Gotowa bibliografia na temat „Tatar Historical fiction”

The article presents an attempt to conduct a systematical study of the typology of female images in the works of Naki Isanbet, the Tatar scholar-encyclopedist, folklorist, critic, and classic of Tatar literature (1899–1992). Published and unpublished sources were used as the research material. Fiction, journalistic, and scientific texts of N. Isanbet have been analysed using the method of semantic analysis, historical and cultural, comparative methods. The author proves that the ideal of a woman of the Enlightenment epoch, i.e. the “mother of the nation”, dominates in the legacy of the scholar who was the classic of the Tatar literature as well. The images of a devoted spouse, a wise mother, a “mother of the nation” can be encountered in his works. The writer defends the ideas of equality of women and men, women’s active participation in public life, etc. in his works of fiction written in various genres throughout the twentieth century. The poetics of female images depends on the requirements of the genre. When developing the images, the writer relies on the traditions of the Tatar folklore and oriental poetry. In his creative legacy, the encyclopedic scholar immortalised dozens of names of the female contemporaries who made a significant contribution to the history of the Tatar people – teachers, actresses, writers, translators, public figures, etc.

The paper discusses the development of ethnic fiction in the modern Russian literature, focusing on Shamil Idiatullin's 2020 novel “Poslednee vremja”. We show that the tendency towards switching from ethnic to regionalist agenda can be observed in the works by both Russian authors, such as Denis Osokin and Alexei Ivanov, and authors having a non-Russian ethnic identity, such as the Tatar novelists Guzel Yakhina and Shamil Idiatullin. We adopt an interdisciplinary approach, bringing together techniques from literary studies (analysis of the genre and the literary situation as well as the historical and cultural context) and linguistics (an etymological analysis of proper names, in the first place). Our commentary on various linguistic, historical and cultural aspects puts Idiatullin»s novel into the discourse of the contemporary ethnic fiction as a text that expresses the positions of both the Conquerors and the Conquered. The analysis of personal names and other words of non-Russian origin that are used in the Russian text allows to identify the fictional ethnic groups with the actual peoples of the Volga-Kama region and places the novel within a present-day context. One of the key themes of “Poslednee vremja” is language loss, and some scenes, such as the self-immolation of the pagan priest Arβuj-Kuγə̑za, make a clear reference to the contemporary history of the region. The novel»s title can be translated as both “End times” and “These times”; thus, it includes simultaneously an apocalyptic allusion and a hint to the events of the recent past.

In this article, Paulina Wójcikowska-Wantuch analyzes the presence of postcolonial discourse in A Volga Tale, a novel by Guzel Yakhina, a Russian author of Tatar origin, whose fiction is concerned with themes of history and identity. Yakhina focuses on the tragic events of the Soviet period shown from the perspective of a single person and her fictions represent the post-memory trend in literature. She stresses the cultural and linguistic distinctness of the German minority, which ultimately fell victim to Stalin’s imperialistic policy. Yakhina exposes the destructive mechanisms of the imperial power, but refrains from unambiguous assessments of historical reality. She focuses on the problem of responsibility for one’s neighbors, emphasizing the importance of the characters’ individual choices. In the light of the ethical issues raised in the novel, the problem of national identity is of secondary importance. In connection with the above, A Volga Tale and also other novels by Yakhina elude any unambiguous assignment to postcolonial literature.

