MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION
Kazan Federal University
Faculty of Tatar Philology and History
APPROVE
Kazan Federal University
"_____" __________________ 2012
Comparative study of Turkic literatures
Direction of training
031000 – Philology
Training profile
Tatar language and literature, intercultural communications
Qualification (degree) of the graduate
Form of study
1. The goals of mastering the discipline
The objectives of mastering the discipline (module) "Comparative study of Turkic literatures" are the assimilation theoretical aspects comparative study of literatures; identification of the main prerequisites for the mutual influence of Turkic literatures in the Middle Ages; definition of common and distinctive in classical Turkic literatures; the study of world-famous authors and works of this period.
2. The place of discipline in the structure of the magistrate's PLO.
Literature Muslim East The Middle Ages in Farsi, in Arabic and Turkic, general and national folklore played a big role in the formation and development of modern poetics of Turkic verbal art. Without understanding the development of literatures in a global or regional context, it is impossible to imagine the development of pre-October Tatar literature on a full scale. The special course aims to acquaint students with the most significant phenomena of the interaction of the Tatar and other Turkic literatures, to find out the natural, objective factors of this process. The special course is closely related to the literature courses: "Oriental Classics and Tatar Literature" , "Ancient and Medieval Tatar literature", "Tatar literature of the 19th and early 20th centuries", "Literature of the peoples of the East".
This academic discipline is included in the system of specialized philology; in the totality of disciplines of the humanitarian cycle, studying culture, literature, language in their interaction; into a set of disciplines of the general professional cycle, focused on the study of the communicative component philological sciences.
3 Competences of the student, formed as a result of mastering the discipline (module)
Students who have completed the study of this discipline must:
- know the most significant works of Turkic classics and their authors;
- be able to navigate in the areas of artistic, scientific and theoretical literature, analyze and compare literary texts Middle Ages.
- own theoretical knowledge about comparative typological research and patterns of interaction and mutual influence of literatures;
This discipline contributes to the formation of the following competencies provided for by the Federal State Educational Standard - 3 in the direction of preparation of HPE 031000 - "Philology":
The process of studying the discipline is aimed at the formation of the following competencies:
general cultural:
Possession of a culture of thinking; the ability to perceive, analyze, generalize information, set a goal and choose ways to achieve it (OK-1);
Striving for self-development, advanced training and mastery (OK-6);
Awareness of the social significance of one's profession, high motivation for professional activity (OK-8);
professional:
Ability to demonstrate knowledge of the main provisions and concepts in the field of theory and history of the main studied language (languages) and literature (literatures), communication theory, philological analysis and text interpretation, understanding of the history, current state and prospects for the development of philology (PC-1);
Possession of basic skills in collecting and analyzing linguistic and literary facts using traditional methods and modern information technologies (PC-2);
The ability to apply the acquired knowledge in the field of theory and history of the main studied language (languages) and literature (literatures), communication theory, philological analysis and text interpretation in their own research activities (PC-5);
The ability to conduct local research under scientific guidance based on existing methods in a specific narrow area of philological knowledge with the formulation of reasoned conclusions and conclusions (PC-6);
Possession of the skills of a qualified interpretation of various types of texts, including the disclosure of their meaning and connections with the era that gave rise to them, the analysis of literary material to ensure the teaching and popularization of philological knowledge (PC - 8);
Proficiency in the preparation of educational materials for individual philological disciplines (PC - 10);
4. The structure and content of the discipline (module) "Comparative study of Turkic literatures”
The total labor intensity of the discipline is __1__ credit units 25.7 hours, including 4 hours - lectures, 18 hours - practice. zan., 0.2 - cons., 1.5 - contr. r., 2 hours - credits.
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Chapter Disciplines |
Semester |
Semester week |
Types of educational work, including independent work of students and labor intensity (in hours) |
Forms of current progress control (per week of the semester) 7. Educational, methodological and information support of the discipline (module) Main literature I. Literary textsAbul Faiz Faizi. Nal and Daman. - M .: Nauka, 1987. - 191 p. Anthology of Chinese poetry of the Tang era. - Kazan: Exemplary Printing House, 2008. - 172 p. Anthology of Chinese poetry of the Song era. - Kazan: Exemplary Printing House, 2008. - 172 p.4. Bakyrgan kitabs: XII-XVIII jöz Turki-Tatars shahyrläre äsärläre. - Kazan: Tatars. whale. nashr., 2000. - 240 b. Balasagunsky Yusuf Khas-Hadjib. The science of being happy. – M.: Hood. lit., 1971 - 157 p. – Translation by Naum Grebnev. Balasaguni Yusuf. Blessed knowledge. - L .: Soviet writer, 1990. - 560 p. (Ivanova). Eastern poetry. - M .: Terra - Book Club, 2002. - V.1. - 511 p.; T.2. – 511 p. Gomar Khayyam. Robagylar /N. Arslanov tarҗ .. - Kazan: Tat. whale. nashr., 1986. - 143 b. Jami. Salaman and Absal. - Dushanbe: Irfon, 1967. - 122 p. Jami Abdurrahman. Lyrics. - M. - St. Petersburg: Dilya, 2001. - 320 p. golden poetry East. - Simferopol: Renome, Kharkov: Svitovid, 2001.-368 p. Zakani Ubaid. Favorites. Dushanbe: Irfon, 1965. - 98 p. From Algerian poetry of the twentieth century.– M.: Hood. lit., 1984.– 415 p. From Turkish poetry XX century.- M.: Hood. lit., 1979.– 176 p. Selected works of thinkers of the countries of the Near and Middle East of the 9th - 11th centuries. - M., 1961. - 629 p. classical Japanese poetry.– M.: AST: AST MOSCOW: GUARDIAN, 2008.– 519 p. 17. Ilhamnar chishmase. Donya shigyriatennen. Akhmat Ishak tәrҗemәlәre. – Kazan: Tat. whale. nashr., 1985. - 344 b. 18. Stories of wandering Sufis. - M ..: EKSMO, 2004. - 400 p. 19. Kol Gali. Kyissai Yosyf. - Kazan: Tat. whale. nashr., 1989. - 221 b. 20. Koran. Translation of meanings and commentary by Valeria Porokhova. - Damascus-Moscow: Al-Furqan Center, 1995. - 815 p. 21. Kul Gali. The Tale of Yusuf. - Kazan: Tat. book. publishing house, 1985. - 254 p. 15. 22. Lyrics of the East. - M .: Pravda Publishing House, 1983. - 480 p. 23. Literature of the peoples of Russia. - St. Petersburg: Prosvezhenie, 1995. - 496 p. 24. Literature of the peoples of the USSR. Klimovich. Part one (Azerbian, Tajik, Turkmen. lit.). – M.: Enlightenment, 1971. – 520 p. 25. Literature of the peoples of the USSR. Reader. Klimovich. Part two (Uzbek. lit.). – M.: Enlightenment, 1971. – 478 p. 26. Navoi Alisher. Lyrics. - M. - St. Petersburg: Dilya, 2000. - 320 p. Navoi Alisher. Selected Poems. 1 book - Tashkent: Publishing House of the Central Committee of the Communist Party of Uzbekistan, 1983. - 208 p. Navoi Alisher. Poems. 2 book. - Tashkent: Publishing House of the Central Committee of the Communist Party of Uzbekistan, 1983. - 335 p. Navoi Alisher. Farhad and Shirin. - Tashkent: Lit. and art to them. Gafur Gulyam, 1985. - 351 p. (Translated by Lev Penkovsky). Navoi Alisher. Leyli and Majnun. - Tashkent: Hood. lit., 1957. - 176 p. (Translated by Semyon Lipkin). Navai Nizametdin Galishir. Farһad һәm Shirin / Akhmat Ishak tәrҗ .. - Kazan: Tatgosizdat, 1948. Navai Nizametdin Galisher. Farһad һәm Shirin // Miras. - 2002. - 10, 11, 12 Sannar; 2003. - 1-12; 2004 - 1-4 Sannar. Nesimi Imadeddin. - Baki: Yazychy, 1983. - 105 p. Nizami Ganjavi. Collected Op. In five volumes. Lyrics. Treasury of secrets. – M.: Hood. lit., 1985. - Volume one. – 302 p. Nizami Ganjavi. Khosrov and Shirin. – M.: Hood. lit., 1985. - Volume two. – 478 p. Nizami Ganjavi. Leyli Mejnun. – M.: Hood. lit., 1986. - Volume three. – 366 p. Nizami Ganjavi. Seven beauties. – M.: Hood. lit., 1986. Volume four. – 366 p. Nizami Ganjavi. Iskander-name in two books. – M.: Hood. lit., 1986. - Volume five. – 782 p. Poetry of the East. - Rostov-on-Don: Phoenix, 2008.-279 p. Poetry of the peoples of the USSR IV - XVIII centuries. – M.: Hood. lit., 1972. - 862 p. (Dakiki, Ibn Sina, Nasir Khosrow, Fakhruddin Gurgani, Yusuf Balasaguni, Yassavi, Yugnaki, Khagani, Nizami, Sanai, Attar, Kul Gali, Zakani, Nesimi, Rabguzi, Khorezmi, Durbek, Navoi, Babur, Khatai, Fizuli, Muhammedyar, Mevlya Kolyi, Utyz Imeni, Bedil and many others). Poetry of the Tang era. - M .: Hood. lit., 1987.– 479 p. Rudaki Abu Abdullah. Qasida, gazelles, rubaiyat. - Stalinabad: Tajikoizdat, 1958. - 198 p. Saadi. Gulistan. – M.: Hood. lit., 1957. - 322 p. Saadi. Bustan. Lyrics. – M.: Hud. lit., 1962. - 527 p. Scroll of the Centuries. Turkic classical poetry of the 13th - 20th centuries. Ivanova. - L .: Publishing house of Leningrad State University. - 1991. -712 p. (Poems by Navoi, Yunus Emre, Nesimi, etc.). Tmogveli Sargis. Visramiani: a novel-retelling of the Persian poem Weiss about Ramin / translated by S. Iordanishvili. - Tbilisi: Ed. Literature da Helovneb, 1967.– 288 p. 47. Turkish Ashyk poetry: Yunus Emre, kaigusuz Abdal... – M.: Hud. lit., 1983.