, etc.), henpecked man, male werewolf
(usually dragon / snake, wolf, etc.). Thus, the
masculine features of fairy–tale heroes reflect the
diversity of the real male behavior. The
pragmatics of the male hero's psychotype sets the
tone for generally accepted male behavior in a
patriarchal society, where male activity,
aggressiveness, and rigidity reign. As a rule, this
behavioral stereotype is the core for the classic
images of a man in a traditional fairy tale.
A Chinese proverb says: "A man gave birth to a
man, and a werewolf gave birth to a werewolf."
Just as everyone has a family, so fairy-tale heroes
have a family as well. The family-clan hierarchy
occupies an important place in the Chinese
worldview. The father, brothers, and sisters of
the hero occupy an important place in both
Russian and Chinese fairy tales. Almost all fairy
tales begin with information about the origin of
the hero; it gives an incentive to the development
of the plot and determines the movement of
events. The communicative intensity of a fairy
tale becomes possible under the condition of
"intelligent vision": an image-concept is a
"concrete abstraction", seeing as knowing when
to see means to know, when "contemplating an
image is grasping an idea". Proceeding from the
methodological principle of the "hermeneutic
circle", the image as a phenomenon of the
designation of social being is conceptually
loaded; the concept bearing the meanings of
social being is figuratively marked; the image-
concept of a fairy tale manifests meanings that
require interpretation and understanding,
provides mastery of socio-cultural experience
and its further transmission. Since the texts of
fairy tales are complete, but not frozen cultural
facts, the main communication problem is what
meanings can be detected and removed from
fairy-tale texts in order to participate in the cross-
cultural process through them.
There are similarities and differences between
the fairy tales of these peoples. Russian fairy
tales' main character, for example, is usually
named Ivan, and this is a collective image of a
Russian man – patient, moderately frivolous. But
at times when serious challenges arise before
him, he shows inflexibility, self-sacrifice, even
heroism. At such moments, he becomes
purposeful, courageous, responsible. In Khanty
folklore, the symbol of masculinity is a male
hunter, a male shaman. In Chinese folklore, this
characteristic of crossed-out masculinity is
characteristic of a military commander, a hero, a
visionary. Of undoubted interest is the folklore
explication of social ontology as a generalization
of human experience and its communication in a
special format — in semiologems (images-
concepts). Folklore fairy tale is the essence of
communication intensive and socially
meaningful specific form of accumulation and
translation of social experience in images-
concepts. The assumption that the fairy tale has a
cross-cultural potential allows us to assert that
"magical" thinking by semiologems is a carrier
of "universal and eternal" anthropo-socio-
cultural significance and an unconventional
figurative-conceptual style of wisdom and
communication. The fairy tale hides... there is a
whole world of images behind the words, and
behind the images she understands...
symbolically deep spiritual situations. So, in the
Khanty fairy tale "The Boy is a Small Root" we
read: ".... The boy began to grow a small Root
quickly. Here he is already on his feet, jumped
out into the yard. He makes himself a bow and
arrow, cuts firewood and carries it into the house.
Mans-Ne will not fall in love with him." This
image echoes the image of Ivan, the Cow's Son,
who also grew rapidly. We do not find such
parallels in Kazakh folklore. Remotely, you can
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find some similarities with the fairy tale about the
Er-Toastyk, which grew out of the scapula bone
and became a hero.
Fairy tales about trade and merchants reveal
quite a lot of parallels, despite belonging to
different linguistic cultures with their own ethnic
value dominant. So, the Khanty fairy tale "The
merchant's Youngest Grandson" describes the
main character quite traditionally: "The older
brother had a wife, and she had a boy. They lived
for a long time, lived for a short time, after a
while began to crawl, began to go out of the
house, began to run." Chinese fairy tales reflect
the nature of avoiding conflict-causing practices,
so many conflicts are resolved peacefully, and
smart and quick-witted heroes not only find a
way out of the situation, but also always forgive
offenders.