В статье рассматриваются проблемы сохранения сибирскими татарами родного языка на современном этапе исторического развития. В кратком обзоре представлены этапы изучения сибирскотатарского языка от начала XIX до начала XXI в. На основе общеизвестных источников и литературы показано, что этноним татары, которым называются разные по происхождению этнические общности Поволжья, Приуралья и Западной Сибири, является псевдоэтнонимом. Он был введён в качестве самоназвания поволжских тюрок казанским мусульманским просветителем Ш. Марджани, а в советское время стал точкой опоры для создания нового литературного языка и включения его в образовательные программы всех «татарских» школ Советского союза. При этом не учитывалось, что сибирские татары являются самостоятельным этносом, со своими уникальными языком и культурой. Основным выводом статьи является утверждение, что сегодня сибирские татары поставлены перед непростым выбором – сохранить или потерять родной язык. Сохранения языка на уровне семьи явно недостаточно. Поэтому необходимо его преподавание в школах, пропаганда в средствах массовой информации, выпуск художественной литературы на нём. Первые методические наработки в виде граматики, фонетики, графики, словарей, а также литературные произведения уже имеются. Можно вводить изучение сибирскотатарскоко языка факультативно в национальных школах и на специальных курсах при городских Центрах сибирскотатарской культуры. В настоящее время работа по сохранению сибирскотатарского языка и культуры проводится только энтузиастами. Поддержки на уровне администрации она не получает. Опираясь на старые, проверенные временем программы и методические разработки по татарскому языку и литературе, руководители органов управления образованием не видят необходимости для перехода на изучение сибирскотатарского языка и развивающейся сибирскотатарской литературы. На наш взгляд, дальнейшее игнорирование существующей проблемы повлечёт за собой усиление маргинализации сибирских татар Тюменской области и постепенной утрате ими самоидентификации. The article deals with the problems of preservation of their native language by the Siberian Tatars at the present stage of historical development. The brief overview presents the stages of studying the Siberian Tatar language from the beginning of the 19th century to the beginning of the 21st century. Based on commonly known sources and literature, it is shown that the ethnonym Tatars, which refers to ethnic communities of different origins in the Volga region, the Urals and Western Siberia, is a pseudo-ethnonym. It was introduced as the self-name of the Volga Turks by the Kazan Muslim educator Sh. Mardzhani, and in Soviet times it became a fulcrum for the creation of a new literary language and its inclusion in the educational programs of all “Tatar” schools of the Soviet Union. At the same time, it was not taken into account that Siberian Tatars are an independent ethnic group, with their own unique language and culture. The main conclusion of the article is that today Siberian Tatars face a difficult choice – to keep or to lose their native language. Preserving the language at the family level is clearly not enough. Therefore, it is necessary to teach it in schools, propagate it in the media, and publish fiction in it. The first methodological developments in the form of grammar, phonetics, graphics, dictionaries, as well as literary works are already available. It is possible to introduce the study of the Siberian Tatar language as an option in national schools and in special courses at the city Centers of Siberian Tatar culture. At present, the work to preserve the Siberian Tatar language and culture is carried out only by enthusiasts. It does not receive support at the administration level. Relying on the old, time-tested programs and methodological developments in the Tatar language and literature, the heads of education authorities do not see the need for studying the Siberian Tatar language and developing Siberian Tatar literature. In our opinion, further ignoring of the existing problem will entail increased marginalization of the Siberian Tatars of the Tyumen region and their gradual loss of self-identification.

The article analyzes the functioning specifics of literary and artistic anthroponyms in the novel "Blue Waters" by V. Rutkivskyi and in the story "The Adventures of the Thrice Glorious Robber Pinti" by O. Gavrosh. It has been found that the proper name of the character in fiction text can is one of the aspects of the realization of the author’s position in the work, which makes it possible to depict historical events through the prism of the lives of the main characters, to comprehend the general in the specific, to highlight actual personal meanings. The historical novel highlights the representation of three cultural worlds: the Lithuanian-Ruthenian, the Tatar, and the borderlands between these worlds. The names of historical figures are used to introduce the reader to the temporal context of the work. Anthroponyms denoting wanderers illustrate the tradition of creating nicknames for Zaporozhian Cossacks. The appellative designating a title, social status or a military rank is important among the literary anthroponymicon of the Tatars. The main children’s anthropocenters of the novel have an affectionate form of names, it indicates the age of these characters and the author’s favorable attitude towards them. The author ot the article has studied that historical biographical story about the adventures of the robber Pinti is characterized by folklore stylization, it also has influence on the selection of literary anthroponyms. Nominations for designation of opryshky reflect the transition from one state (rural life) to another (robbery life) and indicate the characterological traits of a person. The proper names of lords and other status officials are emotional and evaluative literary anthroponyms. The context helps to recognize the ironic coloring of the anthroponym. The form of the name can indicate the national origin of the character. It has been observed that there are quite a few zoonyms in the works, in particular, those animals have nicknames which are directly related to the main characters of the works and carry some semantic load for the development of the action. The article determines that the main function of literary anthroponyms in the analyzed historical texts for children and youth is the creation of an appropriate temporal, spatial, cultural and social context, in addition, they can express an evaluative connotation depending on the author’s intention.

