Bibliography
Grigory Bondarenko
s. xx–xxi
Bondarenko
Works authored
Websites
Toner, Gregory [director], Maxim Fomin, Grigory Bondarenko, Thomas Torma, Caoimhín Ó Dónaill, and Hilary Lavelle, eDIL: electronic Dictionary of the Irish Language, revised ed., Online: Royal Irish Academy, 2013–present. URL: <http://edil.qub.ac.uk>.
Electronic internet edition of the Dictionary of the Irish language.
Electronic internet edition of the Dictionary of the Irish language.
Bondarenko, Grigory, Maxim Fomin, Hilary Lavelle, Gregory Toner [director], Thomas Torma, and Caoimhín Ó Dónaill, eDIL: electronic Dictionary of the Irish Language, 1st digital ed., Online: Royal Irish Academy, 2007–present. URL: <https://www.dil.ie>.
Electronic internet edition of the Dictionary of the Irish language.
Electronic internet edition of the Dictionary of the Irish language.
Works edited
Contributions to journals
Bondarenko, Grigory, “King in exile in Airne Fíngein (‘Fíngen's Vigil’): power and pursuit in Early Irish literature”, Études Celtiques 36 (2008): 135–148.
abstract:
[FR] Le récit irlandais ancien en prose Airne Fíngein et les matériaux connexes transmis par le dindshenchas et d’autres récits en prose présentent l’acquisition, et la perte de la souveraineté comme des événements dus à une sorte de connaissance surnaturelle. Dans la littérature irlandaise ancienne, tous les personnages remarquables, ou extraordinaires, doivent leur statut, dans une large mesure, à des êtres surnaturels, appartenant à l’Autre monde, et au passé pré-chrétien tel qu’il est présenté par les auteurs du début de la période chrétienne. Cet article réexamine les concepts de royauté et de périphérie dans la littérature irlandais ancienne, sur la base d’un passage d’Airne Fíngein où l’on peut percevoir et étudier la connexion entre statut royal et intervention surnaturelle.
[EN] The early Irish prose tale Airne Fíngein and the relevant material from the dindshenchas and other prose tales discussed represent both the origin and the loss of king’s sovereignty as deeply dependent on some source of supernatural knowledge. The status of any distinguished (or extraordinary) character in Early Irish literature, to a great extent, depends upon supernatural and otherworldly beings in the image of the pre-Christian past drawn by authors of the early Christian period. This article revisits the concepts of kingship and periphery in early Irish literature on the basis of a particular fragment from Airne Fíngein where connection between status and supernatural can be perceived and analysed.
Persée – Études Celtiques, vol. 36, 2008: <link>
abstract:
[FR] Le récit irlandais ancien en prose Airne Fíngein et les matériaux connexes transmis par le dindshenchas et d’autres récits en prose présentent l’acquisition, et la perte de la souveraineté comme des événements dus à une sorte de connaissance surnaturelle. Dans la littérature irlandaise ancienne, tous les personnages remarquables, ou extraordinaires, doivent leur statut, dans une large mesure, à des êtres surnaturels, appartenant à l’Autre monde, et au passé pré-chrétien tel qu’il est présenté par les auteurs du début de la période chrétienne. Cet article réexamine les concepts de royauté et de périphérie dans la littérature irlandais ancienne, sur la base d’un passage d’Airne Fíngein où l’on peut percevoir et étudier la connexion entre statut royal et intervention surnaturelle.
[EN] The early Irish prose tale Airne Fíngein and the relevant material from the dindshenchas and other prose tales discussed represent both the origin and the loss of king’s sovereignty as deeply dependent on some source of supernatural knowledge. The status of any distinguished (or extraordinary) character in Early Irish literature, to a great extent, depends upon supernatural and otherworldly beings in the image of the pre-Christian past drawn by authors of the early Christian period. This article revisits the concepts of kingship and periphery in early Irish literature on the basis of a particular fragment from Airne Fíngein where connection between status and supernatural can be perceived and analysed.
Bondarenko, Grigory, “Conn Cétchathach: the image of ideal kingship in early medieval Ireland”, Studia Celtica Fennica 4 (2007): 15–30.
Sfks.org: <link>
Contributions to edited collections or authored works
Bondarenko, Grigory, “The migration of the soul in De chophur in dá muccida and other early Irish tales”, in: Gregory Toner, and Séamus Mac Mathúna (eds), Ulidia 3: proceedings of the Third International Conference on the Ulster Cycle of Tales, University of Ulster, Coleraine 22–25 June, 2009. In memoriam Patrick Leo Henry, Berlin: curach bhán, 2013. 137–147.
Bondarenko, Grigory, “Fintan mac Bóchra: Irish synthetic history revisited”, in: Maxim Fomin, Václav Blažek, and Piotr Stalmaszczyk (eds), Transforming traditions: studies in archaeology, comparative linguistics and narrative: proceedings of the Fifth International Colloquium of Societas Celto-Slavica, held at Příbram, 26–29 July 2010, 6, Łódź: Łódź University Press, 2012. 129–147.
