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Academic literature on the topic 'Azerbaijani Folk literature'
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Journal articles on the topic "Azerbaijani Folk literature"
1
Fidan, Alizade. "XVIII CENTURY AZERBAIJAN HISTORICAL REALITY AND LITERATURE." Scientific Journal of Polonia University 62, no. 1 (July 8, 2024): 20–27. http://dx.doi.org/10.23856/6202.
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Throughout the entire history of mankind, literature has been a fact of the time of its creation. When we look at the issue both in a universal context and in a local one, we see approximately the same picture. Just as Homer is a fact of ancient Greece, the work of the genius Azerbaijani poet Nizami Ganjavi of the 12th century is considered to be the fact of the mighty Seljuk Empire, the state of the Atabays of Azerbaijan. Khagani Shirvani's literary heritage, dominated by rebellious and grievous motives, was a literary phenomenon caused by the state of the Shirvanshahs, the Akhsitan dynasty. The invasion of the Mongols, the invasion of Emir Timur, the period-specific manifestations of discontent against oppression and slavery, the spread of philanthropy and the phenomenon of Imadaddin Nasimi.. The work of Alishir Navai, the Uzbek-Chagatai poet and statesman of the 15th century, the author of the first “Khamsa” in Turkic, and the great Turkic culture, which was called the Timurid renaissance, were echoes of Huseyn Baygara's rule which lasted 37 years, in culture, science and literature. The establishment of the Safavid state of Azerbaijan in the XVI century and the fact that Azerbaijan remained the “metropolis and central province of the state” (Efendiyev, 2007: 11) throughout the century, the domestic and foreign policy has had a direct impact on the change of the direction of literature. The biggest event was the stabilization of the tradition of writing in the Azerbaijani language, the preference for the folk language, and the rapid development of ashug poetry. If in the literature of three centuries ago there was a palace splendor, then in the poetry of this period there is already a roar of battlefields, heroic motives surpass love poems, ashug poetry, which is closer to the people, and therefore has a lot of influence and propaganda power. The 18th century Azerbaijani literature is also a “mirror that shows the straight and the crooked” of its time. The article examines the most important events in the history of Azerbaijan of the XVIII century, their influence on the development of literature and features of their reflection in artistic works.
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Heydarov, Rasim. "Toponyms and their study in the Caucasus territory and tribal descriptive material collection (SMOMPK)." Scientific Bulletin 2 (2019): 149–54. http://dx.doi.org/10.54414/zfgm7094.
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In terms of being very important source of oral folk literature, ethnography, history, ethnopsychology, etc. of the Azerbaijani people, CMDLCT (SMOMPK) collection has been over a century since the launch of the first edition, its interest still does not diminish. The reason for this is undoubtedly the compilation of an important part of the national-moral culture of the Azerbaijani people. Published by the Caucasian Education Department in Tbilisi, this collection is in Russian language and was considered as one of the most important sources in the study of traditions and customs of the Azerbaijani people and the names of the places in Azerbaijan, including other nations of Caucasus. From 1881 to 1929, a collection of materials about the various fields of science in the Caucasus was published by SMOMPK (CMDLCT, a collection of materials of description of locality of Caucasus tribes). The article deals with the investigation of the toponyms found in the SMOMPK paper.
3
Hasan, Tahira Hasanova. "Azerbaijani folk pedagogy as the main means of education." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2023, no. 4 (145) (December 28, 2023): 61–64. http://dx.doi.org/10.24195/2617-6688-2023-4-9.
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The main aim of the article is to study Azerbaijani folk pedagogy as the main means of education. Thus, the role folk pedagogy in the field of education is actual. Actually, folk pedagogy is a school of education in the truest sense of the word. In these examples, the people's opinion, vision and idea are concentrated. The basis of these examples is the topic of education. The object of education is a person. Regardless of age and gender, every person needs education because a person is formed as a personality thanks to education. We should emphasized that folk pedagogy belongs not only to us, but to the whole nation. Wise people are the creators of folk pedagogy. Wise people observed life and development, came to concrete conclusions based on their experiences, and put forward interesting and educational ideas about it. These ideas were expressed in proverbs, sayings, fairy tales and epics, as well as played a leading role in the education of the growing generation. Therefore, all examples of oral folk literature created by people serve to educate a person and direct him/her to the path of spiritual perfection. Each example serves this purpose. To sum up, the issue of education has always been relevant, solutions to the issue have been implemented using folk pedagogy. Thus, folk pedagogy, as always, is of great importance in the upbringing of the young generation in a noble and gentle spirit.
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Əli qızı Quliyeva, Nazilə. "Rasul Rza's creativity as the beginning of the tradition of free poetry in Azerbaijani literature." SCIENTIFIC WORK 67, no. 06 (June 21, 2021): 68–73. http://dx.doi.org/10.36719/2663-4619/67/68-73.
