Academic literature on the topic 'Adygei Folk literature'

The collaborative team of the authors of the Adyghe State University created a folklore subcorpus of the Adyghe linguistic corpus, comprising more than 3000 words and word combinations drawn from archival sources and expeditionary materials recorded in the Republic of Adyghea and among the Circassians of Turkey. The Adyghe ritual incantations used in various ritual situations, weddings, and clan and family festivals, have been compiled into a separate collection. Here we consider two poetic forms of musically intoned and non- toned genres of the ritual folklore of the Adyghes: dzhegoklo tepch”ekher “ritual incantations of dzheguako” and dzheguako kladzhekher “extemporaneous invocation of dzheguako.” The formulas of ritual incantations are found to feature at least five thematic clichés. The invocations are systematized according to several criteria: by the addressee, semantic content, and structure (verbal and musical) by the concordance with the folk tune. The paper describes the subethnic differences in using invocations and their names. The semantic and construction formulas are identified, allowing non-intonated and musical-poetic exclamations to be transmitted to a new generation. The materials of the folklore sub-corpus of the linguistic corpus of the Adyghe language allowed new terms and concepts to be introduced into folklore studies: tepch”ekher “ritual incantation, ritual appeal to participants of the ceremony”; kladzhekher “improvisational invocations and appeals”; kledzheguakh’ “final coda of wedding ceremony”; k1ekuuakh’ (Bzhedughe, literally: “accompany with shouts”) “short rhythmic verbal cues, humorous remarks.” High ideals of traditional culture, especially the etiquette norms of interaction in the society, manifest themselves through dzhegoklo tepch”ekher and kladzhekher.

Taking into account the fact that most of the Adygeans live in the countries of the Middle East, we elect to consider the rural prose of the Adygeyan writers who lived in the former USSR. This allows us to see the typological convergence of the literature of the Adygs and other peoples living on the territory of the Soviet Union, placing emphasis on the ways in which their interethnic relations arise. Maintaining the deep folk traditions, imprinted on the pages of Adyghe village prose works, is seen by us as a source of enhancing the stability of modern society.

В статье предпринимается попытка установить процесс выделения лирики как рода словесного искусства, когда оно еще находилось в стадии начального синкретизма. Устанавливаются как особенности этнической словесной культуры, так и общие закономерности эволюции родов, видов и жанров фольклора и литературы. Рассмотренный материал позволяет предположить, что первоначальным было разделение на драму и эпос, а на относительно более поздней стадии произошло формирование лирики как явления, черпающего конкретный материал из произведений эпических и драматургических. Важным источником является также ситуативный контекст, богатый источниками, стимулирующими эмоциональную сферу. Катализатором процесса является эволюция общественного сознания, что приводит к поискам гармонии между интересами личности и этнического сообщества. Характерной особенностью является то, что обращение к внутреннему миру человека не разрушает коллективное сознание, а, напротив, вызывает интерес к духовной стороне каждого человека со стороны коллектива. The paper attempts to establish the process of distinguishing lyrics as a kind of verbal art when it was still at the stage of initial syncretism. Both the peculiarities of ethnic verbal culture and the general patterns of evolution of genera, types and genres of folklore and literature are established. The material considered suggests that the division into drama and epic was the initial one, and at a relatively later stage, the formation of lyrics as a phenomenon that draws specific material from epic and dramatic works took place. An important source is also the situational context, rich in sources that stimulate the emotional sphere. The catalyst of the process is the evolution of social consciousness, which leads to the search for harmony between the interests of the individual and the ethnic community. A characteristic feature is that the appeal to the inner world of a person does not destroy the collective consciousness, but, on the contrary, arouses interest in the spiritual side of each person from the collective.

