Bashkir literature
Bashkir literature
BASHKIR LITERATURE is one of those young revolutionary literatures that arose exclusively due to the October Revolution, which created new socio-economic conditions for the Soviet system.
The Bashkirs, due to their close socio-economic and cultural ties with the Tatars in general, fell under the influence of Tatar literature. For the Tatars, who were expelled or fled from the Kazan Khanate and the Golden Horde after their fall, the Bashkir steppes were a convenient refuge. The Tatars who settled here were culturally superior to the Bashkirs and therefore influenced their development. The opening of the Mohammedan spiritual assembly, headed by mirza-nobles from the Tatars (1789), in the center of Bashkiria favored the fact that the Bashkir clergy assimilated the religious and mystical Tatar literature. In the 19th century Bashkirs for the most part continue to study in Tatar madrasahs. The students of these madrasahs got acquainted with works in the Turkic language. (on turkitel), i.e. with ancient Tatar literature. From these madrasahs came Tatar writers and mystic poets, and some Bashkir writers also came from here. But the latter wrote in the same language. ancient Tatar literature. Todzhetdin Yalchegyl Ogly (1767–1838) compiled in the old Tatar language. commentary (“Risale-i-gaziz”, published in 1850) to the didactic lyrics “Sabatel-Gadzhizin” (published in 1802) by the mystical poet of Central Asia, Sufi Allayar. They wrote in the language of ancient Tatar literature after the revolution of 1905. For example, Babich (see), like other Bashkir poets, wrote almost all of his works of art in the Tatar language. and this contributed to the development of new Tatar literature.
At the end of the XIX and at the beginning of the XX century. in Bashkiria, Tatar trading capital begins to develop. This circumstance contributes to the strengthening of the influence of the Tatar bourgeoisie. After the revolution of 1905, Bashkir students (shakirds) began to enter the “Jadid” madrasahs together with the Tatar shakirds. These shakirds, and consequently the Bashkir intelligentsia, more and more fell under the influence of Tatar literature and language. The movement of the Tatar bourgeoisie along the path of pan-Turkism created suitable and convenient conditions for this process. In the first revolution, the Bashkirs did not even think that in the Bashkir language. there could be books, magazines, or even newspapers. But still, the rich Bashkir folk poetry had a noticeable influence both on the form and on the content of oral literature and partly written fiction of the Tatars. So the melodies and rhythm of Tatar songs noticeably reflect the Bashkir influence.
The first shoots of Bashkir fiction appeared in 1919, for example. poems by Babich. Kh. Gabidov, D. Yulty, S. Mirasov, Idelhuzhin, Tukhfet Yanabi (Kalimullin), G. Amantai, Zaini, Davletshin and other young revolutionary Bashkir writers and poets who appeared later were representatives of this new literature. The periodicals of the Bashkirs, even after the October Revolution, from 1918 to 1924, despite their Bashkir names, were Tatar in language; in Bashkir only a few articles were published. Nevertheless, at this time, measures are being taken to publish the first newspaper in a purely Bashkir language. Since 1924 it has been published entirely in the Bashkir language. newspaper "Bashkurdistan". B. fiction in the form of separate books also began to be published in 1923–1924. The Bashkir writers themselves consider 1924 to be the birth year of B. L. and the Bashkir literary language, linking it with publication in the purely Bashkir language. newspaper "Bashkurdistan".
At first, heroic lyrics prevailed in B. L., just as it was in Tatar and Russian proletarian literature in the first years of the revolution. Bashkir fiction is imbued with the pathos of romantic heroism, which expressed the enthusiasm of the Bashkir people, their selfless faith in the revolution, and partly has an agitational and didactic character. In this regard, Kh. Gabidov’s poems “Ural Songs” and T. Yanabi, who sings about farm laborers and the rural poor, are characteristic, as well as the works of some other Bashkir poets, and in their works they adapt old forms and techniques to the new content, especially forms folk songs. Here one can also notice the influence of the forms of pre-revolutionary Tatar literature.
In B. L. there are still few works that give images and pictures of the daily modern life of the Bashkir people. Recently, in the Bashkir magazines "Bilim" and "Sesen", however, stories are published depicting folk life. The same phenomenon is observed in the lyrics. Most of B.L.'s poets and writers are still in the first stage of their literary and artistic development. Despite this, B. L. begins to reveal quite big number talented writers and is growing rapidly.
Most of the works of B. L. are plays, the plot of which is borrowed from the old Bashkir life, from B. folk literature, fairy tales and legends. These are: a play by Mukhamedsh Burangulov called "Ashkazar" (published in 1923), a play by S. Mirasov - "Salavat batyr" (Salavat the hero), a historical play by H. Gabidov - "Enyekai menen Yuldakai" (published in 1926). True, small propaganda plays with plots from the October events are also beginning to appear. Fiction works are mostly placed in the magazines "Bilim" and "Sesen". Sesen magazine is the first art magazine that seeks to unite young literary forces. Tatar writers-poets also participate in it, but their works are placed with a translation into the Bashkir language. Work is underway to collect and publish works of folk art. Academic Center of the NCP of the Bashrepublic and the Bashkir Scientific Society for the Study local region pay serious attention to it. Bibliography:
Collection of scientific society "Bashkurt aimagy", No. 2, Ufa, 1926; magazine "Bilim", Ufa, from 1924 to 1928; "Sesen", Ufa, from 1927 to 1928; gas. "Bashkurdistan", Ufa, from 1924 to 1928; Asar-Rizaetdina Fakhretdinova, part 2, 1901; part 6. 1904; part 12, 1907; part 15, 1908.
Literary encyclopedia. - In 11 tons; M .: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .
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10 classes
G. Salavat, 2003
Compiled by: Mitina T.I., teacher of the highest category of gymnasium No. 1 (d. 18 b. A Matrosova, Salavat, Bashkortostan).
Place photo
This textbook on the culture of Bashkortostan is intended for teachers and students of the 10th grade; compiled on the basis of the program for grades 1-10 recommended by the Ministry of Public Education of the Republic of Bashkortostan for secondary schools, lyceums and gymnasiums, compiled by a group of authors - M.Kh. Idelbaev, A.M. Suleimanov, F.T. Kuzbekov, R.A. Kuzbekov under the guidance of Doctor of Philology, Professor S.A. Galina.
Review of the textbook of the course "Culture of Bashkortostan" in grade 10
The subject of the manual corresponds to the program approved by the Ministry of Education and Science of the Republic of Belarus and contains sufficient information for conducting lessons at the level of state education standards. The material in lesson developments is selected taking into account modern scientific ideas in the field of history and culture of Bashkortostan. Particular attention is paid to the study of the most important, key and complex issues, basic concepts and topics.
The study guide also includes options for homework and a six-month summative test.
Gubaidullina F.Kh., methodologist of the department of the Bashkir language and literature of the Bashkir Institute for the Development of Education.
10 Grade I semester
Subject: From the history of Bashkir writing
The history of the writing of the Bashkir people was not easy: there are several stages in it. The first is considered Orkhon-Yenisei writing, created in the Turkic Khaganate, an ancient state of the 6th century AD. scientific name - runic script by analogy with the writing of the ancestors of modern Scandinavian peoples (Swedes, Norwegians) and Germanic peoples. Since the ancient Turkic writing was found on stone slabs, rocks, utensils, it was also called runic. Signs were carved, carved or painted on stone, metal, bone; birch bark, animal skin, wood could also serve as a material. The name - Orkhon-Yenisei - was written because. was first discovered on rocks and stones on the Yenisei River (Siberia) and on the Orkhon River (Mongolia). For about 200 years, no one was able to read the signs on the steles, vertically placed flat stones. Only in 1893 W. Thomsen(Denmark) and V. Radlov(Russia) simultaneously and independently of each other were able to decipher the ancient Turkic writing. This letter consisted of 36 letters, of which four letters denoted 8 vowel sounds. It was semi-consonant, i.e. not all vowels were written in the word. Orkhon-Yenisei monuments are poems in honor of kagans and commanders. The largest of them is obituary poem in honor of the commander Kultegina(685-731), who made victorious battles on a white horse (Akbuzat). A similar motif is widespread in the Bashkir epic - "Ural Batyr", « Akbuzat". In a small inscription there is even an indication of the name of the author of the poem - he was Kultegin's nephew - Yogyl-tegin. In the poems written in the Orkhon-Yenisei script, there are many repetitions, appeals, rhetorical questions, comparisons and parallelism, there are also proverbs.
The Orkhon-Yenisei monuments are directly related to the history and culture of the Bashkir people. It is known that the Bashkir tribes Tabyn, Katai, Tangaur, Kanly were part of the Turkic Khaganate. Moreover, the founder of the Turkic Khaganate Tumen-kagan(another name according to Chinese sources is Bumyn-Kagan), according to the Bashkir shezheres, is considered the ancestor of the Bashkirs of the Tabyn tribe, who currently live on the territory of Gafury, Arkhangelsk districts. Major Bashkir writers and scientists - such as Mazhit Gafuri, Daut Yulty, Jamil Kiekbaev, Anur Vakhitov- according to their pedigree - Bashkirs-Tabyns. According to legend, Kultegin was the ancestor of the Tangaur tribe, whose representatives currently live at the junction of the borders of the modern Khaybullinsky, Zilairsky and Baimaksky districts. Bashkirs-Kanlins today live in the western regions - Buzdyaksky, Kushnarenkovsky, Birsky.
Consequently, the ancient Bashkirs were not only familiar with the runic writing, but also used it. In the Chekmagushevsky district there is a Tombstone with runic letters carved on it. Scientists also found that out of 36 letters - signs of the runic alphabet 17 characters common among the Bashkirs as tamgas, which marked tribal or family property (utensils, bee boards, trees, livestock, saddles, weapons). Common to the Orkhon-Yenisei monuments and Bashkir folklore are such images as Humay, Akbuzat. The Bashkirs, like other Turkic peoples, used writing in 6-10 centuries before the adoption of the Arabic script.
The second step in the history of writing among the Bashkirs must be considered Arabic graphics. 922 year - the beginning of acceptance by the Bulgars (ancestors of the Tatars) and the Bashkirs Islam, simultaneously with which written evidence in Arabic appears. In the 14th century, under Uzbek Khan (1313-1342), Islam was already the state religion of the Golden Horde. The most ancient monument of Arabic writing is considered on the land of the Bashkirs to be a memorial tombstone in the cemetery of the village of Mavlit, Kushnarenkovsky district, dating back to 1342-1343. A monument of architecture and writing is also cachene(mausoleum) Khusainbek in the Chishminsky region, who was an Islamic missionary. Year of death - 1341.
Arabic writing is very peculiar. Words are written and read from right to left. The alphabet has 28 letters, of which only 3 letters are vowels. 22 letters are connected using connecting lines on both sides and have 4 styles (isolated, at the beginning of a word, in the middle, at the end of a word), and 6 letters can only be connected on the right and have only 2 styles. Each letter has a numerical value. There are auxiliary subscript and superscript signs: fatha, kesra, damma). During the time of manuscripts, numerous handwritings developed. The most famous kufi - one of the ancient handwriting - existed until the 10th century. The classic six handwritings are naskh, suls, reyhan, touhi, mukhakkak. The Bashkirs used the Nastaliq handwriting, created in the 14th century by the calligrapher Mir Ali Tabrizi. On the basis of the Arabic alphabet, the Turkic-speaking peoples (including the ancestors of the Tatars and Bashkirs) created their own written literary language, which is popularly called Old Turkic. Its peculiarity is that it is not a national language, but a script used by almost all modern Turkic-speaking peoples (Bashkirs, Kazakhs, Tatars, Uzbeks, Kirghiz and others). The Bashkirs have been using this script since the 11th century. Many works of Bashkir literature are written on it. The poem of the ancient Bashkir poet Kul Gali (1183-1236) "Kyssa - and Yusuf" (1233) can be considered a classic example. Numerous Bashkir shezheres, the legend “Chingizname”, “Letter from Batyrsha to Empress Catherine II”, appeals and orders of Salavat Yulaev, works of poets of the 19th century A. Kargaly, T. Yalsygulov, H. Salikhov, G. Sokroy are recorded in the Old Turkic language.
next The (third) stage in the development and history of the Bashkir writing should be considered the use Tatar literary language(from about the end of the 19th century), also created on the basis of Arabic script. The works of remarkable Bashkir writers such as M.Akmulla, M.Umetbaev, S.Yakshigulov F.Tuykin, M.Gafuri, Sh.Babich, D.Yulty, A.Tagirov until 1924 were written and printed in the Tatar language. Based on the Arabic alphabet, a written national Bashkir language was created in 1924, which existed until 1929. During these 5 years, textbooks, newspapers, magazines, and works of art were printed in the Bashkir language in Arabic letters.
Another step in the history of Bashkir writing is the period from 1929 to 1940, when writing was translated into latin graphics.
Since 1941, the Bashkir people have been using Cyrillic, i.e. Russian graphics or, more correctly, the modern Russian alphabet. The Bashkir alphabet has 42 letters - 33 Russian and 9 specific. During these 60 years of development, teaching systems, dozens of textbooks, dissertations, etc. have been created.
General conclusion: the change of writing led to a break with the historical past, to mankurtism (Ch. Aitmatov, “And the day lasts longer than a century” or “Snowy stop” - the child-son kills the Mother), to nationalism, to an inferiority complex (after all, the Arabic script is practically inaccessible to the people ).
Questions:
How many steps in the history of Bashkir writing?
What are the stages in the history of Bashkir writing?
When did the Orkhon-Yenisei letter appear?
What is tamga?
What monuments of this period can you name?
Name the monuments of Arabic writing?
Which of the Bashkir writers used the Tatar literary language?
Make up chronological framework history of Bashkir writing.
Tasks:
A short message about the life and work of M. Akmulla.
Message about the life and work of Sh. Babich.
Find and repeat material about the symbols of statehood of the Republic of Belarus
Find and write in a notebook the meaning of words - symbol, emblem, language, writing, demography, nation, consolidation
Subject: Symbols of statehood of the Republic of Bashkortostan.
Vocabulary for the lesson:
Demography - the science of population, its changes. It examines the size of the population, its geographical distribution and composition, the processes of population reproduction (birth, death, life expectancy) and the dependence of the composition and movement of the population on socio-economic and cultural factors.
Nation - historically formed form of community of people; nations are characterized by a common territory, economic life, a common language, some features of the psychological and spiritual appearance, manifested in the originality of culture.
Consolidation - strengthening, uniting, rallying individuals, groups, organizations to strengthen the struggle for common goals
Writing - a sign system for fixing speech, which allows using descriptive i.e. graphic elements fix speech in time and transmit it over a distance
Language - remedy human communication; (language is inextricably linked with thinking) a social means of storing and transmitting information; human behavior control tool
Emblem - conditional image of a concept or idea
Symbol - an object or action that serves to symbolize an image, concept or idea.
It is generally recognized in the world that the symbols of the state are the flag, coat of arms, anthem. Repetition (flag- a panel of one or different colors attached to a pole or cord, often with emblems of the state ; coat of arms- a distinctive sign of the state, city or estate, clan, depicted on seals, coins, flags; hymn- a solemn song adopted as a symbol of the state).
