Фольклор ненцев: В записях 1911, 1913, 1946, 1953, 1965-1987 годов. - 2001. (Т. 23.)

as antipodes regarding their attitude to people: the crow is happy about the birth of human babies, while the sea-gull is happy about human death. “Khalev' Syo” (Song o f the Sea-Gull — text No. 18) is very intricate from the viewpoint of its structure and complicated from the viewpoint of philosophy. A similar plot is used in myths-fairy tales — No. -224A* according to Aarne — Thomps o n's system. The plot is simple — a shaman-eagle devours his client — sea-gull — during a shamanic ritual about the latter's happy future. What does it mean? How it should be interpreted? The shamanistic Nenets people either doubt shamans’ treatment m e thods or those facts testify to the origination of a genre of jokes about clergymen. “Sikhirtya' Syo” (Sikhirtya's song) is an echo of the existence of the Sikhirtya people, a song-legend, a song-prophecy. A young woman sings that if anyone ever sings her song in the clear weather let it turn into a storm, but if anyone sings a song during a storm let it subside. According to performer Galina Salind e r, this song is used for charming weather. The song “Pyako" Nyamvy Tungu' Syo” (a song of tungu caught by Nenets people who live in the forest) belongs to this group. The Nenets people have a host of legends featuring tungu — a species of relic hominoid, a Snow Man whom they ran into, who frightened them and played pranks. It turned out that our tungu grieved over his trousers made of bark which tore. The song “Tungokana Ilevy Ne' Syo” (the song of a woman who lived with tungu) is a bridge which connects the world of birds and supernatural beings with the world of people. The woman who was married to tungu grieves over her husband-tungu, the father of her two daughters from whom her relatives had separated her. Such songs are precious material also for biological science which has been trying to unravel a mystery about the Snow Man for several centuries. The volume contains brief descriptions of performers — Vera Anagurichi, Svetlana Anagurichi, Alexander Salinder, Galina Salinder, Nadezhda Salinder, Anatoly Serotetto, Lyunchi Tesida, Ivan Yadne, Pudako Yadne and others as well as photos of some of them. Nenets narrators of folk tales are moulded in reindeer-breeding and hunting life subordinated to powerful cycles of nature at the school of narration of folk tales of teltanggcrva — a system of perform- ing Nenets folklore works by two performers: the main, leading one whose name in the Nenets language depends on the genre of the work — lakhanakom meta (performer of a myth, fairy tale), syudbabtsm meta/syudbala (performer of syudbabts), khynabtsm’ meta/khynota (performer of khynabts), sambdabtsm meta/tadebya (performer of sambdabts/shaman) and teltangoda/teltanzyo- da/telanchyoda/telanzyoda who is named so for performers of any genre. Teltangoda is translated into English as duplicating, accompanying, the actor's assistant, an assistant who echoes the narrator and is his right hand. The