ARCHITECTONICS AS THE BASIC COMMUNICATION SYSTEM OF THE YAKUT HEROIC EPIC OLONKHO

This work is relevant because it is devoted to the development of the philosophical foundations of the heroic epic Olonkho. Two and a half thousand years ago, the universality of the ancient Greek myth was the one of the main reasons for the emergence of Philosophy. In today’s world, there is no less acute need for universalism, which attracts for its justification science, philosophy, literature, mythology and other spheres of the human spirit.

The purpose of the proposed approach is to make the research process more transparent, for which it is necessary to consider the Olonkho products from the point of view of limiting fundamental dynamic equilibria. This is possible because the Olonkho itself gravitates to the ultimate equilibrium. Traditionally in the heroic epic subjects, stories, style, images of heroes are investigated, however many of these concepts are not clearly defined, overlapping each other. The academic research of the texts is complicated by these reasons.

The methodology based on the ideas of M.M. Bakhtin about a detached view in  the process of studying a text and on the author’s concept of a coordinate system based on three interrelated limiting dynamic equilibria. This corresponds to modern views about architectonics, image, and style. The resultsare presented in the form of specific conclusions at the end of the work.

As a result, architectonics is defined as one of the elements of the fundamental triad “image-architectonics-style”, which are associated with the ultimate equilibria of identification, communication and rhythms of the world harmony and are widespread among natural and cultural objects. This approach is an autopoiesis of architectonics, can form their various structures and systems. The architectonics defined in this manner is capable of incorporating the entire variety of epic formulas, chants, adjectives, epithets, as well as all possible scenarios for the development of the plot, the motives that the process created by Olonkho-tellers provides for us. The proposed idea of the architectonics of the epic is eidos oriented. The study of Olonkho based on the logos is futile, since the schemes of this approach are not capable of conveying the entire diversity and complexity of the Olonkho and the variety of its possible philosophical interpretations.

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