В статье рассматривается сложная проблема национального своеобразия литературы, которая, будучи явлением историческим, всегда остается актуальной. Понятия национального и интернационального, национальной самобытности и творческой индивидуальности писателя периодически становятся предметом дискуссий литературоведов, критиков и философов. В данной работе акцентируется внимание на концепциях, в которых, подчиняясь идеологии большевиков, преуменьшалось значение национального в литературе. Утверждается, что национальное и интернациональное в известной мере находятся в диалектическом единстве, несмотря на то, что имеют различные методы отражения действительности. Национальное своеобразие проявляется как в форме, так и в содержании художественного произведения. Опыт исследования адыгских литератур приводит авторов к тому, что для выявления национального нужно учесть особенности художественного менталитета, традиции народа, религиозные, философские воззрения, этикет, народную педагогику. Отдельное внимание уделяется оригинальным образам и языковым средствам, которые особенно ярко проявились в творчестве Тембота Керашева, Алима Кешокова, Мухадина Бемурзова, Хабаса Бештокова. В заключении делается вывод о том, что степень развития в литературе национального своеобразия является одним из показателей идентичности народа, а также отражением ментальности этноса. В исследовании применен ряд общенаучных методов – наблюдение, анализ, сравнение, а также культурно-исторический, историко-генетический, структурно-семиотический методы. Полученные результаты могут быть применены при разработке спецкурсов, программ вузов и средних специализированных и общеобразовательных учреждений, а также в изучении вопросов, касающихся национальной самобытности адыгских (адыгейской, кабардинской, черкесской, черкесского зарубежья) литератур. Они могут стать подспорьем при создании истории многонациональной литературы РФ. The article examines the complex problem of the national identity of literature, which, being a historical phenomenon, always remains relevant. The concepts of national and international, national identity and creative individuality of the writer periodically become the subject of discussions among literary scholars, critics and philosophers. This work focuses on concepts in which, subordinate to the ideology of the Bolsheviks, the importance of the national in literature was downplayed. It is argued that the national and international are to a certain extent in dialectical unity, despite the fact that they have different methods of reflecting reality. National identity is manifested both in the form and content of a work of art. The experience of studying Adyghe literature leads the authors to the conclusion that in order to identify the national one, it is necessary to take into account the peculiarities of the artistic mentality, traditions of the people, religious and philosophical views, etiquette, and folk pedagogy. Special attention is paid to original images and linguistic means, which were especially clearly manifested in the works of Tembot Kerashev, Alim Keshokov, Mukhadin Bemurzov, Khabas Beshtokov. In conclusion, it is concluded that the degree of development of national identity in literature is one of the indicators of the identity of the people, as well as a reflection of the mentality of the ethnic group. The study used a number of general scientific methods - observation, analysis, comparison, as well as cultural-historical, historical-genetic, structural-semiotic methods. The results obtained can be applied in the development of special courses, programs for universities and secondary specialized and general educational institutions, as well as in the study of issues relating to the national identity of Adyghe (Adyghe, Kabardian, Circassian, Circassian abroad) literatures. They can become a help in creating the history of multinational literature of the Russian Federation.

The subject of the study are proverbs and sayings of the Kabardino-Circassian language with components of color designation. The paper reveals the specifics and patterns of the use of color words in the context of paremias, analyzes the structural-semantic, text-forming (phraseological) features of color nominations. The words naming the color make up a special lexico-semantic group. Their study is very important both theoretically and practically. Being a component of a stable phrase or a stable combination, they reflect the psychology and worldview of the people in a special way, it is a valuable source of information about the culture and mentality of the people. Being compressed in their form, proverbs and sayings represent not only a system of moral and ethical norms, but also contain the sum of knowledge about the external order of things and the inner world of a person. In the Adyghe paroemias, the circle of cultural concepts that can be considered nuclear for folk spiritual culture is revealed. And in this context, color designations can carry the burden of transmitting the normative and value orientations of an ethnic group, show the main stereotypes of human behavior. The main conclusions of the conducted research are as follows: the color meanings of the Adyghe language, expressed mainly by adjectives, in this case Fiyce 'black' and huzh 'white', in paremiology can be considered a point of intersection of the interests of philology (linguistics, folklore studies, history of Adyghe literature), ethnopsychology, cultural studies, ethics, political science, philosophy. However, the color lexemes in proverbs and sayings, represented not only by adjectives, but also by nouns, verbs, adverbs, have not yet been the object of special study. The need for such a study is determined by the fact that color nominations in the figurative system of proverbs and sayings as special folklore microtexts occupy a very significant place, performing an important semantic and emotionally expressive load. In addition, native speakers of the modern Adyghe language often do not realize the original meaning of many paroemias.

The article is an attempt to “re-read and rethink” the novels of Russian-speaking Kabardian writer M. Elberd “Terrible way to Oshkhamakho” and “Look for where you didn’t hide” at the level of modern literary experience. The authors focus on the complex, multifaceted interweaving of a single, essentially self-national and Russian-language literary process. This approach allows us to see new facets of artistic and sociocultural interrelations in the evolution of novel thinking. The particular interest of the Russian-language novel in history is connected with the important problem of how people choose their own destiny. The most important criterion in the North Caucasian Russian-speaking Romanticism remains the widespread world perception of the people: this circumstance emphasizes the importance of the orientation of Kabardian literature of the 80s of the 20th century to folk mythology, Adyg etiquette, the cycle of legends about Zhabagi Kazanoko, enlightenment, creativity of the classics of Kabardian literature Ali Shogentsukov and A. Keshokov. The article uses an integrated approach. It combines elements of typological, systemic-holistic and historical-literary analysis. The research methods are structural-analytical, synchronous-comparative, hermeneutic.

