Tatar Literature Research Articles

Медиаобраз Наки Исанбета в аспекте интерпретации его творчества

The aim of this study is to reveal the role of “epitext” in developing the literary reputation of Naki Isanbet (1899-1992). In this article, the media image of the classic of the Tatar literature, scientist-encyclopaedist is examined by the material of his portrait (personal) and subject-personal interviews in the regional media of various typologies: in newspapers, magazines, on radio and television. The scientific novelty of the work lies in the fact that for the first time in the Tatar literary criticism, N. Isanbet’s interviews have become a subject of study. The analysis of N. Isanbet’s interviews and speeches on radio is carried out with references to the formal and content components of his works of art, scientific works, which makes it possible to detect the author’s specific personal intentions in his heritage and fix them. As a result of the study, it has been proved that N. Isanbet remained devoted to the educational ideals of the youth throughout his life.

Ideas about fate and predestination in the culture of the Turkic peoples: folklore and literary context

The article analyzes the motive of «fate» taking into account its linguocultural specificity, reveals the components of the motive of fate in the Tatar traditional culture. The mythological roots of the folk idea of fate are revealed, the ethno-cultural contexts that influenced its formation are considered. The purpose of the study is to study the mental essence of the motive of fate in its projection in Tatar literature, folklore and traditional culture. In the ideas of the Tatar people about fate, mythological, pagan and Muslim values and traditions are intertwined. The image of the deity of Fate-« Ala atiyɣ jol tӓnri mӓn» is recorded in one of the early runic manuscripts of the ancient Turks «Yryk bitig» (VIIIIX or IX-X centuries). The earliest examples of folklore about fate are presented in the dictionary of Mahmud al-Kashgari «Divan lugat at-Turk» (XI century], the motif of fate is reflected in the Turkic literary monuments: «Kutadgu Bilig» («Blessed Knowledge») by Yusuf Balasaguni (XI century BC), in the medieval Tatar literature «Kyssa-i Yusuf» («The Legend of Yusuf») by Kul Gali (XIII century), «Tukhfai Mardan» («Gift to young men») by Muhammedyar (XVI century], etc. Yazmysh is the future, which is written by the Almighty to each person before birth, in folklore it is revealed as inevitability, predestination. The word «yazmysh» is derived from the word «yaz» (to write). In the poem «Tuhfai Mardan» by Muhammedyar, the image of scribes «betkuchelar» is created, who write down the predestinations of the Almighty. The main categories in the mental behavior of the Tatar people are «fate» («yazmysh», «kadar», «tәkdir», «өlesh», «yazu», «kүrәchak», «nasyp»), «patience» («sabyr»), «noble behavior» («adep»). The motive of fate, both in folklore and in ancient and medieval literature, is revealed in several aspects: the predestination of fate and the impotence of a person in front of it, and at the same time the desire to know and change fate with the help of various rituals and ceremonies.

Роль перитекста в укреплении авторитета Наки Исанбета в обществе

The aim of this study is to reveal the role of the “behind the text” structures of Naki Isanbet’s works in the formation of his literary reputation. The material for the research was the author’s prefaces and comments relating to different periods of his creativity. The scientific novelty lies in the fact that for the first time in the Tatar literary criticism, the author’s prefaces and comments of the Tatar literature classic have become a subject of study. As a result, it has been proved that N. Isanbet, starting from his early creative work, was attentive to the composition of prefaces and author’s comments on his texts and made sure that they set a “code” for reading. N. Isanbet’s prefaces and comments contain the material about his publication activity before the October Revolution, the history of his works creation, the history of dramatic works existence on the stage, the nature of editing texts in the process of their existence, and the range of the writer’s creative contacts.

Лирическая поэма в творчестве татарского поэта Харраса Аюпова

The purpose of the research is to identify the genre and conceptual-topical features of lyrical poems by the Tatar poet Kharras Ayupov (1946-2008). The paper is novel in that it is the first in Tatar literary studies to analyse Kharras Ayupov’s poems from the viewpoint of genre specificity; in addition, the poet’s works are considered in the literary context of the 1960s-1980s, which made it possible to identify certain trends in the development of Tatar poetry as a whole. As a result, it has been proved that in the process of active exposure of Tatar literature to national traditions, the key codes of ethnic consciousness, such as home, homeland, Motherland, are actualised in poetry. Kharras Ayupov’s poems «Авыл җаны» (“The Soul of the Village”, 1988) and «Көй эзләү» (“The Search for Melody”, 1988), structured around the specified concepts, are notable for their elegiac tone, existential flavor. The works, read as parts of a whole, are based on a subjective artistic reality and structured as a confessional monologue of a persona, who is worried about the fate of his nation.