– 192 p. Fizuli. Lyrics. - Baku: Yazychy, 1985. - 77 p. Ferdowsi. Shahnameh. – M.: Hood. lit., 1980. - 477 p. Firdәүsi Әbelkasym. Shaһnamә / Mәsgud Gainetdin tәrҗemәse.– Kazan: Tat. whale. nashr., 2003. - 231 b. Khagani Shirvani. - Lyrica. – M.: Hood. lit., 1980. - 287 p. Khakani. Wind in hand. – M.: Nauka, 1986. – 237 p. Khakani.– M.: Eksmo, 2009.– 352 p. Hafiz. Lyrics. - Ufa: Bashk. book. publishing house, 1973. - 159 p. Hafiz Shamsiddin. Lyrics. - St. Petersburg: Dilya, 2000. - 320 p. Shark classics merosidan: serieslar: Alisher Navoi, Ogakhiy, Furkat, Babur, Uvaisi, Kh. Khorezmi h.b.– T.: Izd. Central Committee of the Communist Party of Uzbekistan, Ellar. Masterpieces of Chinese poetry. - M .: Eksmo, 2010. - 480 p. Shayyad Hamza. Yusuf and Zeliha. – M.: Nauka, 1992. – 156 p. Yunus E. Guldesse. - Ankara: Bashbakanlyk Basimevi, 1991. - 170 b. P. Scientific and theoretical literature A) main 1. Abdullayev Persian poetry. (Texts, translations, comments). - St. Petersburg: "Petersburg Oriental Studies", 2001. - 208 p. 2. Adam Metz. Muslim Renaissance. – M.: Nauka, 1966. – 458 p. 3., Osmanov Khayyam. - M.: Publishing house of the Academy of Sciences of the USSR, 1959. - 144 p. 4. Turko-Tatar philosophical thought(XIII-XVI centuries). - Kazan: Publishing House "Master Line", 2001. - 262 p. 5. Arasly Hamid. The great Azerbaijani poet Fuzuli. - Baku: Children's and Youth Literature Publishing House, 1958. - 236 p. 6. Akhunov of the Volga-Kama region (VII-X centuries). - Kazan: Fatherland, 2003. - 215 p. 7. Bakirov Marcel. Shigriyat bishege. Gomumtarki poetic yaraluy џђm and ћ boringy formalars. – Kazan: Мђgarif, 2001. – 343 b. 8. Bertels works. History of Persian-Tajik literature. - M .: Publishing house of the East. lit., 1960. - T.1. – 556 p. 9. Bertels works. Nizami and Fuzuli. - M .: Publishing house of the East. lit., 1962. - V.2. – 554 p. 10. Bertels works. Sufism and Sufi Literature. - M.: Nauka, 1965. - V.3. – 524 p. 11. Selected works. Navoi and Jami. - Science, 1965. - V.4. – 498 p. 12. Braginsky Sina - a poet // Questions of literature. - 1980. - No. 9. - S. 162-178. 13. Hajiyev and the poetry of Nizami Ganjavi. - Baku: Elm, 1980. - 204 p. 14. Zand of Ages of Glory. Essays on Persian-Tajik literature. – M.: Nauka, 1964. – 252 p. 15. Ibn Hisham. Biography of Prophet Muhammad. - M.: IMMAN, 2003. - 652 p. 16. Islam. Encyclopedic Dictionary. – M.: Nauka, 1991. – 315 p. 17. History world literature. – M.: Nauka, . - T. 1-8. Introductory remarks, introduction, introductory sections to the literatures of the East and conclusion. - T. 1-7. 18. History of the literatures of the peoples of Central Asia and Kazakhstan. - M., Publishing House of Moscow State University, 1960. - 491 p. 19. History of Persian and Tajik literature. Edited by J. Ripka. Translation from Czech. – M.: Progress, 1970. – 440 p. 20. Islam in the Tatar world: history and modernity (Proceedings of the international symposium). - Kazan, 1997. -378 p. 21. Islam on the territory of the former Russian Empire. Encyclopedic Dictionary. Issue. 1. - M.: Publishing company "Eastern Literature" RAS, 1998. - 159 p. 22. To the question of the humanism of Yunus Emre's poetry. – M.: Nauka, 1980. – 176 p. 23. Kurbanmamadov A. Aesthetics of Abdurakhman Jami. - Dushanbe: Donish, 1984. - 138 p. 24. Literature of the East in the Middle Ages. - M.: Publishing house of Moscow State University, 1970. - Part 2. - 463 p. 25. Mikhailov University in the spiritual culture of the peoples of the East of Russia (XIX century). - Publishing House of KSU, 1991. - 360 p. 26. Mirza Kazem-Bek and domestic oriental studies. - K .: Publishing House of KSU, 2001. - 324 p. 27., Bakhtin Muhammad. – M.: Politizdat. - M.: Terra, 1997. - Book 1. - 256 p.; book 2. – 304 p. 28. Radiy Fish. Jalaluddin Rumi. M.: Nauka, 1987. - 267 p. 29. Rubaiyat Omar Khayyam. - Chelyabinsk: Ural LTD, 1999. - 406 p. 30., Yushkevich Khayyam. – M.: Nauka, 1965. – 190 p. 31. Sagadeev Sina (Avicenna). - M.: Thought, 1980. - 239 p. 32. Safiullina Reseda. Arabic book in spiritual culture Tatar people.– Kazan: Alma-Lit Publishing House, 2003.–214 p. 33. Smirnov Sheikh of Sufism. – M.: Nauka, 1993. – 328 p. 34. Medieval Tatar literature (VIII-XVIII centuries). - Kazan: FEN, 2001. - 240 p. 35. Teymuryan H. Omar Khayyam. - M .: Astrel, 2010. - 412 p. 36. Hazrat Inayat Khan. Sufi teaching. Collection. - M.: Sphere, 1998. - 352 p. 37. Khamraev M. K. Fundamentals of Turkic versification. - Alma-Ata: Publishing House of the Academy of Sciences of the Kazakh SSR, 1963. - 216 p. 38. Chittick William. Looking for hidden meaning. Sufi way of love. Spiritual teachings of Rumi: Per. from English, Arabic / Comp., foreword. M. Stepanyants. - M.: Scientific publishing center "Ladomir", 1995. - 543 p. (Series "Ex Oriente Lux"). 39. Shah I. Sufis. – M.: Lokid-Press, 2001. – 448 p. 40. Ernst Karl. Sufism. Per. from English. A. Gorky. - M.: FAIR-PRESS, 2002. - 320 p.: ill. 41. Yuzeev philosophical thought of the late XVIII - XIX centuries. - Kazan: Tatars. book. publishing house, 2001. - P.55. B) additional: Andreeva and medieval literature peoples of the USSR. - Part 1. Tajik-Persian poetry of the X-XV centuries. - Kazan, 1990. - 184 p. Bertels works. Sufism and Sufi Literature. - M .: Publishing house "Nauka", 1965. - 522 p. 12 miniatures. From Rudaki to Jami. 2nd ed., supplement. – M.: Hood. lit., 1976. - 302 p. Ganiev Renaissance and the poet Kul Gali. - Kazan: Publishing house of KSU, 1988. - 173 p. Ganieva Reseda. Philosophical and aesthetic foundations of the Turkic literatures of the Middle Ages // Tatar literature: traditions, relationships. Aesthetics of the Divine Light in the Turkic literatures of the Middle Ages // KDU Tatar philologiase һәm tarihi faculties ukytuchylarynyn fәnni yazmalary (2002). - Kazan: RPF "Garth", 2002. - S. 75-85. From Traditional Chinese Ideology.– M.: Nauka, 1984.– 296 p. Islamov gasyr torki shigriyate үseshendә Sharifnen “Shaһnamә” se. - Kazan: Fiker, 2001. - 279 b. Minnegulov Hatip. Tatar literature and oriental classics. - Kazan: Publishing house of KGU, 1993. - 364 p. Minnegulov Kh. Minnegulov Hatip. Recordings of different years (Tatar literature: history, poetics and relationships). Kazan: Idel-Press, 20s. 11. Minnegulov H. Tatar literature and oriental classics / Questions of relationships and poetics /. K .: Publishing house of KSU, 19p. Minnegulov H. Saif Sarai. Tormyshy һәm iҗaty. K.: KDU nәshr., 19, 123-189b. Minnegulov H. "Koran" һәm Tatars әdәbiyaty // Magarif. 1993 No. 3. 15-17b. Sibgatullina Serlare. – Kazan: “Matbugat Yorty” no., 1998. – 368 b. Sibgatullina һi gashyiklar yulynnan (sufichylyk turynda ocherklar). - Kazan: "Kyibla" Nash., 1999. - 144 b. Tasawwuf / Islam: Encyclopedic Dictionary. - M.: Nauka, 1991. - S. 225-231. Khisamov Yusuf and Zuleikhi in the Turkic-Tatar poetry of the 13th-15th centuries. (Version issues). - Kazan: GUP PIK "Idel-Press", 2001. - 215 p. Sharipov and the formation of the system of poetic genres in ancient Turkic and Turkic-Tatar literature (XIII-XV centuries). - Kazan: Kazan Publishing House. un-ta, 2001 - 364 p. Schimmel A. The world of Islamic mysticism / Per. from English. , . - M.: Aleteya, Enigma, 2000. - 416 p. Yakhin Farit. Tatars shigariyatendә dini mysticism һәm mythology. - Kazan: TDGI Nashriyati, 2000. - 266 p. 8. Logistics of discipline Computer class, office equipment, TV and audio equipment (everything is standard for laboratory classes and independent work); access to the Internet (during self-training and laboratory classes). The program was drawn up in accordance with the requirements of the Federal State Educational Standard of the Higher Professional Education, taking into account the recommendations and the ProOP of the Higher Professional Education in the direction and profile of training K. philol. n., Assoc. Department of Theory and History of Tatar Literature, Kazan Federal University. Reviewer(s) –––––––––––––––, D. Philol. sciences, prof. Department of Theory and History of Tatar Literature, Kazan Federal University; ––––––––––––––– doc. philol. n., head and prof. Department of Theory and History of Tatar Literature, Kazan Federal University. |
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1 LITERATURE AND FOLKLORE OF THE ANCIENT TURKISH CENTRAL ASIA Anikeeva Tatyana Alexandrovna Ph.D. philol. Sci., Research Associate, Department of the History of the East, Institute of Oriental Studies, Russian Academy of Sciences reflects both historical realities and a complex of mythological views. Various tribes that lived in antiquity and the early Middle Ages in the vast expanses of Central and Central Asia, then formed into large, strong tribal associations, then again disintegrated. Therefore, the literary monuments of this time can be considered as a common heritage of the Turkic-speaking peoples. Some researchers attribute the origin of the literary process among the Turks to the 8th century. (the earliest by the middle of the 6th century, that is, the time of the existence of the Turkic Khaganate, the middle of the 6th - the middle of the 8th century). The concept of "ancient Turkic literature" is largely literary criticism, since it not only shows the connection with the cultural life of the Turkic state, but also indicates the time of formation and consolidation of certain historical, cultural and stylistic phenomena, which later received their development and significance for this particular literature. One of the main problems in the study of the ancient and medieval Turkic literary tradition is the degree of correlation between oral and book elements in it. The interaction between folklore text and literature is a constant process and shows several ways of mutual transition. So, often the folklore tradition begins to mimic in a certain way, to adapt to literature. This happens at the phonetic, compositional, and genre levels. For example, individual songs of the oral Kalmyk "Dzhangar", which are performed as part of the epic cycle, are called "chapter" (buleg), a word from the arsenal of book literature; in Kalmykia, Western Mongolia, Xinjiang, the South Altai Oirats have proverbs and beliefs about the existence of a multi-volume book "Jangar", "never confirmed by anything, but reflecting the idea of \u200b\u200bthe" ideal text ", necessarily written and standing hierarchically higher than the oral tradition" . By the beginning of the 7th century The Turkic Khaganate broke up into two independent associations: Eastern Turkic and Western Turkic (the process of disintegration went from 583 to 602) Khaganates. The first works of ancient Turkic literature, which are considered to be runic monuments, appeared in the Eastern Turkic Khaganate. There are two main groups of sites: Orkhon texts (in northern Mongolia in the basins of the Orkhon, Selenga and Tola rivers) and Yenisei texts (discovered in the Yenisei valley). The Orkhon group of texts consists of the Small and Large inscriptions in honor of Kul-tegin, the inscriptions in honor of Bilge-kagan, in honor of Tonyukuk, as well as the Ongin inscription. A number of smaller inscriptions on tombstones belong to the Yenisei group of texts. The texts of the monuments contain appeals and appeals to the rulers (beks) and the people to promote the rise of the Turkic kagans. The authors of the Orkhon works depict the images of the supreme ruler of the kagan, the "wise adviser" Tonyukuk and the commander-hero Kul-tegin as examples of virtue corresponding to the times. The image of the kagan includes the divine principle ("heavenly, unborn", "my mother is a khatun, like [the goddess] Umai") and at the same time is endowed with the best human features. The Yenisei runic inscriptions provide samples of the Turkic-language epitaph lyrics written on behalf of the deceased. The most extensive of them, such as the inscription from Begre, Altynkel and Elegest, are built in the form of a biographical narrative, telling about some of the main events in the life of the buried. This emphasizes their similarity with certain parts of the Orkhon inscriptions, however, in the Yenisei epitaphs, the life story of the deceased plays a secondary role and is subordinated to the main goal of conveying the deceased’s regret about those whom he “did not enjoy” and from whom he “separated” (that is, died), the formula , which is necessarily present in all Yenisei epitaphs. The intonation of the Yenisei epitaphs is filled with deep sorrow: "With you, in the tower, my wives, woe! with you, my own
2 sons, I'm separated!.." "I stopped feeling the sun and the moon in the blue sky! From my land, woe! I separated from you! My khan, my ale ( tribal union), woe! I didn't enjoy it! From my ale, woe! I separated" (Inscription from Elegest). The runic texts contain repetitions that stand out as the same type of components of descriptions: the image of the history of the people "Kek Türk" (that is, the Türks-Tugyu) from the 6th to the 8th centuries, the main motives of the description: the need to follow the precepts ancestors, the need for military campaigns, a favorable outcome of campaigns, the image of various kagans Motifs: the help of the gods in the election of the kagan (or the divine origin of the kagan himself), his military successes, his concern for the well-being of the entire Turkic people military campaigns with the participation of Tonyukuk.There is an opinion that the texts of the inscriptions in honor of Kul-tegin and Bilge-kagan may be a literary processing of oral legends that develop around epic heroes: the presence and certain repetition of stylistic formulas and clichés in the texts of the monuments, characteristic of the heroic epic, can serve as proof of this. For example, 1. formula describing the welfare of the people: I made the poor (poor) people rich small people I made numerous chygan budunyg bai kyltym, az budunyg bite kyltym (Small inscription in honor of Kul-Tegin) He made the poor (poor) people rich He made the small ones numerous (Bilge-kagan about Kagan Kapagan, his uncle) 2. military activity (also identical stylistic formulas): Those who had heads they forced to bow (heads) Those who had knees they forced to kneel (kneel) Bashlylyg jukunturmis, tizligig sokurmis (The first story of the Great Inscription in honor of Kul-tegin, also in the third story about Ilterishkagan, the father of Bilge-kagan, in the same inscription). Compare with the following: Those who had a state, he deprived the state Those who had a kagan, he deprived the kagan (also repeated several times in the inscription) like fire (and) rain (storm) We fought at Bolchu (Inscription in honor of Bilge-Kagan) On the second day they came, Flaming like fire, they came. We fought Akinti kün kalti, ortca qyzyp kalti (39 40, Inscription in honor of Tonyukuk) Comparison of an army with a downpour, with flowing water is extremely stable throughout the development of Turkic literature in various traditions. So, in "Kitab-i dedem Korkut" (XV century), in response to the request of Salor-Kazan to interpret the dream, his brother, Kara-Gyune, answers: "" You are talking about black, this is your happiness; you talk about snow and rain, this is your army; hair care, blood black (calamity); I can’t interpret the rest, let Allah interpret "" (I The story of how the house of Salor-Kazan was plundered; my italics. T.A.). Connection
3 water and blood, which finds expression in various figures of speech (metaphor, hyperbole), apparently, is quite stable in Turkic literature: "Let him let him cross the rivers stained with blood" // Kanlu kanlu sulardan ge ç it versün; monument to Kul-Tegin: "Your blood ran like water" // Qany ŋ sub č a J ü g ü rti). In a monument related to more late period , "Oguz-name", when describing the battle, it is said: "The fights, battles were so fierce that the waters of the Itil River turned red-red, like cinnabar" (Oguz-name 19, III V). The connection with oral epic narration is also emphasized by the formula for the transition from one action (or episode) to another (see the inscription in honor of Tonyukuk): "After I heard those words", "Hearing those words", "Hearing those words, I moved the army. The receipt of new news by Tonyukuk about the intentions of the enemies and the following advice with the Bek serve as an occasion for the further development of the narrative. For example: "Hearing those words, my sleep did not come at night, and during the day I had no rest" (Ol sabyγ äsidip, tün udusyqym kälmädi, küntüz olursyqym kälmädi), "Hearing this word of his" (Ol sabyn äsidip). It is characteristic that the authors of the texts of the inscriptions seem to be addressing the audience, which, according to I.V. Stelevoy, may testify to the oral tradition of performing folklore works that existed at that time: Listen to my speech to the end (fully) (Listen to my speech completely (you)): Sabymyn tukati äsidgil Is there a lie in these words of mine? Beki (and) the people of the Turks, listen to this! Azu bu sabymda igid bargu? Here baglar budun, boons äsidin! (Small inscription in honor of Kul-tegin) The formulas for changing episodes, the narrator's appeals to the listeners are the most stable not only in the Turkic folklore tradition (they are preserved even in its latest genres, for example, in the Turkish urban story), but also universal for most folklore ballads and oral epic of the Balkans, Hungary, England and Spain. The use of constant epithets in all inscriptions ("blue sky" (kok tänpi), "brown earth" (jagyz jir), "seeing eyes", "red blood" (qyzyl qan(ym) ), "black sweat" (qara tär), "yellow gold" (saryγ altun), "light silver" (örüŋ kümüs), "heavenly kagan", which performs the same functions as the constant epithet in folklore: it expresses typical, ideal signs of objects, as well as the idea of \u200b\u200bthe "epic" time: When the blue sky was created (originated) above and the brown (dark) earth below, the sons of men (i.e. people) were created (originated) between both of them. my ancestors Bumyn-kagan and Istemi-kaganÿzä kök tänri asra jagyz jir kylyntukda, äkin ara kisi ogly kylynmys sat down as human. honor of Kul-tegin) Proverbs and sayings in the Orkhon texts: Not seen by the eye, not heard by the ear (Inscription in honor of Bilge-kagan) Inside without food, outside without clothes (Large inscription in honor of Kul-tegin) Time (fates, terms) distributes Heaven (God) Human sons were born to die jasar, kisi ogly kop ölgali torÿmis (Large inscription in honor of Kul-tegin) In the works of researchers devoted to the Orkhon monuments, there is no consensus on their genre attribution. According to A. von Gaben, the ancient Turkic inscriptions (epitaphs) "are a rich historical source for us, although they were not created for this purpose ... The richness of the material contained in them allows us to conclude that the inscriptions were something like a state archive". Turkologist A. Bombachi (1964) saw in them "a mixture of the genres of historical narrative, political rhetoric and epic", the latter predominating. But already in his monograph of 1968, he defines these inscriptions exclusively as a monument of ancient Turkic historiography, omitting them stylistic features. I.V. Kormushin writes: “The desire at all costs to convince those to whom the inscription is addressed naturally led to the need to influence not only the mind, but also the feelings of the reader. This installation was realized in a special emotional construction of the text, saturated with metaphors, hyperboles, comparisons and other tropes. Genre of inscriptions by I.V. Kormushin