One of the most important indicators of the adaptation of Turkic borrowing in English is their allocation in different dictionaries of English (explanatory, etymological, phraselogical), as well as their use in different works of fiction. Linguistic contacts manifest themselves in the interaction of linguistic, cultural and historical factors and represent an essential process in intercultural communication. Turkic lexical elements, actively used in various languages as a language mechanism, require special attention. A comparison of different languages shows that borrowing is a universal fact of language, the linguistic essence of which allows to determine the absolute or relative chronology of their entry into the system of different languages. Turkisms closely related to the lexico-semantic system of the recipient language expands the body of language units of English and other languages, indicating the paths of penetration and the degree of adaptation. This takes into account the patterns of lexical and phonetic potential of the language. Turkic borrowing includes not only Turkic words, but also lexical elements of Arabic and Mongolian, Persian, Tatar, Uzbek, Kazakh origin, which have penetrated English through many Turkic languages and have been reflected in English lexicographic sources. Turkism thus refers to words included in English from Turkic languages or through Turkic languages regardless of the source of the mutual relationship, i.e. words having a Turkic stage in their history.

This article is devoted to the process of formation and activities carried out by literary organizations that existed in the 20s of the XX century. The purpose of the study is to consider the trends of formation and some aspects of the activities carried out by literary and creative organizations in the 20s of the XX century in the territory of the Tatar ASSR. This period is characterized by creation of many literary organizations, as well as uniting writers and theater workers in associations, which becomes a prerequisite for the formation of a single literary organization. Materials and methods. The methodological foundation for examining the subject of research is made by the principles of historicism and historical reconstruction, as well as the descriptive-narrative method. Based on the results of analysis of archival documents and published sources, the article reflects: the history of creation and some aspects of the activities carried out by literary organizations of the TASSR in the context of socio-cultural policy in the 20s of the XX century. The research materials made it possible to supplement the existing source base and can be used when writing scientific papers and preserving the historical and cultural heritage of the region. Study results. The article presents information about the activities of some literary organizations of the 20s of the XX century. The analysis of their activities showed that literary organizations were very active in their desire to reinforce proletarian culture. Conclusions. The association of writers and artists is considered as a necessary trend in the conditions of a new ideological paradigm evolvement, as the foundation of their professional, cultural, political identification in the new historical realities. Writers’ organizations of the 20s of the XX century contributed to preservation of literary heritage and gave impetus to the development of fiction in the Soviet period. In the early 30s of the XX century, a movement aimed at creating a unified literary organization was set out and intensified.