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There was a certain tradition of free poetry in Azerbaijan until the 20th century. In the Middle Ages, along with the chain of eruz poetry, the increase of syllable rhythms is also a concrete practical indicator of the poem's internal struggle for liberation. The beginning of the stage of free poetry in the twentieth century was the logical result of centuries-old processes of liberation in Azerbaijani poetry. People's poet Rasul Rza's contribution to the transformation of free poetry into a special stage of development in Azerbaijani literature is unparalleled. The literary process, marked by the transition to figurative poetic thinking since the late 1950s, is enrichhed with a number of new forms and elements of expression that define the innovative direction of poetry. Since the early 1960s, our poetry has been characterized by a method of figurative-associative expression, the first examples of intellectual beginnings, which should be considered as a new form of return to tradition. Different forms of associative artistic thinking, which we find in folk poetry, especially in bayats and in our classical poetry, begin to acquire a new essence in the second half of the twentieth century with their rebirth in poetry. In the process of this development, the main factors determining R.Rza's creativity are the departure from rhetorical pathos, pathetic expression, the transition to concrete, figurative, and then associative thinking, and innovative qualities. Key words: Azerbaijani literature, free poetry, tradition, innovation, style poetry, Rasul Rza, poem, weight, inner rhyme
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Babadjanova, Nazokat. "STUDYING THE EPIC STORY "YUSUF AND ZULAIKHA"IN THE TURKISH FOLK LITERATURE." INTERNATIONAL JOURNAL OF WORD ART 3, no. 3 (March 30, 2020): 22–29. http://dx.doi.org/10.26739/2181-9297-2020-3-3.
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The article analyzes the history of the study of the work of art based on the ancient epic plot about Yusuf and Zulaikha which is widespread in the literature of the Turkic peoples. Sources testify that the evolution of Joseph's plot was a very complex and at the same time multi-layered stage of evolution.The artistic evolution of this plot is determined on the basis of the analysis of scientific sources on Tatar, Turkish, Kazakh, Azerbaijani and Turkmen literature.
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TÜRKMENOĞLU, Ömer, and Dilek ALİYAZICIOĞLU. "A STUDY ABOUT THE "ARSHIN MAL ALAN" OPERETTA." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 2 (August 15, 2021): 287–304. http://dx.doi.org/10.46291/zfwt/130215.
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Azerbaijan became acquainted with opera at the beginning of the twentieth century thanks to the tours organized by Russian and European operas to Baku. The intense admiration of the Azerbaijani people led Azerbaijani composers to produce works in opera style. In that period, Üzeyir Hacıbeyli combined his knowledge of authorship, historiography, scientists, education, journalism and musicians in the art of opera, based on the impact of the strong and aesthetic touch of art on people, and laid the foundations of opera in the East by composing the mugam opera "Leyli and Mecnun". In the revolution and democracy struggle that started in Azerbaijan, the artists and intellectuals of the period started an enlightenment movement through their works. On this occasion, Hacıbeyli turned from the opera style to the operetta style. Operetta is a musical / dialogue stage piece that takes its subject from social problems and aims to make the audience laugh while making them think. Hacıbeyli compiled the topics of his operettas from the reactionary perspectives that prevent his people from adopting modern life, offered solutions through his works and gave new and modern perspectives to his audience. The "Arşın Mal Alan" has gained a worldwide reputation thanks to the musical structure that it has created by carefully synthesizing the elements of the Azerbaijani national music style, folk mahnis, dances and mugam traditions with the European operetta style. This work, which is about the tradition of arranged marriage rebelled by the new generation, has been translated into more than sixty languages worldwide thanks to its musical and sociological success and has been adapted to the big screen. Considering that it is a very popular work in our country and in other countries where it has been staged and is of such importance for the Turkish world opera literature, the work does not take place in our opera scenes enough and it is noteworthy that the number of publications such as articles, theses and books about it in Turkey. With this study, it is thought to contribute to the literature. In this article, the history of Azerbaijan operetta, the life of Üzeyir Hacıbeyli and the operetta "Arşın Mal Alan" are examined. Keywords: Azerbaijan Opera, Üzeyir Hacıbeyli, Operetta, Opera, Arşın Mal Alan
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TÜRKMENOĞLU, Ömer, and Zümra AZİZOĞLU. "THE FIRST OPERA OF THE TURKISH WORLD "LEYLI AND MAJNUN’’." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 2 (August 15, 2021): 305–20. http://dx.doi.org/10.46291/zfwt/130216.
