Vol 21, No 3 (2024): BREAKING THE CIRCLE: LANGUAGE, LITERATURE, AND ART OF THE TATARS IN INTERCULTURAL DIALOGUES

The beginning of the twentieth century in the Russian Empire is a period of growth of national consciousness. As a result, peoples of different nationalities are forming new views on education, defining their national identity, studying the history of their people and preserving traditions. An important result of such changes was the emergence of a national periodical press. The first organs of the Tatar-language Arabographic periodical press, published in the interrevolutionary period of 1905-1917, played an important role in the formation and further development of the Tatar periodical press and Tatar journalism. The first Tatar newspapers formed the genre, compositional, lexical, grammatical and stylistic structure of the modern Tatar periodical press. This determines the relevance of this scientific article. The purpose of this study is to identify the compositional and linguistic-stylistic characteristics of travel essays as the most popular artistic and journalistic genre found in the texts of Tatar newspapers of the early twentieth century. The research material was the texts of the Tatar newspapers Borkhane Tarakki (1906-1911) and Vakyt (1906-1918). In the course of the work, the descriptive and analytical method was used, as well as the method of continuous sampling of factual material. As a result of the research, it was revealed that the texts of travel essays are a description of the events that the author witnessed. The studied texts are characterized by their documentary and artistic nature. On the one hand, this type of text construction is expressed in journalistic character and the presence of compositional and lexicogrammatical structures, and on the other hand, in the active functioning of means of artistic expression.

This article presents a semantic-syntactic analysis of prepositions / postpositions and conjunctions of the Tatar and Russian languages with the semantics of precedence. The purpose of the study is to determine the peculiarities of the functioning of prepositions/postpositions and conjunctions of differently structured languages involved in the representation of the category of precedence. The work defines a range of prepositions and conjunctions of temporal semantics that realize the meaning under study. The scientific novelty is that the dominant functions of preposition/postposition or conjunction have been identified as non-verbal means of expressing temporality, in particular, the meaning of precedence, in determining the temporal meaning of a statement. The results obtained showed that in both languages the potential of representation by prepositions / postpositions and precedent conjunctions is determined by their compatibility. In both languages, postpositions / prepositions and postpositional words are characterized by high frequency functioning. In both languages, there is a preference for expressing precedence towards the evening time of day, which is logically understandable. The Tatar language also contains postpositional words. The semantics of precedence in time correlates with the semantics of precedence in space, the third additional meaning is proportionality, comparison in size. In the Russian language, prepositions are polysemantic and have an extremely high frequency of functioning, that is, the semantics of precedence is only one of the meanings. They often realize the meaning of the degree of manifestation and many others. In both languages, the semantics of precedence in complex sentences is realized by conjunctive expressions, including postpositions and prepositions of the same semantics. In the Tatar language there are subordinate and welded clauses, but in the Russian language only subordinate clauses are presented.

The Karatai are an ethnographic group of Mordvins, historically living in the KamskoUstinsky district of Tatarstan, whose native language is Tatar. The centuries-old history of this local group is an example of active interethnic interaction in the Volga region. Various aspects of history, material and spiritual culture, and the Karatai language are considered in ethnographic and dialectological literature. Among them are those analyzing hypotheses of the origin of the Karatai, taking into account the obvious Mishar vocabulary of their language; studying the modern area of settlement; features of self-identification. Special attention is paid to the materials of the Mordovian ethnographic expedition, which studied the life and traditions of the Karatai in the 1950s under the guidance of the famous scientist V.N. Belitzer.

In the process of its development, the Tatar language has been in contact with the Arabic language for many centuries and, to one degree or another, has been influenced by it. The result of all this was a fairly large number of borrowings, which, to a certain extent, have long been rooted in the vocabulary of the Tatar language and are not perceived even by the common man in the street as alien. At present, we can say with confidence that in lexical and semantic terms they have been studied thoroughly. At the same time, Arabic-Tatar language contacts, which largely contributed to the formation of the indicated genetic layer of the Tatar language, are still awaiting their scientific understanding in the sociolinguistic aspect. This determines the relevance of this work. Its goal is to study the cultural and historical factors that contributed to the penetration of the Arabic language into the Tatar linguistic area, the social environment of its existence and areas of application in Tatar society in a diachronic aspect. The material used was works on the history of the Tatar people, Tatar literature and the Tatar literary language. In the process of their analysis, methods of sociolinguistic reconstruction and sociolinguistic interpretation were applied. As a result of the study, it was revealed that the formation and development of Arabic-Tatar language contacts was largely facilitated by factors of a religious nature, namely the adoption and practice of Islam by the ancestors of the Tatars. Next, the boundaries of the social environment and spheres of application of the Arabic language in Tatar society were determined. Historically, the first was formed within the community of clergy, scientists and students of religious educational institutions, and the second were religion, education, science and fiction. According to the author, it was within their framework that centuries-old ArabTatar language contacts took place.