4 is defined as "a combination of historiographic narratives with ethical-political proclamations". A.N. Kononov saw only "brilliant historical chronicles" in the ancient Turkic inscriptions. Attributing the character of an exclusively epic folklore work to the Orkhon inscriptions was primarily due to this stylistic similarity of some of the inscriptions used in these monuments. literary devices to narrative forms common to the epic of the Turkic-speaking peoples. Folklorist S.A. Surazakov, comparing the stylistic features of the Orkhon inscriptions and some of the Altai heroic tales, showed that there is a similarity between them, but it is impossible to speak of complete identity. In his opinion, the inscriptions themselves "tell about real events and persons, and in this sense represent a historical document." This criterion of narration about real events and historical figures is an important difference from folklorized narrations. According to S.G. Klyashtorny, "although the whole pathos of the narration, the plan of presentation of the Orkhon monuments is directed at deeds and people, thoughts" today ", the authors of the inscriptions could not completely ignore the folklore and mythological motifs Be that as it may, the stylistic stereotypes characteristic of inscriptions cannot be direct and unconditional arguments showing the existence of the ancient Turkic epic; such an argument could only be a direct fixation of an indisputable epic plot in a runic monument. It is necessary to mention the texts from Turfan in the ancient Uyghur language, which were discovered in East Turkestan.To one degree or another, most of these texts are influenced by the Buddhist tradition (Buddhism was widespread in this area of Central Asia) these are religious hymns, divinatory texts, calendars, astronomical calculations (on the movements of the planets and constellations), texts created under the influence of Islam, partially published in the edition of R. Arat Uighur texts from Turfan were translated, published and studied primarily by G. R. Rahmati, A. von Lecoq, V. Bang, R.R. Arat and A.von Gaben.Despite the fact that these texts cannot be fully attributed to folklore, their very form goes back to ancient folklore traditions, since the creators of the texts borrowed from folk art not only the techniques of versification , but also a system of images. Uyghur texts of Muslim content are closer to the works of Ahmed Yugneki and Yusuf Balasagunsky. "Kutadgu Bilik" ("Blessed Knowledge") is a didactic poem written by Yusuf Balasagunsky in 1068. During this period, from the 11th to the 14th centuries, according to S.E. Malov, "the whole appearance of the language (Uyghur. T.A.) is changing, not only its alphabet and content (now Muslim). The book language is increasingly experiencing Western influence throughout Central Asia, and is gradually moving from the Uyghur period to the Chagatai "(which then became the basis of the Uzbek language). Karakhanid era for a long time was considered " dark age"in Central Asian historiography. Although the very name of the era according to the dynasty was introduced early, only V.V. Bartold, who studied all the few information of Muslim authors about the Karakhanids, revealed some trends in the development of the Karakhanid state. The Karakhanids inherited the Western Turkic Khaganate and restored the system that had developed even In the 6th century, the prehistory of the emergence of the Karakhanids is closely connected with the Turkic tribe of the Karluks, whose yabgu (tribal leaders) separated from the Uighur Khaganate because of their desire to pursue an independent policy. Asia.The Karluks took the side of the Tibetans, but used the situation to their advantage, as a result, the whole Semirechye (including Taraz) went to them in 766, they captured Kashgaria in 766. To the west, the Karluks extended their influence to the cities of the Middle Syr-Darya and The Uighur Khaganate fell in 840. Power in the Karakhanid Khaganate was divided between the nobility of two Karluk tribes: the Chigils and the Yagma. Outwardly, this was expressed in the division of the empire into two parts: eastern and western, headed by their own kagan. In the X century. expansion was launched and carried out in two directions towards Khotan and towards Maverannahr, as a result, the border of the Karakhanid Khaganate passed along the river. Amu Darya. Already in the late 30s. 11th century The Karakhanids of Maverannahr separated from the Karakhanids of Kashgar, and after a hundred and fifty years the last Karakhanid princes left the historical arena. In 1210
5 the Eastern Karakhanid dynasty was cut short. In 1212, in Samarkand, Khorezmshah Mohammed also executed the last representative of the Western Karakhanid dynasty. In the years in Kashgar appeared the didactic poem "Kutadgu Bilig" ("Science of how to be happy", or, more precisely, "Blessed knowledge") by Yusuf, originally from Balasagun. None biographical information about the author is not preserved. "Kutadgu Bilig" is the most ancient Uighur dated monument of Muslim content. The poem was dedicated to the ruler of Kashgar, Bogra Khan, who awarded the author with the honorary rank of khas-hajib (personal chamberlain). "Kutadgu Bilig" over bayts. It was quite popular; it was called the "Ethics of Government", "Sovereign Laws", "Decoration of the Noble", "Advice to the Kings", even "Turkic Shah-name". The treatise of Yusuf Balasagunsky covers all aspects of the life of an ideal ruler and his officials. The teachings are accompanied by information from various fields of science: mathematics, astronomy, medicine. The legendary Iranian kings and heroes are given as necessary examples for imitation. The Muslim orientation of the first composition in classical Turkic poetry is natural. Being faithful Muslims, the Karakhanids could approve such a work, which would present ideas useful for the Turkic dynasty, which acted as the ruler of Maverannahr. At the same time, just such a work could have been created by an author whose erudition leaves no doubt that he was well acquainted with the literature of the Arabs and Persians, which he took as a model. The introductory part of "Kutadgu Bilig" contains an introduction, obligatory for the mesnevi genre, which includes the glorification of God and the Prophet Muhammad, dedication to the ruler, and where the meaning of the book and the reasons for writing it are reported. A distinctive feature of the composition "Kutadgu Bilig" is the inclusion of more than 200 rubai-type quatrains in the mesnevi, and its final chapters are written in the form of qasida. Thus, the first work in the history of Turkic-language classical poetry included several genres of Arabic and Persian poetry, which later took shape among the Turks into complete and separate literary genres. It is generally accepted that the history of classical Turkic poetry begins with the poem "Kutadgu Bilig". Among other monuments of the Turkic-language literature of this period, one can name Ahmed Yugneki's poem "The Gift of Truths" (Khibat al-khakaik), which dates back to about the 11th-12th centuries. (and possibly earlier), as well as "Oguz-name" ("Legend of Oguz Khan"), which is a recorded text of the legend about the origin of the Oghuz. This text refers to the time of the existence of the Oghuz state on the Syr Darya, that is, to the period of the VIII X centuries. Among the most important literary and folklore Turkic texts, along with the Orkhon monuments of runic writing, "The Legend of Oguz Khan" ("Oguz-name"), one can name the legends of the only book epic among the Oguz Turks "Kitab-i dedem Korkut" ("Book my grandfather Korkut"). At the end of the VIII century. The Oguzes, an association of Turkic tribes, lived in the lower reaches of the Syr Darya and on the coast of the Aral Sea, gradually advancing there from Southern Siberia and moving further west up to the Caspian Sea. As many medieval Arab historians emphasize, the Oghuz were not homogeneous in composition and language. Already in Central Asia, the nomadic tribes of the Oghuz mixed with others. Turkic tribes and Iranian-speaking peoples. In the west they waged wars with the Khazars and the Volga Bulgars. In Xv. the power of the Oghuz increased, their nomadic pastures covered large territories in northern Turkmenistan and southwestern Kazakhstan, which were appropriately called "guz steppes" (Persian desht-i guzan). It was at this time, as a result of discord between the various tribes that were part of the union of the Oguz tribes, that the group under the leadership of Seljuk, who converted to Islam, strengthened. These Oghuz tribes began their advance to the west through Transcaucasia, Iran and Asia Minor in the first half of the XI century. and made a major contribution to the ethnogenesis of modern Turks and Azerbaijanis. Another part of the Oghuz tribes remained in Central Asia in the Aral Sea region and later served as an ethnic substratum for the Turkmens and, to some extent, the Uzbeks. Approximately to the same time, researchers attribute the addition and cyclization of some legends, later included in the "Book of my grandfather Korkut", which is indirectly evidenced by the "age of Korkut", legendary time mentioned in the epic, corresponding to the IX X centuries. Comparison of the epic text "Kitab-i Dedem Korkut" with other examples of Turkic literature, in particular, with ancient Turkic monuments, is quite justified: "Comparison of the ancient Turkic poems with the heroic epics of the Turkic peoples allows us to trace the evolution of poetic forms, as well as their natural transformation. If in Khakass , Tuvan and