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The Turkish world's opera history gave its first example in 1908 with the opera "Leyli and Majnun" by Azerbaijani composer Üzeyir Hacıbeyli. According to many sources, "Leyli and Majnun" is described as the first opera of the Turkish world and the Islamic world, and the east. The most important feature of this opera is the masterful synthesis of classical western music and folk music. The opera, which was composed for the first time in this way, influenced the east with its staging and ensured that the art of opera was adopted by the public. The great composer Uzeyir Hajibeyli was born in the city of Shusha in Azerbaijan, which was developed in the field of literature and music and called the "natural conservatory." He developed his existing talent here and built it on solid foundations. He was interested in music and literature, wrote many books, articles, and was a writer for newspapers. The subject of the opera Leyli and Majnun is taken from Fuzuli's "Leyli and Majnun" poetry of the same name. At the age of 13, the composer decided to write this opera, influenced by the theater show "At the tomb of Majnun Leyli'' which he watched in Shusha, his home city. He started working on opera in 1907 when he was only 22 years old. By bringing a different perspective to opera, he used the tonal structure of western music with 'mugham,' also known as Azerbaijani folk music. This type of opera is also called "Mugam Opera.'' The opera, which was composed and performed despite the conditions of the period, preserved its originality by combining two cultures and was performed many times in other countries. Operas from the Turkish world are rarely staged in our country, and there is a need for such an article because the opera "Leyli and Majnun" has not been staged much in Turkey and there are very few theses, articles, and books about it. In this study; Different titles have been created such as the history of Azerbaijan opera, the life of Uzeyir Hajibeyli, the composer's process of creating the opera, and the content of the opera Leyli and Majnun. Keywords: Leyli and Majnun, Uzeyir Hajibeyli, Turkish World, Opera
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Nabieva, Almara V. "POETICS OF AZERBAIJANI LOVE DASTANS." Alfred Nobel University Journal of Philology 2, no. 26/1 (December 20, 2023): 179–93. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-13.
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The article aims to study the peculiarities of the content and structure of the love dastan genre as a product of the artistic thinking of the Azerbaijani people, to determine its poetic originality as well as the impact on the development of Azerbaijani literature and spiritual values of the next generations. The article traces the causes and origins of the similarities and differences between the ancient Turkic epic as a product of folk poetry and the subsequent medieval classical love epics created by Ashuga poets. In order to achieve the goal, historical-literary, cultural-historical, comparative, and hermeneutic research methods were used. Poetological originality of love dastans is conditioned by cultural-historical and literary aspects. On the one hand, love dastans contain the ancient culture of composing epics, which is characteristic of the Turks, and on the other hand, they combine features of the artistic outlook specific to medieval Sufism. Thus, the features of Turkic folklore and Sufi consciousness are synthesized in the Azerbaijani love dastans, which is reflected in the level of structure and content specificity of the love epic. In contrast to the works of the heroic epic, which often consisted of separate songs and legends united by a single plot line in a complete work (“Keroglu”, “Kitabi-Dede Gorgud”, etc.), the structure of love dastan tends to the structure of fairy tale genre, where the original plot is built into a universal structure. Love dastans are mainly characterized by a five-level structure, which includes the introductory part (ustadname) and the main one, where the following stages are distinguished: the wonderful birth of the hero, the stage of obtaining “buta”, the stage of overcoming obstacles, and the stage of winning in competitions. The specificity of the content of love dastans is determined by the dominance of the love theme, the understanding of the problems of morality, family values, cognition and mentoring, and a special type of hero – a young man with a pure heart, worthy of receiving a higher gift, which contributes to the spiritual growth of the character and success in achieving the goal (conquest of the beloved). It should be noted that unlike the heroic epic, which focuses on patriotic issues, social values, the main of which is devotion to the Motherland and its people, in love dastans the theme of individual love is understood in the context of the general national values of the Azerbaijani people. In this regard, love dastan as a work of folklore already has the features of an author’s literary work, marking the stage of transition from traditionalist to individual creative poetics.
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Shahla, HUSEYNLI. "THE PROBLEM OF FUNCTIONAL GENRE IN AZERBAIJANI FOLKLORE STUDIES." Epic studies 1, no. 33 (March 29, 2024): 36–44. http://dx.doi.org/10.25587/2782-4861-2024-1-36-44.