The study is devoted to new phenomena in Tatar prose in recent years. Based on the material of the review and analysis of the iconic works of modern Tatar writers, it is established that one of the main patterns of development of Tatar literature is synthetism. It manifests itself in the combination of various stylistic principles in a single structure of the work. An attempt is made to consider the features of synthetism in Tatar literature in stylistic and genre aspects. In particular, in modern Tatar prose, dystopia, by providing a platform for a stylistic reunion of the past and the present or the present and the future, allows writers to search for both universal and national values that form the basis of spirituality. They imagine love and devotion between father and children; historical memory, etc. The combination of a biographical text with a lyric-romantic love story or a realistic one with a philosophical one, which are also common in prose in recent years, testifies Key words: Tatar prose, synthetism, novel, dystopia, novel, short story Article history: received 14.05.2024; accepted 19.06.2024.

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.

The purpose of this study is to identify ethnopoetic markers in a translingual literary text. A translingual text is a text created by an author in a language that is not his or her native language and that transmits fragments of the author’s original culture. By ethnopoetic markers we mean such elements of the text that 1) are transferred into the fabric of the Russian-language text and have an exophonic sound, therefore, are semantically lacunary for the reader and require expansion; 2) are neutral from the point of view of the translator language, but reproduce foreign images of the world. The material for the study was selected poems by the Tatar poetess Albina Absalyamova. In the course of the work, it was possible to establish that the category of translingual text as a scientific problem is closely intertwined with the epistemological fields of ethnoand geopoetics.

The relevance of the study is explained by the growing interest in the problems of translation from national languages in modern Russia. The level of translation depends primarily on the translator’s understanding of the cultural features of the nation the author belongs to. The research is based on Tatar poets’ poems of the late 20th - early 21st century and their translations into Russian. The study is aimed at determining the means of adequate conveying of the Tatar poets’ ethnic identity through different layers of the text (lexis, syntax, rhythmic organization, etc.). Different techniques of concretization of texts of original works in the process of inter-literary dialogue used by translators are described in the course of the conducted research. It is emphasized that the transformation of “alien” text into “foreign” in the process of translation is accompanied by an increase in the emotional background of the poems, which is generally related to the focus on the Russian-speaking reader, as well as with the stylistic peculiarities of the Russian language. First, identity is revealed, as a clash between two systems of poetic texts and in phenomena reflecting the contrast between them: semantic interference arising during perception of the original work, untranslatability. It is stated that in translations of bilingual poets, unlike translations of Russianspeaking authors, identity is not lost in the sign of memory, but acquires a new form in the signs of translating language.

The process of formation of the Tatar theater was associated with both the formation of national drama and the development of Russian and foreign classics. The Tatar Theater turned to world drama from the first years of its existence. It was an important school of directing and acting, contributed to the expansion of cultural horizons, the formation of professional skills and artistic taste of the young Tatar theater figures. Depending on the nature of the era, the director's preferences and the characteristics of the troupe, the plays of foreign playwrights emphasized social sound, heroic or romantic beginnings, psychologism or the universal nature of human relations. And although the main emphasis in the Tatar theater has always been on national drama, plays by foreign classics have always been included in its repertoire. The article examines the peculiarities of the Tatar theater's reception of the legacy of Shakespeare Moliere and Schiller at different stages of its development.

The article discusses the issues of mutual influence of European and Asian artistic traditions important for the formation and development of the Tatar national fine art on the example of the work of its founder Baki Idrisovich Urmanche (1897-1990). Ways and means of overcoming the religious ban on the depiction of man and animals are revealed. The religious ban strictly observed by some Muslim peoples of Russia, including the Tatars, restricted the development of their artistic culture. Russian avant-garde is noted for its role in understanding the importance of Oriental artistic traditions for the development of Russian art in general, for B.I. Urmanche and Tatar art in particular. The author analyzes several graphic series created by B.I. Urmanche mainly in the last Kazan period of life (1958-1990), representing interpretations of landscape, Tatar ornament, theatrical masks, illustrations to the works of outstanding Tatar writers and poets of the early twentieth century. (G. Tukai, Deardmand). The author shows how B.I. Urmanche expresses his artistic individuality in graphics, searches for the national character of art, combines Western European visual traditions, techniques of Oriental miniature painting, Chinese Guohua painting, Arabic calligraphy and the ornamental system of Tatar decorative art.

The jinn as a mythological character, whose roots go back to the Muslim tradition, is widely spread in the culture of the peoples professing Islam, and does not lose its relevance to this day. This article examines the models of the relationship between jinn and humans in Turkish and Tatar culture in the aspect of the neighborhood category. Main tasks: to summarize the available representative material about jinn in Turkish and Tatar folklore, to compare a set of ideas about the main characteristics of the jinn in both cultures, to consider the practice of relationships between jinn and humans. As a result of the conducted research, it was revealed that the models of relationships between representatives of people and their invisible neighbors in Turkish and Tatar culture are largely based on similar semantic elements: jinns are omnipresent, easily violate borders and penetrate into the human world, harm people, which leads to the emergence of a system of prohibitions and ritual practices that echo sociocultural models of communication in society. However, the degree of regulation of behavior between djinn and humans has its own national specifics in each culture under consideration.

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