Academic literature on the topic 'Altai Epic poetry'

Since the beginning of the twentieth century, free verse (vers libre) begins an active penetration into Russian poetry, decisively moving from the category of a marginal poetic phenomenon into the most active forms of national verse. Since the end of the 1910s Russian free verse also appears in the thriving Siberian poetry. First of all, this occurs in the works of authors who work with verse in line with the main currents of the general Russian poetic tradition – relatively speaking, among the Siberian futurists, acmeists, and imagists. The article examines the process of the emergence of free verse (free verse) in the Siberian branch of Russian poetry in the first third of the twentieth century. Examples of early free verse from periodicals and books of the 1920s – 1930s, which were created in line with the all-Russian trends in the development of versification, are given. However, if we talk about the absolutely specific features of the Siberian free verse of the first third of the twentieth century, then this is, without a doubt, its use in translations and arrangements (including quite free ones) of the lyrics and epic of the peoples of Siberia. Publishing interlinear translations was common practice in those years. However, falling into the context of Russian literature, these interlinear translations were already perceived as poems, and precisely as written in free verse. The most productive source of Siberian free poetry can be considered the so-called “self- laying”, author’s variations on the themes of which are published by Anton Sorokin, Vsevolod Ivanov, Leonid Martynov and Pavel Vasiliev. Of particular interest are the Altai and Khakass “songs” of Ivan Eroshin, a significant part of which is also written in free verse. For the most part, these are small stylized lyric poems. His “Songs of Altai” is a rare example in world poetry of the reincarnation of a European poet into foreign characters – hunters, shepherds, even girls – on whose behalf most of the miniatures of the books “Blue Yurt” and “Songs of Altai” are written, performed by different types of verse. In total, from 1923 to the beginning of the 1950s, Eroshin wrote more than 40 vers libre, distinguished by the utmost laconicism combined with a bright “barbaric” imagery. A special place among the stylists of folk poetry (including the folklore of the peoples of Siberia) in Soviet poetry of these years is occupied by the poet and playwright Andrei Globa. His cycle of 1922 “Kyrgyz Songs”, consisting of 17 poems, was written mainly in free verse. His collection “Songs of the Peoples of the USSR”, which has survived three editions, includes translations and stylizations of works of different genres, many of which are also written in free verse. In addition, the paper examines the features of the use of free verse in translations and free transcriptions of the folklore of the peoples of Siberia, performed by V. Zazubrin, O. Cheremshanova, E. Tager.

The first chapter provides a short introduction to the Turkic oral epic of Central Asia (Bref aperçu de l’épopée orale turque d’Asie centrale). Among the various traditions of Turkic oral poetry, this and the following chapters focus on the epics of what is termed the « central traditions », i.e. the oral poetry of the Uzbeks, Uighurs, Kazakhs, Karakalpaks and Kirghiz. In these traditions different types of singers can be distinguished: baxši, aqïn, žïraw, manasči and others; these singers are in general professionals who have acquired their art and their repertoire in the course of a more or less formal training with one or more master singers. Although there are many similarities between these traditions, there is also a fair amount of variety as to the form, the genre and the manner of performance of the epics. Epics can be in verse, they can be in a mixture of verse and prose; the verse can be in octosyllabic lines, often alliterating, or in lines of eleven/twelve syllables, often rhyming; in the singers’ repertoire there are both heroic epics and lyrical love romances (dastans); the singer might perform the epic in chanting without the accompaniment of an instrument (as the Kirghiz manasči), he might accompany himself on a plucked or bowed instrument, and he might be further accompanied by another musician or even a small ensemble. In the second chapter the influence of Islam on the Central Asian oral epics is discussed (Le héros et le saint: l’influence islamique sur l’épopée turque d’Asie centrale). Islamic influence is found in epics and oral narratives of an overtly religious persuasion as well as in secular heroic epics and romances. The former (called džañnāma in Uzbek) celebrate the deeds of the Prophet and his followers and successors, their wars against the infidels and their achievements as Moslem leaders. These narratives have also influenced non-religious epics such as for instance the Uzbek dastan of Yusuf and Ahmad. An important role in these and other epics is given to various helper saints, in particular to ‘Alī, the Forty Saints, the Twelve Imams, and various pirs and holy men. In discussing the heterodoxy in the invocations of these saints it is argued that the most important source of religious inspiration in the epics must be sought in the popular Islam of Central Asia, which incorporates many pre-Islamic elements. In the third chapter the pre-Islamic strata as found in the Central Asian epics are further examined (Le héros et le chamane: les strates archaïques de l’épopée turque). It is shown that there is an intimate connection between epic singer and shaman. This emerges from the use of terms like baxši for both the bard and the shaman, from the symbolism of the singer’s instrument, comparable to that of the shaman, and from initiation visions and sicknesses found both among bards and shamans. A closer view at two Altaian epics (Kögütey and Altay Buučay) shows that in this tradition the world of the pre-Islamic Turks is well preserved, but similar archaic strata can also be detected in the epics of the central traditions, among them the transformations of the hero and his horse, heroic adventures in the underworld, various mythological figures and the reanimation of the hero. The fourth chapter is concerned with questions of interpretation (“Sens” et “conjointure”: problèmes d’interprétation). With reference to the distinction between sens and conjointure as made in the introduction to Chrétien de Troyes’ Érec et Énide it is argued that an oral epic such as Qoblan or Manas should not only be interpreted on the textual level but must also be interpreted from a pragmatic point of view. While a close reading of the epic as a work of verbal art (plot, characterisation, style, narrative structure and narrative technique) is indispensable for its analysis, a fuller understanding presupposes a knowledge of the function an epic performance has in an oral (or partially oral) society and the place an epic occupies in its value system. Heroic epics like Qoblan or Manas are felt to be historical (by singer and audience) and they play an important role in identifying the roots of an ethnic group and in re-inforcing its identity. While these heroic epics are believed to reflect historical truth, they have nevertheless undergone considerable transformation in the course of their transmission, thus conforming in the plot and motif structure to mythic patterns as described by M. Eliade. The final chapter examines the actual performance of Central Asian oral epics (La voix vive: aspects de la performance). With the help of the terminological apparatus of the ethnography of communication the various constituents of an epic peformance are described and the event character of oral epic poetry is underlined. By the same token, the comments on the musical aspects of performance in the first chapter are elaborated, with examples from the various central traditions of Turkic epic poetry. While the recitation of epic contains many dramatic elements, the performance of Turkic epic poetry does not cross the borderline to drama as in some African or Asian traditions. It is stressed in concluding that as an oral art the performance aspects of Turkic epic are of the utmost importance for its full appreciation.