The modern period of the Bashkir state symbols begins on October 11, 1990 with the adoption of the "Declaration on the state sovereignty of the Republic of Belarus", the Supreme Council of the Republic of Belarus approved the state flag(authors: artists Masalimov Ural Timerbulatovich and Asabina Olga Evgenievna), which is a rectangular tricolor cloth, consisting of stripes of blue (top), white (middle), green (bottom) colors; in the center of the white stripe there is an emblem in golden color - a circle, inside of which there is a stylized kurai flower, consisting of 7 petals. Symbols of the colors of the flag: blue (clarity, goodwill, purity of thoughts), white (peacefulness, openness, mutual cooperation), green (freedom, eternity of life). The kurai flower is a symbol of friendship. Its seven petals (7 was revered as a sacred number by the ancestors of the Bashkirs) symbolize the seven clans that marked the beginning of the unity of the peoples inhabiting the Republic of Belarus. Kurai is a plant and at the same time the national musical wind instrument of the Bashkirs.
State coat of arms The Republic of Belarus was approved on October 12, 1993 by the Supreme Council of the Republic. The author of the coat of arms is Fazletdin Farrakhovich Islakhov . The coat of arms has the shape of a circle, in which, against the background of the rays of the rising sun, S. Yulaev is depicted on his horse, framed by a national ornament and decorated with the emblem of a kurai flower against a background of a tricolor ribbon with the inscription "Bashkortostan". Salavat Yulaev is a Bashkir warrior, a symbol of national and international friendship.
State hymn- an attribute of statehood and was approved on October 12, 1993. Its author is a military conductor brass band Farit Fatihovich Idrisov. The national instrument - kurai - sounds in the anthem.
The modern coat of arms, flag and anthem as state symbols fully comply with heraldic laws: the historical relationship of traditions, turning points in the history of Bashkortostan are taken into account
Additional material on the topic:
a) Akmulla Miftakhetdin - an outstanding Bashkir writer, poet - educator of the 19th century. The phenomenon of Akmulla is the recognition of his work as close to all Turkic-speaking peoples, he was born in 1831 in the family of a mullah, studied with the Sufi poet Shamsetdin Zaki in the Sterlibashevo madrasah, then was the shakird of the madrasah in Troitsk, wandered around Bashkiria and Kazakhstan for many years, having mastered many professions ( joiner, carpenter, tinker, tailor), took part in sesen competitions, knew well the philosophical treatises of the East and the wealth of Bashkir and Kazakh folk art. Akmulla developed in himself the features of a poet and thinker, who synthesized in his creative practice the achievements of philosophical thought and culture of the East and West and acted as an innovator poet, a humanist poet, who expressed the most progressive ideas of the era in his work. His soul was filled with the pain and suffering of ordinary people, and equally burning hatred for the world of beys and tarkhans. Slandered by the Kazakh bay Batuch Isyangildin, he spent four long years in the Trinity Prison, where he retained his fortitude and created many well-known works. The world of the rich paid off with him in the most ruthless way: Akmulla was killed in 1895 on the way from Miass to Ufa by hired killers.
Akmulla (translated by M. Gafurov)
When apart dear ...
When the sweetheart languishes in separation,
Wherever you go, the soul strives for it,
When the wife is smart, kind, loved,
And heavenly maidens can not be compared with her.
It's not for nothing that fairy tales are composed about love,
You are poor, if you do not know the female affection,
And lonely, like one who has lost loved ones, -
Not for you shine in the world of colors.
But the pearls of love will appear as rubbish,
If there is no mind behind the languid female gaze.
With a bad wife and a smart one will become stupid,
And stupidity goes hand in hand with shame.
The wife and the horse must match the granite
Face male honor, courage, strength,
And if the wife and the horse are useless,
It's time for a man to lie alive in the grave.
Everything goes at random for the unfortunate,
He will not achieve the desired goals.
The unlucky one, as they say
A fox can also bite a camel.
To avoid ruin in the sea of life,
Think slowly about decisions.
Only a shrewd man in choice
Worthy of all respect
Everything in the world has its reasons:
People turn gray early from the torment,
Behind failure fails
A country where unlucky men.
b) Shaikhzada Babich
An Eastern saying says: "Great people are meteors burning themselves to light up the world." Such was the outstanding master of the artistic word Shaikhzada Babich in Bashkir literature, who flashed like a bright star in the sky of poetry. He entered the literary world in pre-revolutionary times. He was born in 1895 in the family of a mullah, studied at the Ufa madrasah "Galia", taught in Kazakhstan, was fond of the work of the Kazakh poet Abai Kunanbaev, extolled the poetry of the Tatar thinker Gabdulla Tukay, he himself revealed himself early and brightly in lyrics, raised humor and satire to new heights , introduced in the literature in the 19th century by Akmulla and developed in a new way by Tukay. Babich treated poetic creativity strictly and demandingly. “If there is no heavenly star in each line,” he wrote about the lyrics, “and heavenly bliss does not radiate from each line, then why are they? Rather than tire your eyes with reading nonsense, wouldn’t it be better to burn it in the stove and warm your back with pleasure! His life was embarrassingly short. He died at the age of 25 at the hands of traitors to the revolution - he was killed in 1919. But he managed to leave a valuable legacy to people, which became the national pride of the Bashkir people.
Sh. Babich (translated by S. Lipkin)
The custom of imitation
The hoary custom of imitation by the whole world has taken possession of the earthly.
Mere mortals, we too dutifully follow him
This custom tied the wings, and our thoughts, and deeds,
He tied both the angel and the demon, the children of good, the fiend of evil.
The devil imitates the devil, and the brother imitates the brother,
And the girls, entering the age, want to imitate the married
Years look like each other, centuries take an example from centuries,
And the boys, when they play, resemble old people.
My friend, penetrate the essence of the universe, and you will finally comprehend
That all living things imitate, likeness needs a model.
Sometimes a person is vicious sometimes like a demon, sometimes like cattle,
But, defending fornication and abomination, he will bring a verse of the Koran.
And we sang with tears, like our grandfathers and fathers,
Boots with pointed toes and we put on like youngsters.
And we, imitating the East, cut out pompous verses,
We curls, like Shakespeare and Pushkin, grew longer.
And we, seduced by the East, have become more stupid than sheep, -
Having decided that he became the second prophet of Mirgalyau, the mishar-merchant
Custom has imposed a ban on thought, on search, on daring:
There is no need to open the Americas, the Old World is good for us too!
Let the path of creativity die out, the star of reason go out,
But let the custom of imitation always reign menacingly!
No matter how you fight with imitation, no matter how you fight, no matter how noisy -
It still stubbornly owns the world and people.
They will tell me: - Give up faith, it is ridiculous, condemned!
I will answer: - But our faith is woven from imitations!
Yes, imitation is our custom, and nothing can help here, -
She looks like her mother, let her silly daughter be!
Task: solve the crossword puzzle
Option 1
Questions: 1. the form of an obituary in honor of the commander of the Turkic state; 2. One of the rivers that gave the name to ancient writing; 3. a small fairy tale or short story genre of Bashkir folklore and literature; 4. the name of the commander in the monument of ancient Bashkir writing; 5. Danish scientist - decipherer of the ancient Turkic script; 6. stone slab - monument; 7. the kingdom of the Turks; 8. combined name of the Nordic countries; 9. one of the rivers after which the ancient letter is named; 10. sculptor of the famous equestrian monument to Salavat Yulaev; 11. State Assembly of the Republic of Belarus; 12. one of the objects of worship of the Bashkir pagans.
Exercise: explain in writing the resulting word in column number 13
Option 2
Questions: 1. a pattern of rhythmically repeating elements for decoration; 2. distinctive sign of the state; 3. one of the 6 classic handwritten Arabic scripts 4. wild Bashkir horse; 5. ancient writing of northern European peoples;6. conditional image of an idea or concept; 7. cloth on a staff or cord; 8. solemn main song of the country; 9. poet-educator of the 19th century; 10. Russian scientist who deciphered the ancient Turkic script.
Exercise: explain in writing the word in column number 11
Questions:
What is common and what is the difference between the concepts of "language" and "writing"?.
Exercise:
Dictionary work. Define the terms: attribute, sovereignty, heraldry, ornament, nationality, migration.
Subject: Population and the current demographic situation.
It is well known that until the 16th century the population of the republic was mono-ethnic, i.e. consisting of a very large percentage of the Bashkirs. After joining the Russian Empire, the situation changed. The word "demography" means the science of population. There are enough demographic problems in the Republic of Belarus. Let's consider the situation with the population over the last quarter of the 20th century in terms of three indicators: numbers, reproduction, and ethnic composition.
A) RB by number of the population was included in the first seven subjects of the Russian Federation. The population was influenced by the colonization of Bashkiria, when a systematic influx of the population began, but there was a sharp reduction at times - World War 1, civil war, the national liberation movement, the famine of 1921, the Great Patriotic War. The pre-war strength was reached in 1956. In subsequent years, there was migration associated with the lack of work, especially in agriculture / farming, with a weak social sphere. The crisis in the last years of the 20th century is the reception of refugees and internally displaced persons. In 1993, for the first time since the war, the death rate exceeded the birth rate. But the natural decline in the population was replenished due to migration, so the total population increased: a hundred years ago in 1897 there were only 1 million. 991 thousand people, the 1995 census gave a figure of 4 million. 73 thousand people
b) By reproduction of the population of the Republic of Belarus - since the 60s, the downward trend in natural population growth in the republic has been stronger than in the Russian Federation. In the 1970s, the number of marriages decreased, the number of divorces grew, and many illegitimate children were born. Starting from the 1990s, mortality began to grow, and the mortality of men in all age groups exceeded the mortality of women. Many single-parent families appeared. Half of the deaths are associated with circulatory diseases, accidents, poisoning (including alcohol and drugs), injuries. In the last years of the 20th century, the number of patients with HIV infection increased in Belarus. Due to migration, Belarus lost 252.2 thousand people over 10 years (80-90). But over the past 10 years, the influx of migrants began to exceed the outflow of the population.
V) By national composition population, there is a phenomenon of multinationality, which has historical reasons: the location of the region on the main routes of ancient migration flows between Europe and Asia and colonization. According to the brief encyclopedia of Bashkortostan, 30 nationalities now live on the territory of the Republic of Belarus. This is the data of the last census, which took place in 1989, i.e. 14 years ago .. The most numerous: Russians -39.3% of the total population (51% in the city and 18% in the countryside), Tatars - 28.4% (25% in the city and 33% in the countryside), Bashkirs - 21 .9% (14% urban and 34% rural).
Bashkirs live both in Russia and in the world.
In the Republic of Belarus there are two cities where 99% of the population are Bashkirs - these are Uchaly and Baymak (as well as 21 agricultural districts).
In the Republic of Belarus - one Tatar city is Tuymazy and 12 urban villages. type.
There are 14 Russian cities in Belarus.
Mari live compactly in the Mishkinsky and Kaltasinsky districts.
The Chuvashs occupy the Bizhbulyak region. As a percentage of the total population, Chuvash make up 3%, Mari - 2.7%, Ukrainians - 1.9%, Mordvins - 0.8%, Udmurts - 0.6%, Belarusians - 0.4%, Germans - 0 .3%. There are other nationalities as well.
Vocabulary for the lesson:
Attribute - an essential feature, a permanent property of something, an integral part of an object.
Heraldry - an auxiliary, historical discipline that studies coats of arms as specific historical sources, as well as the compilation, interpretation and study of coats of arms.
Ornament - a pattern consisting of rhythmically ordered elements, designed to decorate various objects (utensils, weapons, tools, clothing), architectural structures, works of plastic arts.
Sovereignty - complete independence of the state from other states in its internal and external affairs. National sovereignty is the totality of a nation's rights to freedom of choice of a social and political system, to territorial integrity, and economic independence.
Migration - resettlement, movement of the population within one country.
Nationality - belonging to the nation.
I would like to cite the data taken from the statistical collection published by the State Statistics Committee of the Republic of Belarus in 2002, as figures close to the current state of the population of the republic.
The permanent population of the republic continues to decline, especially in rural areas (a village in the Republic of Belarus is slowly dying, people are fleeing the villages). Migration is decreasing, people continue to come to Belarus only from Uzbekistan, where it is simply impossible to live. The birth rate is falling: in 1991, 58.2 thousand citizens were born in our country, and in 2000 - only 41.6 thousand. The death rate is steadily going up: in the same 1991, 39.6 thousand people died, in 2001 - 55 thousand. If children are born, then in incomplete families where there is no father: if in 1993 there were 6138 single mothers, then in 2001 - already 9947. The fact is very sad - almost a third of all those born in the republic (23 .7%) in the column "father" has a dash.
In the republic, life expectancy is falling - if in 1990 the average life expectancy was 70.5 years, then in 2000 it was 4 years less, and life expectancy generally decreased by almost 5 years. A truly big topic is the cause of death. Diseases of the circulatory system remain the most terrible human scourge (in 2000, 29,114 people died for this reason; and in 2001, already 30,376 people die less often from cancer); the number of deaths from diseases of the digestive system has increased in the last two years (1172 people in 2000 and 1358 in 2001); vascular lesions of the brain (strokes) 7028 and 8289, respectively. More people died as a result of accidents: 7611 - in 2000 and 7746 - in 2001, and the number of deaths in road traffic accidents increased (by almost 70 people), in case of alcohol poisoning - by 112 accidents. There were unacceptably many suicides (suicides) - 2530 in 2000, 2468 - in 2001. And many murders - 738 and 717, respectively. Hence the question: "Who should live well in Bashkortostan?"
Questions:
What is the number, reproduction, national composition of the population?
What is the state of the population at the end of the 20th century in Belarus?
What are the reasons for migration?
What are the main causes of death in Belarus?
Why is the death rate for men higher than for women?
What changes are needed to stabilize the situation?
What are the living conditions of youth in Belarus?
Exercise:
Find the history of the creation and images of the coats of arms of the cities of the republic - Salavat, Ufa, Sterlitamak and others.
Subject: National language and problems of nation consolidation.
The social structure of society is made up of historically established communities of people: tribes, nationalities, nations. Modern humanity is represented by about two thousand different peoples, and in our country there are more than 100 of them. At the same time, there are about 200 independent states in the world. Consequently, most peoples live in multinational states. And that means, no matter how dear the historical memory of our national roots is to us, it is important for us to understand something else: we all live and will always live together with people of different nationalities. This requires from each of us a special personal delicacy and responsibility in dealing with people of different nationalities. Moreover, different peoples have more common features than differences, and the commonality is constantly growing, as the interdependence, interconnectedness and integrity of the world are increasing. But the rapprochement of peoples does not mean the denial of their national characteristics. It is the originality of their culture that serves as a living source of the spiritual wealth of all mankind, the infinite diversity of world culture.
A nation is a historically formed form of a community of people and a nation is characterized by a common territory, economic life, a common language, some features of the psychological and spiritual appearance, manifested in the originality of culture. You know from history that clan and tribe are characteristic of primitive society; nationality is formed with the appearance of classes and the state. A nation arises only under capitalism, under conditions of collectivization of economic and cultural ties, the creation of a single national market, the elimination of fragmentation in the economic life of the Middle Ages, and the rallying of the various nationalities that make up the state into a single national whole. Today, the concept of "ethnos" has become firmly established in science along with the nation, nationality. This Greek word means "people" and does not have an unambiguous characteristic. An ethnos is understood as a set of people who have a common culture, who are aware of this community as an expression of a common historical destinies. A broader interpretation of the term is that it combines the concepts of tribe, nationality, nation.
Consequently, the nation is the most developed historical and cultural community of people. It develops over a long historical period as a result of the combination of representatives of various (related and not related to each other) tribes and nationalities.
