Tatar Literature Research Articles

Творческий юбилей Галимджана Ибрагимова (на примере архивных источников)

The article presents with archival materials in which the celebrations of the twentieth anniversary of the Tatar literature classic, publicist, public figure Galimjan Ibragimov, held in 1928, are documented. The funds of the State Archive of the Republic of Tatarstan (Kazan) and the Archive of the Russian Academy of Sciences (Moscow) have a protocol and a transcript from the celebrations dedicated to this anniversary. The protocol is printed in Tatar, the transcript is presented in Russian. Due to a serious lung disease, the writer was residing in Yalta for treatment at the time. The preparation and holding of events was organised at the highest level, the anniversary date was celebrated even outside the Tatar Republic. Although G. Ibragimov was not able to attend the event personally, the anniversary was held on a large scale and was broadcast on the radio. A concert was organised and a play based on the writer’s drama New People was staged. At the end of the event, a telegram with anniversary greetings to the hero of the day was read and later sent to Yalta. Later, G. Ibragimov sent a reply telegram with words of gratitude to the editorial offices of the newspapers “Kyzyl Tatarstan” and “Eshche”. Among those invited and speaking were prominent literary and public figures and orientalists (I. Rakhmatullin, G. Nigmati, G. Linstser), birthday greetings from various addressees from Russian cities and abroad were read out. The transcript is very voluminous. As can be seen from the content, prominent figures took part in the meeting, such as N. Tyuryakulov, I. Borozdin, A.N. Maksudov, B.Kh. Mansurov, A.M. Arsharuni. The speakers’ speeches trace the significant role of G. Ibragimov in the public life of the Tatar people, as a literary scholar, researcher and public figure. The article provides quotes from archival documents in the original language and facts concerning the writer’s creative anniversary from the periodical press of the first half of the 20th century.

THE STORY “ZINDAN” BY GAYAZ ISKHAKI IN THE LITERARY CONTEXT OF THE EPOCH

The classic of Tatar literature Gayaz Iskhaki was born in Kutlushkino (Yaushirma) village of Chistopolsky district in the family of a famous mullah who engaged in education and charity. First, he received knowledge, love for books and reading from parents and maternal grandmother and later in the day school of the village. He continued his studies in a famous in the Muslim world of Russia and the countries of the East madrasah of Zakir Kamalov, which not only produced future imams, hazrats, but also teachers for other madrasahs. This period of his life spent in Chistopolsky district laid the foundation for the worldview of the future writer and thinker and played an important role in shaping the personality of G. Ishaki. It was there, in the Chistopolsky prison, that the autobiographical novel "Zindan" was written, which testifies to his passion for revolutionary ideas and reflects the real facts from the life of the Chistopolsky prison. The autobiographical work "Zindan" is based on real events and provided with various historical and cultural facts and details from the literary life of the epoch. The text reflects the perception of current events by the writer who was the witness and an active participant in them. The novel "Zindan" was published in a separate edition in Kazan in 1907. Due to the humanity of the censor N.F. Katanov, the book was not confiscated and criminal prosecution against the author was not initiated. The interest of the Central Committee of Foreign Censorship of St. Petersburg manifested in 1908 in relation to the work of G. Iskhaki led to a thorough examination of the content of "Zindan" by another member of the Kazan Provisional Committee for Press Affairs N.I. Ashmarin in order to search for places with signs of "crimes". His review led to the decision of the Committee to seize Iskhaki's pamphlet "Zindan" because of the illegal content, bringing the author to criminal responsibility under the article 129 of the Criminal Code. The author of the article summarized the material on the period from the biography of G. Iskhaki spent in Chistopolsky district and revealed the great work of the scientific community of Tatarstan to return its literary heritage to the history of Tatar literature of the twentieth century. The interpretation of the story "Zindan" by various literary critics in the historical, cultural and literary context of the epoch showed that the story "Zindan" in the form of a prison chronicle introduced new ideological and thematic tones into Tatar literature and gave impetus to the rapid development of the autobiographical genre in Tatar literature being of high value as a historical source.