Eprints.ulster.ac.uk: <link>
Bondarenko, Grigory, “Autochthons and otherworlds in Celtic and Slavic”, in: Dunja Brozović-Rončević, Maxim Fomin, and Ranko Matasović (eds), Celts and Slavs in central and southeastern Europe: proceedings of the Third International Colloquium of the Societas Celto-Slavica, Dubrovnik, September 18–20, 2008, 3, Zagreb: Institut za hrvatski jezik i jezikoslovlje, 2010. 281–302.
abstract:
The separation of the lower Otherworld from the human middle world is explained as a ‘historical’ fact both in medieval Irish tales and in northern Russian folklore. The problem of subterraneous autochthones (áes síde or Chud’) and their enmity towards humans is posed in order to determine the conflict in the narratives. The special localization of the Otherworld is associated in the texts discussed with the coming of the sons of Míl and the beginning of Goidelic Ireland or with the coming of Russian settlers and the beginning of history in the Russian North. The very notion of the separation between this world of humans and the Otherworld is closely related to the beginning of history as such. When history begins the sacred has to be separated from the profane (belonging to mortals). When this separation is performed the binary opposition between the lower Otherworld and the upper world of humans becomes a distinctive feature of the early Irish mythological narrative or Northern Russian and Komi folklore. Both Celtic and Slavic examples seem to reflect a transition stage when cosmological elements (such as the lower world, supernatural chthonic entities etc.) are superimposed on the emerging historical consciousness.
Ulster Institutional Repository – eprint: <link>
abstract:
The separation of the lower Otherworld from the human middle world is explained as a ‘historical’ fact both in medieval Irish tales and in northern Russian folklore. The problem of subterraneous autochthones (áes síde or Chud’) and their enmity towards humans is posed in order to determine the conflict in the narratives. The special localization of the Otherworld is associated in the texts discussed with the coming of the sons of Míl and the beginning of Goidelic Ireland or with the coming of Russian settlers and the beginning of history in the Russian North. The very notion of the separation between this world of humans and the Otherworld is closely related to the beginning of history as such. When history begins the sacred has to be separated from the profane (belonging to mortals). When this separation is performed the binary opposition between the lower Otherworld and the upper world of humans becomes a distinctive feature of the early Irish mythological narrative or Northern Russian and Komi folklore. Both Celtic and Slavic examples seem to reflect a transition stage when cosmological elements (such as the lower world, supernatural chthonic entities etc.) are superimposed on the emerging historical consciousness.
Bondarenko, Grigory, “Significance of pentads in Early Irish and Indian sources: case of five directions”, in: Maxim Fomin, Séamus Mac Mathúna, and Victoria Vertogradova (eds), Sacred topology of early Ireland and ancient India: religious paradigm shift, 57, Washington: Institute for the Study of Man, 2010. 113–132.
Bondarenko, Grigory, “Oral past and written present in ‘The finding of the Táin’”, in: Ruairí Ó hUiginn, and Brian Ó Catháin (eds), Ulidia 2: proceedings of the Second International Conference on the Ulster Cycle of Tales, Maynooth 24-27 July 2005, Maynooth: An Sagart, 2009. 18–24.
abstract:
Pre-Christian Irish culture as any pre-literate society and culture was governed by the traditional type of memory. The medieval Irish texts on the other hand witness gradual shift from this type of memory towards the historical one. The historical type of memory is characterised by its special attention to causes and effects, and to results of actions: this memory fixes crops for particular years but not the sowing-time. This type of memory causes written history to appear on the cultural level (Lotman 2000, 364). It is more or less clear that this shift could not have been an instantaneous one especially as we know that the early medieval Irish filid retained forms of the early traditional type of memory during the whole period of Middle Ages. Certain stories from the dindshenchas and certain tales devoted to exemplary characters fulfilled mnemonic functions.
(source: Source)
University of Ulster – eprint: <link>
abstract:
Pre-Christian Irish culture as any pre-literate society and culture was governed by the traditional type of memory. The medieval Irish texts on the other hand witness gradual shift from this type of memory towards the historical one. The historical type of memory is characterised by its special attention to causes and effects, and to results of actions: this memory fixes crops for particular years but not the sowing-time. This type of memory causes written history to appear on the cultural level (Lotman 2000, 364). It is more or less clear that this shift could not have been an instantaneous one especially as we know that the early medieval Irish filid retained forms of the early traditional type of memory during the whole period of Middle Ages. Certain stories from the dindshenchas and certain tales devoted to exemplary characters fulfilled mnemonic functions.