Language is the most important element of culture, the main form of manifestation of national and personal identity, as the main means of communication between people. Usually, representatives of one nation speak and write the same language, which does not exclude different dialects. The apparent simplicity of this sign leads many to believe that language is an undoubted sign of a nation. However, this is not quite true. In Switzerland, for example, there are 4 equal languages - German, French, Italian and Romansh, but the Swiss are a single nation. Another example can be given: the British and Americans (US residents) speak the same language, but they are different nations. But still, language is undoubtedly one of the factors influencing national relations.
Briefly: language is a means of communication, thinking; national language - the language of a certain nation; colloquial- living folk or common speech; literary language - a kind of written language; dialect - a local or social dialect, dialect, which is a kind of national language; jargon - or slang - the speech of any social professional group, which is distinguished by a special composition of words and expressions, or is it a conditional language that is understandable only in a certain environment; slang - expressions used by people of certain age groups, professions or strata.
The Bashkir literary language is a historically developed and developing variety of the Bashkir language. Its characteristic features are written fixation, stability, processing, supra-dialectic, universality. It is a means of oral and written communication in the Bashkir society.
The Bashkir literary language is both an independent and subordinate system. It is an independent system in the sense that it is the language of works, the language of writers, the language of journalism, scientific literature, religious literature, business, official language. At the same time, this is a subsystem of the "national" language - in addition to the literary Bashkir language, there is also a spoken language and the language of folklore.
The Bashkir literary language has pre-national and national stages of development. The first is divided into 4 periods:
From the 13th century up to 16th c. literary. Turkic language of the Ural-Volga region
From the middle of the 16th to the 18th century. -an increase in the Kipchak and Russian elements.
First half of the 19th century - Sufi literature in Turki + folk spoken language + folklore language.
Second half of the 19th century - educational literature, the formation of new styles.
The second (national) stage has 3 periods:
From the end of the 19th century until the 20s of the 20th century. - this is the language of the Turks + the old Tatar literary language, democratization and an increase in the Bashkir lexical grammatical features.
From 1920 to the 1930s, the formation of the modern Bashkir literary language takes place on the synthesis of the old written traditions of the Turks + the language of folklore + the folk spoken language.
1930 - 1950s - the years of the accelerated development of the modern Bashkir literary language and the formation of functional styles.
The Bashkir nation, which took shape at the beginning of the 20th century, created the literary Bashkir language (in addition to the common territory, economy, a certain psychological and spiritual appearance), in which, in addition to national oral and written communication, scientific work, official communication, journalism takes place, and a common culture develops . The Bashkir literary language is one of the components of the consolidation of the nation.
Questions:
Line up these concepts in a chronological series: tribe, ethnic group, nationality, clan, nation and explain.
Find the symbols of the statehood of the Republic of Bashkortostan:
A. Flag, national ornament, oran.
B. Tamga, coat of arms, kurai.
V. anthem, coat of arms, flag.
G. kurultai, national costume, anthem.
Explain why the Old Turkic language is not national?
Exercise:
Prepare a report on the current state of the peoples inhabiting the Republic of Belarus - Western Bashkirs, Russians, Tatars (Mishars, Teptyars), Chuvashs, Maris, Mordovians, Udmurts, Ukrainians and Belarusians, Germans and Latvians according to the IKB Reader pages 149-178.
Subject: Sesen is the creator and bearer of the Bashkir epic.
The Greek word "epos" means "word", "story", "song" and has long been one of the three main genres of fiction (along with lyrics and drama). Epos is narrative literature. Every nation had and still has artistically gifted people who are able to explain and convey information in a poetic form. Among the Bashkirs, such a person was called a sesen (among the Kazakhs, an akyn). Sesen is a poet, improviser and singer. He improvises in the form of a song recitative to the accompaniment of a dumbyra. Sesen competitions were held with the confluence of people on the yiyins. In the kubair (a form of the heroic legend among the Bashkirs) “Dialogue between Akmurza and Kubagush”, the social ideal of the sesen is expressed: “He does not protect evil, he does not spare the enemy, he loves justice, the grief of the country is on his lips, the joy of people is in his songs.” The main qualities of a sesen (besides the talent of a poet, singer, musician, experience, knowledge) were considered by the people to be wisdom, resourcefulness, and wit. In modern Bashkortostan, the traditions of storytellers are being revived, and the title of "People's Sesen" is also awarded. The history of the Bashkir people has preserved the names of famous sesens: these are Khabrau, Erense, Kubagush, Karas, Makhmut, Baik Aidar - they all glorified their native land from the 14th to the 18th centuries; Murzakaev, Argynbaev, Almukhametov, Mukhametkulov, Aminev-Timyani, Kulembetov lived and worked in the 19-20 centuries, after the Great Patriotic War (1941-1945) Burangulov, Davletshin, Ismagilov glorified their names, who were awarded the title of people's sesens.
Habrau - lived at the turn of the 14th and 15th centuries. Folk singer - yyrau. Nogais (Kazakhs, Bashkirs, Karakalpaks) call the folk singer and zhyrau According to Kazakh literary critics, he came from the Kipchak tribe, lived in the city of Saraichik on the Yaik River and was close to the Khan's palace of Tokhtamysh. But during the palace strife, he took the side of Emir Idige. In the Bashkir epic "Idukai and Muradym" Khabrau is presented as a wise elder at the age of 100 and a defender of the people. He is also the author of the kubairs included in this epic: “I am your elder - aksakal”, “Oh, Uraltau”, “Death of a high mountain”, “What is considered bad?”. Scientist V.M. Zhirmunsky considers Khabrau the ancestor of the yyrau among the Nogai peoples.
Yerense - sesen- the years of his life are unknown, approximately 13-14 centuries, he is recognized by different peoples, Kazakhs, Karakalpaks, Altaians consider him their poet. His name as a poet-improviser has become a household name, however, just like wits. His image is preserved in folklore - in fairy tales, short stories and parables. Like his father, he is clairvoyant. The legend connects him with Yamantai - batyr. He composed the "Appeal of Erense-Sesen to Abulkhair-Khan". He is the author of many kulyamas. He became famous as a hero of fairy tales - anecdotes, in a different way, latifs. Like him, there are short funny stories in India about the cunning Birbal, among the Turkmens - about Mir-Ali, and among the Uzbeks and Karakalpaks - about Khoja Nasretdin. The grave of Erense-sesen is located in Bashkortostan near the village of Bashkirskaya Urginka in the Zianchurinsky district. The Bashkirs also have a kubair "Erense-sesen". Glorified among the Bashkirs and the wife of Erense - Sesen - Bendebike. Her mausoleum - cachene - exists near the village of Maksyutovo, Kugarchinsky district. She is known for not allowing hostility to flare up between the Bashkir and Kazakh clans.
Cubagus- lived in the 16th century - biy and sesen. According to legend, he led the struggle of the Bashkirs - Mints against the Nogai Murza Karakulumbet. He was defeated and forced out of the Dyoma valley, lived in the Urals among the Cathays. For many years he was at the head of the movement of the Bashkirs against the khans. One of the first to accept Russian citizenship - citizenship. In "Aityn Kubagush - sesen with Akmurza - sesen" he exposed the cruelty of the Nogai khans and murzas. (There is material on the book "Legends and Traditions of the Bashkirs" p. 223)
Karas- lived at the end of the 17th - the first half of the 18th centuries. Batyr and storyteller. According to legend, he is a representative of the Tilyau clan from the village of Nauruzovo, the son of Mergen Kushkilde, the great-grandson of Kubagush-sesen, the cousin of the batyr Kildesh. He went down in Bashkir history as a defender of the eastern lands from the raids of the Kazakh feudal lords. His wisdom, fearlessness, justice are reflected in the aitysh "Karas and Akma". In the legend "Karas and Karahakal" the image of a sesen is created as a spokesman for people's thoughts.
Mahmut Foot- late 17th - early 18th century. Mahmut is a legendary Bashkir folk kuraist, poet, and improviser. The first records about him were made by M. Burangulov in 1912 from M. Saitov. Many legends, lyrics with his name were recorded in the 60s of the 20th century by K. Diyarov. The melody of his song “On Foot Mukhmut”, which he composed during a trip to the Russian Tsar, entered the repertoire of the Bashkir classics.
Baik Aidar- (1710, the village of Mukhmutovo - 1814). Baik Aidar is the son of Tarkhan Baynazar, a participant in the Bashkir uprising of 1735-1740s and 1755-1756s. Pursued by punishers, he hid in the Kazakh steppes. Upon his return, he called on the Bashkirs to participate in the Peasant War of 1773-1775. By the beginning of the Patriotic War of 1812, he was 102 years old, he admonished the batyrs with his poems, and met those who returned from the war with the glorifying song "Baik". His heritage should include "Aitysh Baik - Sesen with the Kazakh Akyn Bukhar", "To the Bashkir Wars - Defenders", "Song of Baik - Sesen". The popular dance "Baik" is attributed to him. In fact, “Baik” is an old Bashkir dance, originally performed during epic performances. Starting from the 19th century, in connection with the wonderful performance of this dance Baik - sesen, it becomes, as it were, independent. Now there are several versions of the dance, but the elderly Bashkirs always perform it (and if the young ones, they imitate the old people, imitate them.). In the Baik dance, an image of an experienced person is created who has not lost optimism in old age, always with humor.
Exercise:
Dictionary work. Define the terms: recitative, common noun, kulyamas.
Subject: M. Burangulov - people's sesen of Bashkortostan (1888-1966)
The drama of fate does not devalue
her fate, but on the contrary, increases it
value: not everyone can accept
fire on yourself...
Azat Abdullin
or can be used as an epigraph
Your flame burned...
Gabdulla Tukay
The creators and bearers of the Bashkir epic - sesens played an extremely important role in the social life of the Bashkirs. When there was a danger of invasion by foreign invaders, sesens called on the people to protect native land, often becoming the head of the army. In peaceful days, sesengs took part in resolving many life issues. “When disputes and skirmishes arose between tribes because of migrations and tebenevok,” wrote M. Burangulov, “sesens performed.” The people called sesens only exceptionally gifted storytellers who possessed not only performing talent but also the ability to improvise. Mukhametsha Burangulov, who had a phenomenal memory and a brilliant talent as an improviser, was just such a truly popular sesen.
He was born in 1888 in the village of Urga - Ilyas Yumran - Tabynsky volost of the Buzuluk district of the Samara province (now the Luxembourg district of the Orenburg region) in the family of a middle-class peasant. At the age of 11, he remained an orphan, in 1901 he entered the Kargaly Madrasah, in the summer he taught children in the Kazakh steppes, and was hired as a farm laborer in rich families. In villages, he got acquainted with the work of Kazakh akyns and recorded samples of Kazakh folklore. After completing his studies at the madrasah, he worked for two years in the commission for the population census. During these years, M. Burangulov met the famous Bashkir storytellers Gabit Arginbaev and Khamit and adopted epic poems from them - kubairs "Ural-Batyr", "Idel and Yaik", "Akbuzat", "Kusyak - Biy", "Karasakal", " Mergan and Mayan. From them, Burangulov recorded a large number of baits. In 1909-1911, Burangulov studied at the Khusainia madrasah in Orenburg, and in the post-October period he worked in the educational bodies of Bashkortostan, taught the Bashkir language and literature.
Burangulov's interest in folk poetry woke up very early. Even shakirdom, he recorded songs, legends, tales of his native land. One of his first recordings of the popular folk song"Ashkadar" M. Burangulov published in 1924 in the journal "Shuro" in Orenburg. Having studied the folklore heritage of the Bashkir people, he begins to write plays based on the plots of folk songs and legends. The fact that most of the dramas of Mukhametshi Burangulov were written on the basis of folk songs and legends predetermined, basically, their best sides, as, for example, in the drama "Ashkadar" (1917) Its plot is simply naive: the young hunter Yumagul and the girl Tankhylu love each other, matchmakers come to the girl's father and after much deliberation, the parents decide to marry her off as Yumagul. The wedding took place, and the young people lived happily. But during the hunt, Yumagul died, his parents called kuraists and singers, who composed the song "Ashkadar" about the death of the hunter. This scene is from the life of ordinary people who lived on the land of Bashkortostan. In 1922, a self-made team of the Bashkir Institute of Public Education staged Burangulov's play "Ashkadar" and the play was a major success, especially the audience noted the performance of Sagida Rashitova, who played the role of Tansylu. In 1924 she was invited to the Bashkir theater in Ufa and became famous actress, taking the stage name Tansyla Rashitova.
M. Burangulov built a house in his native village, hunted, traveled from 1922 to distant villages, collecting folklore materials: historical songs, legends, ritual songs. One day, a familiar hunter told M. Burangulov that an old man lives in one of the auls, who knows many folk tales, legends and songs. Burangulov took a keen interest, harnessed his horse, put a ram in the sleigh and left. He returned home only a week later, in a good mood - after all, he managed to record a lot of interesting things, and he gave a ram to an old man who lived in poverty. Since 1924, M. Burangulov lived and worked in the village of Tulyan, Meleuzovsky district, taught at a school.
As soon as a professional Bashkir theater was organized, Burangulov's plays took one of the main places in the repertoire. M. Burangulov directed his efforts to expand the national repertoire, creating the plays “Yalan Yarkai”, “Buranbai”, “Bashkir Wedding”, “Salim Canton”, “Tevkelev”, “Gang Abzelilov”, “Shaurakai”, “Prosecutor”, “ Enzhekay and Yuldykay, etc.
In 1938, M. Burangulov moved to Ufa and began working at the Research Institute. M. Gafuri, was engaged in the classification of folklore materials, and continued his work: "Collective Farmers", "Shepherd", "Red Stone", "Gulnur", "Meetings" (1939-1940). The operas "Mergen" and "Tashtugai" written to his libretto were performed at the Bashkir Opera and Ballet Theatre. Burangulov also tried his hand at creating cubes on topical topics. In 1944 he was awarded the title of People's Sesen of Bashkortostan, but in 1950 he was repressed. Rehabilitation was only in 1956. He devoted another 10 years of his life to his beloved work - folklore, tirelessly collecting and processing Bashkir folk art. On March 9, 1966, he died after a long illness. Only decades later, the work of the folklorist and the work of the seseng and playwright received a well-deserved high appraisal. In 1977, the publishing house "Nauka" published a collection of "Bashkir folk epic" in two languages - Russian and Bashkir, compiled mainly from the materials of M. Burangulov.
Mukhametsha Burangulov is the oldest representative of the Bashkir literature of the Soviet period. He is the author of plays that still do not leave the stage today, kubairs, which are still known to many. His main merit lies in the fact that he preserved for posterity the treasures of folk poetic thought - the archives of the Academy of Sciences of the Republic contain records of many storytellers collected by M. Burangulov.
The book explores the literary language of the Bashkirs of the 19th-early 20th centuries. as a self-development of the system in a certain era: a typology of literary texts is carried out and the subsystems of the literary language are determined (languages of fiction, journalism, scientific literature, shezhere and tavarikhs, official business documents, etc.), their leading role is singled out, the process of development of the latter on the basis of contradictions between the traditional and the new at all linguistic levels in relation to the vernacular language and the language of folklore; the system of styles and norms of the literary language is established, their evolution in the period under study is revealed.
Arabographic elements of the material construction of manuscripts and early printed books of the Ural-Volga region and literary texts of the period under study are given.
For Bashkir scholars, Turkologists and Orientalists, as well as for all those interested in the history of national literature and printing in Bashkiria.