Novella genre in contemporary Tatar literature (based on the creative work of G. Gilmanov)

Novella genre in contemporary Tatar literature (based on the creative work of G. Gilmanov)

The problem of the correlation of individual and regional styles in the Tatar poetry of Bashkortostan

The proposed article is devoted to identifying the main qualities of the regional style of Tatar poetry of Bashkortostan, through studying the features of the individual style of modern Tatar poets of the republic. The work provides a historical and literary analysis of the development of Tatar poetry in Bashkortostan in the twentieth century; the reasons for the emergence of such a literary phenomenon as “bilingual Tatar literature” are revealed, due, first of all, to changes in the socio-political and cultural life of the republic, the displacement of the Tatar language from the literary press and book publishing in the 1930s-1980s; the influence of these events on the individual style of poets is studied. Based on a© Фазлутдинов И. К., 2024qualitative scientific and theoretical basis, the author reveals the meaning and content of such literary terms as “style”, “individual style”, “regional style”; reveals the peculiarities of aesthetic perception and personification of the world in the works of the Tatar poets of Bashkortostan; emphasizes the importance of the artistic picture of the world as the main component of their individual style. Focusing on the diversity of opinions on the problem of the correlation of individual and regional styles in literary criticism, the author reviews scientific and literary discussions on the problems of form, content, creative method and the main motives of regional Tatar poetry. He comes to the conclusion that the Tatar poetry of Bashkortostan is inextricably linked with the traditions of the thousand-year-old Tatar literature and is currently its successor. Thus, the author enters into a polemic with scholars who consider the Tatar poetry of Bashkortostan as an independent literary phenomenon.

Рецензия на книгу: Adiloğlu, Adilhan. Ceditçilik Dönemi Kazan Tatar Edebiyatında Kadın Hak ve Hürriyetleri Meselesi (Аnkara: Gece Kitaplığı, 2020. 454 s.)

The author of the review introduces the voluminous research work written by Adilkhan Adiloglu, a young Turkish scholar, and dedicated to the problem of women's rights and freedoms in the Tatar literature and periodicals of the Jadid era (mid-19th – early 20th centuries). The work’s value lies in the fact that, using rich factual material, the researcher presented the history of the emergence of the national-cultural revival among the Tatars and its outstanding participants. He managed to show the scale of participation of an educated Tatar Muslim woman in this process.

Роль и место татарской женщины в творчестве Наки Исанбета

The article presents an attempt to conduct a systematical study of the typology of female images in the works of Naki Isanbet, the Tatar scholar-encyclopedist, folklorist, critic, and classic of Tatar literature (1899–1992). Published and unpublished sources were used as the research material. Fiction, journalistic, and scientific texts of N. Isanbet have been analysed using the method of semantic analysis, historical and cultural, comparative methods. The author proves that the ideal of a woman of the Enlightenment epoch, i.e. the “mother of the nation”, dominates in the legacy of the scholar who was the classic of the Tatar literature as well. The images of a devoted spouse, a wise mother, a “mother of the nation” can be encountered in his works. The writer defends the ideas of equality of women and men, women’s active participation in public life, etc. in his works of fiction written in various genres throughout the twentieth century. The poetics of female images depends on the requirements of the genre. When developing the images, the writer relies on the traditions of the Tatar folklore and oriental poetry. In his creative legacy, the encyclopedic scholar immortalised dozens of names of the female contemporaries who made a significant contribution to the history of the Tatar people – teachers, actresses, writers, translators, public figures, etc.

The image of Shakur-Karak in Russian and Tatar literature

The article reveals a corpus of folklore and literary texts dedicated to the life and activities of the horse thief Shakur Rakhimov who was shot in 1926. His gang consisted of 100 people. In the Russian literary tradition, writers turned to this image only during the years of perestroika – largely by order of the Press Center of the Ministry of Internal Affairs. These are the story by E. Sukhov “Shakur-karak” (1994) and the essay by M. Belyaev and A. Sheptytsky “Robin Hood or the Progenitor of Organized Crime?”, which was written for the book “Gangster Tatarstan”. Both works were created on a documentary basis. The writers familiarized themselves with 40 volumes of the criminal case, analyzed press coverage of the events and the memories of the eyewitnesses. The fight between the smart thief and the professional investigator is depicted in F. Dostoevsky’s traditions. Tatar literature remains faithful to the folklore tradition where the image of Shakur-karak gravitates towards the pole of the Robin Hood archetype – the people’s protector. It is obvious that the Gorky romantic tradition dominates in Tatar works.

