Лирика Г. Тукая в межлитературном контексте

Abstract

By studying the lyrical works of Tatar poet G. Tuqay (1886–1913) and those of 19th century Russian poets (A. S. Pushkin, M. Yu. Lermontov, N. A. Nekrasov), the article traces different types of dialogic relationship between the texts belonging to two national literatures. In these relationships, “one’s own” may appear as a restructured version of the “alien”, as its opposite, or as its cognate. We outline a generative function of interliterary dialogue as a factor influencing shifts in aesthetic consciousness and changes in artistic culture. Staying in dialogue with 19th century Russian literature, G. Tuqay’s lyrics feature a new principle of art which is typical for the poetics of modality. This principle appears in all architectonic forms of an aesthetic object, but primarily in its subject. Tuqay’s works show the birth of different types of the lyrical subject: the lyrical “I”, the yrical hero, the hero of role based lyrics, and the subject’s neo-syncretism stemming from self identification. Forms of expression of the author’s consciousness, as they appeared in the works of Russian and Tatar poets, defined genre and stylistic peculiarities of their texts. This new type of lyricism paved the way towards new principles of genre self determination. In Tuqay’s works, along with synthetic methods of describing man’s inner world, analytical techniques of psychologism are widely used to recreate the inner world of modern man. Thus, the dialogue between G. Tuqay and 19th century Russian poets helps determine integrative processes in both literatures, on the one hand, and to reveal their national identity, on the other.