6 in Yakut folklore, the phenomena of ancient Turkic verse that we discovered received their ultimate expression, then in Kyrgyz epic Manas, the same phenomena have changed under the influence of Arab-Persian literature. This influence was strongest in the Central Asian epics Alpamysh and Korogly. However, they also reveal a certain connection with ancient Turkic poetry. "I.V. Stebleva also wrote that "the closest thing to the poems of the era of runic verse are, perhaps, the poetic texts from Kitab-i Dedem Korkut, which have come down to us in the literary processing of the 15th century, and not a later edition". Despite the fact that the legends about the exploits of the Oguz heroes were recorded, in the "Book of my grandfather Korkut" there are expressions everywhere, which, being in fact the appeal of the ozan storyteller to his audience, directly indicate on the once purely oral nature of the existence of the epic: G ö rel ü m Hanum ne soylad ı ("Let's see, my khan, what he said" or: "Let's listen to what he told"). With a high degree of probability, it can be argued that in the text of this of the monument, fragments dating back to the ancient oral Turkic tradition are preserved.First of all, such fragments include proverbs and sayings that are often found in the epic: "The horse's leg is lame, the singer's tongue is agile", "He who has ribs rises, he who has cartilage , he grows up" (X, Song about Sekrek, son of Ushun-Koji) "One horseman in the field will not become a knight; the bottom of an empty vessel will not become strong" (IX, Song about Amran, son of Bekil). Despite the fact that the question of the folklore character of the Turkic runic monuments remains controversial, the continuity literary forms, existing in ancient Turkic monuments, in Turkic literature and folklore of a later time, is difficult to deny. Notes by Stebleva I.V. Life and Literature of the Pre-Islamic Turks. M., there. Neklyudov S.Yu. Traditions of oral and book culture: correlation and typology // Slavic studies. Collection for the anniversary of S.M. Tolstoy. M., S Ibid. The book of my grandfather Korkut. Oguz heroic epic. Per. acad. V.V. Barthold. Ed. prepared by V.M. Zhirmunsky, A.N. Kononov. M.; L., 1962 (series Literary monuments). See: Malov S.E. Monuments of ancient Turkic writing. M.; L., 1951; Orkun H. M. Eski Türk yazıtları. Ankara, Shcherbak A.M. (translation and comments). Oghuz name. Muhabbat-name. Monuments of ancient Uyghur and old Uzbek writing. M., See, for example, in the cycle of Turkish epic tales about Ker-oglu: "Who will we talk about now?" Haberi nerden verek? Gel haberi nerden verek? "Let me tell a story about Ker-oglu." Gel haberi Köroğlu "ndan verelim. Başgöz I. The Tale-Singer and His Audience // Turkish Folklore and Oral Literature. Selected Essays of Ilhan Başgöz. Bloomington: Indiana University, P Klyashtorny S.G. Epic stories in ancient Turkic runic monuments // Klyashtorny S. G. Monuments of ancient Turkic writing and ethno-cultural history of Central Asia. St. Petersburg, With Bombaci A. Histoire de la littérature turque. P., Klyashtorny S. G. op. , Muslim and Buddhist, according to their content; Tugusheva L. Yu. Poetic monuments of the ancient Uighurs // Turkological collection M., P. 237. Arat R. R. Eski Türk şiiri. Ankara: TTK basımevi, Tugusheva L. Yu. Decree. Op. C 237. Malov S. E. Decree op. P. 220. Stebleva I. V. Poetry of the Turks VI VIII centuries M., S Ibid.
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Literary monuments are an important element in the culture of any civilized people. Literature reflects not only a certain historical situation, but also the public consciousness and mood characteristic of this period. In addition, literature reproduces the very portrait of the people. Literature expressing folk spirit, commonly called "folk". However, literary studies often identify folk literature with national literature. But these are different concepts: the first can be attributed to the work of writers different nationalities, which cover the topics of national life, raise the problems of the people (which are multinational). National literature is the literature of a certain nation, where it also affects folk theme, but with an emphasis on the peculiarities of the mentality.
There is also another literary gradation. The territory of any state consists of several regions that differ from each other in relief, climate, way of life, social environment, etc. Works created in one area and reflecting its uniqueness belong to regional literature.
Works on the study of national and regional literature in domestic science appeared relatively recently (in the last quarter XX century). At the same time, the regional aspect has been studied less theoretically than the national one. However, in the work of many writers, these aspects are found, consciously or not, included in the works. The term "national literature" is broader than regional literature. following the works literary scholars(identifying "folk" and "national" literature), we define the main features of this concept.
The main component of national literature is the reflection in it of the peculiarities of the mentality of any ethnic group. Psychological picture nation, moral standards, connection with nature - all this, one way or another, is present in the works about the people as a whole.
The historical component is also important. In the literature of any country, one can trace the attitude of society to its past directly through works of art, in particular, using literary texts as an example.
Russian national literature has always been distinguished by humanity, philanthropy, the victory of good over evil. Works about the people are often built on Orthodox canons. Events most often occur against the backdrop of a specific historical situation. The characters' characters are endowed with both negative (laziness, slowness) and positive (responsiveness, generosity) traits inherent in the Russian mentality.
National literature includes regional literature. There are several opinions about the last term. For example, A.N. Vlasov includes in the regional literature works "created by local authors and in demand by local readers" . IN"Literary Encyclopedia of Terms and Concepts" (2001), regional literature is understood as a collection of "works of writers, focusing their attention on the image of a certain area (usually rural) and the people inhabiting it" .
In addition, literary critics offer synonymous concepts for the term "regional literature". Thus, in the "Literary Encyclopedic Dictionary" (1987) the concept of "local color" (from the French. couleur locale ) as "reproduction in fiction of the features of national life, landscape, language, characteristic of a strictly defined locality or region" . In the same edition, a reference is made to the everyday-descriptive trend of costumbrism (from Spanish. ostumbrismo, costumbre - temper, custom), which captures "the desire for the most accurate descriptions of nature, the characteristics of national life, often with the idealization of patriarchal mores and customs" . Verism (from Italian. vero - truthful). Verists, in describing the life of the poor social strata, as is known, widely used the folk language and its dialect manifestations, which was a necessary means of illustrating the naturalistic closeness of the phenomena and events described to the realities of true human nature not embellished by artistic means. In addition, there are the concepts of "regionalism", "veritism", "zonal literature", etc.
Despite the obvious differences, these definitions form a synonymous series of regional literature, where a common feature is the geographical and social description of any area.
The embodiment of the national and regional aspect can be traced on the example of the book by A.P. Chekhov (1860-1904) "Sakhalin Island" (1895). Known not only in Russia, but also abroad, this work opened to the world the Russian soul, compassionate and sympathetic. Compassion, the ability to see the pain of another - Russian national traits. In "Sakhalin Island" these qualities are shown through the feelings of the author. From the first impressions of the writer about the island and further throughout the work, one can catch the experiences of A.P. Chekhov about hard labor, free settlers, about the island as part of Russia, as well as about Russia itself.
The book "Sakhalin Island" reflected, first of all, the hard life of convicts and settlers, who "feel the absence of something important" . The convicts "do not have enough of the past, traditions", they "have no customs", "and most importantly, there is no homeland". This mood is facilitated by climatic conditions (“Good weather is very rare here”), relief features (“the coast is completely sheer, with dark gorges and coal seams ... a gloomy coast!”). Almost everyone who arrives on Sakhalin is guided by the phrase: "It's better in Russia". This comparison creates an even greater gap between the mainland and the island, separating Sakhalin from Russia.
In Chekhov's book, there is often a hidden opposition "Russian - non-Russian", a kind of antithesis "Russia - Sakhalin". This artistic technique is stated on the first pages of the work during a visit to A.P. Chekhov Nikolaevsk. Due to the lack of an inn in the city, the writer dined in the assembly, where he became an unwitting witness to the conversations of the visitors who were there. “If you listen carefully and for a long time,” A.P. concludes. Chekhov, - then, my God, how far life here is from Russia!<…>in everything one feels something of one's own, not Russian <…>not to mention the original not Russian nature, it always seemed to me that the warehouse of our Russian life is completely alien to the native Amur people<…>and we, visitors from Russia, seem foreigners"even" morality here is somehow special, not ours"(Italics ours. - T. P.) A.P. Chekhov, like other residents of central Russia, does not associate the island with the mainland as part of the Russian state. For him, Sakhalin is an unknown, other land.
A.P. Chekhov often uses the combinations “on our Russian arshin”, “in our Russian villages”, “Russian field”, “Russian tsar”, etc., drawing a parallel between Russia And non-Russia, large and small land.