Variants of concept representations in the works by Tatar and Bashkir writers

The article considers representation variants of the Tatar language concepts based on Tatar and Bashkir literatures of the Republic of Bashkortostan in terms of cognitive and cultural linguistics. Here, we briefly present the main approaches to the interpretation of such notions as ‘concept’, ‘artistic picture of the world’, ‘individual linguistic picture of the world’, etc.The artistic comprehension of the national-linguistic picture of the world is carried out by writers and poets as they are able to create new artistic worlds and in this way to expand the connotational field of a particular concept. To analyze this process, the article uses the works of Tatar and Bashkir writers: M. Kabirov, G. Gizzatullina, G. Gilmanov, M. Vafin and M. Zakirov. We present our experience of interpreting such meaningful concepts of Tatar culture as ‘кеше’ (Tat. keshe - person), ‘җан’ (Tat. zhan - soul), ‘кабык’ (Tat. kabyk - lubok), ‘шагыйрь’ (Tat. shagyir - poet), ‘моң’ (Tat. mon - melody / sadness), ‘юл’ (Tat. yul - road / path) possessing linguistic and linguocultural significance. The research proves the value of the concept analysis aimed to determine the combination of universal, national and individual components of the concept in the oeuvre of a certain author. The article shows that analyzing a text or texts of writers from the viewpoint of conceptual frameworks allows a deeper understanding of their artistic canvas as a representation of the writer’s world. The article highlights that the analysis of the conceptual picture of the text, based on Tatar literature, remains relevant and promising.

Strategies for Translating Tatar literature into Turkic languages: History and Current State

The article addresses the reality of artistic translation of Tatar literature into Turkic languages. It is emphasized that for many years, due to external sociopolitical factors, Tatar writers did not have a full-fledged opportunity to present works of national literature in Turkic languages. The relevance of this issue is linked to the practical necessity, as literary translation is one of the areas that serves the cause of rapprochement of peoples, the development of mutual understanding between nations and the dialog of cultures, which is extremely important for the development of the Russian ethno-cultural space, the establishment of cultural interrelations with the Turkic world. The activation of translation activity coincided with cardinal changes in the life of the country, was conditioned by socio-political and ethno-humanitarian attention to the ideology of kinship, linguistic and worldview closeness of the Turks. Based on a large amount of factual material, the main directions of artistic translation are investigated. It is concluded that Tatar literature is most intensively translated into Turkish. The authors of the article identified the works of the most actively translated into Turkish authors, traced the works of Tatar writers, which aroused interest among Turkic-speaking readers. A large number of books by Tatar writers have been published in Turkey. Special attention is paid to the personality of the translator, some historical and cultural contexts of the emergence of Tatar-Turkish translation projects are analyzed.The realities and current state of Tatar-Kazakh and Tatar-Azerbaijani literary translations are also considered. Tatar-Bashkir translations are analyzed as an important aspect of intercultural communication. With all the similarity of two closely related languages and literary traditions, the necessity of cultural interaction of this format is obvious for the national writing community. The conclusions are made that the study of activity, genre diversity of works translated into Turkic languages will allow to build further strategies in the field of literary translation, planning and purposeful development of this direction of creative activity, as well as actualization of the issue of training in this field. It is emphasized that the intensification of artistic translations contributes to a significant renewal of figurative languages of literature, the expansion of its cultural boundaries and aesthetic reference points.

The Image of Queen Suyumbike in Tatar Literature at the Beginning of the 20th Century

Kazan Hanlığı’nın Ruslar tarafından işgal edilmesi Tatar halkının tarihinde büyük bir facia olarak nitelendirilmektedir. 1552 yılında Kazan Hanlığı’nın yıkılmasıyla Tatar halkı devletini ve millî özgürlüğünü kaybetmiştir. Bu olay, Tatar halkını derinden sarsmış; ekonomik, dinî ve kültürel yıkımlara sebep olmuştur. 
 Bir milletin tarihî geçmişinde yer alan önemli olaylar edebiyatta yansıma bulmaktadır. Kazan Hanlığı’nın Ruslar tarafından işgali ve bunun sonucunda millî özgürlüğünün kaybedilmesi Tatar halkının tarihî hafızasında derin yaralar bırakmıştır. Farklı dönemlerde, Tatarca başta olmak üzere Rus ve Türk dillerinde Kazan Hanlığı’nın yıkılması ve Tatar halkının tarihî geçmişini konu eden çok sayıda edebî eser kaleme alınmıştır. Bu eserlerin hepsinin merkezinde Tatar halkının millî özgürlük simgesi, akıllı ve güzel kadın, acıklı bir kadere sahip olan Süyümbike Hanbike imgesi bulunmaktadır. 
 Tatar halkı için Kazan Hanlığı’nın son Hanbikesi Süyümbike hem üzüntü hem sevgiyle dile alınan bir şahsiyettir. 1551 yılında Hanbikesini Moskova’ya esir olarak göndermek zorunda kalan ve akabinde 1552 yılında devleti -Kazan Hanlığı- Ruslar tarafından işgal edilen Tatar halkı için Süyümbike’nin ismi, kaybedilen devletin ve özgürlüğün sembolüne dönüşmüştür. Çalışmada, hermeneutik yöntem kullanılarak Kazan’ın işgalinden sonra Süyümbike ve Kazan Kremlinin merkezinde bulunan Süyümbike Minaresi hakkında XX. yüzyılın başında Tatar yazar ve şairlerce kaleme alınan eserlerin analizi yapılmaya çalışılmıştır.