MAIN STAGES OF THE DEVELOPMENT OF THE BASHKIR LITERARY LANGUAGE.
On the issue of the history of the formation and development of the Bashkir literary language, there is no single view among linguists. Contradictory information is given about the pre-revolutionary literary language of the Bashkirs in the Brief Literary Encyclopedia (see the articles “Bashkir Literature”, “Bashkir Language”) [M., 1962. V.1. 480, 484]. Some scholars attribute the Bashkir language to the newly written languages that did not have their own written traditions before the October Revolution [Yuldashev, 1959, 56-72], others argue that the Bashkir national literary language before the October Revolution was expressed primarily in the genres of oral poetic works [Kiekbaev, 1966, 19-25]. The language of the Turks of the Ural-Volga region is recognized by them only as an official language. written language, the language of office, business papers, annals, etc., which is of secondary importance, therefore not representing a written literary language [Kiekbaev, 1966, 25-29; Akhmerov, 1966, 11; 1972, 119; 1973, 29-42]. Some researchers believe that “since the 15th-16th centuries, bilingualism has existed in Bashkir society: the official written literary language, the language of the office, and the nationwide Bashkir literary language created by masters of the word - sesens” [Psyanchin, 1965, 24].
And, finally, other scientists unconditionally recognize the functioning of the literary language of the Bashkirs in the pre-national period. “His literature,” writes, for example, A.I. Kharisov, - although underdeveloped, Bashkiria also had, but it existed not in the national Bashkir language, but in the so-called book language "Turks" (during the period of feudalism) and in Tatar (after the formation of the Tatar bourgeois nation and its entry into the public arena Ural-Volga region). If for a bookstore
TABLE OF CONTENTS
FOREWORD
Chapter I. TO THE THEORY OF LITERARY LANGUAGE
Chapter II. MAIN STAGES OF THE DEVELOPMENT OF THE BASHKIR LITERARY LANGUAGE
Chapter III. SOURCES AND THEIR LINGUISTIC VALUE
Chapter IV. LITERARY LANGUAGE IN THE FIRST HALF OF THE XIX CENTURY
The language of Sufi literature
The role of the enlightenment movement in the history of the Bashkir literary language
Chapter V. LITERARY LANGUAGE IN THE SECOND HALF OF THE XIX CENTURY
Social processes and historical and cultural situation
Akmulla in the history of the Bashkir literary language
M. Umetbaev and his role in the history of the Bashkir literary language
Chapter VI. LITERARY LANGUAGE OF THE EARLY XX CENTURY
First Bashkir Primer
Other attempts to create modern Bashkir writing
The language of Bashkir poetry at the beginning of the 20th century
The language of Bashkir narrative prose and dramaturgy
On the language of the Bashkir press at the beginning of the 20th century
Chapter VII. THE LANGUAGE OF THE BASHKIR SHEZHERE, HISTORICAL AND LITERARY TAVARIKH
Bashkir Shezhere language
The language of historical and literary tavarikhs
Chapter VIII. THE NATIONAL BASHKIR LANGUAGE IS THE SOURCE OF THE LITERARY LANGUAGE
Chapter IX. LANGUAGE OF FOLKLORE - LANGUAGE OF FOLK LITERATURE
The language of folklore as a subsystem of the Bashkir language
Oral folk works
About the Cubair language
About the language of fairy tales
About the language of proverbs and sayings
Linguistic features of other genres of folklore
Handwritten epic works
CONCLUSION
SUMMARY
UBER DIE SPRACHE DER SUFISCHEN LITERATUR DER URAL-WOLGA-REGION IN DER ERSTEN HALFTE DES 19 JAHRHUNDERTS
LITERATURE
LIST OF ABBREVIATIONS OF SOURCES
INDEX OF TITLE OF COMPOSITIONS
NAME INDEX
THE ART OF DESIGNING ARABOGRAPHIC BOOKS
arabographic literary texts
FRAGMENT FROM THE MANUSCRIPTION "TANBIYA AL-KAMAL" (1290, Hijri)
TARJEMAT HADJI ABUL-MANIKH AL-BISTAWI AS-SAIDI (fragment from the manuscript)
RISALA-I AZIZA (Kazan, 1897)
ASAR (Orenburg, 1907)
BASHKORT AIMARY (1925, No. 1). BASHKORT KASHKALARY
ASAR (Orenburg, 1908)
AKMULLA (Kazan, 1907)
YADKAR, MUHAMMADSALIM BIN ISHMUHAMMAD UMIDBAYEV
(Kazan, 1897)
EDEBIYAT CHRESTOMATIES (Ofe, 1927, Bashkort telende).
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Thesis
Abdullina, Amina Shakiryanovna
Academic degree:
Doctor of Philology
Place of defense of the dissertation:
VAK specialty code:
Speciality:
Philological Sciences. Fiction - Russian Federation - Bashkir literature - since 1917 - History of literature. Ideological and artistic features of literature - History of genres - Fiction
Number of pages:
Chapter I. The artistic world of N. Musin's prose.
§ 1. narrative manner and point of view.
§ 3. The natural world in the artistic conception of N. Musin.
§ 4. Portrait as the most important means of forming a holistic image of the hero.
§ 5. Multifunctionality of the objective world.
Chapter II. M. Karim's prose in the artistic consciousness of the end
§ 1. Artistic thinking of M. Karim in autobiographical story " Long, long childhood».
§ 2. Mythopoetics and folklore in the story " Pardon".
Chapter III. Women's prose.
§.1. Heading complex in G. Gizzatullina's prose.
§.2. The poetics of dreams in T. Garipova's novel "Burenushka".
Chapter IV. IN creative world A. Amineva.
§ 1. Poetics of the story "Three times seven".
§ 2. Conditionally-metaphorical direction in A. Aminev's prose.
Chapter V. "Other prose" T. Giniyatullin.
§.1. The system of space-time coordinates in prose
T. Giniyatullina.
§ 2. Existential motives in the novel " Corral ".
§ 3. Intertextuality of T. Giniyatullin's prose.
§ 4. Linguistic originality and features of the speech organization of the works of T. Giniyatullin.
Introduction to the thesis (part of the abstract) On the topic "Poetics of modern Bashkir prose"
The prose of the turn of the XX-XXI centuries is a significant stage in the development of literature. Various aesthetic systems coexist and interact in it, there is an intensive creative search for word artists, which is one of the means of understanding the changing reality. As O. Pavlov writes, “modern prose is not a story about modernity, but a conversation with contemporaries, a new formulation of the main questions about life. It arises as the energy of its own time only. This is knowledge, spiritual experience. New self-awareness. New spiritual state"(1; 18). Today, literature lives according to the laws of the "turn of the century", just like a hundred years ago. At the end of the 20th century, a turning point occurred in literature, associated with the transition from the traditions of realistic creativity to new horizons of freer artistic imagery and poetic expression. The modern literary process at the turn of the 20th-21st centuries deserves special attention for a number of reasons: firstly, the literature of the end of the century in a peculiar way sums up the artistic and aesthetic searches of the entire century; secondly, the latest literature helps to understand the complexity and inconsistency of our reality; thirdly, with her experiments and artistic discoveries, she outlines the prospects for the development of literature in the 21st century.
The end of the 20th - the beginning of the 21st century in the development of Russian literature can be characterized as a period of a cultural gap in which, in a new situation, both the functioning and dialogue of various aesthetic systems, reflecting the attitudes developed by the previous time, and the birth of new ones were carried out. Each of these systems develops its own principles of poetics. Therefore, in modern literary criticism it is manifested special interest to the ways and forms of manifestation of new concepts, new poetics.
The contradictory views in the assessment of the poetics of modern prose are generated by two factors. On the one hand, this is a living process that is being created before the eyes of the reader and, accordingly, cannot be unambiguously and fully evaluated. On the other hand, the polar concepts of the phenomena of modern literature are caused by the transitivity and instability of all traditional life paradigms. “Russian literature of the end of the 20th century seems to be a chaotic mixture of styles, genres, forms that exist simultaneously and arise suddenly, outside of traditions and continuity. But this external impression is destroyed by a deep study of the modern literary process, in which certain regularities, genetic and typological connections, and interactions of its components are found" (2; 12).
The uncertainty of views on the modern literary process and on the poetics of prose is also characteristic of the national literatures of Russia. Today it is senseless to deny the cultural and literary interaction peoples. National literatures are never isolated. Each literature is subject to the laws of the general literary level, has a national tradition, and at the same time is able to assimilate the achievements of other literatures and pass on its experience to them, i.e. cultures interact.
Modern national literatures, in general, more gravitating towards traditional genre and style differentiation, nevertheless, are subject to modern artistic trends and undergo various kinds of changes both in the ideological and compositional-structural, genre-style and artistic-aesthetic spheres. The rich and varied modern Bashkir prose, which is the object of this study, exists in the common cultural space of the Russian Federation, interacting with all its components, absorbs the main elements of the aesthetics of modern literature.
Modern Bashkir prose, preserving and continuing the best traditions of Soviet literature, which were developed by outstanding writers of Bashkortostan, is on the way to conquering new heights. artistry and poetics. At the end of the 20th century, Bashkir literature embarked on the path of searching for new forms of artistry. The beginning of socio-political reforms that changed the cultural orientations of society was accompanied by the subconscious approach of the Bashkir fiction to national artistic traditions, which revived interest in the archaic layers of spiritual culture, mytho-epic universals and archetypes, i.e. eternal cultural values.
Of course, this path is long and thorny. It cannot be said that post-Soviet Bashkir prose has already taken shape completely; it is just being formed through trial and error, sometimes by marking time or by unexpected leaps forward.
Bashkir prose of the late 20th - early 21st century seems to be a dynamic system that is in a state of renewal and change. In the modern literary process, realistic and post-realistic stylistic currents, the boundaries of which are mobile and permeable.
The main difficulty for researchers of modern Bashkir prose is the absence of any unified classification of trends, the difficulty of identifying the most prominent representatives of fiction. It is significant that the latest literature is called "bad prose" (D. Urnov), " sick, who is more half dead than half dead"(L. Anninsky), "the patient is alive despite the fact that reality in 1992 was not supportive of culture" (N. Ivanova), "delayed apocalypse" (S. Chuprinin), etc. (3).
Literature of the end of the 20th century, according to one of the serious researchers of the modern literary process, G. Nefagina, can be represented "as the existence and interaction of different directions and "separations" (works that cannot be classified, but complement the picture of modern literature)" (4 ; 140). A. Nemzer believes that “there should not be any literature in today's Russia, but it is. The literature of individual writers, unique personalities, dissimilar in everything except for a firm conviction: I need literature, and therefore someone else ”(5; 216). N. Leiderman believes that “the most obvious manifestation of the interaction of classical and modernist systems in the 20th century was their synthesis, which led to the birth of a new creative method, which we proposed to call post-realism" (6; 235).
The uniqueness of the modern literary process makes it an extremely complex and controversial object of study. One cannot but agree with A. Genis, who believes that “it is impossible to apply the old traditional criteria to today's literature. It is impossible to consider the modern literary process as one-linear, one-level. Literary styles and genres obviously do not follow each other, but exist simultaneously. There is no trace of the former hierarchy of the literary system. Everything exists at once and develops in different directions» (7; 7). At the beginning of the 21st century, the need to return to a realistic vision of the world and to comprehend historical and cultural experience from new positions, suggesting the dominance of a dialectical vision of the world, became obvious. “Russian literature of the 20th century, including its last half, clearly shows that realism does not die in the era of modernism and does not necessarily go into the realm of mass culture” (8; 524). On the possibility of creating a "new realism" interspersed with naturalistic or impressionistic character was written as early as the 1920s. Then this trend was forcibly interrupted. At the end of the XX century. it reappeared in a peculiar form.
Attempts to classify the texts of modern Russian literature were made by a number of researchers: D.S. Likhachev, M. Epstein, I
G. Nefagina, N. Ivanova (9). The specifics of the transitional period are considered in the context of the genre tradition in their works by M. Abashev, referring to the specifics of "metaprose", and M. Zvyagina, who analyzes the features of "author's prose" (10).
The study also takes into account other attempts to systematize modern literature. According to M. Epstein's concept of the development of Russian literature in stages, the literature of the late 20th century correlates with the moral-sentimental, religious and aesthetic phases. For all its controversy, M. Epstein's scheme reveals the most general trends in the literary development of recent years (11).
The most complete, complete and most objective is the study of G. Nefagina, who tried, taking into account the most diverse styles and trends that exist in modern literature, to combine them according to ethical and philosophical features. In her work, three currents in realism stand out: neoclassical prose, conventionally metaphorical and “other” prose (2). This concept is the most fruitful, since the author highlights the coexistence of three art systems: realism, modernism and postmodernism, within which stylistic subsystems are found.
The dissertation is designed to reveal “regularities and antiregularities» in literature (12), to show the development of traditional realistic prose and the violation of traditions, the formation of currents in Bashkir literature that exist next to realism, forming a new tradition.
The realism of modern Bashkir prose (neoclassical prose) is focused on comprehending the fullness of the connections between man and the world and continues the main traditions of Russian and Bashkir classical literature. It is the fusion of traditional and non-traditional elements, the interaction of different aesthetic principles. Modern Bashkir prose develops in three main directions: neo-realistic
Neorealist prose addresses the main social and ethical problems of life, is critical of society and the state, seeks to develop readers' ideas about the norms of social and moral conduct corresponding to the realities of modern times. Questions of the meaning of life, good and evil are one of the main problems of this direction.
Reality is changing rapidly, so realists are trying to reflect the new realities of the time, exploring a person and society, their relationship. In such works as “Pardon” by M. Karim, “The Last Solok” by N. Musin, “ Life is given once» D. Bulyakov, "Frontier", "Vera" by T. Sagitova, "Spring Waters", "Arab" by B. Rafikov, the authors tried to understand the complex ups and downs of modernity with the help of traditional and non-traditional means and techniques. Interaction in realistic works of different stylistic principles is manifested not only in the content, but also in the change in the methods of poetics.
In modern traditional realistic prose, two trends can be distinguished: artistic-journalistic, philosophical. The first is characterized by an increase in the level publicity, an open expression of sore problems and the author's position: “The Last Solok”, “Animal skin”, “ The pull of freedom" N. Musin, "Karasakal", "Kyungak" B. Rafikov, "Dombra Lament" A. Khakimov, "Rebellious Gyrfalcon" R. Baimov and others.
In the 1990s, a sense of tragedy, crisis, lack of harmony in the soul of a contemporary increased in traditional prose (“The Last Solok” by N. Musin, “Hamlet - Prince of Denmark”, “Eternal Longing” by T. Garipova, “Spring Waters”, “Arab "B. Rafikov," Life is given once”,“ Exploded hell" by D. Bulyakov) or past generations ("Tankman", "Gate" by A. Aminev, "Payback" by R. Baimov, "Khadiyat agai" by R. Sultangareev). On the other hand, realists try to show the possibilities of gaining peace of mind and confidence in the future.