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In this article the problem of functional genre, which is an important issue in folklore studies, is studied scientifically and theoretically. The formation of a new genre as a result of the process of deriving a genre from a genre has been brought to attention on the basis of specific texts. These genres are called functional genres and it has been considered on the basis of which specifics functionalize the genres such as “bayati”, “gerayli”, “goshma”, “temsil” and fairy tales. Thus, it was initially noted that the genre of “bayati” (quatrain) is not a specific genre, like many other genres, but, in fact, a literary formula. Because many genres are formed on the basis of the genre “bayati”. Among them are quatrains, lullabies, folk songs, ceremonial songs, elegy and other folklore genres are studied in the article and brought to the attention, due to this functionality, even before it was also considered that it was called a literary kind by A. Abid. In particular, it has been observed that the genres created on the basis of “bayati” are widely included in the ceremonial folklore and from the genres of “bayati” forms created in this direction such as wishes, lullabies, Novruz songs, beliefs, occasions, religious holidays, laments, etc. have been looked through. As a functional genre “garayli” like the genre “bayati” has been put forward as a new problem in theoretical and methodological research and garayli, folk songs and important parts of epics, which appeared on the basis of the genre garayli can serve as an example of it as the main genre component. In the article the genre “goshma” is also studied as a functional genre. So, on the basis of this genre “goshma”, “tajnis”, the verse part of epics, “ustadname”, “vujudname”, “gifilbend”, “baghlama” and other genres were formed. Fables have also been brought to the attention as a functional genre, such as representation derived from this genre, allegorical narrative, examples that arise in written and oral literature, etc. can be examples for it. At the same time the representation is manifested both in fairy tales and the fairy tale itself has spawned many genres from itself. The genres of fairy tales, garavelli, anecdotes, jokes and other genres have been reviewed. The theoretical problem proposed in the study is rich in important innovations for the scientific community.
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ZALIYEVA, Leyla. "THE DRAMATURGİCAL ROLE OF CHORAL SCENES İN VASİF ADİGOZALOV’S OPERA “DEAD”." IEDSR Association 6, no. 12 (March 29, 2021): 57–67. http://dx.doi.org/10.46872/pj.268.
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Vasif Adigozalov was one of the artists who attracted attention during the brilliant development of the Azerbaijani composition school in the 70 s of the XX century. Born in Karabakh, a fascinating sorner of Azerbaijan, in the family of the famous and talented singer Zulfu Adigozalov’s works reflected the priceless pages of the national music culture. The story-based opera “The Dead”, which entered the history of literature as a comedy, is also regarded as the first comedy opera in our music history. However, every Azerbaijani who knows the work realizes what a great tragedy is actually happening here. V.Adigozalov began writing this work after graduating from the conservatory. The play was performed at the Azerbaijan State Opera and Ballet Theater named after M.F.Akhundof, in 1963. In V.Adigozalov’s opera, the choir acts as one of the main characters in the dramatic development of the work. Each choral stage server as a driving force within, as well as conditioning the course of events. The choir also represents the image of the public and character that expresses the main idea of the work. In this respect, particular attention should be paid to women’s choir. Because women who are victims of this ignorance. Therefore, the screams, deep tragedies and dramas of the women’s choir are reflected. Another concrete example of the women’s theme is seen in the scenes with Nazli and her mother. In particular, choral scenes, which express Nazli’s belief in the return of his dead sister, eventually lost all hope, and the moaning of traumatized young girls, are the dramatic culmination of the tragedy in opera. When we look at the musical language of the choirs, national intonation and rhythmic features draw attention. The intonations of folk music, characteristic of the composer’s musical language, are clearly felt in all stages of the opera and in the choir. Considering the unique melodies of V.Adigozalov’s vocal music in the vocal and choral performance is important. This direction is also reflevted in other music and stage work, including the composer’s vocal music.
Books on the topic "Azerbaijani Folk literature"
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Lia, Čʻlaiże, and Gelašvili Naira 1947-, eds. Azerbaijanuli pʻolklori. Tʻbilisi: "Kavkasiuri saxli", 2004.
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3
Altan, Araslı Alhan, ed. Azeri Türklerinin halk hikâyeleri. [Ankara]: Kültür ve Turizm Bakanlığı, 1985.
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4
Zāriʻ, Parvīz Yakānī. Az̲arbāycan şifahi el adabiyyatına bir baxış: Nigāhī bih adabīyāt-i Shafāhī-i mardum-i Azarbāyijān. Tihrān: Andīshah-i Naw, 1998.
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5
Häbibbäyli, Isa. Literatura, vremi︠a︡, sovremennostʹ: Monografii︠a︡. Moskva: Khudozhestvennai︠a︡ literatura, 2020.
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6
Ăfăndii̐ev, Pasha. Azărbai̐jan shifaḣi khalg ădăbii̐i̐aty: Ali măktăb tălăbălări u̇chu̇n dărslik. 2nd ed. Baky: Maarif, 1992.
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Ăfăndii̐ev, Pasha. Dastan i̐aradyjylyghy: Filoloġii̐a faku̇ltăsi tălăbălări u̇chu̇n. Baky: ADPU-nun Năshrii̐i̐aty, 1999.
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Abbaslı, İsrafil, and Mämmädäli Qövsi Färzanä. Güney Azärbaycan folkloru. Bakı: "Elm vä Tähsil", 2013.
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Kuzucular, Şahamettin. Eşref Bey ile Zühre Han: Metin-tenkit-inceleme. Cağaoğlu, İstanbul: Akıl Fikir Yayınları, 2018.
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