Review of the popular science collection “Аяз Гыйләҗев” (comp. Khabutdinova M. M. Kazan: Jyen, 2023. 672 b)

The purpose of the article is to review the popular seienee eollection called “Аяз Гыйлэжев” (“Ayaz Gilyazov”) (comp, by M. M. Khabutdinova Kazan: Jyen, 2023. 672 p.). The collection includes memoirs about Ayaz Gilyazov (1928-2002), the People’s Writer of the Republic of Tatarstan, winner of the State Prize named after G. Tukay, as well as the author’s autobiographical works, critical and journalistic articles, interviews, photographs and documents from the writer’s personal archive. The diaries and documents stored in the personal archive of the writer and publicist Ayaz Gilyazov, a classic of Tatar literature, a prominent representative of Tatar prose of the second half of the 20* century, have been collected and presented to the scientific community by Candidate of Philology Milyeusha Khabutdinova, a literary scholar who compiled a collection of reviews, which are of great significance in the studies devoted to the development of social consciousness in the 20* century. The publication is based on the principles of chronological and genre diversity. The material is subsumed into eight sections. The last section, entitled “Татар кодексы” (“The Tatar Codex”), has a quote from Rafael Sibat’s review of Ayaz Gilyazov’s work “Иэгез, бер дога!” (“Let’s Pray!”). The writer’s contribution to the national literary art and methods of research along with the methods for analyzing and the scientific principles of evaluation of his works are highlighted in the preface to Milyeusha Khabutdinova’s collection and in her articles about the writer’s letters and diaries, as well as in the memoirs of M. Sh. Shaimiev, the First President of the Republic of Tatarstan and State Adviser, the scholar I. Andreeva, the writers G. Akhunov, R. Zaidulla, Sh. Rakipov, R. Valiyev, A. Litvin, M. Galiev, T. Galiullin and R. Mukhamadeev

Historiograpy of life and creative work of Ya.N. Baiburtly, a notable Crimean Tatar man of letters and educator

The article is devoted to a brief review of the creative heritage of Yahya-Naji Baiburtly – the prominent figure of the Crimean Tatar literature and enlightener at the beginning of the 20th century. Some little-studied biographical and bibliographic materials are introduced into scientific circulation. Most of which are pre-war literary and historiographic texts, transliterated from Arabic script to Cyrillic one. The work uses memoirs of the relatives and contemporaries of Ya.N. Baiburtly, which were published by them in the national press. As a methodological basis for the research of the topic, the author used biographical, comparative typological and metacritical analysis. The theoretical basis of the research is the works of A. Krichinsky, J. Kermenchikli, Sh. Alyadinov, I. Kerimov, D. Ursu, N. Yablonovskaya, M. Khairuddinov, E. Abibullaeva. Thus, an overview of the life and literary and educational activities of Ya.N. Baiburtly helped to more clearly outline his creative personality, to determine the prospects for the aspectual study of the biography of the figure as a writer and playwright, literary translator, public figure and educator of the designated period.