The role model "Male Hero" is characteristic of
the vast majority of fairy tales, and is universal
in nature. This is the main hypostasis of the
classic Ivan Tsarevich, Prince Elisha, epic
heroes, Kazakh batyr Er-Tostyk, Chinese giants-
heroes and the Jade Emperor. The main mission
of such a character is to accomplish great deeds,
save those in trouble, and fight evil. The hero
stoically endures all the hardships that have
fallen to his lot and emerges victorious from any
scrapes, often returning from the world of the
dead with the help of living water. Often, he has
loyal assistants: a heroic horse, a gray wolf, a
falcon – in the Turkic and Slavic cultures, and in
Chinese culture it is a dragon, a horse, a
phoenix. In the Khanty culture, these are deer,
squirrel, fox (arctic fox), partridge, goose.
Having shown strength and courage, such a hero
enlists the support of potentially dangerous
characters located on the border of worlds: Baba
Yaga, shaman, goldfish, dragon. For his exploits,
the hero receives a considerable reward: half the
kingdom, new weapons, a good horse, wealth,
fame and, of course, a beautiful bride as a prize.
We can say that such a character is the standard
of masculinity, which is offered to boys to be
equal to. He is characterized by courage,
responsibility, purposefulness, a sense of duty, an
active social life, ambition and initiative - in
short, everything that the female heroine is
deprived of in a fairy tale.
The text of the fairy tale "The Origin of As
Tyiki" describes the main character from the
position of his social evolution: "They were
growing up with an aunt, when he grew up, he
began to ride three deer." In the fairy tale
"Mengki and giants and Ai puhle" we find such a
standard description: ""A husband and wife
lived; they had one son. The son was raised, got
stronger, matured, grew up." Similarly, Chinese
fairy tales convey the formation of a hero. For
example: "Once upon a time, an old woman lived
in Pingziwei Village with her son named
Panwan. They didn't have a piece of their own
land, and the old mother had to gather firewood
in the mountains for sale, and her son grazed
other people's cattle. Panwan was a very agile
and agile youth. He loved to run and jump, was
good at climbing trees, could lift large boulders
and roll over his head at a run. And that's why he
was healthy and strong." ("Mother and Son
Bridge"). An image with a traditional gender role
is presented with a deliberately positive
connotation, creating a scenario for successful
implementation in society. For example, in the
Khanty fairy tale "The boy from the side where
the sun rises" it says: "A man living on the side
where the sun rises once woke up and saw: his
son had become so big, chopping wood, carrying
water."
The very concept of interpretants in the
traditional tales of the Eurasian space acts as the
third member to the dyad "sign – object",
according to Ch. Pierce. The role positions of
masculinity are predetermined by the
interpreter's consciousness, as a kind of stable
thought or concept. It is not by chance that
Morris defines “interpretant” as a set of general
habits and rules of use with reference to the
Pierce (Morris, 1938). It is this dual nature of the
interpreter that laid the foundation for the
development of cognitive communication theory.
The second large group of fairy tales describes
the process of evolution of masculine traits: from
infantile infancy and lack of independence to full
participation in the life of society. So, the role
model of the "Infantile Man" includes such
characters as numerous Ivanushka-fools, or
Ivanushka's brother, Fedot-Sagittarius, Emelya,
the Chinese young man Dulin, the Khanty boy
Im-Hits and the timid orphan Ide, the Kazakh
coward Bunny, similar characters. Initially, such
a hero occupies a low social position and has no
authority in society. So, Kazakh fairy tales
directly indicate: "fool", "little hare", etc. Often,
he appears to some extent "fool" and is opposed
to his environment. The adventures of infantile
men are almost identical to the events that occur
with male heroes, and the ending of fairy tales
usually does not differ. However, the images of
these heroes differ significantly (Vaz de Silva,
2015; Umit Anosova Garifullayevna et al, 2015).