This paper explores literary representations of the cult of Apollo on Delos. This island is, to be sure, mentioned only occasionally in early Greek poetry, but details specific to the cult do appear. Thus, for example, Odysseus describes a palm tree he saw at an altar of Apollo on Delos (Od. 6.162-3), and a third-century inscription from the island mentions just such a feature. References to a palm, altar, and temple at Delos in later classical authors, including Callimachus, Pliny, Cicero, and Plutarch, demonstrate that the Archaic period traditions represented by the Homeric passages continued to shape how successive generations of visitors understood Delos. The material record makes clear that the Greek epic tradition documents a time when Delos was already a well attended sanctuary, and that later constructions at the site attempted to remain consistent with the details preserved in the epics.

This paper attempts to address a very sensitive social issue that concerns the status of a widow in the society of the Sub-Continents. The purpose of this paper relates to the period of undivided India. However, the theme takes into its fold the widows also of the present time. Keeping in view the status of women, widows still face many problems as they suffered at classical epic period. The social norms and practices in those days (and even at present) are not much different about widows. In some societies, remarriage of the widow did not allow once their husbands die. This situation is a highly sensitive social issue concerning the rest of the life of the widow who is in many cases is young and has usually many years to live ahead. The social practices and traditions refuse to allow her to live another wedded life which leaves her in a prolonged misery till her death. A widow is generally looked down upon by even her own relations and in-laws. For this reason, Altaf Hussain Hali is found to be the most prominent among the scholar and poet worked for women reforms and had realized the rights of women, especially their right to acquire education. Hali’s prominence is that he wrote a poem ‘Manajaat-e-Bewah’ (Hymn of the widow) and described the pains and grief a young widow has to go through after the sudden death of her husband. The qualitative method was applied and discourse analysis approach was also used to understand the women’s experiences. This paper analyses the prominent role of Hali on this important social issue which remained ignored for centuries and which needs to be addressed forcefully even in present times.