The novel " The Last Solok"(" YuNRY SOLOK") N. Musin reflected many features of the realistic prose of the transition period. In the image of Sultanguzhi, N. Musin embodied the character of a truth-seeking intellectual whose soul hurts because of the destruction of village morality, the violation of harmony in the natural world. This image continues a series of characters created by the writer, typologically united by a sense of deep responsibility for the fate of the people and nature (Tulkusura, Gilman Tulkusurin). But this is a new image for the Bashkir writer. The author's idea embodied in the hero and through the hero is important to the author. The hero is not only aware moral degradation society, but also looking for ways out of the current situation. The novel created a folk character, which harmoniously combined invaluable experience, the wisdom of generations, the free choice of the individual. Sultanguzha sees the causes of many troubles in the destruction of the age-old values of the Bashkir people. Villagers can only destroy the surrounding nature, and hence the whole world around them, without giving anything in return. They have lost their sense of mutual assistance, unity and responsibility for everything and everyone.
In the episodes of the construction of houses for the “new Bashkirs”, the cutting down of the last Solok, the spiritual degradation of the villagers was most clearly manifested. Sultanguzha lives based on the laws of moral maximalism. The hero is tormented by questions of immorality not only of his fellow villagers, but also thoughts about his own responsibility to people and to his conscience. He considers himself doubly responsible for everything that happens in the village and the country, because he is a teacher. N. Musin does not give an unambiguous answer to the question about the further fate of his hero - a truth-seeker.
A moral maximalist and a conscientious person is also another hero, a young like-minded person of Sultanguzhi, Rasul, who defends the moral commandments of his grandfather Karamysh at the cost of his own life.
An open journalistic pathos characterizes the writer's reflections on moral foundations and laws of human existence. The writer is concerned about the fate of the dying Bashkir village, the loss of the historical memory of ancestors, the predatory destruction of the natural resources of Bashkortostan, rampant drunkenness in the countryside and, as a result, the moral impoverishment of the villagers. In the works of N. Musin of recent years, the guardians of morality, wisdom, and spokesmen for the national spirit are representatives of the older generation. IN " Last Sol Oka» along with the event movement, the evolution of the author's journalistic thought is significant. The voice of the hero is merged with the voice of the author. Sometimes the journalistic beginning is too pathetic and intrusive, which weakens the artistic intensity of the work, sometimes the artistic imagery is replaced by the author's reasoning. In the novel The Last Solok, N. Musin expands the artistic space of traditional realism by strengthening publicism. To be fair, it must be admitted that already in the works of the 70s of the Bashkir writer, journalistic intensity is strong.
Another trend is characterized by an increase in philosophicity, correlation of specific problems of our time with universal ones: “Pardon” by M. Karim, “ The sun and the moon are only one”, “Hamlet - Prince of Denmark”, “Burenushka” by T. Garipova, “The Abode of the Soul” by G. Gizzatullina, “Life is one - the world is eternal” by T. Kilmukhametova, “ Waiting for the end of the world» B. Rafikov. In such works, the authors turn to the search for the universal foundations of being, to comprehend the relationship of a person with the whole world, using realistic means and new techniques.
A milestone for modern Bashkir literature was M. Karim's story " Pardon" ("Yarlykau"), which, like the story of V. Astafyev " Sad detective"And" Fire" by V. Rasputin in Russian literature, connected modern literature with the literature of the Soviet period and pushed the boundaries of what was permitted. M. Karim not only shifted the emphasis in his landmark work, revised many problems that had a traditional interpretation in pre-perestroika literature, but also enriched modern Bashkir literature with new elements of poetics. The story of M. Karim reflected not only the search for literature of the mid-80s, but also an attempt to find a system of social moral values. The work combines a realistic story, a romantic love story, a myth, and deep philosophy. It reflected many features of the realistic literature of the transitional period. The writer reflected in his work the complex ups and downs of the war, moral problems that were not customary to talk about.
The most important element of the chronotope is the time of execution, execution, which divides linear time into "before" and "after". The action begins immediately with a critical situation, which serves as an impetus for Lieutenant Bainazarov's reasoning about the war, about the foundations of life and morality during the war years. An extreme event makes everyone think about eternal values, the value of human life, about love and death.
The story of M. Karim "Pardon" marked a transition to a new period in literature and was written, as it were, at the junction of social criticism and an apology for the spiritual searches of the milestone time. It represents the philosophical current of traditional realist prose.
Modern realistic prose is distinguished by its stylistic diversity, elements of romanticism, sentimentalism penetrate into it (“ Abode of the Soul”, “Victim” by G. Gizzatullina, “The moon and the sun are one” by T. Garipova, “Dombra Lament” by A. Khakimov, “Northern Cupids» Ya. Khammatova). For example, sentimental R. Kamal's novel "Tanya-Tankhyl" is characterized by moral maximalism, faith in love, and high spirituality. The heroine Tanya-Tankhylu is a person open to the world, living by feelings, not by reason. The form of the novel is stories from the past, letters, memories. The reconstruction of the past from the present is permeated with nostalgic, tragic motifs caused by the serious illness and death of the heroine. The story of a young teacher is presented not so much by events as by a story of feelings, experiences of the heroine. Tanya's world of feelings becomes the main one in sentimental R. Kamal's novel, the life of the spirit dominates the life of society. As in the works of Russian sentimentalism, in modern Bashkir sentimental prose, the idea of self-worth of feelings dominates.
Women's prose occupies a special place in modern Bashkir literature. By the end of the 1990s, Bashkir women's prose stood out from the general literary process and organized its own worldview and artistic space. The emergence of this phenomenon and its nature were the result of a whole complex of social, political, ideological, cultural and artistic factors and phenomena that determined the face of a new crisis stage that our country entered in the mid-1980s. XX century. The appearance of such outstanding talents as Tansulpan Garipova, Gulsira Gizzatullina, Zukhra Burakaeva, Fanida Iskhakova, Gulnur Yakupova, Farzana Akbulatova made it possible to talk about the activity of women's literature.
Realizing their writing potential, Bashkir women writers are approaching the creation of a special mentality and aesthetics of the female literary space. They are united by reflection, the sincerity of their "I". This is accompanied by the search and finding of additional linguistic means that reproduce the features of the female consciousness. The writers prove with their work that the expression of women's cultural, aesthetic experience will make literature more complete, reflecting all spheres of human life. The following aspects of the artistic embodiment of women's issues are important: the expression of dominants inner world women, female psychology, the sensual world of heroines, the characteristics of their behavior; depiction of men, their psychology and behavior from the perspective of a female author.
The creative manner of each of the writers is individual, each of them tries herself in different styles and genres. But a special, feminine look, everything written by a talented woman is interesting, unexpected and paradoxical. The special world of a woman, the world of her feelings, sensations, a look at the world order is women's literature, which has expanded the boundaries of modern Bashkir prose.
The development of Bashkir conventionally metaphorical prose begins in the late 1980s and is associated with the names of R. Sultangareev and A. Aminev (“People”, “Tankman”, “China Town”). Myth, phantasmogoria form an unusual, but understandable world for readers. Spiritual degradation, loss of human appearance are realized through fantastic assumptions. R. Sultangareev and A. Aminev test the heroes with unusual temptations. The real world is easily guessed behind conditional forms and techniques.
A. Aminev's stories are based on a fantastic type of conventionality. In the stories “Usman stones”, “Tankist” (“Usman tashi”, “Tankman”) and in the story “Snowman” (“Nar tsesheIe”), the author creates a kind of projection into the future, and in the story “China Town” ( "Kytai-gorod") - a reality closed from the rest of the space, transformed beyond recognition. In these works, the condensed image of reality gives rise to fantastic images. The real world is combined with the fantastic, there is a dual world. In the story "China Town" both worlds exist in parallel. One of the main methods of reflecting social reality in the works of R. Soltangareev and A. Aminev is the grotesque.
The stories "China Town", "Usman Stones" and the story " Bigfoot"Relate to social conventionally metaphorical prose, they focus on the problems and contradictions of the perestroika time.
The prose of the "new" wave is basically realistic, but modernist tendencies are peculiarly manifested in it. Unlike official literature, it offers a completely new point of view on the surrounding reality, destroys everything existing ideals. Therefore, reality is depicted rather rudely and sharply. In the work of T. Giniyatullin, the existential course of this direction is presented. In the center of the novel " Corral", stories " Hegemon", " Crossing"- a man whose fate is connected with the historical fate of the country, but the life of the state is perceived from within, through the fate of the hero. In the works of the writer, the social perspective is replaced by a human one, in them history is a chain of accidents that affect the life of the hero, changing it radically. T. Giniyatullin interprets historical events from universal positions, but refuses to preach and morality.
The novel "Zagon" and the stories "Hegemon", "Crossing"Have a dual character: on the one hand, these are realistic works, on the other hand, they also show some features of postmodernism. The author becomes the protagonist of his works. Talha Giniyatullin does not separate himself from the characters, he emphasizes his identity by using the full surname, first name, patronymic (he changed only a few letters). The main character in many works is Tolya Gainullin. The author exactly follows the chronology and facts of his own biography: early orphanhood, studies at the FZO, long war roads, work in the Caucasus on the construction of the Krasnopolyanskaya hydroelectric power station, as a milling machine operator at a fittings plant, a literary institute. Of course, the writer's prose is non-factual, there is fiction and fantasy in it, a selection of certain life events, but a high measure autobiography- a distinctive feature of the artistic world of the writer. T. Giniyatullin deliberately shows the process of creating his novel, as is customary in postmodern texts. Artwork creates a feeling artlessness speech, combined with the effect of complete reliability, photographicity, documentary. T. Giniyatullin is a supporter of minimalism, demonstrating the possibilities of the language by small and mean means. The characters of the writer speak the language of their era.
The artistic level of the Bashkir prose of the last twenty years is determined by realistic literature. But a distinctive feature of the modern literary process is that along with realism, rather timidly, but already noticeably, so-called alternative literature, oriented towards modernist traditions, makes its way.
IN literary criticism There is a twofold - narrower and broader - understanding of poetics. The first is limited to problems of poetic speech and style. Poetics in the narrow sense of the word studies "literary", "the transformation of speech into a poetic work and the system of techniques by which this transformation is accomplished" (13; 81). The second involves the study of not only speech, but also other structural elements of a literary text. V. Vinogradov gives a broad understanding of poetics: “Poetics as a science about the forms, types, means and methods of organizing works of verbal and artistic creativity, about structural types and genres of literary works, seeks to cover not only the phenomena of poetic speech, but also the most diverse aspects of the structure of works of literature and oral folk literature" (14; 184). A broader concept of the category "poetics" involves "the study of not only speech, but also other structural moments of a literary text" (15; 3). The work understands poetics in a broad sense, but it does not consider all the diverse aspects of the poetics of modern Bashkir prose.
The structure of the study is based on the typology of modern Bashkir prose, each chapter is devoted to one of the distinguished currents of realism.
The relevance of research. For awareness state of the art Bashkir prose, the development of principles for an approach to its system-typological study, it is necessary to study its poetics. “It is artistic consciousness, which every time reflects the historical content of a particular era, its ideological needs and ideas, the relationship of literature and reality, determines the totality of the principles of literary creativity in their theoretical (artistic self-awareness in literary theory) and practical (artistic development of the world in literary practice) incarnations. In other words, the artistic consciousness of an era is translated into its poetics, and the change in the types of artistic consciousness determines the main lines and directions of the historical movement of poetic forms and categories” (16; 3). The work focuses on the main lines and directions of " historical movement of poetic forms and categories» modern Bashkir prose on the example of M. Karim, N. Musin, T. Giniyatullin, A. Aminev, T. Garipova, G. Gizzatullina.
M. Karim, N. Musin, T. Giniyatullin, A. Aminev, T. Garipova, G. Gizzatullina are the most significant Bashkir word artists of the late 20th century, whose work not only played a role in the development of modern prose, but also became representative of philosophical and aesthetic worldview of modernity. Meanwhile, many aspects of their prose did not always fall into focus. literary interests. At the same time, the prose of these writers recreates the cultural atmosphere of the era, reflects the author's subjective view of the literary situation in Bashkortostan on the threshold of the new millennium, gives an idea of the evolution of the historical and literary process and "determines the main lines and directions of the historical movement of poetic forms and categories."
Public and artistic life Russia of the late XX - early XXI centuries is a special period, a time of changing historical eras, sharp fluctuations in public sentiment. The contradictions of the time were expressed in the Bashkir literature of the turn of the century as a whole and in the work of many writers of the era. M. Karim, N. Musin, T. Giniyatullin, A. Aminev and women's prose were no exception.
The problem of research and the degree of its scientific development. literary criticism and literary criticism of modern Bashkortostan, as in all other republics of the Russian Federation, lags behind the literary process. Despite the clear understanding of the significance of the problem of poetics in modern Bashkir prose, it has not found volumetric coverage in literary science. The researchers did not go further than individual local assessments and statements.
Bashkir literary criticism and literary and artistic criticism to a certain extent have already touched upon issues related to the problems of poetics. First of all, I would like to point out the collective collections, where for the first time attempts are made to analyze modern literature in the form of literary articles (17). In fundamental works on the history of Bashkir literature, some features of poetics were repeatedly studied (18), articles were written on the work of the authors under study, monographs on the work of M. Karim were published (19). A number of works devoted to the peculiarities of the artistic world of these writers have been published in collections and journals (20). Among the works on Bashkir literature published in recent years, one should mention the monographs and doctoral dissertation of R.F. Khasanov, devoted to the study of the modern historical novel, which became the most popular in Bashkir literature precisely during the period of the so-called "perestroika" (21). The scientists were given a complete analysis of the Bashkir historical novel of the late 20th century as an integral historical and literary phenomenon in terms of its typology, genre, style and poetics. Therefore, it is advisable to skip this genre of Bashkir literature from the research area, as the most studied, and explore other, little-studied levels of modern prose: aspects of the poetics of prose by M. Karim, N. Musin, T. Giniyatullin, A. Aminev, T. Garipova, G. Gizzatullina .
However, despite the variety of approaches and assessments, the desire of research to include modern Bashkir prose in the general literary process, without in any way belittling the relevance and value of these works, it should be emphasized that for the most part they are of an overview nature, the problems of poetics are considered in them in the context of solving common tasks associated with the emergence and development of Bashkir literature.
There remains an urgent need to search for new approaches and principles of analysis that take into account the peculiarities of the literary moment being experienced. The most optimal in this case is the appeal to the fundamental poetic categories, which allow not only to distinguish between phenomena, but also to see the connection between them, to identify similarities in seemingly polar artistic models of being.
The dissertation takes all this into account, and for the first time an attempt is made to conduct an in-depth, multilateral, comprehensive study of the main aspects of poetics in modern Bashkir prose based on a number of new literary concepts.
The purpose of the work in this aspect is to systematize and aesthetically adequately present modern Bashkir prose from 1986 to 2006, to identify the main trends in poetics at the level of an individual work, the author and the literary process as a whole. Consideration of the features of the artistic world of the most prominent representatives of the Bashkir prose of the late 20th century in the aspect of poetics can lead to the identification of the essential features of national literature in the context of the entire literary process as a whole and in connection with it.
The purpose and objectives of the dissertation determine the choice of research methodology, which is based on a constructive combination of historical-cultural, comparative-typological, structural-poetic, semantic methods and approaches to poetics, based on the position that modernity is part of historical process and it is precisely this vision of her that allows one to speak reasonably about the typology of phenomena.