Reception of F.M. Dostoevsky’s Works in Tatar Literature and Literary Criticism

The article examines the appeal of Tatar writers to the work of F.M. Dostoevsky, the dialogue with the writer in their works. It also analyzes the translation of the novel Crime and Punishment into the Tatar language. The study of dialogical relations of Tatar writers with the work of F.M. Dostoevsky by modern Kazan literary critics helps to identify the complex and multidimensional history of interaction of Tatar writers of the twentieth century with Russian classics. Having studied the scientific works of V.R. Amineva, L.K. Bayramova, D.R. Moskaleva, K.S. Minnibaev, E.G. Nigmatullina, Yu.G. Nigmatullina, M.M. Khabutdinova, Z.Z. Shagiakhmetov, as well as the translation of the novel Crime and Punishment by R. Dautov, it was concluded that in the works of G. Iskhaki, F. Amirkhan, G. Ibragimov, A. Gilyazov, an appeal to the artistic and philosophical heritage of F.M. Dostoevsky was manifested in the creative and original understanding of the moral and philosophical ideas and deep psychologism of the Russian classic, the desire to reveal the phenomena of modern Tatar reality more fully through the prism of his ideas.

К ПРОБЛЕМЕ КЛАССИФИКАЦИИ СОВРЕМЕННОЙ ТАТАРСКОЙ ПОЭЗИИ: ЖАНРОВЫЙ КАНОН И ДЕКАНОНИЗАЦИЯ

The article is of a debatable nature and is devoted to one of the unresolved problems of modern Tatar literary criticism - the genre typology of Tatar poetry. It examines the history of the formation of canonical genres in Tatar literature, the reasons and features of their existence. The situation of changing canonical genres is traced - non-canonical: time, causes, transformational processes.The second half of the article is devoted to the analysis of the genre situation in Tatar poetry of the New Age. Socio-cultural changes at the beginning of the twentieth century and their influence on the formation of new or changing traditional genres are considered. The next stage associated with changes in the genre paradigm stands out the milestone of the 1920s and 1930s. Also, genre changes are considered in connection with the avant-garde of the 1960s­–1980s and the socio-cultural situation of the turn of the 20th–­21st centuries. The article also traces the position of Tatar literary scholars in the classification of poetic genres, existing views. Based on the analysis of the genre situation in Tatar poetry, genre formations are distinguished and some genre designations are proposed. In particular, based on the material of the analysis of Tatar poetry of the 20th–­21st centuries, we noted that the transition to non-canonical genres allowed Tatar poetry to assimilate some Russian-European genres, among which "elegy" and "sonnet" became the most active. We also tend to explain the transformations of eastern poetic traditions in the structure, in the content of the "comic poem" and "initiation" by the influence of the corresponding Russian-European genres. At the same time, in Tatar poetry it retains its position in the twentieth century and is activated at the beginning of the 21st century in the work of young poets of the traditionally eastern, inherent in the Tatar art of the word genre - "long poem." If in the 1920s and 1930s the "long poem" contributed to the development of socio-political topics, and in the 1960s and 1980s it affected ethnic motives (native land, homeland, mother, native language), then at the beginning of the 21st century it allows Tatar poets to manifest almost all the main meaningful motives. Among the so-dived "short" poems, the genre of "brocade" stands out - on the subject covering both socio-political poems, love and landscape lyrics, continuing some of the formal features of Eastern poetry. Examples of philosophical lyrics mostly correspond to the eastern genre of "kytga," which retained its place in modern Tatar poetry. At the beginning of the XXI century, the activity of stylization for Eastern canonical genres is traced: kasyds, gazelles, fakhria, madhiya, marsia, etc. are created. The return of religious literature also contributes to the appearance of stylizations for prayers, munajats, nasikhats, etc.

The mythologeme "Tree” and its figurative incarnation in Tatar literature

The mythologeme "Tree” and its figurative incarnation in Tatar literature

The representation of various bird species as an element of the mythopoetics of modern Tatar literature

The representation of various bird species as an element of the mythopoetics of modern Tatar literature

The native language theme in modern Tatar literature

The native language theme in modern Tatar literature

The Mythological World in the Literary Texts of the Turkic-speaking Peoples: Book review of: Sharyafetdinov, R.Kh. (2021). Mythopoetics of Tatar literature: Monograph. Moscow, Berlin, Direct-Media

The review of the monograph by R.Kh. Sharyafetdinov "Mythopoetics of Tatar Literature" deals with new developments in the field of mythopoetics, based on Tatar artistic material. The mytho-religious approach of the researcher is analyzed, which makes it possible to study at a deep level the influence of cultural, philosophical, and religious realities on Tatar literature. For this purpose, the author of the scientific work examines the Tatar cosmogonic ideas, the mythologism of the plant and animal worlds in the works of Kul Gali, Mukhammedyar, G. Kandaly; Dardmend, G. Tukay, F. Burnash, N. Isanbet; M. Jalil; F. Karim; M. Khabibullina, N. Fattakh, R. Kutuy, R. Faizullin; R. Zaydulla, G. Yakhina.