A. Akhmetgalieva 's creativity in the mirror of the achievements of Russian and Tatar prose writers of the beginning of the XXI century

This article examines Tatar and Russian modern prose characterized by transitional features. The main attention is paid to the works by the Tatar writer Aigul Akhmetgalieva whose work most vividly embodies transitional phenomena in Tatar literature at the beginning of the 21st century. In particular, the authors of the article focus on her stories “Kapka” (“The Gate”), “Tan chyklaryn җil ubu” (“The Wind Kisses the Morning Dew”) and the novel “Tutash”. The purpose of the article is to review new trends in Tatar prose and identify the common features in modern Tatar and Russian literature. The motif of search in Tatar prose correlates with the existential component of consciousness in Russian culture as a whole. Both Russian and Tatar prose follow the trend of profound philosophical subtext and the introduction of new writing techniques. The analysis of Akhmetgalieva’s works has led to the conclusion that in modern Tatar prose, classical realism and avant-garde discourse, when interacting, form new methods of personal relationship with the outside world. The characters of modern writers are most often at a crossroads, in a borderline state, the latest prose reflecting the problem of the total ill-being of modern society.

The history and activities of the Center for Writing Heritage of the Institute of Language, Literature and Arts after Galimzhan Ibrahimov of the Academy of Sciences of the Republic of Tatarstan

The purpose of the staff of the Institute of Language, Literature and Arts after Galimzhan Ibrahimov of the Academy of Sciences of the Republic of Tatarstan (IYALI) is to preserve and develop the Kazan Tatar people (Tatars) language, literature, art in the context of globalization. One of the necessary conditions for the implementation of this purpose is the preservation of the spiritual cultural heritage. To this end, the IYALI since the 1940s work is underway to collect, preserve and study the written and musical heritage of the Tatars, which since 2007 has been continued by an independent unit, which later received the status of the Center for Written and Musical Heritage named as “Miraskhena” (Center for Written Heritage). Over the next 30 years, scientists of the IYALI collected numerous materials as letters, documents, manuscripts, and photographs of famous figures of Tatar literature, samples of Tatar folklore, manuscripts, and monuments of the old Tatar press. In the article, following an overview of the structure of the IYALI attention is paid to how the Center for Written Heritage was established, how and in which directions its work is carried out, how the funds and collection are replenished. This work can serve as an experience of how the identity of the people is preserved.

“Ozyn shigyr” in Modern Tatar Poetry

The article for the first time considers the most active form of modern Tatar poetry - “ozyn shigyr”. It is noted that this form is not identical to the “long poem”, it has oriental roots. In Tatar literature, “ozyn shigyr” with its unique thematic and aesthetic features was formed in the 1920s and 1930s in the era of experiments to create “new poetry of the revolutionary time”. The revealed features of the genre “ozyn shigyr” of this period are a contextual background for studying the functioning of this form in modern Tatar poetry. The focus is on the work of the young poet Lilia Gibadullina, the author of three poetry collections. In her work, “ozyn shigyr” occupies a leading place, the analysis of her most famous poems to the modern Tatar reader allows us to determine the structural, figurative and motivational features, aesthetic attitudes, artistic preferences of the genre. So, in “ozyn shigyr” by L. Gibadullina, the main place is occupied by existential-evaluative motives. The lyrical heroine analyzes the events of her life, and repeated symbols or symbolic images turn them into the history of the people, the country, humanity in general. Among the identified techniques, the flickering of motives and intertextual dialogue are important, with the help of which a multiplicity of contexts and meanings is created. Thus, it is established that the genre of “ozyn shigyr” in modern Tatar poetry has its own characteristics that arise in dialogue with the traditions of Tatar poetry and make its form different from the “long poem”.

How to Write the Histories of National Literatures?

The aim of the paper is to accentuate the problem of theoretical-and-metidological basis for writing the histories of national literatures of peoples of Russia. The main objectives imply the generalization of the experience on national literatires’ histories writing, mainly on the material of the Volga Region literatures) and to represent the concept of “The History of Tatar Literature” in Russian. Because of the lack of attention to national literatures in Russia various types of histories of national literatures such as academic, popular, educational, are in demand. The D.S. Likhachyov’ idea of theoretical history of literature is chosen as a concept for academic five-volume “History of Tatar Literature” (the project is being realized by the G. Ibraghimov’s Institute of Language, Literature and Arts of the Academy of Sciences of the Republic of Tatarstan). At the same time the concept is to be corrected according to the so-called “expectation horizon” of a Russian reader, not being aware of Tatar literature well enough.