The purpose of the study predetermined the formulation and solution of the following theoretical, historical and literary tasks:
Consider modern Bashkir prose as an ideological and aesthetic phenomenon of literature and as one of the main components of the historical and literary process of the 20th century;
Analyze the corpus of texts written by Bashkir prose writers from 1986 to 2006 in terms of poetics; compare the main system parameters of these texts;
Try to build a holistic concept of N. Musin's prose of recent years in close connection with such topical issues contemporary literary criticism, as the structure and forms of narration, the natural world, the objective world, portrait characteristic, forms of disclosure of the author's consciousness and typology of characters;
Consider the motive specifics, spatio-temporal coordinates, explore the intertextual level, the features of the speech organization of T. Giniyatullin's works of art;
To identify the key mythological and folklore motifs that define the artistic world of M. Karim's prose; indicate the specifics autobiographical M. Karim's prose in the context of Bashkir and Russian prose at the turn of the century;
To reveal the practical expression of the "female voice" in the discourse of modern Bashkir prose; to determine the common features of the aesthetic worldview and poetic thinking of female writers G. Gizzatullina and T. Garipova, whose work dates back to the end of the 20th century;
To reveal the main tendencies of the conditional-metaphorical direction in A. Aminev's prose; to determine the features of the poetics of the story in the work of A. Aminev on the example of the work "Three times seven", to analyze the main components of the world of the story (the image of the protagonist, the system of characters, chronotope, plot, genre).
Source base of the study. In the foreground - the work of artists of the word, independent in their aesthetic and worldview development, involved in the creation of modern Bashkir prose (M. Karim, N. Musin, T. Giniyatullin, A. Aminev, T. Garipova, G. Gizzatullina). It was they who influenced modern Bashkir prose in its deepest foundations, evolution in modern times.
The proposed study does not provide completed characterizations and final assessments. It attempts to look at artistic process late XX - early XXI century in terms of some aspects of poetics. The works of writers with a clearly expressed spiritually affirming position are selected. The selection criteria here were a literary gift, a clearly manifested national self-consciousness and the height of writer's thought.
At the same time, the choice of writers' names and texts was dictated by the problems of prose typology, the semantic richness of the figurative world of works, and the innovation of poetic principles. The author of the study sought to avoid unnecessary factographic, elements of biographism, long lists of writers' names and texts.
The material of the study is the prose of six significant writers of Bashkir modern prose: M. Karim, N. Musin, T. Giniyatullin, A. Aminev, T. Garipova, G. Gizzatullina. The choice of these names is due to the fact that their work is quite representative both in artistic and aesthetic, and in chronological, generational and gender aspects.
The methodological basis of the study was the works of Russian philologists devoted to general and particular problems of poetics (Yu.N. Tynyanov, V.B. Shklovsky, V.V. Vinogradov, A.A. Potebnya, B.M. Eikhenbaum, G.O. Vinokur, M. M Bakhtin, Y. M. Lotman, L. Ya. Ginzburg, S. S. Averintsev, M. L. Gasparov, B. A. Uspensky, A. P. Chudakov, M. N. Lipovetsky, I. S. Skoropanova , M.N. Epshtein, G.L. Nefagina and others), domestic and foreign literary theorists (I.P. Ilyin, J. Jeanette, R. Bart, J. Derrida).
The achievements of modern literary criticism in the study of Bashkir literature are taken into account, publications by G.B. Khusainova, A.Kh. Vakhitova, R.N. Baimov, K.A. Akhmetyanova, R.K. Amirova, Z.A. Nurgalina, Z.Ya. Sharipova, G.N. Gareeva, R.F. Khasanov and some other researchers who, either specifically or in the context of other literary problems, expounded their concepts on these issues.
The study of numerous theoretical materials, literary works, literary critical articles made it possible to develop their own scientific vision of this problem and put forward an appropriate concept that contributes to a systematic and consistent disclosure of its essence.
The main provisions for defense:
Modern Bashkir prose sums up the artistic and aesthetic searches of the entire century, helps to understand the complexity and inconsistency of our reality, with its experiments and artistic achievements, aesthetic attitudes outlines the prospect for the development of literature of the 21st century.
N. Musin's prose reveals the author's steady interest in the moral and philosophical problems of responsibility, conscience, and justice. The moral-philosophical searches of the author and the characters are comprehended in the system of such aspects of poetics as the structure and forms of narration, the natural world, the objective world, portrait characteristics, the author's position and the typology of the characters.
Mytho-folklore thinking of the people as a research method artistic reality and the way of reflecting the artistic and philosophical views of the writer became one of the aspects of the poetics of M. Karim. In the work of the Bashkir writer, based on a folklore mythologized worldview and incorporating elements of the Bashkir folk culture, various types of artistic mythologism are presented: ancient mythological plots are reconstructed; the archetypal constants of human existence are recreated; deep mytho-syncretic structures of thinking are recreated; created its own system of mythologems.
The story of M. Karim " Long, long childhood" wears autobiographical character. From this follows the confession of prose as one of the features of the artistic thinking of the Bashkir writer. For the lyrical hero of the story, the surrounding world is represented by symbols that have absorbed the specific realities of being and are filled with many meanings: the relationship between the absolute and the personal, the unconditionality and immensity of life. The main element of the artistic system of M. Karim is his own mythology, deployed through symbolic motifs of a return to the origins of the human race, to the original meaning of the world order.
Dreams and manifestations of the unconscious close to it in T. Garipova’s novel “Burenushka” are an integral part of artistic reality, characterized by crisis, catastrophic perception by the author and characters, and perform an additional characterological and providential function, and also influence the narrative of reality.
The title and epigraph, in our opinion, can be attributed to one of the semantic dominants, in which the author's position is most clearly expressed, the features of the author's worldview and worldview of G. Gizzatullina. Very often it is in them that the author gives the key to understanding the entire text. The title and epigraph in G. Gizzatullina's prose, expressing the author's attitude to what is being described, are a tool for cognition of the text.
In building national painting world in the works of A. Aminev, the main role is played by national images, national character, folklore and mythopoetic traditions, as carriers of a special expressiveness of the national worldview. The relevance of the problem of national self-determination of the hero as a factor in the merging of the ordinary and the eternal, the expression of the national mentality and worldview through the features of national traditions manifested itself in the poetics of A. Aminev's story "Three times seven".
The poetics of the conditionally metaphorical prose of A. Aminev is characterized by a sharp contrast in the image and expression of the author's feelings, caricature and parody, hyperbolization, frequent use of the grotesque, anecdotal, metaphorical language. Myth and metaphor play an exceptional role in building a bizarre, contrasting, extremely mythologized artistic world of the Bashkir writer. Fantasy, as one of the main structural elements of A. Aminev's artistic system, makes it possible to synthesize the opposite-pole principles of the writer's poetics.
The system of motives (loneliness, melancholy, homelessness, windows, thresholds, roads, etc.) that is unified and organic for the entire prose of T. Giniyatullin plays a leading role in detecting a consistent movement, developing the moral and philosophical quests of the author and characters in the writer’s prose at every stage of his creativity. Ontological issues, detailed motive structure, language, a bold combination of realistic principles of depicting life reality with postmodern methods of shifting time and space, intertextuality make T. Giniyatullin's prose a striking phenomenon of the modern literary process.
The scientific novelty of the dissertation work is determined, firstly, in a complex structural and typological study of modern Bashkir prose as an aesthetic phenomenon, an integral artistic phenomenon of the literature of the peoples of Russia in the 20th century. The work considers the most significant issues“forms, types, means and methods of organizing works of verbal and artistic creativity” (Yu. Mann). The appeal to the modern literary process is due to the fact that the Bashkir prose is part of a huge phenomenon in terms of its scale and significance - the literature of Russia.
Secondly, an attempt made for the first time to study the poetics of modern Bashkir prose and its individual levels, which fit into the context of modern literature.
Thirdly, in the study, modern Bashkir literature is characterized not only by specific national features, but also by the peculiarities of the world and domestic literary process, therefore, the poetics of styles and genres of national prose makes it possible to come to an understanding of the worldview aspects of literature.
Fourthly, the novelty of the work is also due to the fact that the prose of the writers in question has not been studied earlier in science. Their works were touched upon only in separate critical articles, in connection with the current problems of literature at the end of the 20th century. However, attempts to analyze the work of N. Musin, T. Garipova, G. Gizzatullina, T. Giniyatullin as an independent and individual world have not yet been made.
Fifth, to a certain extent, new, different from the traditional for Bashkir literary criticism, is the very approach to the study of the problem posed: poetics is considered not only through specific national traditions and characteristics, but in the light of latest research in this area of domestic and foreign literary criticism.
Sixth, the results obtained by the author in the course of the research made it possible to approach modern literary texts from a conceptual point of view, to identify the mechanisms for the development of modern Bashkir prose in close comparison with previous periods in the development of literature, to consider the phenomena of modern fiction in their entirety.
Theoretical and practical significance of the research. The study expands the understanding of the poetics of modern Bashkir prose as a phenomenon national culture end of XX - beginning of XXI century. The practical value of the work is due to its relevance and innovation.
The significance of the undertaken research lies in the direct use of its materials in the practice of reading university courses on modern Bashkir prose. The main ideas and conclusions of the dissertation can be used for developments in the field of the history of literature of the XX century, historical poetics.
Approbation of the dissertation. The main results of the work are presented in reports and speeches of the author at international, all-Russian, interuniversity scientific and practical conferences in Birsk (Birsk State Social and Pedagogical Academy, 2000-2009), in Ufa (Bashkir State Pedagogical University, 2002; Bashkir State University, 2005; Ufimsky scientific center of the IYAL AN RAS, 2004), in Yekaterinburg (Ural State Pedagogical University, 2003), in Moscow (MGOU, 2003; Mili U, 2005, 2008), in Blagoveshchensk (Amur State University, 2003), in Solikamsk (Solikamsk Pedagogical State University, 2004), in Neftekamsk (Bashkir State University, 2005), in Ankara (Turkey, 2007).
Implementation of work results. The dissertation materials are used in the course of conducting special seminars on the analysis of a literary text and reading a special course on modern Bashkir prose at the Birsk State Social and Pedagogical Academy. The main provisions of the dissertation are reflected in the monograph " Poetics of modern Bashkir prose". - Ufa, 2009; in the textbook for the special course “The Artistic World of Nuguman Musin's Prose. - Moscow-Birsk, 2006. In the journals corresponding to the "List of leading peer-reviewed scientific journals and publications published in the Russian Federation, in which the scientific results of dissertations for the degree of Doctor of Science" should be published, 10 papers have been published.
The task set - to analyze modern Bashkir prose, identifying poetic trends at the end of the 20th - beginning of the 21st century - predetermined the structure of the dissertation, which consists of an Introduction, five chapters, including fifteen paragraphs. Building it, the author abandons the monographic principle of studying the works of these writers, opening in each chapter an exit to specific manifestations of the typology of modern Bashkir prose, in each paragraph - to specific aspects of poetics. In the sphere of research attention are the processes taking place in the artistic and journalistic branch (Chapter One), in the philosophical branch (Chapter Two), in women's prose (Chapter Three) of the "traditional"
Dissertation conclusion on the topic "Philological sciences. Fiction - Russian Federation - Bashkir literature - since 1917 - History of literature. Ideological and artistic features of literature - History of genres - Fiction", Abdullina, Amina Shakiryanovna
Conclusion
At the turn of the century, literature changes, realism, which not only crosses the boundaries established by tradition, but also interacts with other artistic systems or stylistic trends, acquiring new qualities and opportunities. Scientific thought is looking for new approaches to realism, which has incorporated the artistic experience of the 20th century. Simultaneously artistic practice represents various forms of transformation of realistic writing, forming a multitude of stylistic trends within a single artistic system. The desire of modern prose to transform artistic models, forms and structures is called a sign of a transitional era and a change in artistic paradigms. At the end of the century, N. Leiderman announced the formation of a new type of poetics. (1). K. Stepanyan considers "new realism" as a synthesis of subjectivism, characteristic of modernism, with a traditional ideological view of the world (2). G. Nefagina defines such aspects of the transformation of a realistic system as weakening social characteristics hero, shifting the focus to the consciousness and self-knowledge of a person trying to overcome the chaos and fragmentation of the outside world (3).
The study of modern prose today needs to clarify the methodological foundations of the study. On the one hand, the material itself is difficult to study: the variety of literary movements that have developed in recent decades and are being formed now. On the other hand, the search for a new methodology appears as a theoretical task: the approaches proposed by the Soviet literary criticism. In conditions when there are no unified methodological grounds for studying the modern literary process, the study of individual artistic systems is of particular relevance, which can become the basis for a systematic description of the literary process of the late 20th - early 21st century as a whole.
The subject of research in the dissertation work are some important features of modern Bashkir prose on the example of creativity
M. Karim, N. Musina, T. Giniyatullina, A. Amineva, T. Garipova, G. Gizzatullina, the poetics and genesis of modern Bashkir prose become the direct object of study. The study of the individual poetics of writers, the genesis of their texts, makes it possible to clarify the essential tendencies of the modern literary process as a whole. Thus, it seems relevant to study the poetics of the prose of these writers, who are carriers of original creative concepts. Their work, on the one hand, reflects the complex process of intensive comprehension artistic traditions, and on the other hand, the depth of the search for new poetic means that distinguish modern literature. Consideration of the works of these authors in a single context will clearly reveal the essential features of their prose, as well as draw some conclusions about the development of Bashkir prose in recent years.
As G. Nefagina writes, with a deep study of the modern literary process, “certain regularities, and genetic and typological connections, and the interaction of its components” are found in it (3; 17). Modern Bashkir prose develops in three main directions: neo-realistic(traditional realism), conditionally metaphorical and prose of the "new" wave (alternative).
In the work of N. Musin there is a set of constant ideas through which the fate of the Motherland and the common man is seen, which form a kind of philosophical reality. It is corrected by the artist of the word, and at times it opposes the ideological attitudes prevailing in society. The writer defends the idea of the cultural and humanistic integrity of mankind, sees in life a hierarchy determined by the biological, cultural and moral potential of each person, the development and preservation of which is the meaning of progress.
The main principle of the writer's depiction of the hero is the principle of gradual knowledge and deepening of character from situation to situation, the character is involuntarily tested in difficult circumstances, forcing the hero to use his hidden abilities, to come to the right and uncompromising decision in a situation of choice - a decision that meets the highest moral standards. In this regard, in N. Musin's prose, an important role is given to details that, accumulating, correlating with each other and with the epic presentation as a whole, actively participate in the formation of the plot, since they are not only psychologized, contributing to the disclosure of the inner "I" of the protagonist, but also create a common emotional atmosphere.
N. Musin shows the hero in action, the most diverse aspects of his character, directly describing the appearance, manner, costume. The writer also draws an inner portrait, but basically the human image in the artist's works is revealed through actions, experiences, reflections. In addition, the hero is closely connected with the things around him, the situation, which can directly become his sign. In the poetics of N. Musin, a detail of everyday life, clothing, portrait, gait, voice plays a very important role. By the way the artist describes this or that detail, one can see his handwriting, his style. The nature of the writer's selection and depiction of the realities of the objective world is directly related to the peculiarities of his poetics. The objective world of his works, acting as an important means of artistic realization of the author's concept of characters and circumstances in the plasticity of a verbal image, links together the ideological-conceptual and figurative levels of the writer's artistic thinking. The concreteness and accuracy of the vision of the world create a feeling of authenticity and authenticity of the image.