На материале переводов стихотворений выдающегося адыгского поэта Н. Ю. Куёка (Нальби), выполненных Юрием Кузнецовым, ставится вопрос о творческом методе, объединившем этих двух гениев. Оспаривается идея причислить Нальби к авангардному искусству, Ю. Кузнецова – к модернизму или постмодерну. Плодотворное сотрудничество этих художников с ярко выраженной мифологической доминантой мировосприятия позволяет трактовать их 30-летнее творческое взаимодействие как богатырское состязание поэтов-эпиков. Оба стремились совместить народное начало с восприятием мира как Целого. Пересечение, взаимообогащение категорий «национальное» и «народное» достигло у них объема, разомкнувшего рамки задач литературы XX в. Прослеживая смысловые и типологические связи с произведениями В. Жуковского, А. Пушкина, М. Лермонтова, Ф. Тютчева, И. Бунина, автор статьи показывает, что силы мифомышления привольно совмещают высказывания поэтов разных национальностей и разных эпох. The main material of the article is translations of poems by the Adyghe poet Nalbiy Kuyok (Nalbi) made by Yuri Kuznetsov in the period from the mid-1970s till the mid-1980s. This is the poem Dance of Tfokotl and more than 10 verses. The studied problem is much broader and concerns the determination of the characteristics of the creative method of poets with a pronounced national and mythological dominant in the worldview. The article refutes ideas previously proposed in literary criticism to classify Nalbi as a representative of avant-garde art and Kuznetsov as a representative of modernism or postmodernism. The fact is that the collaboration of these two outstanding persons did not fit into the genre structure of the lyrics, but was a heroic competition of epic poets. The translations, commissioned by the Sovremennik and Literaturnaya Rossiya publishing houses to introduce the country to the outstanding phenomenon of one of the fraternal Soviet literatures, gave impetus to interaction that grew stronger for more than 30 years. It decisively changed the participants in the creative tandem: it served to abolish the boundaries of individualized poetic styles. Kuyok and Kuznetsov sought and found an opportunity to express the perception of the world as a Whole through the folk elements of language and culture. The mutual enrichment of the categories “national” and “folk” achieved along this path opened the circle of tasks of the 20th-century literature. The article traces the semantic and typological connections with the poetry of Zhukovsky, Pushkin, Lermontov, Tyutchev, and Bunin. The author of the article supports the idea expressed by Vadim. Kozhinov in the preface to Kuznetsov’s collection Transplanted Flowers (1990): translations especially convincingly demonstrate the capabilities of the gift of true poets – they show the poetry’s natural ability to absorb what has been said by the many, releasing the organics of the Whole from under the “crust” of ideologies, dogmas, systems. In her theoretical sustantiation of the reasons for this process, the author of the article proves that this is achieved by moving from subjectively formed narratives to a non-verbal (higher and more capacious) epic level of perception. The author concludes that the myth of national culture is capable of absorbing the wisdom of poets of different nationalities and different eras. Such a philosophical and poetic exchange with the classical tradition of Russian literature brings the most striking creative achievements of modern poetry of the peoples of Russia to the level of classics.

This article analyzes the concept of “ethnic painting”, Russian and Western sources on the topic, as well as controversial approaches towards its interpretation. It is established that the Russian science avoids using the concept of “ethnic painting” to ambiguity of its content. The most commonly concepts in sphere are “national art”, “ethnocultural manifestations”, “territorial-ethnic nature of painting”, “national peculiarities”, and “national distinctness of art schools”. In Western literature, the concept of “ethnic painting” is attributed to both, folk art and professional art. Parallel is drawn between the concept of “national culture” and “ethnic culture”. The research is based on the painting of Circassians (Adyghe) of Russia and Turkey. Using the methods of comparative studies, comparative typology and art analysis, the article explores the works of contemporary Circassian painters of Turkey and Russia, revealing the specificity and universal characteristics of their paintings. The works of professional artists, which meet certain characteristics, should be referred to as “ethnic painting”. The author describes the key attributes and functions of plastic arts that allow classifying it as the concept of “ethnic”: 1) figurative characteristics (visualization of mythological and epic heroes and plotlines, ritual and common culture); 2) translation of ethnic mental characteristics and values; 3) design of ethnic identity and solidarity by means of painting; 4) introduction the art of painting not only to the elite, but other social classes as well; 5) usage of public instruments for proliferation and popularization of painting through education and enlightenment; 6) comprehension of ethnic art as a crucial element of national art; 7) development of ethnic art through various contaminants (ethnocultural content and modernist form or technique; modern content in the traditional genre or form).

The study of the moral, aesthetic, spiritual, historical, and cultural characteristics in any nation through the analysis of national fiction is an essential method to understand modern society since reality is the object of its representation. Therefore, in this presented article, attempts are made to identify the peculiarities of the worldview of a modern artist, stable models for constructing a fictional documentary text, and the variety of authentic and conventional imagery in the genre of the story.It should be emphasized that this genre recreates a holistic picture of the ethnocultural development of the Adyghe peoples (Adyghe, Kabardians, Circassians), reflecting their spiritual heritage, which makes it possible to take a worthy place in the literary process of the 20th century. The relevance of the research is determined by its innovative nature associated with the analysis of unexplored works of the Adyghe literature. According to the study results, it was concluded that the study of the tendency in the development of national literature from the point of view of borrowing aesthetic experience, structural models, motives, images, artistic and visual means, and methods of oral folk art, it also has features that bring them closer to the documentary prose of the literature North Caucasus folks. The results obtained have theoretical significance for the further coverage of national literature. They can provide significant practical guidance during the research of the historical dynamics of national literature in the context of interaction with the literature of other ethnic groups of the Russian Federation and in the preparation of special courses in universities and colleges.