If we look at the abstract Ivan the fool, we will
see that he is devoid of many features
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traditionally attributed to a man: efficiency,
enterprise, practicality, aggressiveness, activity,
ambition. Hence Ivan's opposition to his older
brothers, who are not devoid of selfishness and
know what they want from life. Ivan is often
endowed with qualities traditionally attributed to
women: craving for creativity (playing the harp,
pipes, etc.), compassion and altruism, naivety
and trustfulness, lack of initiative, emotionality
and vulnerability, detachment from the outside
world. In the course of a fairy tale, such a
character often turns out to be as independent as
possible: he only passively accepts the help of
minor characters, due to which he succeeds. The
extreme case of such behavior is Emelya.
However, it is worth noting that most often an
infantile man has a certain ingenuity and
cunning, which helps him out. Deviant forms of
traditional male behavior are considered as
cognitive destruction, which is amenable to
correction (Lin et al., 2021; Qin et al., 2022).
Since at the end of the plot both of these
characters receive awards and recognition, and
often magically transformed, we can say that
their adventures are a kind of initiation
ceremony, after which they become real men in
the eyes of society. When describing a man, a
young man and even a boy, such evaluative
comparisons are added as strong, brave, brave,
dexterous, fearless, brave. So, in the Khanty fairy
tale "The Boy from the side where the sun rises",
the hero with the talking name Mosh-Ho / Man-
fairy tale meets a magpie. The bird liked the
courage of the hunter who went after the bride for
the unfrozen sea of Andra. Although the young
man was completely weakened on the road, he
suddenly became strong, having received a ball
of thread from a magpie, which he felt sorry for
and did not shoot at her with an arrow: "Then he
became strong, got up, threw a ball of thread.
And I ran after him." And the Chinese fairy tale
"Red Lily" describes the hard work of a young
farmer Dunlin, with whom a fairy falls in love for
his painstaking work: "The lily burns with red
fire, so the night has become bright as day.
Young man, you work day and night, The flower
fairy wants to help you!".
Semiologems (images-concepts) that form a
folklore-fairy—tale text (Shaheen et al, 2019)
objectify the mental attitudes and preferences of
the people/ "creator" (according to
Schleiermacer-Dilthey) (Nelson, 2010).
Therefore, it is legitimate to consider a fairy tale
as a source of latent meanings, the actualization
of which is due to their special role in providing
access to deep mental information. The image in
a fairy tale is the being of its concept — to "look"
at the form-image means to "see" the meaning-
concept: In images, the truth is still clouded and
covered because of the sensory element; it is
fully revealed to consciousness only in the form
of thought; the meaning is only the thought itself.
The use of the external and internal speech of the
characters is aimed at creating a psychological
and linguistic characteristic of the collective
image of muscularity (Pellerin, 2022). Many
fairy-tale and mythological heroes have become
iconic and symbolic in nature at the present time.
Such are, for example, the Emperor Huangdi, the
Jade Emperor, Khan Ablay, the prankster Aldar
Khose, the Prince Elisey, Ivan the Fool. As the
researchers explain, specific personality traits,
descriptions of environmental features, as well as
some factors affecting the behavior of the
characters, are transmitted through the evaluative
statements of the characters and the narrator's
comments. These components of internal and
external speech make it possible to determine:
the place of residence, the environment, gender,
age, personality traits (motivation, character,
emotional state, possible disorders, etc.), and the
specifics of behavior and activity.
Discussion
Scientists emphasize that speech is closely
connected with the mental life of a person, with
its manifestations, and, above all, with her
intelligence (Hancock et al., 2022), so the fairy
tale builds intellectual boundaries within the
framework of Good and Evil.
In the works devoted to the study of the portrait,
the issues of the formation and development of
the portrait description are touched upon
(Tevdoradze, 2020), the identification of
structural, syntactic and linguistic features of the
portrait (Tarabayeva et al, 2017; Kenetova et al,
2022), the development of typology of portrait
descriptions (Brugué and Llompart, 2020; Dan,
& Kauffmann, 2013), an artistic description of
the collective image of a man in fairy-tale
discourse (Bertrand, 2020; Luthi,
Erickson,1987) and in cinematic discourse
(Ruan, Karabulatova, 2021) as a new translator
of mythologies (Karabulatova, Khachmafova,
Bricheva, Nescheretova. & Bersirova, 2015).