However, on the island, the writer also sees something that makes him related to the Russian state - faith, thanks to which people do not allow themselves to sink, overcome inhuman torments, and, having overcome them, begin to live again. Churches have been built for believers on Sakhalin. and A.P. Chekhov often mentions them: “There are several houses and a church on the shore”; "six versts from Douai<…>little by little a residence began to grow in the neighborhood: premises for officials and offices, a church<…>» ; “the main essence of the fast is its official part: the church, the house of the head of the island, his office”; "gray wooden church"; “the church is whitening, of old, simple and therefore beautiful architecture”, etc. As can be seen from the examples, the description of any settlement, post of A.P. Chekhov often begins with an indication of the presence or absence of a church, which indicates the importance of faith in the spiritual life of people. It should be noted that representatives of various confessions and religions lived on Sakhalin (the island was and remains multinational), which, however, peacefully coexisted with each other. Here is how A.P. writes about it. Chekhov: “Catholics complained to me that priests come very rarely, children remain unbaptized for a long time, and many parents, so that the child does not die without baptism, turn to an Orthodox priest<…>When a Catholic dies, then, in the absence of his own, they invite a Russian priest to sing "Holy God".
Having touched on the religious theme, one cannot fail to mention such a feature of Sakhalin as its multinationality (which is the reason for the large number of religions on the island). The rich ethnic composition of Sakhalin is due to the fact that people were sentenced to exile regardless of nationality. “Local residents,” A.P. Chekhov one of the villages - this is a disorderly rabble Russians, Poles, Finnish, Georgians <…>» . On the one hand, such a mixture did not interfere with maintaining human relations, but, on the contrary, contributed to the assimilation of cultures; on the other hand, people did not seek to settle in this land, since for everyone it was a stranger, a temporary place of residence, as people believed in it. “The local villagers do not yet form societies. There are still no adult natives of Sakhalin, for whom the island would be home, there are very few old-timers, the majority are newcomers; the population changes every year; some arrive, others leave; and in many villages, as I have already said, the inhabitants give the impression not of a rural society, but of an accidental rabble. They call themselves brothers because they suffered together, but they still have little in common and they are strangers to each other. They do not believe in the same way and speak different languages. The old people despise this diversity and laughingly say that what kind of society can there be if Russians, crests, Tatars, Poles, Jews, Chukhons, Kirghiz, Georgians, Gypsies live in the same village? ... ".
On Sakhalin, which was seen by A.P. Chekhov, there was no definite way of life, each of the settlers and convicts lived in their own way. An example of this is the description of A.P. Chekhov of Sakhalin life: “On Sakhalin, there are all kinds of huts, depending on who built it - a Siberian, a crest or a Chukhonets, but most often it is a small log house<…>without any external decorations, thatched<…>There is usually no yard. Not a single tree near.<…>If there are dogs, then they are lethargic, not evil.<…>And for some reason these quiet, harmless dogs are on a leash. If there is a pig, then with a block around his neck. The rooster is also tied by the leg.
Why do you have a dog and a rooster tied? - I ask the owner.
We have everything on the chain in Sakhalin, - he jokes in response. “The earth is like that.”
“Such” means different, different, alien. The reluctance of people to recognize the island as part of Russia is explained by its purpose. Sakhalin as a place of exile at the turn XIX - XX For centuries, it has evoked negative emotions, fear, and terror in Russians. Heavy impressions contributed to a similar perception by the writer of the Sakhalin nature. “From the high bank,” writes A.P. Chekhov, - stunted, diseased trees looked down; here in the open, each of them alone wages a cruel struggle with frost and cold winds, and each has to fall and winter, in long scary nights, sway restlessly from side to side, bend to the ground, creak plaintively - and no one hears these complaints. As natural complaints remain unanswered, so the groans of people punished by law and the surrounding reality do not reach the high authorities. But Chekhov's Sakhalin people, like trees, defend their right to life, and sometimes to existence. The entire “Sakhalin Island” is permeated with such a depressing mood, because A.P. Sakhalin felt this way. Chekhov.
Thus, in the travel notes of A.P. Chekhov "Sakhalin Island" can be conditionally distinguished "big"(Russia) and "small"(Sakhalin) worlds, "central" and "regional" concepts, which are embodied in the following features:
1) features of the Russian mentality. The first impressions of a different, “non-Russian” life from Nikolaevsk change with A.P. Chekhov as they learn about the real situation on Sakhalin. A.P. Chekhov sees thieves, murderers, morally and physically degraded people. But, at the same time, a believing, tolerant convict is revealed to him, loving Russia. The writer sees on the island a kind of model of the Russian state, where important role the church plays and where representatives of different ethnic groups. This manifests such features of a Russian person as catholicity and tolerance;
2) historical authenticity. A.P. Chekhov recorded in writing the history of hard labor in its most active period. The book made a revolution in the public mind, as it was created by an eyewitness of those events;
The place of Turkic literature in world culture.
Turkic-speaking.
Author: Vagif Sultanli
Doctor of Philology, Professor
The Turkic peoples gave humanity many great personalities, and among them many writers and poets. Unfortunately, this contribution to world literature, as well as to other areas of culture, remains unappreciated, and is partly frankly belittled. The famous French orientalist Albert Sorel wrote at the beginning of the 20th century that two things remain undiscovered on Earth: in geography, these are the poles, and in history, the Turks. The poles, as you know, have been open for a long time and have almost been turned into tourist routes, but the situation around the Turks, we have to admit, has changed little. The reason for this is more that Turkology developed almost entirely in Europe and Russia, and some of the Turkologists definitely sinned against scientific truth in favor of the political situation.
History knows many Turkic empires and other large state formations, and all of them were characterized by loyalty to the conquered peoples, the virtual absence of colonial policy in its generally recognized sense. The creation of vast Turkic empires was not, in fact, accompanied by the spread Turkic language and culture. Due to this circumstance, for example, today Turkish language unlike the languages of other former colonial empires, it still has a local distribution area, paradoxically, in fact, it does not even completely cover the territory of the Republic of Turkey.
The campaign of the Xiongnu in Europe in the 3rd century BC contributed to the development of the art of singer-storytellers in this region, and oral Turkic epic literature had a strong impact on the culture of European peoples. The Scandinavian sagas "Great Edda" and "Edda Minor", the German epic "The Song of the Nibelungs", the French lyrical legend "Tristan and Isolde" are very interesting precisely as a product of Turkic oral creativity.
The Turkish literary critic Mehmet Fuat Koprulu wrote: “The Russian scientist Potanin studied the Turkic and Mongolian epic under the name “North Asian epic” as a whole and in his various works, especially in the significant monograph “Oriental themes in the medieval period” published in 1899. European epic"compared them with individual European legends, making an attempt to prove their belonging to the West Asian and European peoples, even the Judeo-Christian Holy Scripture. It follows from this that the original epic motifs in the old folk literature of the Slavs and Finns, Germans, and French go back to the Turko-Mongols; thus, the role of laying the foundations of the epic folk literature created by the Central Asian peoples belongs to the “Xiongnu” of Attila. Indeed, the influence of Attila and the Xiongnu on medieval European epic literature is so great that some historians German literature We compare his role in the epic "Herman" with the role of Agamemnon in the Greek epic. The Russian national epic "Igor's Campaign" ("The Tale of Igor's Campaign"), dating back to the 12th century, is entirely dedicated to the battles between the Russians and the Kypchak Turks. The importance of the Turkic component in this legend, which is also expressed in the presence of many Turkic words, is quite obvious. Similar works of the peoples of South-Eastern Europe - Serbs, Greeks, etc. also bear the stamp of a strong Turkish influence. All that has been said is quite enough to conclude about the almost universal significance of the Turkic epic.
Undoubtedly, the influence of the Turks on world culture is not limited to storytelling, but also extends to written literature. Thus, the influence of the famous epic "Alp er Tonga" ("Afrasiab"), which reflects many features of the Iranian-Turanian wars, is clearly felt in the "Shahnameh" of the great Firdovsi. Later, ancient Turkic stone inscriptions were discovered, which became the object of research and as original form literature.
The well-known Hungarian scholar Laszlo Rasonyi wrote in his book “The Turks in History”: “In 1878, the Regel expedition first drew attention to the ruins of cities in the Takla Makan desert. In 1890, the English officer Bover bought up manuscripts found among the ruins near the city of Kucha and dating back to the 4th century. Soon the attention of the whole world was attracted here. Thanks to Gedin's geographical research, the Russian expeditions of Kozlov, Roborovsky and Oldenburg, the English expeditions of Aurel Stein (1900-1901, 1906-1908, 1913-1916), the Japanese expeditions of Otanif, the French expeditions of Pelliot (1906-1909), the German expeditions of Grunveld (1902) were organized. -1903, 1905-1907) and Le Coq (1904-1906, 1913-1914), whose findings filled the museums of the world. These finds include frescoes, inscriptions and statuettes in the Berlin Museum of Art. Thanks to these works and other sources, we are now able to imagine the Uyghur culture.”
With the advent of Islam, Turkish culture acquired a new content and character. Many Turkic-speaking authors began to write in Arabic and Farsi, making a great contribution to the development of classical oriental literature. The literary views of Khatib Tabrizi (1030-1109), the author of comments on the works of Arabic authors, brought a fresh stream to Eastern aesthetics, becoming the subject of attention in distant Europe. Nasireddin Tusi (1201-1274) with his works in Farsi gave impetus to the development of the theory of poetics for a long time. The great Azerbaijani poet Nizami Ganjavi (1141-1209) opened the new page in the history of world poetry, under his influence in the East, dozens of works of the same name were later created, the most significant of which came from the pen of Amir Khosrov Dehlavi, Abdurrahman Jami and Alishir Navoi. In addition, Johann Wolfgang Goethe, who also experienced the influence of Eastern culture, narrates about Nizami in his "East-Western Divan", and in the poems of J. Boccacho "Ameto", K. Gotsi and F. Schiller - "Princess Turandot" the influence of Nizami's poem is undeniable "Seven Beauties"
The works and the legendary personality of one of the brilliant representatives of the Turkic-Azerbaijani poetry, Imadeddin Nasimi, have long attracted close interest both in the East and in the West, becoming the subject of numerous studies. The work of the great Uzbek-Chagatai poet Alishir Navoi (1441-1501) occupied literary thought in the East for a long time and clearly demonstrated the inexhaustible richness of this language; his work "Collection of Perfections" caused many imitations throughout the East.
