“Genre Memory” as a Category of Comparative Poetics (Based on Elegy in Russian and Tatar Literature of the 2nd half of the 20th - 21st centuries)

The article considers the “genre memory” as a theoretical notion on the material of elegy established in Russian literature in the 2nd half of the 20th - 21st centuries (A. Dragomoschenko, B. Popov, S. Gandlevsky) and in the works of modern Tatar poets F. Safin, G. Morat, R. Zaidulla. The study is aimed at considering the elegiac poetry in national literature in the context of “genre memory”. The author concludes that the appeal to multilingual elegy provides an opportunity to examine the genre category of “memory” not only through the achievements of historical poetics, but also in the scientific discourse of comparative studies, in particular comparative poetics. It is stated that the elegy in the lyrics of A. Dragomoschenko and B. Popov loses its genre identity and acquires an ironic beginning. In Dragomoshchenko’s “Elegy the Second in a Row,” changes in poetics are marked by going beyond the usual syllabic structure of the poem, turning to a completely different “logic of writing”. Special attention is paid to intertextuality. It is concluded that intertextuality in the elegiac poetry of modern Tatar authors has nuances in contrast to the attention to the “foreign” word that has developed in Russian literature. An appeal to the “alien” texts in elegies by F. Safin, R. Zaidulla, G. Morat does not lead to irony, but on the contrary, it takes the reader back to the traditional images of national poetry and folklore, strengthens the “Tatar sound” in the genre, and highlights features of originality (for instance, in the elegy of G. Morat there are images of Sak and Sok, in the poem by F. Safin Sabantui holiday is mentioned). On the other hand, this technique is a transformation factor of the “memory” elegiac genre, which manifests itself in its gradual convergence with other forms and discourses in literature.