(source: Source)
Bondarenko, Grigory, “Cú Roí and Svyatogor: a study in chthonic”, in: Tatyana Mikhailova, Maxim Fomin, and Grigory Bondarenko (eds), Proceedings of the Second International Colloquium of Societas Celto-Slavica, held in Moscow (14–17 September 2006), 2, Moscow: Moscow State University, 2009. 64–74.
abstract:
Both Early Irish and Russian mythological traditions demonstrate a particular example of an extraordinary character showing supernatural features as well as the features of a chthonic monster: it is Cú Roí mac Daire on the Irish side, and Svyatogor on the Russian side. We have to be careful before arguing that these two mythological characters reflect one particular archetype of a monstrous chthonic creature (cf. views expressed by Henderson (1899) in Ireland and Putilov (1986) in Russia); on the contrary, one has to consider both heroes as complex and independent entities who appear in the two quite distinct mythologies (Early Irish and Russian). This is especially true in relation to the Russian tradition of byliny (былины) which have been preserved orally until the first published editions of the nineteenth century. Cú Roí and Svyatogor, the two mythological characters discussed, play essentially the same rôle of chthonic monsters in the basic myth. They act as an ‘obstacle’, ‘barrier’ for human heroes such as Ilya and Cú Chulainn. They are primeval characters in both traditions, that is why they are not associated with the dominant population groups: Svyatogor is not of Rus’ but from outer space (mountains on the borderland, Carpathians?), Cú Roí is from outer Munster, from marginal auto-chthonous (sic!) population groups. At the same time both characters as they have survived in the literature are contaminated by Biblical and apocryphal stories of Samson and Delilah. This is how they became incorporated into a comparatively new synthetic literary tradition.
(source: Source)
University of Ulster – eprint: <link>
abstract:
Both Early Irish and Russian mythological traditions demonstrate a particular example of an extraordinary character showing supernatural features as well as the features of a chthonic monster: it is Cú Roí mac Daire on the Irish side, and Svyatogor on the Russian side. We have to be careful before arguing that these two mythological characters reflect one particular archetype of a monstrous chthonic creature (cf. views expressed by Henderson (1899) in Ireland and Putilov (1986) in Russia); on the contrary, one has to consider both heroes as complex and independent entities who appear in the two quite distinct mythologies (Early Irish and Russian). This is especially true in relation to the Russian tradition of byliny (былины) which have been preserved orally until the first published editions of the nineteenth century. Cú Roí and Svyatogor, the two mythological characters discussed, play essentially the same rôle of chthonic monsters in the basic myth. They act as an ‘obstacle’, ‘barrier’ for human heroes such as Ilya and Cú Chulainn. They are primeval characters in both traditions, that is why they are not associated with the dominant population groups: Svyatogor is not of Rus’ but from outer space (mountains on the borderland, Carpathians?), Cú Roí is from outer Munster, from marginal auto-chthonous (sic!) population groups. At the same time both characters as they have survived in the literature are contaminated by Biblical and apocryphal stories of Samson and Delilah. This is how they became incorporated into a comparatively new synthetic literary tradition.
(source: Source)
Bondarenko, Grigory, “Hiberno-Rossica: ‘knowledge in the clouds’ in Old Irish and Old Russian”, in: Séamus Mac Mathúna, and Maxim Fomin (eds), Parallels between Celtic and Slavic: proceedings of the First International Colloquium on Links and Parallels between Celtic and Slavic Traditions, held at the University of Ulster, Coleraine, 19–21 June 2005, 1, Coleraine: TSO Publishers, 2006. 185–200.
abstract:
The present discussion aims to deal with one rare example of formulaic similarities in Old Irish and Old Russian poetic speech. In the past years several studies appeared devoted to Celto-Slavic isoglosses or correspondences in theonymics and mythopoeic language. The paper is devoted to two particular fragments in two Old Irish and Old Russian texts (the former is much less known than the latter) with a special emphasis on the semantics and poetic rules, which are common for both examples. An attempt is made to tackle the problem of common Indo-European ancestry for the formula discussed and cultural realities, which this formula reflects. The terms denoting the poetic creative art in IE languages are often borrowed from the vocabulary of different handicrafts. The poet may ‘weave’, ‘sew’, and ‘fashion’ a poem . In Old Irish a poetical craft might have been alluded by the verb fifgid ‘weaves’ as in f(a)ig feirb fithir ‘a teacher (of poetry) has woven a word’ (ACC, 52). The symbolism of binding evident in IDB can be interpreted by the shamanistic practice known throughout the world when the shaman binds a human soul (especially of a sick or dying person). This image is connected moreover with the magic of binding and bonds.
(source: eprints.ulster.ac.uk/11934)
abstract:
The present discussion aims to deal with one rare example of formulaic similarities in Old Irish and Old Russian poetic speech. In the past years several studies appeared devoted to Celto-Slavic isoglosses or correspondences in theonymics and mythopoeic language. The paper is devoted to two particular fragments in two Old Irish and Old Russian texts (the former is much less known than the latter) with a special emphasis on the semantics and poetic rules, which are common for both examples. An attempt is made to tackle the problem of common Indo-European ancestry for the formula discussed and cultural realities, which this formula reflects. The terms denoting the poetic creative art in IE languages are often borrowed from the vocabulary of different handicrafts. The poet may ‘weave’, ‘sew’, and ‘fashion’ a poem . In Old Irish a poetical craft might have been alluded by the verb fifgid ‘weaves’ as in f(a)ig feirb fithir ‘a teacher (of poetry) has woven a word’ (ACC, 52). The symbolism of binding evident in IDB can be interpreted by the shamanistic practice known throughout the world when the shaman binds a human soul (especially of a sick or dying person). This image is connected moreover with the magic of binding and bonds.
(source: eprints.ulster.ac.uk/11934)