The rich heritage of Mohammed Fizuli (1494-1556), the torch of Turkic-language poetry, has been exerting a tremendous influence on the poetic art of the East for more than 5 centuries. The English scholar Gibb called him "the poet of the heart" and "the sun that rose in the East."
Dramatic creativity and reforms in literature and culture in general by the outstanding Azerbaijani thinker Mirza Fatali Akhundov (1812-1878), nicknamed the "Azerbaijani Molière", aroused keen interest in Europe; since the 1880s, the famous French orientalists Barbier de Meynard, Stanislas Guiard, Alphonse Sillier, Lucien Bouvat, Louis Bazin and others presented his individual works to the readers of their country, and then the collected works.
Prominent Azerbaijani scientist XIX century, the founder of the Russian school of oriental studies Mirza Kazembey (Kazembek), who became famous for his studies of oriental culture, during his lifetime became a full and honorary member of the academies of Russia, Great Britain, Denmark, France, the USA, etc. Kazembek's works later played an important role in the study of the East.
The works of the Azerbaijani poet Mirza Shafi Vazeh were translated by the German poet and orientalist Friedrich Bodenstedt under the headings “Songs of Mirza Shafi” (1851) and “From the heritage of Mirza Shafi” (1881), widely distributed throughout Europe, and reprinted more than 150 times in total. However, seeing their popularity, Bodenstedt began to publish them under his own signature, making minor changes.
The achievements of the outstanding Turkish poet of the 20th century, Nazim Hikmet, in the field of free versification increased attention to Turkish poetry throughout the world. The poems of N. Hikmet, who had to spend a significant part of his life in the Soviet Union, have been translated into many European languages. In addition, the works of prominent representatives of Turkish prose and poetry Aziz Nesin, Yashar Kemal, Reshat Nuri, Orhan Kemal and others have gained wide popularity. It should be noted that the recent awarding of the Turkish novelist Orhan Pamuk with the Nobel Prize in Literature was evidence of the recognition of Turkish literature throughout the world.
Dedicated to the events of the period of Azerbaijan Democratic Republic(1918-1920) novel "Ali and Nino" signed by Gurban Said, the authorship of which is still debatable (according to the prevailing point of view, the author of the novel is the Azerbaijani writer Muhammad Asad), translated into all the leading languages \u200b\u200bof the world and still remains among the world's bestsellers .
If we turn briefly to Central Asian literature, we should note the poetic creativity and journalistic activity of a prominent representative Kazakh literature Olzhas Suleimenov, the author of the book “Az and Ya”, which caused a sensation and caused a sharp resonance. And of course, the wonderful Kyrgyz writer Chingiz Aitmatov, whose stories and novels, dedicated to the most burning moral and public issues of our time, have been translated into all the major languages of the world, and some of them are among the most widely read literary works.
Literature
1.Ağaoğlu Əhməd. Üç mədəniyyət. BakI, 2006
2.Aus dem Nachlasse Mirza Shaffus. Berlin, 1881.
3. Bammat Heyder. Qərb mədəniyyətinin inkişafında müsəlmanların rolu. BakI, 1994.
4.Banalı Nihat Sami. Resimli Türk edebiyyatı tarihi, I c. Istanbul, 1987.
5. Caferoglu Ahmet. Turk kavimleri. Ankara, Türk Kültürünü Araştırma Enstitüsü, 1983.
6. Caferoglu Ahmet. Turk dili tarihi. Istanbul, 2000.
7. Die Lieder des Mirza Schaffus. Berlin, 1851.
8. Fridrix Bodensttedt. Mirzə Şəfi haqqında xatirələr (“Şərqdə min bir gün” kitabından). BakI, 1987.
9. Gungor Erol. Tarihte Turkler. Istanbul, 1989.
10. Kabaklı Ahmet. Turk Edebiyyatı, II c. Istanbul, 1994.
11. Kazem Bek Mirza. Selected Works, Baku, 1985.
12. Köprülü M.F. Turk edebiyyatı tarihi. Istanbul, 1986.
13. Laszlo Rasonyi. Tarihte türkler (II ğaskı), Ankara, Türk Kültürünü Araştırma Enstitüsü, 1988.
14. Nevai Alisir. Mecalisun-nefayis. 1995.
15. Russian and European press about Mirza Fatali Akhundov. Comp. S. Tagizade. Baku, 1987
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Turkic-speaking, Turks, Turkic-speaking, Turkic-speaking peoples, history of the Turks, Turkic peoples, Turkestan, Central Asia, Turkic-speaking countries, Tatarstan, Kazan, Ufa, Bashkiria, history of the Turks, Tatars, Uzbekistan, tourism, Tashkent, Bukhara, Khiva, ethnography, Turkic-language library , Turkic literature
"UDMURT STATE UNIVERSITY"
FACULTY OF UDMURT PHILOLOGY
DEPARTMENT OF UDMURT LITERATURE AND LITERATURE OF THE PEOPLES OF RUSSIA
ENTRY PROGRAM
for direction 032700 – Philology
Master of Philology
Literature of the peoples of Russia in a comparative typological study
Program compilers
d. philol. n. T. I. Zaitseva
k. philol. V. L. Shibanov
Izhevsk 2013
Rules for the entrance test
The entrance test to the master's program "Literature of the peoples of Russia in a comparative typological study" in the direction 032700 - Philology is conducted in the form of an interview.
The interview is conducted in order to identify the readiness of the graduate for further education in the magistracy. During the interview, the future undergraduate's knowledge of theoretical and practical material on Udmurt literature and the literatures of the peoples of Russia is assessed. Particular attention is paid to the orientation of the student in literary process Ural-Volga region, logical presentation of the material, knowledge of literary texts.
Persons who have submitted documents to the Admissions Committee of UdSU within the established time limits and in accordance with the rules of admission are allowed to the interview. The interview is conducted orally - discussion of topics and sections, answers to questions in accordance with the presented program.
An applicant's knowledge is evaluated on a 100-point scale.
Program
1. Methodological foundations and methodological principles for studying the literature of the peoples of Russia.
“The Concept of Education in Russian Literature for Schools with Native (Non-Russian) and Russian (Non-Native) Teaching Languages in a Twelve-Year School” (supervisor M.V. Cherkezova). Theory and methods of studying the literature of the peoples of Russia at the university and at school (R.Z. Khairullin, L.I. Klimovich, M.P. Sharapova, A. Shklyaev, etc.). Reflection of the problem of researching national literatures and creativity of national writers in educational and methodological, scientific and critical literature (K. Zelinsky, G. Lomidze, V. Shoshin, Ch. Huseynov, R. Bikmukhametov, P. Borozdina, Yu. Lotman, G. Gachev and etc.). The history of the study of the literatures of the peoples of the USSR in domestic and foreign literary criticism. Five components of modern literary education: native literature, Russian literature, literature of the near abroad (literature of the peoples of the USSR), foreign literature and literature of the peoples of Russia. Difficulties in studying the course "Literature of the peoples of Russia". The program compiled by R. Bikmukhametov, its new version. The problem of searching for a unified approach to solving the issue of the content and structure of the course, recommendations for a multivariate study of the subject. New programs built on the regional principle.
2. Literature of the peoples of Russia as an ideological and aesthetic community
Historical and literary, comparative, typological, systemic, theological and other principles and methods of studying national literatures.
Features and signs of a literary community (R. Bikmukhametov): socio-political, state, cultural unity; community of historical destinies of peoples; sustainable relationships and mutual influences; the presence of a developed intermediary language. The role of the Russian language in uniting the literatures of the peoples of Russia into an ideological and aesthetic community.
Concepts of literature, regional association, world literary process. The presence of a subsystem and inclusion in a system of a higher order: native literature - the literature of the peoples of Russia - world literature.
Classification of literatures, typology of multinational phenomena, dynamics of regional movement, ethnolinguistic factors (bilingualism, multilingualism), characteristics of regions, communities. The emergence of regional communities on a different basis, their differentiation. Linguistic community (East Slavic, Persian-speaking, Turkic-speaking, Mongolian-speaking, Iberian-Caucasian, etc.). Cultural, geographical, religious and other proximity. Two main types of regional communities - regional-geographical and regional-linguistic:
a) - literature of the Volga and Ural regions;
- Literature of Dagestan and the North Caucasus;
- Literature of Altai and Siberia;
- Literature of the peoples of the North and the Far East;
b) - Turkic literature (Altai, Balkar, Bashkir, Kumyk, Nogai, Tatar, Tuva, Khakass, Chuvash, Yakut);
- Finno-Ugric literatures (Karelian, Komi-Permyak, Komi-Zyryan, Mari, Mordovian, Udmurt, Mansi, Khanty);
- Mongolian literature (Buryat, Kalmyk);
- Abkhaz-Adyghe literature (Abaza, Adyghe, Kabardian, Circassian, etc.);
A special position in this process of some other literatures (for example, the Jewish literature of Russia is created in Hebrew, Yiddish, Russian).
The organic entry of the history of Russian literature into the history of literature of pre-revolutionary Russia and the Soviet Union.
