THE INTERCULTURAL FEATURES OF THE ADDRESSING OF FOLK LULLABIES (based on Russian and Iranian languages)

Abstract

The article is devoted to the study of the representation of the immanent category of addressability in the texts of folk Russian and Iranian lullabies. The relevance of this study is determined by the need to preserve lullabies through their study and detailed description as part of the cultural heritage. What unites the analyzed lullabies is their address to the child in order to influence him, to calm him down, put him to sleep, create a cozy and safe atmosphere, and strengthen the psychological connection between mother and child. In addition to signs of belonging to different cultures, lullabies also reveal intercultural characteristics, manifested in their intended use not only for the child himself. The range of addressees of the folk lullaby song was expanded to include not only the child, but also supernatural phenomena, the existence of which was believed, from which they tried to protect the child through the text of the lullaby, which sounds like a spell. The text of the lullaby also shows signs of self-addressing, when a mother, left alone with her child for a long time, uses the performance of the lullaby as an opportunity to express her worries and worries, thus getting rid of them.

Extended abstract:

This article explores the intercultural dimensions of addressability in Russian and Iranian folk lullabies, identifying three main types based on their addressees and content:

1. Traditional Lullabies: These are primarily addressed to the child, serving as an introduction to the world around them. The child is often addressed directly by name or through affectionate metaphorical terms, creating a sense of intimacy and connection. These lullabies reflect the mother’s role in nurturing and educating the child, embedding cultural values and norms from an early age.

2. Improvisational Lullabies about the Mother’s Life: These texts are addressed to the mother herself, expressing her personal concerns, emotions, and experiences, which may not always be directly related to motherhood. By verbalizing her feelings, the mother is able to distance herself from them, reducing her emotional burden and achieving a sense of detachment. This type of lullaby highlights the dual role of lullabies as both a means of soothing the child and a form of emotional release for the mother.

3. Improvisational Lullabies Addressing Nature and Supernatural Beings: These lullabies are directed at natural phenomena, animals, birds, and both benevolent and malevolent supernatural entities. The mother seeks assistance from benevolent beings to protect the child while pleading with or even threatening malevolent forces to ward off harm. This type reflects the cultural beliefs and spiritual practices embedded in lullabies, showcasing their role as a bridge between the human and supernatural worlds.

The study emphasizes that all three types of addressees—the child, the mother, animals, natural phenomena, and supernatural beings—are present in both Iranian and Russian lullabies, underscoring their intercultural correspondences. Despite these similarities, lullaby texts also contain ethnocultural features that reflect the unique traditions, customs, and historical contexts of each nation. This duality highlights the importance of considering both universal and culture-specific elements when analyzing lullabies.

The multifaceted nature of addressability in lullabies is a key focus of the research. While their primary function is to soothe the child, lullabies also serve as a medium for introducing the child to the world, expressing the mother’s emotions, and conveying cultural beliefs and practices. The performance of lullabies, typically by the mother, strengthens the psychological bond between mother and child, creating a shared emotional and cultural space.

In both Iranian and Russian cultures, lullabies often incorporate religious motifs, invoking divine protection for the child. They also frequently employ metaphorical language, comparing children to flowers or other precious objects. However, Russian lullabies tend to use direct naming more often than Iranian ones, reflecting subtle linguistic and cultural differences.

The study concludes that lullabies, as a form of folk art, encapsulate and transmit cultural values, beliefs, and social structures while fulfilling their primary purpose of soothing children to sleep. This comparative analysis of Iranian and Russian lullabies enhances our understanding of the universal aspects of maternal care as well as the specific cultural expressions found in different societies. It reveals the rich tapestry of human experience embedded in this simple yet profound form of folk art.

The research methodology combines linguistic analysis, cultural anthropology, and comparative literature approaches. By examining both the linguistic structures and cultural contexts of lullabies, the study provides a nuanced understanding of how these seemingly simple texts carry profound cultural meanings. Furthermore, the research suggests that lullabies are not static cultural artifacts but dynamic expressions that evolve alongside societal changes. The gradual transformation of lullaby themes reflects broader social shifts, technological advancements, and changing family dynamics. The comparative approach adopted in this study offers a unique perspective on cross-cultural communication, highlighting the universal yet culturally specific nature of maternal expressions of love, protection, and hope.