Various theories have emerged as a result of evaluations and studies on nationalism. Among these theories, "primordial theory", "modernist theory" and "ethno-symbolist theory" came to the fore. Primordial theory argues that nations come from the same lineage and share a common religion, language, culture and history. In this theory, there are “naturalistic”, “biological” and “cultural” perspectives. According to modernist theory, nationalism is a social necessity of that period. In this theory, nationalism is evaluated together with the modernization process, which affects social, political and economic developments and changes. In the ethno-symbolist theory, nationalism, ethnic origin and cultural characteristics of nations are emphasized. National symbols are frequently encountered in Turkish oral and written cultural products. Symbols reflecting Turkish nationalism are widely used, especially in Minstrel Literature, a product of Turkish Folk Literature. These symbols appeal to the subconscious of the Turks with their deep meanings. Each symbol has its own semantic national value. The "Turnalar" epic of Ozantürk emphasizes the shared cultural heritage of the Turkish people. In the epic of Turnalar, which consists of three separate works connected to each other, the Turkish communities that make up the Turkish World are described. In the first of these texts, the Turks of Azerbaijan, Kazakhstan, Kyrgyzstan, the Turkish Republic of Northern Cyprus, Uzbekistan, Turkey and of Turkmenistan are mentioned. In the second text, Turkish tribes living in a wide geography including countries such as Iraq, Iran, East Turkestan, Crimea, Tatarstan, Bashkortostan, Yakutia / Sakha, Chuvashia, Altai Republic, Tuva Republic, Khakas Republic are presented. In the third text, the Turks living in countries such as Greece / Western Thrace, Bulgaria, Romania, Moldova / Gagauzeli, Serbia, Montenegro, Bosnia-Herzegovina, Kosovo, Albania, Croatia, Macedonia, Hungary, and Turks who struggle for existence" along with the Turkish presence in Europe are spoken of. The epic of "Turnalar" is a work of Bayram Durbilmez, who also wrote poems in minstrel manner under the pseudonym Ozantürk. Durbilmez is a scholar known for his works in the fields of minstrel literature, tekke-sufi literature and folklore of the Turkish World. This scholar is also known as a Turkist, nationalist intellectual who has served as a member of the board of directors, chairman of the board of directors and a delegate to the headquarters in various non-governmental organizations, foundations and associations that defend Turkish nationalism. The fact that he usually uses the pseudonym Ozantürk in his poems shows that Durbilmez has a nationalist attitude also in the world of art. In this article numerous national symbols that occurs in Ozantürk / Bayram Durbilmez's epic "Turnalar" about the Turkish World and that are shared by Turkish states and communities that exist across many geographical areas will be analysed. The national symbols in question are evaluated within the framework of nationalist theories, some of which through the primordial theory which states there are natural nations, some of which through modernist theory that emerged with the effect of modernization, and some of which through the ethno-symbolist theory that adopts ethnic cultural values. There are also symbols that are evaluated within these three theories. While determining the nationalist attitude in the epic, the scientific foundations of nationalism will also be tried to be shown through the mentions of the poet's academic studies on the Turkish World.

The whole Aeneid is a meditation on Roman history in which Aeneas’ sufferings lead directly to the altae moenia Romae. The paper summarizes the principal ways in which Virgil sets historical reference within epic narrative. Part of the reason why research hitherto has not come up with any answers to the questions that this paper tries to pose is that Virgil specialists tend to look too closely and exclusively at epic (and sometimes tragic) antecedents. We should perhaps look at two less obvious poetic genres: the literature of prophecy, and aetiological poetry. The Aeneid works, intellectually, as a new kind of epic, formally mythological, but often, in its implications, historical, because it has taken on (and this is the ‘mixing of genres’, never practised so radically or brilliantly elsewhere) a powerful, inspiring element from aetiological poetry

The whole Aeneid is a meditation on Roman history in which Aeneas’ sufferings lead directly to the altae moenia Romae. The paper summarizes the principal ways in which Virgil sets historical reference within epic narrative. Part of the reason why research hitherto has not come up with any answers to the questions that this paper tries to pose is that Virgil specialists tend to look too closely and exclusively at epic (and sometimes tragic) antecedents. We should perhaps look at two less obvious poetic genres: the literature of prophecy, and aetiological poetry. The Aeneid works, intellectually, as a new kind of epic, formally mythological, but often, in its implications, historical, because it has taken on (and this is the ‘mixing of genres’, never practised so radically or brilliantly elsewhere) a powerful, inspiring element from aetiological poetry.

Harris tells the story of Father Thomas Stephens, whose interactions with the landscape, language, and food of India refashioned his English body. By unpacking the phrase ‘hi mho ji kudd’, a Konkani translation of ‘hoc est corpus meum’ (which is inscribed beneath the altar in a Jesuit church in Goa), Harris provides an account of a more worldly transformation than that offered by the Eucharist. As the author of the epic poem Kristapurana (Story of Christ), Stephens participated in the ‘Jesuit tradition of inculturation’. And yet, Stephens’s love of the Marathi language ‘Indianized’ not only the Christianity he preached but also his own body. Stephens’s poetic use of the kalpataru, the coconut tree, as Eden’s Tree of Life, invokes a daily experience of interacting with Goan coconuts, underscoring the recalibration of Stephens’s flesh ‘into something Indian’.