3. Comparative studies as a basis for the comparative study of national literatures in the context of world literature.
Comparative historical literary criticism as one of the sections of the history of literature. Typological and genetic essence of literary phenomena, literary connections and influences (contact connections).
Problems of interliterary syntheses and generalities. Factors determining the proximity, commonality, kinship of literatures (territorial proximity, common historical and cultural development of peoples, ethnolinguistic kinship, etc.). Classification of literatures. The concept of "world literature". Correlation of systems: "world literature" - "regional literatures" - "zonal communities of literatures" - "national literatures".
Finno-Ugric Literature in the System of World Literature. Classification of the Ural literatures by Peter Domokosh. Similarities and differences between the Finno-Ugric literatures of Russia (Komi, Komi-Permyak, Udmurt, Mari, Mordovian, Karelian, Mansi, etc.). Periodization by Peter Domokosh.
Significance of the 1960 Debate. Leading researchers and their works (N.I. Konrad, V.V. Zhirmunsky, I.G. Neupokoeva, G.M. Fridlender, G. Gachev, A. Dima, D. Dyurishin; A. Wilmen, J.-J. Ampère, F. Shall and others).
4.
Folklore
–
the oldest form of verbal art
, verbal and aesthetic
cultures of the peoples of Russia.
Folklore way of cognition and reflection of reality. Myths of the peoples of Russia, mythological prehistory of folklore, epic tales, various epic stages (for example, epic of the archaic, heroic type).
The heroic epic is a special artistic work of oral folk art. General and special features epos of the peoples of Russia: "Olonkho" (Yakut.), "Geser" (Buryat.), "Dzhangar" (Kalm.), "Narts" (Northern Caucasus), "Kisekbash-Kitaby" (Tat.), " Kalevala” (Karelian-Finnish) and others. Collectors and researchers of folklore monuments.
Folklore is one of the sources of the formation of national literatures.
Translations of epic works different peoples Russia. Modern processes of preparing texts for publication. Artistic works based on the epic.
5.
Literature of the peoples of the Volga and Urals
as a historical and literary community, the specifics of the development of the Finno-Ugric and Turkic-speaking literatures of the region.
Periodization of the development of national literatures. Multinational interconnectedness.
The specificity of the development of the Finno-Ugric and Turkic-language literatures of the Volga-Ural region. Factors determining the kinship, commonality, closeness of the literatures of the region. Multinational interconnectedness is a constant factor in the formation, formation, and development of the literatures of the region. Geographic distribution of ethnoculture, commonality of processes.
The history of the study of the Volga-Ural literatures in a comparative typological aspect (N.I. Cherapkin, R.G. Bikmukhametov, Peter Domokosh, V.M. Makushkin, K.K. Vasin, F.K. Ermakov, G.V. Belyaev , V. M. Vanyushev, M. F. Pakhomova, G. N. Sandakov, A. A. Vasinkin, T. I. Zaitseva, S. T. Arekeeva, R. Z. Khairullin, M. S. Magdeev , G.M. Khalitov, H.Yu. Minnegulov and others). Western and Eastern traditions in the development of the literature of the region, literary translations.
The role and significance of Russian literature in literary life region.
The specificity of the development of the Kalmyk and German literatures in the context of the national literatures of this community.
“Literature of the peoples of the Volga and Ural regions” is an integral part of the course “Literature of the peoples of Russia”.
6.
Features of the development of the Finno-Ugric literatures of the Volga-Ural region
O
on
Missionary work, enlightenment, bilingualism, development of modern literature, literature of the Soviet period, 1990s. XX century..
Classification and periodization of the Ural literatures by Peter Domokosh. Pre-October origins of the formation of Finno-Ugric literatures: main events, leading writers, literary and social and educational activities (Stefan Permsky, I. Kuratov, K. Zhakov, G. Vereshchagin, I. Mikheev, I. Yakovlev, S. Nurminsky, V. Lukyanov, P. Ruslanov, M. Evseviev, M. Gerasimov and others). The first printed editions folklore basis literary texts, genre identity.
The role of the Russian humanistic culture, creative relationships.
The tragic path of prominent Finno-Ugric writers of the 1920-40s, their role in the formation of the characteristic features of national literature (Kuzebai Gerd, Ashalchi Oki, Kedra Mitrei, V. Savin, V. Chistalev, V. Lytkin, S. Chavain, M Shketan, Y. Yalkayn, A. Zubov, M. Likhachev, Z. Dorofeev, F. Chesnokov, D. Morskoy and others). The problem of progress and regress in literary evolution.
Literature of the thaw period. Change of literary paradigms. The use of democratic forms of construction of works of art. Lyrical direction in the development of the literature of the region. Attention to the individual, the search for new expressive means of psychologization of literature. Creativity of the Sixties (G. Krasilnikov, R. Valishin, F. Vasiliev, N. Rybakov, V. Ivanov, M. Kazakov, V. Kolumb, K. Abramov, I. Devin, N. Erkay, G. Yushkov , I. Toropov, N. Kuratova and others).
Literature 1970-80s Production romance, gains and losses. A contradictory combination of centralization, unification of literature with ethno-literary processes. Genre specificity of the works and moral quest of the hero who asserts himself in work. The concept of man in the literature of these years and the unity of the main type of hero. The problem of "small" motherland. The influence of discussions about realism (1957, 1959), the concept of "national in form, socialist in content" (1957), on the interaction of literatures (1960), etc. on the literary-artistic and literary-critical process region. The clash of the normative approach with the artistic and creative one. Crisis of large prose forms. Poetry as the guardian of the original artistic word (L. Kutyanova, T. Chernova, G. Romanova, A. Ivanova, V. Izilyanov, V. Mishanina and others).
The aggravated sociality of small genres of prose, the study of complex relationships between life processes and spiritual world of the individual. Features of creativity of Russian writers of the region, dialogue of literatures.
Literature of the 1990s New trends in criticism and literary criticism. Artistic and critical pluralism. New names in the literary process. Activation of connections between the Finno-Ugric literatures of Russia and the Finno-Ugric literatures of foreign countries.
Understanding by the Finno-Ugric literatures of the contradictory features of the civilization of the twentieth century, own history peoples, spiritual, moral, ideological evolution of man as a representative of small ethnic groups.
7. Turkic Literature of the Volga-Ural Region - ancient and medieval periods, modern times. Spiritual-religious and secular trends, connection with the literatures of Central Asia and Transcaucasia
Ancient and medieval periods, modern times, literature of the twentieth century. Characteristic features of ancient literature (cosmology, universality of moral principles, chanting of personality, interest in ethnos, ethnic language). Ancient international languages.
The origins of Tatar literature in the culture of the ancient Bulgars. The Great Bulgar State (X-XIII centuries) is a link between Eastern Europe and Western Asia. Literary monuments of the XIII-XIV centuries, their belonging to several literatures. Kul Gali (1189–1236/1240) is the founder of the Bulgaro-Tatar poetry. "The Tale of Yusuf" is a masterpiece of world culture. Kul Gali is a contemporary of Nizami, Rustaveli, the author of The Tale of Igor's Campaign. Upholding humanism, high human values. The Volga Turks and the Golden Horde (“Khusrov and Shirin” by Kutba, “The Book of Love” by Khorezmi; Seif Sarai is the approver of various poetic genres). Nazire reception, the legend of Yusuf and Zuleikha.
Kazan Khanate and its Literature. The work of Mukhamedyar (XVI century), the poems "Gift of Husbands" (1539) and "Light of Hearts" (1542), "Dastan Babakhan" by Sayadi.
Literature of the 17th–18th centuries - strengthening of secular poetry (odes) and the development of religious and mystical literature (connection with Sufism, Mavlya Kuly). Humanistic direction - G. Kandaly (1797-1860).
Missionary work in Kazan, the activities of theological seminaries, the creation of written monuments among neighboring ethnic groups. The value of Russian humanistic culture.
Salavat Yulaev (1752-1800) - Bashkir poet, associate of Pugachev ("Native Country", "Battle", "Young Warrior", etc.)
Enlightenment movement, the development of progressive culture and literature. K. Nasyri (1825-1902) - the creator of the Tatar literary language, propagandist of Russian culture. "The Tale of Avicene", "The Tale of the Viziers". "Khisametdin Menda" by M. Anjigitov and "Thousands, or the Beauty Khadicha" (1887), "Great Sins" by Z. Bigiev (1870–1902) are the first novels in Tatar literature. "The Unfortunate Girl" (1887) by G. Ilyasi is the first Tatar drama. Galiaskar Kamal (1879–1933) is a famous Tatar playwright.
Enlightenment ideas in the work of Bashkir writers. Features of the development of pre-October Bashkir literature. Mazhit Gafuri (1880–1934) is a classic of Bashkir and Tatar literature. Bashkir Sufi poets, "History of Bulgaria" by T. Yalsygulov (1767–1838). The development of poetry - didactic poems and love lyrics by Akmulla (1831-1895), Mukhametsalim Umitbaev (1841-1907).
New Chuvash literature, active work of enlightenment writers I. Yakovlev (1848–1930), M. Fedorov (1848–1904).
The founders of realistic traditions are symbols of national literary renewal: G. Tukay (1886–1913, Tat.), K. Ivanov (1890–1915, Chuv.), S. Kudash (b. 1894). Human concept, structure, poetics. “On Freedom”, “To the People”, “Book”, “Hay Bazaar or New Kisekbash” by G. Tukay; "Narspi" by K. Ivanov. The origins that determine the originality of literature. Eastern classics and Russian literature are the key to the new time, an example of highly artistic, deeply meaningful art of the word.