The problem of psycholinguistic description of
the features of the image of a man in traditional
folk tales is in the focus of attention of specialists
in gender studies (Bertrand, 2020; Ellemers,
2018; Dan, & Kauffmann, 2013), psychology
(Fischer, 1963; Jorgensen, 2018; Luthi,
Erickson, 1987), media linguistics
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(Karabulatova, Lagutkina et al., 2021; Susilo,
2017), etc. Although, of course, the creation of a
character-centered portrait of an artistic character
and the analysis of his role in the structure of a
literary work is a cornerstone issue of literary
studies and ethnopsycholinguistics, but
understanding the basics of gender roles creates
an important basis in modern ideological and
propaganda discourse with the use of visual
means of artistic creativity (Adams, 2017). These
and other works served as the basis for the
development of a number of approaches to the
analysis and interpretation of interpersonal
relationships in artistic discourse (Csepregi,
Onina, 2011; Duskaeva, Konyaeva, 2017;
Matvieieva 2018; Schinkel, 2017).
Currently, most researchers believe that a portrait
is an integral part of an artistic image, since an
artistic image is a combination of several
portraits of a character (Varga, 1989;
Séverine Sofio, 2016; Nozen, Amani, & Zarei,
2018). As evidenced by the works devoted to the
study of the portrait, the portrait of an artistic
character includes a description of the external
appearance of the character (facial features,
figure, posture, facial expressions, gestures, gait,
voice, clothing, age), the movements of the
character and his gestures, which are often
mentioned on the pages of a work of art, since in
linguistic studies the analysis of a static portrait
involves to a dynamic portrait.
The Russian philosophy of understanding human
nature originates in the works of ancient Greek
thinkers. Plato's followers and interpreters are
convinced that the Good can be found based on
the help of reason and intellectual abilities.
Russian traditional views are convinced that a
naive understanding and knowledge of Goodness
is a sufficient justification for virtue
(Ostrovskaya et al., 2015).
Eastern philosophy also interprets various
aspects and qualities of men as a guide between
worlds, helping to understand the importance of
human nature. Thus, Confucianism has made a
special contribution to the understanding of
gender roles in human society (Koh, 2008). The
analysis of the ancient teachings of Eastern
philosophy about the concept of humanity
inevitably turned out to be influenced by the
Chinese sage of antiquity Confucius, who held
the idea of the need for morality and morality as
the main postulates of a harmonious and
successful society. The Kazakh tradition has
experienced layers of influence of Nestorian
Christianity, Russian culture, Buddhism and
Islam, which led to the emergence of a specific
construct of understanding the gender role. At the
same time, the Khanty worldview reflects the
influence of pagan Ugric traditions of shamanism
and Russian Orthodoxy. However, all the
considered ethnocultures reveal deep points of
spiritual kinship, or deep universals of human
nature, expressed in the priority of living
according to the will of the Heavenly Father or
according to the will of Heaven (in the Chinese,
Turkic and Khanty understanding).
Conclusion
The harsh natural conditions of the Arctic North
among the Khants, the arid steppe among the
Kazakhs and the semi-desert among the Chinese
formed the general outline of fairy tales about the
life of people in special natural conditions:
persistent, hardy and friendly people who are
ready to learn and comprehend new things. Fairy
tales show the collective image of a man, a hunter
or a fisherman, the head of a family, who is able
to overcome difficulties in this harsh northern
region, preferred in traditional culture. Such
conditions dictate the role model of a man as the
owner of the hearth. Fairy tales paint the image
of a man as a hardworking, patient, strong and
courageous person. In addition, this man is calm,
reasonable, balanced and seasoned, who can
disappear for months on hunting and fishing,
which indicates the presence of a strong type of
temperament, closer to phlegmatic. As a rule,
outbursts of anger and rash behavior lead to the
need for the hero to pass obstacles, which the
fairy tale clearly demonstrates to us. A man as an
artistic character of a fairy tale becomes an object
of artistic discourse with its specific
psycholinguistic means of representation,
allowing to discover the universals of the dyad of
human life.
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