The formation of the Soviet image of the past in the context of the doctrine of «our great ancestors» was extended not only to historiography, fiction and journalism. A special place was occupied by cinema. The Bolsheviks were very early realized the tremendous role of cinema as a means of influencing mass culture. With the help of cinema, the party leadership sought to form a «true» view of reality, thereby educating people in the spirit of «communism and internationalism». Founded in the early 30’s oftheXX century. the genre of historical cinema, became the basis of all Soviet cinema. Rejecting the leading role of the «masses» in the tapes, bolsheviks turn to the biography of outstanding and «progressive» historical personalities, first of all, rulers and generals. Throughout the period of existence of Soviet cinema, the historical biographies of Alexander Nevsky, Ivan the Terrible, Peter I, Michael Kutuzov, Alexander Suvorov and others were filmed. The most important document of the memory of Danylo Romanovich in the era of Soviet patriotism was the film of Ukrainian director Yaroslav Lupiya – «Danylo – Prince Galician». The Film was created in 1987 at the Odessa Film Studio named after O. Dovzhenko. Before us is a work that was supposed to create a stable image of Prince Danylo Halytsky in the consciousness of Ukrainian society. The image is dictated «from above». The ecranisation of Danylo Romanovych requires a detailed study of not only the history of the film, but also the reception of the ruler in the Soviet image. This will allow us to trace and analyze the struggle for the appropriation and stylization of the image in detail, as well as contradictory directions in forming the concept of the «Soviet patriot» of Danylo Halytsky. The figure of King Danylo as well as the political history of the Galician-Volyn was state remained unknown to a wide cinema. In the official historical discourse of the USSR, the image of Danylo Romanovych was used very carefully and only where «party» leadership needed it. Despite the growing interest in the history of Kievan Rus in the cinema, Danylo’s film adaptation resembled his «popularity» in the scientific literature of that time. Certain changes occurred only during the Perestroika period. The directorate of the Odessa film studio named after O.Dovzhenko was interested in the history of the medieval past of Ukraine. Here the Ukrainian director Yaroslav Lupi created his picture «Danylo – Prince Galitsky». The film is considered to be the banner of publicity. The tape appeals to the heroic Ukrainian past of the times of Kyivan Rus and Galicia-Volyn state, which became the shield of Europe against the Mongol-Tatar invasion. On the posters devoted to the premiere of the film, it was indicated that the tape glorifi the famous Ukrainian prince Danylo Halytsky. However, we have doubts about the screen image of the key hero of the Western Ukrainian myth. What was the real stylization of the image of the Old Russian ruler in the eponymous painting that had so long been in the «shadow» of the Soviet historical culture? Keywords: thesoviet image, soviet historical culture, wide cinema, ecranisation of King Danylo Romanovych, historical discourse

In the literature on the issue, the ethnikon Dagestan is traditionally used, which is interpreted as an ethnonym identified with the highlanders of Dagestan. However, the languages of the latter were called Dagestanian only beginning with the second half of the twentieth century. This calls into question the historical subjectivity of the Kumyks who were traditionally called “Dagestan Tatars” as far back as in the 19th century. That is what they are called, along with the Dagestan highlanders-Lezgins, in the “Notes from the House of the Dead” by Fyodor Dostoevsky. Kumyks, under the name of “Tatars”, are also mentioned later - in Leo Tolstoy’s story “The Prisoner of the Caucasus”. A very significant fact is not only the images of the Kumyks in Russian fiction of the time under consideration, but also their historical prototypes’ fame, established by K. Aliyev. These works of fiction include A. Pushkin’s sketches and the plan of the “Romance on the Caucasian Waters” (1831), published in 1881, whose plot was connected with Shah-Vali, the son of Shamkhal of Tarkovsky Mehdi II. Crimea-shamkhal Ummalat-bek Buynaksky, an associate of the first Imam Gazi-Muhammad, was the prototype of the protagonist in A. BestuzhevMarlinsky’s story “Ammalat-Bek”. Bela is also considered to be a Kumychka who, together with her brother Azamat, belongs to the central images of M. Lermontov’s story of the same name. K. Aliyev found the Kumyk prototypes of some participants in the battle, to which M. Lermontov dedicated his poem “Valerik” (1842). We also draw attention to the Kumyk prototype of Colonel Khasanov, one of the characters in Leo Tolstoy’s story “The Raid. A Volunteer’s Story”.

The forgotten work and life of Paulin Święcicki (1841–1876), a writer from Kiev region and active in Galicia, represents a rare, authentic example of Polish‑Ukrainian cultural border. His debut work entitled 'Przed laty. Powieść ukraińska' (1865), despite being an artistic failure, is an interesting link between the heritage of the Romantic 'Ukrainian School' and the historical vision of Polish Borderlands in With fire and sword by Henryk Sienkiewicz. The creation of the 17th‑century reality of Ukrainian grasslands (noble, rural and Cossack existence), battle scenes (fights against the Tatars), romantic‑melodramatic plot – these are all adapted to a unique Ukrainian (not Polish‑centred) perspective. Święcicki’s ‘ukrainism’ is a portrait of Cossack heroism, a picture of enslaving the Ukrainian nation, and a picturesque description of local stories. The eclectic character of the work, which is nostalgically contemplative and in romantic style, as well as journalistically engaged, has an impact on its incoherence, but also makes it original against the background of the Sarmatian‑borderland fiction of those days.