The spiritual potential of the heroes is also tested by their attitude to nature. The image of human life in its correlation with the natural world allows N. Musin to deeply motivate this or that psychological condition hero and at the same time reveal the essential features of his worldview. In the works of N. Musin there are different kinds descriptions of images and pictures of nature: philosophical-symbolic, emotional-lyrical, moral-psychological, less often - objective-objective. Philosophical-symbolic landscape descriptions in a concentrated-figurative form they embody the main worldview ideas of the writer; emotional-lyrical - convey the sensual perception of nature by the author; moral and psychological - characterize the internal state of the characters according to the principle of similarity or contrast; objective-objective - serve only narrative background and practically do not correlate with the world of human experiences. The early works are dominated by objective-objective landscape paintings, in stories and novels of recent years - moral-psychological, philosophical-symbolic and emotional-lyrical.
The writer in the works of recent years explores modern life, a person in a collision of different moral and psychological types. The heroes of later stories are in disharmonious states. They painfully experience a lack of cordiality, simplicity in people, but they cannot change anything. The stories about these characters are compressed by the writer to novelistic presentation of one collision, in which moral acuity and psychological tension reach an extreme degree (“It’s not longing, it’s not fate,“ The dead - go away, the living - remain ”). Excellently mastering the techniques of this presentation, N. Musin creates an artistically spectacular thing, but it is painted in gloomy tones.
In his works, the artist strives to narrative polyphonicity: it is both an impersonal narrator and a well-defined hero-narrator. The Bashkir prose writer uses both objectified narrative "from the author" and subjective, where the image of the narrator appears, the figure of the narrator occupies a special place in the writer's prose. The statements of other actors about the character also become one of the ways of presenting the hero.
Publicity penetrates into the artistic prose of N. Musin, influencing the peculiarities of the poetics of his work. Remaining within the framework of socially important problems, the Bashkir prose writer in modern prose focuses on the analysis of what is happening in the country at the end of the 20th century and on the artistic embodiment folk character. The hero of N. Musin is endowed with a special spiritual vision. Behind the chaos of modernity, he sees a moral landmark that has existed for centuries. Comprehension of the latent, deep essence of national existence becomes the basis of the artistic world built in the works.
In the stories "Pardon", " Long, long childhood”, captivating the reader with its fidelity to life and its poetic integrity, light, artless manner of writing, warmed by lyricism and luminous humor, fed by native material, the Bashkir prose writer M. Karim creates many characters with tangible plasticity, living warmth of a unique human individuality.
The artistic originality of the story " Long, long childhood» M. Karim defines poetics autobiography. For the writer, his own fate and the fate of the people were one of the most important objects of artistic reflection, which can be explained by the time in which he had to live and work. Inscribed in the context of the country's history and correlated with the universal categories of "fate", "memory", "eternity", autobiography becomes a key source of themes, images, motives of the Bashkir writer's work. The work clearly traces the poetics of autobiography through the comprehension of the tragic breaks in the life of his generation, through the study of his own spiritual biography.
The genre modification of the story is unique, when each chapter is a separate short story, which can exist separately, autonomously, but at the same time all chapters are connected with each other; the dotted nature of the narrative determines the logic of the alternation of voices of the characters, the presence of temporary gaps in their destinies determines novelistic and self-sufficiency of each chapter. The polyphonic beginning, autobiographism and dotted nature of the narration determine not only the originality of the story, but also reflect the synthesis of a large-scale plan (to combine the past and the present, to recreate important moments of one’s fate with the help of memory) and a small amount of text; the unity of subtle lyricism and the epic scope of storylines; "eternal themes" and momentary details; the essayistic freedom of movement of the narrator's thought and the connectedness of the stories, firmly held together by the leitmotif of memory and the voice of the author.
For M. Karim, figurative language and mytho-folklore reflection are priorities. The life-like image-character acted as an intermediary between a specific national phenomenon and a generalized idea in the story “Pardon”. Based on mythopoetics and folklore, M. Karim asserts his literary and philosophical predilections. This choice also supported the national-cultural tradition.
Myths in the story "Pardon" by the Bashkir prose writer, firstly, are models, reference values that help determine the place of heroes in the struggle between good and evil, life and death. Secondly, they contain examples of spiritual quests, mistakes, life experience of all mankind, which allows M. Karim to evaluate his heroes from the position of all mankind. Thirdly, mythological elements enrich the story with emotional energy, make the narrative style rich and deep. Speaking of Features mythologization in the literature of the XX century, E.M. Meletinsky singles out Afro-Asiatic writers, “for whom mythological traditions are still a living subsoil of the national consciousness, and even the repeated repetition of the same mythological motifs symbolizes, first of all, the persistence of national traditions, the national life model” (4). In M. Karim's story " Pardon", the myth acts as a way of ordering a complex and contradictory world, in the face of which a person of the 20th century finds himself. Based on the analysis of mythopoetics and folklore of the writer, it can be concluded that the object of mythologization is the inner world of a person, in particular, the spiritual world of the individual, depicted in the process of self-knowledge and self-determination against the background of ethical and humanistic problems of the spiritual culture of the past. Mythological and folklore traditions in the works of M. Karim are used as storytelling algorithms, which creates the effect of a dialogue between myth and reality. In the story "Pardon", mythopoetics and folklore become a tool for structuring the narrative, manifesting itself both as a special attitude and as an artistic device.
Bashkir women's prose brought to literature its own special themes, its own way of seeing the world, the feminine principle. Women's prose is not equated with the feminist movement, as it has fundamentally different semantic attitudes: feminism defends the right of a woman to self-determination outside the system of traditional roles, women's prose insists that women's happiness should be sought in the space of the family. “We do not want female dominance in literature. Not separation from the literary process, but its place and designation in this process. Do not fill books and mass media with women's themes, but with the affirmation of the feminine principles of peace, kindness, mercy and tolerance” (5; 4).
Completely dissimilar modern Bashkir writers: Tansulpan Garipova, Gulsira Gizzatullina, Zukhra Burakaeva, Fanida Iskhakova, Gulnur Yakupova, Farzana Akbulatova and many others create a single aesthetic space in which the image of a woman and the world around her in a feminine refraction demonstrates the presence of a special aesthetics.
In modern women's prose, the concept of personality is updated, a new type of psychologism arises, associated with the closeness of modern man, attempts to overestimate traditional spiritual categories. Genre trends testify to the specific artistic thinking of T. Garipova and G. Gizzatullina. In their work, a new model of narration is being formed with a violation of spatio-temporal connections, an increase in symbolic, iconic elements, associative chains and allusions. The philosophical comprehension of reality is being updated, which determines the attitude towards mythologism, expanding and deepening the narrative space. In the novel by T. Garipova "Burenushka" the author's desire to convey the inner world of the character and the atmosphere of the depicted time was clearly manifested through the introduction of heroes' dreams into the structure of the text, which has an internal motivation - historical, psychological or plot - replacing the traditional forms of realistic poetics. The specificity of the "frontier" consciousness determines such artistic trends as interest in the historical past, actualization of a wide range of literary traditions, interest in the image of the narrator with an individual personal vision and perception of the surrounding life. One of the ways of expressing the author's point of view, versatile connected with various elements of the poetics of the work, its genre, in the prose of the Bashkir writer G. Gizzatullina is the heading complex.
The title and epigraph in the prose of G. Gizzatullina are dynamic components of the artistic world of the work. They become motive-forming, giving rise to significant motives that participate in the formation of intratextual and intertextual connections. In many works ("Prayer of love", "Sacrifice", "Dear child", "First love", " Hello mother!”,“ Indian summer ”,“ Victim ”,“ Party card ”,“ I have the right to go into the night», « Charred wood does not burn", "New day ", " Transformation into a butterfly», « But happiness was near”), the heading complex performs figurative, evaluative and metonymic functions, acting as predictive messages about the main thematic, semantic and plot elements of the work.
The general trend of Bashkir women's prose at the end of the 20th century was the complication and search for new ways of conveying spiritual movements, changing the methods of psychological analysis, strengthening the author's principle, strengthening the expressive elements of creativity, dictated by the desire for self-expression, the creation of an extremely subjective world. T. Garipova's novel "Bu-renushka" is an example of persistent attempts to expand the horizon of women's prose.
T. Garipova's appeal to the depiction of dreams, to the artistic recreation of dreams is a completely natural phenomenon in her creative system. It stems from the writer's desire for the psychological truthfulness of the narrative. The pathos of the novel by T. Garipova is the desire to restore in their rights the lost distinction between good and evil. Only under this condition can a person overcome the disorder that reigns outside and inside him, return to those unclouded concepts of conscience, God, goodness, which for centuries helped to resist temptations. Changing the world for the better begins with cleansing your soul. The process of spiritual purification is impossible without a sense of responsibility for oneself and for others. Thus, in the novel "The Tempest" T. Garipova creates a kind of universal language of dreams, through which she conveys her understanding of a person and represents her artistic and philosophical worldview and understanding of the world.
The bright individuality of the writer A. Aminev, expressed in the originality of style and language, in the originality of philosophical and aesthetic views and the artistic picture of the world he created, reflect the complexity of being and the inner world of a person. The mythological and folklore basis, the synthesis of national and realistic traditions of literature, the use of small genres, a pronounced lyrical beginning, the element of laughter are the main features of the poetics of the Bashkir writer. An analysis of the artistic world of A. Aminev allows us to determine the role and place of the artist's creative search in the Bashkir literature of the 21st century.
In recent years, the writer has developed a stylistic manner in which the leading place belongs to the narrator, a close author. In many works, the author reveals himself not only as a person close to the protagonist, but also as a person who has experienced or is experiencing something similar. Many stories are written on behalf of a " narrator", not named in the text, this is the so-called " objective" narration with elements of subjectivity and lyricism. The lyrical, subjective beginning is not only the main stylistic feature, there is an increase in attention to descriptions and phenomena of the past, connecting different aspects of perception. Lyrical tonality, emotional coloring, the illusion of the transformation of the past into the present, characteristic of the lyrical narrative, are the style features of many stories and novels by the prose writer.
In the first place in the prose of A. Aminev are the elderly and women as spokesmen folk tradition. The difference between these characters is the presence of an inner spiritual core, the absence of doubts about the correctness of the chosen path. These are workers who comprehend not only themselves, but the whole world and themselves as a part. It is these characters that embody the spirit of the people in realistic prose, expressing its ideals and concerns. A hero from the people is endowed with traits embodied in a thousand-year tradition: conscientiousness, diligence, love for life and the world, gullibility, talent. The loss of these qualities is tantamount to the loss of not only the spirituality of individuals, but also the death of the nation. The heroes of A. Aminev are a little eccentric, a little out of this world. Showing his characters in different situations, sometimes funny, comical and absurd, tragic, the writer makes them winners because of their purity and integrity of inner feeling. The characters created in his works are alive, contradictory in nature. The very nature of time makes it possible for the writer to focus on the inner life, on the disclosure of the characters' experiences. Depicting characters that are closely related to the environment, the writer raises a number of universal and socio-historical problems, such as the role family tradition and its continuity, the connection of generations, the originality and specificity of folk life and national character, etc. All these problems found one or another artistic reflection in his story “Three times seven”.
In the stories “China Town”, “Usman Stones”, the story “Snowman”, the artistic world of the works of A. Aminev is ambiguous, contrasting, fantastic, sometimes absurd and always extremely dynamic. The writer in his work creates a dynamic artistic system in which everyday household level myth, fantasy and reality, socio-historical reality coexist; there is a constant and sharp change of colors and light, things and phenomena, objects of the image. Parody, grotesque fantasy beginning and intense subjectivity, characteristic of the writer's work, frequent use of expressive details, heightened emotionality of style, image contrast and some other essential features of A. Aminev's poetics allow us to conclude that many works of the Bashkir writer are conventional and metaphorical.
Bashkir prose of the late 20th - early 21st century seems to be a complex and contradictory phenomenon, reflecting the cardinal changes taking place in all spheres of modern life. Writers are experimenting with new artistic techniques and ways of reproducing modern reality and a renewed human consciousness. One of the notable trends in the literature of the 20th century was postmodernism, the aesthetics of which had a significant impact on the evolution of T. Giniyatullin's prose.
The work of T. Giniyatullin represents a significant part of the spectrum of modern Bashkir literature; many trends in modern prose as a whole are reflected in his prose. The focus on oral speech, on the reproduction of primary speech genres, is the individuality of T. Giniyatullin's style, which determined the features of the genre system, plot-plot organization and other features of poetics.
The prose of T. Giniyatullin in the modern literary process occupies a borderline position between realism and postmodernism. On the one hand, his works reflect such characteristic features of realism as psychologism, lifelikeness, authenticity, classical narrative tradition. On the other hand, his work is an integral system in which the techniques characteristic of postmodern aesthetics are strong (opposition to officialdom, disguise of the author's position, the destruction of established social and moral myths, the rejection of moralizing, a variety of stylistic manners and themes). The prose of T. Giniya-tullin, as an integral artistic system, goes back to historical, philosophical, literary, mythological, and biblical origins. The leading role of such elements of poetics as intertextuality, motif, spatial and temporal parameters, and stylistic diversity is revealed in works with a proper artistic dominant.
Finding himself at the intersection of classical and non-classical artistic systems, in the zone of mutual repulsion and synthesis of realistic and modernist structures, Talha Giniyatullin made a real contribution to the Bashkir literature of the late 20th century. In the stories "The Crossing", "The Hegemon", numerous stories, and especially in the novel "The Corral", he was able to identify key issues related to the development of the individual and society as a whole in the most difficult period of national history.
In the study, in the foreground - the work of artists of the word, independent in their aesthetic worldview, distinguished by the innovation of poetic principles and involved in the preservation of the national identity and creative diversity of modern Bashkir prose. Many of the works created by N. Musin, M. Karim, G. Gizzatullina, T. Garipova, T. Giniyatullin at the end of the 20th century influenced modern Bashkir literature in its deepest foundations. An attempt is made to look at the artistic process of the late 20th - early 21st century from the point of view of the ideological and figurative-style independence of those literary phenomena that were discussed in the study. Modern Bashkir prose is the result of philosophical, spiritual, aesthetic and formal stylistic searches of the past century, the result of poetic changes in the literature of national literature.
Modern Bashkir prose undoubtedly represents an independent artistic value, is equally capable of attracting the attention of literary critics and the general reader, and also indicates that significant phenomena arise in modern national literature that deserve further study in science.
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BASHKIR LITERATURE
The origins of Bashkir literature date back to the ancient Turkic runic and written monuments of the Orkhon type - Yenisei inscriptions and to handwritten works of the 11th century. in Turkic languages (“Divanu lugat at-turk” by M. Kashgari, “Kutadgu bilik” by Y. Balasaguni). The Bulgar period of the development of Bashkir literature (11-13 centuries) is evidenced by Bashkir legends about Alps (giants), cranes, which have survived to this day in oral and written form; travel notes of the Arab traveler Ibn - Fadlan, the books of Yakub Ibn - Nugman "Tavarikhi Bulgaria" ("History of Bulgaria", 12th century). Subsequently, individual plots of "Tavarikhi Bulgaria" were reflected in the works of Bashkir historians and writers Sh.Muslimi, T.Yalsygul Al - Bashkordi, G.Sokroy. A classic example of fiction 1st floor. 13th c. is the poem "Kissa-i Yusuf" Kul Gali. The plot about the love of the heroes of the poem Zuleikha and Yusuf is borrowed from Eastern literature. Among the Bashkirs, many versions of the poem have been preserved in written and oral. During Tatar-Mongol yoke a number of scientists and writers left for the countries of the Middle East, Egypt, among them Bashkir scientists and poets Gilmetdin Sanjar Al-Bashkordi and Nasretdin Al-Nasyri.