Heritage of Tatar Literature from the Aspect of Translation

The article presents the review of Tatar literature works and their translations into Russian and some other world languages. The Tatar literature has rich heritage, the first works of it (manuscripts) are dated back to the Middle Ages. The first printed works were published in the XVIII century as that time the Tatar language was the diplomatic language used in the communication between western and eastern countries. The time of XIX-XX centuries is considered to be the rise of the Tatar literature. Since that time the Tatar writers started writing their works in Russian that was caused by natural bilingualism established on the land of Tatarstan due to historical development. In the Soviet times the works of Tatar writers and poets written in Tatar were translated into Russian which is the intermediate language in the Russian Federation. After the collapse of the USSR Russia opened its boundaries and the number of translations of the Tatar writers works into Western and Eastern languages have been growing dramatically. Modern Tatar literature is continuing the traditions of the Tatar literature, the works of Tatar writers have been translating into foreign languages in order to present them to world community.

Особенности развития жанра поэмы в татарской литературе первой половины 1920-х гг.

The purpose of the study is to identify the main trends of the poem genre development in Tatar literature in the first half of the 1920s. Scientific novelty of the paper lies in the fact that it considers the poems of the said period as a part of a continuous literary process and in this vein, examines in a more detailed manner the issues of preservation and development of lyrico-epic traditions in the early XX century, as well as ideological and problematic, thematic and poetic features stemming from the change in cultural and historical orientations. As a result, the researcher has proved that the development of the Tatar poem during this period follows the trajectory from transitional works that preserved the poetic traditions of the early XX century to poems with social-political pathos and content that meets ideological regulations, which requires searching for a new form. As the analysis of F. Burnash’s poems shows, new ideological attitudes are reflected in transitional poems only in the motivic system and the idea of the works. H. Taktash’s and H. Tufan’s poems possess the characteristic features of the emerging invariant of the Tatar poem: juxtaposition of the old and new worlds, use of revolutionary symbolism, predominance of colloquial and declamatory versification, etc.

Альберт Фатхи (1937–1992) – ученый, знаток татарской рукописной книги

The publication examines the scientific activities of the famous archeographer, specialist in the field of oriental manuscripts and Tatar literature Fatkhiev, Albert Saitovich. A. Fatkhi is was born in the Aktanysh region of Tatarstan. His name is listed among the outstanding Tatar archaeographers of the last third of the twentieth century, such as M. Usmanov, M. Nugman, A. Karimullin, M. Akhmetzyanov and others. Albert Fatkhi is the author of four books. They contain descriptions of the manuscripts of Tatar writers and scholars. He wrote scientific articles on the problems of collecting and scientific processing of oriental manuscripts. He has works that discuss the problems of the Tatar literature, the contacts of the Tatars with other Turkic peoples in the field of literature and culture. The purpose of this study is to reveal A. Fatkhi’s contribution to the Tatar archaeography and philology.

Создание кафедры татарского языка и литературы в Казанском государственном университете и ее деятельность с середины 1940-х – 1950-е гг. (по материалам Государственного архива Республики Татарстан)

The article analyzes the documentary materials of the Republic of Tatarstan State Archives on the history of the formation and activities of Kazan University’s Tatar Language and Literature Department in the middle of 1940s – 1950s. The study of the protocols of the department provided an opportunity to identify the academic staff, the main directions of the department's work in the first post-war years, the material and technical equipment and the specifics of organizing the educational process. It was concluded that the activities of the Department of Tatar Philology made a significant contribution to the determination of further ways of developing Tatar philological education and demonstrated the importance of preserving the language for the culture of Tatar people.

Жанр поэмы в творчестве Сибгата Хакима

The aim of the study is to identify the main trends in the development of the poem genre in the creative work of S. Khakim. The author of the article examines poems in cultural, historical and literary contexts. In the course of a systematic analysis of the poet’s lyric-epic works, the key features that characterize different stages of his work are highlighted: the main themes and motives, ideological, problematic and poetic features. The scientific originality of the article lies in the fact that for the first time the lyric-epic heritage of S. Khakim becomes the object of scientific research and consistently identifies the key features of the genre development. As a result of the study, it has been proved that S. Khakim’s poems recreate the picture of the era and represent the key trends in the development of Tatar literature as a whole: if at the beginning of the creative development the author practically does not go beyond the framework of socialist realism, then by the 1960s-70s, lyricism dominates in his poems, the works are distinguished by deep generalizations and philosophical conclusions.

