DOI: 10.7256/2454-0749.2021.7.36067

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

DOI: 10.25136/1339-3057.2020.4.32886

Abstract: This work examines the little-known facts from the life and creative heritage of one of most reputable Crimean Tatar populist poets of the XX century Hasan Chergeyev. For revealing the semantic and linguiso-stylistic peculiarities of his works, namely of the poems “Listen to What the Dead Man Says!” (“Eşit, mevta ne sevleyur!”, 1909) and “Fate” (“Taqdir”, 1917), the author carries out comparative typological, semiotic and textological analysis of the original texts. The strategic approaches towards depicting the authentic, dramatic episodes from life of the people and the clergy employed by the poet are analyzed. The phenomenon of the impact of the idea, theme and storyline upon the structure of his poems is revealed. Lateral thinking, specially selected methods for representation of life material turn the lyrist's poetic works into living canvases. They reflect the depth of inner emotional experiences of the title characters, reveal the natural flavor of ethnic language, and demonstrate the energy, power of his style. At the same time, the article outlines the prospects for studying publicistic activity during the prewar and wartime within the Crimean Tatar Soviet periodicals.

DOI: 10.25136/1339-3057.2020.3.32246

Abstract: The goal of this work is determine the peculiarities and origins of artistic thinking of the Crimean Tatar writer of the XX century Mehmet Nuzhet. The methodological and theoretical framework of this research is comprised of the works of U. Ipchi, E. Shemizade, J. Bekirov, A. Altanly, I. Kerimov, Y. Kandymov and others. The aforementioned authors made an indisputable contribution to the development of Crimean Tatar literature and literary criticism. The artistic heritage of M. Nuzhet is diverse and unique. His poetic, prosaic and translation works are fused with national spirit. The actions and feelings of the protagonists of the artist’s lyrical works are a direct reflection of his psychological state. This article pays special attention to the psychological type of the lyricist. Using comparative, textual analysis, the author examines the published and original handwritten texts by M. Nuzhet. The conclusion is made that the writer systematically worked on the study of the depth feelings, emotions and ways their expression. The application of traditional folk poetic forms, genres, images allows creating the new patterns of influence upon the audience. Conveying the eternal anthropological topics, he transforms into a wise folk storyteller and preacher. For depicting the life realities, he disguises an old poor man or a street drunkard. Poetic alliterations and assonances enliven these images. In the process of declamation of such poems, the audience is captivated by the text and uses various mimic emotions intended by the context.

DOI: 10.25136/2409-8698.2020.1.32230

Abstract:   The goal of this article consists in determination of peculiarities and origins of artistic thinking of the Crimean Tatar writer of the XX century M. Nuzhet. Methodological and theoretical basis of the research is comprised of the works of U. Ipchi, E. Shemizade, J. Bekirov, A. Altanly, I. Kerimov, Y. Kandymov, and others. The aforementioned authors made an indisputable contribution to the development of Crimean Tatar literature and literary criticism. The creative heritage of M. Nuzhet is versatile and peculiar. His poetic, prosaic and translation works are fused with national spirit. The actions and feelings of the central characters of the artist’s lyrical works directly reflect his psychological state. Special attention is given to the psychological type of the lyricist. Comparative and textual analysis allow viewing the published and original manuscripts of M. Nuzhet. It is established that the writer systematically worked on studying feelings, emotions and ways of their expression. Using the traditional folk poetic forms, genres and images, he creates new patterns for affecting the audience. Speaking of the eternal anthropological topics, he transforms into a wise folk storyteller and preacher. For depicting the everyday reality, the writer assumes the masks of an old beggar or street drunkard. The poetic alliterations and assonances enliven the poet’s images even more. In the process of declamation of such poems, the audience actively uses various mimic emotions anticipated by the context.