Татарский археограф Гали Рахим о «Джами‘ ат-Таварих» Кадыр Али-бека

Research objectives: This article is about the study of the Tatar archaeographer G. Rakhim which was dedicated to “Jami‘ al-tawarikh” by Kadyr Ali-bek, and which was published as a separate chapter in the third part of the “History of Tatar Literature”. This work, published in 1922–1923 in Kazan in the Tatar Arabic script, for various reasons was out of the field of view of researchers and until recently inaccessible to a wide range of scientists. Research materials: The scientific work of G. Rakhim, an example of one of the first studies of the Modern period written in the traditions of European historiography, is distinguished by an original approach and depth of study to the undertaken subject. In this text, G. Rakhim analyzes the “Jami al-tawarikh” of Kadyr Ali-bek and makes a number of important conclusions. In general, G. Rakhim’s work has independent significance as an important source for Tatar historiography. Results and novelty of the research: This publication provides a brief overview of G. Rakhim’s research, and also introduces the text of the work itself into scientific circulation for the first time via its translation into Russian.

Problem aspects in teaching Tatar literature

The article discusses the key trends in the school course of literary education, identifies problematic aspects in the teaching of Tatar literature in educational institutions with the Tatar language of instruction. The relevance of the study is determined by the insufficiently studied problematic aspects in the teaching of Tatar literature in general educational institutions with instruction in the Tatar language, and, therefore, the need to analyze sample syllabuses for Tatar literature in this aspect. The scientific novelty is determined by the fact that in the course of our study, firstly, attention is focused on the main principles, on which two groups of authors based their programs, built according to concentric and chronological principles, underlying the current teaching of Tatar literature; secondly, problematic aspects are identified in teaching Tatar literature. As a result of the study, it is argued that the main problem in teaching Tatar literature is the knowledge of the theoretical foundations for students to learn the creative path of a particular writer and the literary process as a whole; to this end, students need to know the system of theoretical terms and concepts, the criteria for analyzing a literary text and artistic phenomena. The second urgent problem concerning the algorithm of Tatar literature learning at school is related to the study of the history of verbal art. The third important problem is the problem of motivation for reading literary texts, since reading a literary text is an important component in the school course of literary education.

ОБРАЗ НАЦИОНАЛЬНОЙ ГЕРОИНИ В ТРАДИЦИОННОЙ ТАТАРСКОЙ ЛИТЕРАТУРЕ И РОМАНЕ Г. ЯХИНОЙ «ЗУЛЕЙХА ОТКРЫВАЕТ ГЛАЗА»

The article is devoted to the study of the evolution of women’s images in traditional Tatar literature and in the novel «Zuleikha Opens her Eyes» by G. Yakhina. In this context, differences and similarities in the images of national heroines are revealed, it is concluded that the image of Zuleikha is created by a modern writer, on the one hand, in accordance with the tradition of depicting a woman in Tatar literature, on the other hand, G. Yakhina is clearly moving away from gender, moral-religious and social stereotypes of the embodiment of the image of a Muslim woman.

THE CONCEPT OF INDIVIDUAL AUTHOR's VOCABULARY IN THE WORKS BY A. ODABASH (BASED ON THE MATERIALS OF THE NEWSPAPER «MILLET» (1917-1920))

The article highlights the life and cultural activities of the classic of Crimean Tatar literature of the beginning of the XX century, Abibulla Abdureshitoglu Odabash. It pays attention to the analysis of the concept of the writer's linguistic consciousness. The preserved original materials of the prewar national press, and in particular the Crimean newspaper "Millet" ("Nation"), made it possible to consider the specifics and conditions for the formation of the author's style. Advocating the preservation of the origins of the national culture and traditions, he popularized the common language, cleared of foreign borrowings. He sees the writer-playwright and public figure Asan Aivazov as his opponent. For instance, his works of art "Altyn yaryk" ("Golden Light") and "Neden bu hala kaldyk?" (“How did we get here?”) symbolize the confrontation between the ideologues of Tatarism and Turkism in Crimea. A supporter of purism A. Odabash condemns the archaic, complex, overloaded with Arabisms and Parciisms language of A. Aivazov and his ideological associates. He convinces them that the literary language should be lively and accessible to the peasants. Sharing the idea of the linguistic and mental unity of all Turkic peoples, he pays particular attention to the weak development of the education system in their native language. In this regard, Odabash delivers popular lectures in the villages of Crimea, explaining the ideological and practical value of the folk language. He develops an active vocabulary of his neologisms based on the use of vernacular and dialecticisms.