Genre-forming function of factic elements of language in Russian and Tatar lyrics

The article identifies linguistic "initial phenomena" of lyrical genres, forming the core of genre identity of the work and having universal character - supernatural and supranational. It has been concluded that the non-literary "other" in relation to which artistic speech, first of all its lyrical subsystem taken in the aspect of its genre structure, is self-determined, is deixis. On the basis of the analysis of the philosophical lyrics of Russian and Tatar poets of the XIX-XX centuries, it has been established that the genre of "definitions" goes back to the deuttic elements of language. In Russian and Tatar literatures it has similar features: the focus on the process of knowledge (dominance of the hermeneutic code), the reflection in the subject architect of the works of the processes of identification and self-identification of the lyrical subject, the use of tropical and mythopoetic figurative "languages." At the same time in Tatar poetry this genre has distinctive features related to the specifics of the manifestation of personal origin in Tatar literature, its characteristic forms of authorship, procedures of meaning inherent in this type of culture.

100 йылдан берли эль токъунылмагъан чалышмалар

For more than a hundred years many works of the classics of Crimean Tatar literature of the early XX century have remained inaccessible to their contemporaries. One of such authors is Abdulhakim Aji Arif oglu Khilmiy (1884–1962). The article is devoted to the scientific development of the writer of the period 1914-1917. The sources were both: newspaper and archival materials related to this period. Also involved are the published works of Khilmiy`s contemporaries. As an example, is cited a small work by the author of “Revolutionary excitement” (“Inkilyabiy asabiyetler”), published in 1917 and unknown to modern researches. Transliteration of the text from the Arabic script is accompanied by glossaries of rare Arab-Persian borrowings in the Crimean Tatar language.

Антиутопия М. Кабирова «Китап» как способ конструирования мифологической модели мира

The paper aims to reveal specificity of the mythological world model in M. Kabirov’s literary anti-utopia “Китап (The Book)”. To achieve this objective, the researcher analyses historical prerequisites for the utopia genre formation in the Tatar literature, reveals its peculiarities, provides a structural analysis of the mythological world model, identifies its basic components. Scientific originality of the study lies in the fact that for the first time in the Tatar literary criticism, Kabirov’s novel is analysed from the viewpoint of mytho-poetics, as a means to create the author’s myth. As a result, it is proved that Kabirov’s anti-utopia is based on the eschatological myth which manifests itself in the story and in the figurative system, acquires the author’s interpretation.

Реалистические поэмы в творчестве татарских поэтов начала ХХ века

The purpose of the study is to identify the key features of realistic poems in the Tatar literature of the early XX century. Using the material of lyric-epic works by a number of authors, such as G. Tuqay, G. Rashidi, K. Hammadova, Ya. Mamishev, Z. Bashiri, G. Gainullin-Chokaly, H. Iskhaki, the researchers highlighted features of interaction between educational and critical trends in the Tatar poetry of the examined period, as well as the main issues addressed in the analysed poems. The article is novel in that it is the first to identify in a consistent manner the main directions in the realistic poem development in the Tatar literature of the early XX century. As a result, it is proved that realistic poems of the considered period are characterised by synthetism: as a rule, they are dominated by the educational paradigm complicated by critical and satirical principles.

Historiography of life and creative path of the devotee of the Crimean Tatar literature and enlightenment Y. N. Baiburtlu

This article gives a brief overview of the life and creative heritage of the figure of Crimean Tatar literature and enlightenment of the early XX century Yahya-Naji Bayburtlu (1876-1943). The author introduces into the scientific discourse the poorly studied biographical and bibliographic archival materials, which include the prewar literary and historiographical texts transliterated from the Arabic script to the Roman script. The article also employs the reminiscences of the relatives and contemporaries of Y. N. Baiburtlu that have been published in modern national press and give a better perspective of the creative path and environment of Y. N. Baiburtlu: the newspaper article of the writer's daughter Niyara Baiburtlu, autobiographical texts of the prominent Crimean Tatar publicistic writer Shamil Alyadinov. The methodological framework is comprised of the biographical, comparative-typological, and meta-critical analysis. The theoretical framework is based on the works of Arslan Krichinsky, Cemil Kermenchikli, Ismail Kerimov, Dmitry Ursu, Natalia Yablonovskaya, Mukhiddin Khairuddinov, Enisa Abibullayeva. Therefore, the overview of the life and literary-enlightenment activity of Y. N. Baiburtlu reveals his creative personality, outlines the prospects for the aspectual research of his biography as a writer and playwright, translator of literary works, public figure, and enlightener of his time. The author believes that the examination of the versatile literary-pedagogical heritage may significantly enrich the scientific representations of the traditions, factors of development and formation of the Crimean Tatar literary elite of the prewar period in Crimea.