In the 13th-14th centuries, during the formation of the Bashkir nationality and the improvement of the Bashkir language on the Kypchak (Kypsak) basis, on the vast territory of the Golden Horde, the name of Kypchak literature in the Turkic languages was also widely developed. So, the dastans "Khosrov and Shirin" (1341-42) Kutbi, "Jumjuma Sultan" (1391-92) Khusem Katib, "Muhabbatname" (1353-54) Khorezmi, "Gulistan bit-Turks" (1391-92) Saif Sarai and other works became the common heritage of the Bashkirs, Tatars, Kazakhs, Uzbeks.
In the Bashkir literature of the Middle Ages, genres traditional for oriental literature prevailed: kasyda, gazelle, dastan, hikayat, kyssa, name (framed story). Dastan Mahmud bin Gali al-Bulgari "Nakhzhel-faradis" ("Gate to Paradise", 14th century), works of religious and didactic content contributed to the spread of prose genres. Dastans from the series "Ali-batyr", "Kisekbash", "Kyssa-i Sakam", "Kyssa-i Fattahetdin" formed the basis of the hagiographic literature of the Bashkirs. In the Middle Ages from Arabic, Persian, Indian, later from Turkish literature many plots (“Kalila and Dimna”, “Bakhtiarname”, “Forty viziers”, “Jokes of Khoja Nasretdia”, etc.) penetrated and their national versions arose. Thus, the story "Bakhtiarname" in Turki contributed to the birth of the Bashkir framed story in prose. The genres of hikayat, sayahatname (travel notes), kyssa and others have been developed. In the Bashkir oral literature of the 15th-16th centuries. the names of the ancient masters of the word Khabrau-yyrau, Asan Kaigy, Kaztugan-yyrau and others, also popular among the Kazakhs and Nogais, stand out.
Accession of Bashkiria to the Russian state in the middle of the 16th century. was a turning point in the development of the spiritual culture of the Bashkirs. In Bashkir literature, national themes were more pronounced, the relationship with folklore became stronger, secular original genres appeared: shezhere, tavarikh. Among the manuscripts of the 16th-19th centuries. a special place is occupied by shezheres, in which the chronicle of the family, genealogy are closely intertwined with the presentation of historical events, with traditions and legends. Such are the shezheres of the Yurmatyn, Kypsak, Tabyn, Usergan, Aylin Bashkirs, large in volume. The "History of Usergans" (beginning of the 19th century) is written in the form of a dastan. Bashkir uprisings of the 17th-18th centuries intensified popular journalism and the democratic trend in literature. The most important among them is the message of the ideologist of the Bashkir uprising of 1755. Batyrshi Empress Elizaveta Petrovna, a kind of socio-philosophical treatise of those years, in terms of genre features close to Russian historical stories. A bright page in literature was the poetry of Salavat Yulaev (1754-1800), the Bashkir national hero and poet, commander of the Peasant War of 1773-1775. The great merit of Salavat as a poet is that he used the poetic word as a military weapon, combining the best traditions of oral and written poetry. From the middle of the 16th century to the 18th century popular sesen poets such as Kubagush (16th century), Baik, Aidar (18th century) and others gained wide popularity. Social motives, freedom-loving aspirations of the people were reflected in their kubairs, Aitysh. Literature of the early 19th century The leading place was occupied by poetry, including the songs of sesen Buranbai-Yarkey, a participant and hero of the Patriotic War of 1812. , later exiled for speaking out against the colonial oppression of tsarism in Siberia. His poetic traditions were successfully continued by sesens Ishmukhamet Murzakaev (1781-1878), Gabit Argynbaev (Gabit-sesen) (1856-1921). In 1812, a book called “Kuzy-Kurpyach” was published in Kazan, a Bashkir story written in the Bashkir language by one Kuraych and translated into Russian in the valleys of the Riphean mountains, 1809 translated into Russian by T. Belyaev, a baptized Bashkir. In the Russian translation, another epic monument is also known - “Aldar and Zukhra”, which tells in the same style about the life and customs of the Bashkir people, about the exploits of their batyrs. The author of this folk novel the translator is considered to be Kunkas-sesen, a well-known poet-historian at that time. This is a work created by folklore stories democratic in spirit and form. The dastan tradition also continued in the romantic poem "Buzieget", written in 1842. in Ufa. It is close in form and plot to the poems "Kissa-i Yusuf", "Tagir and Zuhra", "Leyla and Majnun".
At the end of the first half of the 19th century. Sufi poetry spread. Its prominent representatives are poets - natives of the Bashkirs: T. Yalsygul Al-Bashkordi (1767-1838), G. Usman (1752-1834), M. Kutush Kypsaki (1761-1849), A. Kargaly (1784-1824), H. Salikhov (1794-1867), Sh. Zaki (1825-65), G. Sokroy (1826-89) and others. Secular motives also took place in their work. During this period, scientists-reformers advanced among the Bashkirs: Kh. Zhdanov (1767-1869), G. Usman, Z. Rasulev (1833-1917),
A. Divaev (1855-1933). The works of Usman, Zaki, Sokroy reflected the signs of the transition of literature from the Middle Ages to the modern times.
In the 2nd half of the 19th century. in Bashkir literature, the development of the educational direction began. Teachers of Oriental languages and literatures of the Orenburg Cadet Corps played a significant role in its origin and development: M.Biksurin (1819-1903), S.Kuklyashev (1811-1867), M.Ivanov (1812-1889). They compiled and published reading books for schools, which included materials on the Bashkir language, folklore and literature, samples of translations of texts from the Eastern classics.
Prose is undergoing a significant evolution. Along with traditional genres, new ones are emerging. If the books-kyss of Kashafetdin Shagimardan (1840-1910) and the collections of hikayats "Translations of Navadir", compiled by Habibnazar Utyaki, "Berek", prepared by V.V. Radlov, were created mainly in traditional genres, then the stories "Salim" and "Asma" R. Faxpetdinova, stories and novels by Z. Hadi (1863-1932) are written according to the principle of realistic genres of Western literature. In Bashkir prose of the last quarter of the 19th century. the features of Enlightenment realism are gradually being strengthened. M. Akmulla (1831-95) and M. Umetbaev (1841-1907) became representatives of the enlightenment movement in Bashkortostan. Umetbaev entered the history of Bashkir culture as a poet and local historian. In its multifaceted educational and creative activity, focusing on Russian progressive culture and science, he acted as a historian and ethnographer, linguist and poet, folklorist and translator, teacher and public figure. Some of his scientific works and poetic works were published in 1897. in the book Yadkar. A lot of new, original things were introduced into Bashkir poetry by Akmulla. The ideological and aesthetic value of his poetry is determined, first of all, by the democratic content, poetic simplicity and aphorism of style, and the sharpness of satire. His poetics organically combined genre forms Eastern and Bashkir poetry: kubairs, aitysh, songs, rubai, bytes, gazelles, masnavi, etc. The democratic poetry of Akmulla had a beneficial effect on many Bashkir and Tatar poets of subsequent generations.
In the history of Bashkir literature of the early 20th century. became a turning point, a period of emergence and formation of new trends and artistic methods. Under the influence of the revolution of 1905-1907, the revolutionary-democratic direction occupies a central place in Bashkir literature. New ideological and aesthetic principles are emerging. Enlightenment realism develops into critical realism, tendencies and phenomena of the synthesis of realistic and romantic methods appear. On the pages of the press, for example, in the newspaper "Ural", the satirical magazines "Karsyga", "Sukesh", published in Orenburg, poems of a revolutionary nature are printed. The emergence and development of the revolutionary-democratic trend in Bashkir literature is associated with the name and work of Mazhit Gafuri (1880-1934). Entering the literary field at the beginning of the century, he elevated the social role of realistic art, contributed to the formation and strengthening of the method of critical realism in Bashkir literature. At the beginning of the 20th century a group of young poets came to literature: Safuan Yakshigulov (1871-1931), Daut Yulty (1893-1938), Shaikhzada Babich (1895-1919), Saifi Kudash (1894-1993). Prose was enriched with epic genres: the novel by Kh. multi-act plays: “Hero of the Fatherland” and “Victims of Life” by F. Tuykin, “The Galimov Brothers” by G. Niyazbaev, “At War” by G. Gumersky. Bashkir poetry at the beginning of the century opened up new themes and motifs. Thus, Yakshigulov's poetry, reflecting certain moods of the Bashkir society, deepening some social motives, enriched with philosophical reflections, mainly developed in line with enlightenment realism. His poems in the collections “The Status of the Bashkirs” (“Bashkort hellere”, 1911), “On Deme” (“Dim Buyynda”, 1912), “Gusts of the Soul” (“Kunel yalkynnary”, 1916) call on the people to fight for their rights, oppose the ruin of the Bashkir lands. Babich's poetry was formed on romantic traditions. In his works, he created a romantic image of a rebel who seeks happiness, is disappointed, but steadfastly endures all the hardships and hardships of life. Continuing the traditions of G. Tukay and Akmulla, Babich's lyric-epic works "Gazazil", "Klop", "Kitabennas" raised the national satire to a new level. Babich's merit is great in the enrichment of poetics, which absorbed the traditions of oriental and folk poetry. Poems and poems by Ya. Yumaev, G.Isyanberdina, B.Mirzanova, in varying degrees, affecting social and philosophical problems, testify to the various trends and conflicting evolution of romantic trends in poetry.
After the October Revolution, two trends emerged in Bashkir literature: national-patriotic, advocating for Bashkir autonomy, for the independent development of national culture and literature, and revolutionary-democratic, defending the Bolsheviks, fighting for the power of the Soviets. The writers Babich, H. Gabitov, Suleymanov were at the head of the first direction. There was a literary organization "Tulkyn" ("Wave") under the leadership of Babich. The books of poems "Young Bashkortostan" ("Yash Bashkortostan", 1918) by Babich, "Bashkir Melodies" ("Bashkort Mondary", 1918) by Gabitov reflected the thoughts and aspirations of the Bashkirs fighting for autonomy. Yulty, Tagirov, Sh. Khudaiberdin were at the head of the second direction. Gafuri and Kudash, after some hesitation, joined the second. In 1920 after the Bolsheviks dispersed the Bashkir government of A.-Z. Validov, the Bashkir literature of the national-patriotic trend ceased to exist. Babich was killed shortly before by the Red Army, Suleimanov emigrated abroad, the rest moved away from creativity or were forced to accept the Soviet platform (Gabitov, S. Mryasov).
During the Civil War, literary forces were grouped around the Bolshevik newspapers Bashkortostan heberlere (Izvestia of Bashkortostan), Kyuryash (Struggle), Kyzyl Yul (Red Way) and the front-line press. Gafuri, Yulty, Tagirov, young poets G.Gumer, Sh.Fidai, Yarly Karim, B.Ishemgul worked and published in local periodicals. During the war years and the first years of the restoration of the national economy, operational and mass forms of poetry became widespread: agitation poems, poetic appeals, songs, epigrams, pamphlets, and fables. Bashkir prose was also characterized by small genres: stories, essays, sketches, nesers, often had an essay-journalistic character.
At the end of 1919 The Bashkir State Drama Theater was created. His repertoire included plays by M. Burangulov, Niyazbaev, Yulty, Kh. Ibragimov. In 1920 Yulty wrote the drama Karagul, which became one of the the most popular works Bashkir dramaturgy. Created in the same year, Ibragimov's comedy "Shoes" became a classic of Bashkir literature. Social changes in the life of the country, thoughts and feelings of the proletarian masses were reflected in the books of poems and poems "My Memories" (1924) Yulty, "Red Clusters" (1925) Gafuri, "Dawn of Labor" (1926) T. Yanabi, "Songs of the Plow" (1926) Kudash. There were poems with a new hero: "Worker" (1921) Gafuri, "Sharaf" (1922) Yulty, "In the smithy", "In the meadow" (1921-1922) Kudash, "Selkor" (1925) Gumer. The literary and art magazines Yany Yul (New Way, 1923), Belem (Knowledge, 1924), Yanylyk (News, 1927), Sesen (1927) began to be published. ), "October" (1930), where young writers Bulat Ishemgul, Gaynan Khayri, Batyr Valid, Ali Karnay, Sagit Agish, Gabdulla Amantai were published.
Development and formation of new Bashkir literature in the 20s. It did not go smoothly: there was a sharp ideological and aesthetic struggle between various creative directions, styles, there was abstractness and rhetoric in poetry, naturalism in prose, expressionism and constructivism in dramaturgy. The first writers' organizations arose. In 1923 in Ufa, an association of poets of Bashkortostan is created. A large creative section of writers worked at the Bureau of Journalists of the Republic. In 1927 these two creative organizations merged into the Bashkir Association of Proletariat Writers (BAPP). In 1934 the Union of Writers of the BASSR is created.
In the 20s. prose develops at an accelerated pace. Gafuri creates the novels "Black-faced" (1925), "Steps of Life" (1928), Tagirov - "At the Turns of a Stormy River" (1923-1926), "First Days" (1927), "Grain Factory" (1928 .), "Komsomol" (1929), depicting the difficult past of the Bashkir people and their struggle for a brighter future. I. Nasyri speaks with romantic stories, nesers, novels "Guldar" (1927), "Attack" (1929). In 1928 Khairy finished the novel "Turn" about the paths of the Bashkir people to the revolution. Dramaturgy develops. On the stage of the Bashkir theater there are new plays by Tagirov (“Alatau”, “In transition period”), Gafuri (“Red Star”), Yultiya (“At the Mill”).
Despite the ideological and thematic continuity, in the literature of the 20s and 30s. qualitative differences were also observed. In the 30s. a more mature approach to many topics is planned, first of all, to the traditional for the 20s. the theme of the revolutionary struggle of the masses. These years are a period of intensive development of all genres of poetry, prose, and dramaturgy.
Paintings of the social reorganization of life enter into poetry on a broad epic plane. It deals with the problem of the social and spiritual revival of man, which led to the popularity of the genre of the poem in the 30s. (“Earth” by B. Bikbay, “Tractor driver Aikhylu” by Ishemgul, “Beautiful valleys of Agidel” by R. Nigmati, “Three songs” by G. Salyam, “Ishimbay” by Gumer, “In the native village” by H. Karim and others).
Tagirov, Yulty, Nasyri, Yanabi - writers of the older generation - created in the 30s. their best works. Reach creative maturity Nigmati, Agish, Karnay, Bikbay, who came to literature in the previous decade. A new generation of masters of the word is pouring into literature in a powerful stream: Khadiya Davletshina, Malikh Kharis, Kadir Dayan, Salah Kulibay, Kirey Mergen, Mustai Karim. There is a turn to the themes of modernity, which is clearly seen in the example of dramaturgy. playwrights of the 1930s more interested in the heroes of the day ("Hakmar", "Friendship and Love", "Daughter of the Steppe" by S. Miftakhov, plays by Tagirov, N. Karip, etc.). Moreover, already in these years, national literature was sensitive to the alarming symptoms that were ripening within society. In the image of the chairman of the collective farm, Yulai, in Miftakhov's drama Friendship and Love (1939), tendencies are manifested that subsequently gave rise to a phenomenon called the cult of personality.
Description of work
The origins of Bashkir literature date back to the ancient Turkic runic and written monuments of the Orkhon type - Yenisei inscriptions and to handwritten works of the 11th century. in Turkic languages (“Divanu lugat at-turk” by M. Kashgari, “Kutadgu bilik” by Y. Balasaguni). About the Bulgar period of development of the Bashkir literature (11-13 centuries)
