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Journal articles on the topic 'Azerbaijani poetry'
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1
Nasibova, V. "On the Satirical Poetry School." Bulletin of Science and Practice 6, no. 6 (June 15, 2020): 323–30. http://dx.doi.org/10.33619/2414-2948/55/43.
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The article is devoted to the views of Great Azerbaijan writer Mirza Ibragimov on satirical poetry in Azerbaijani Literature. The academician gave an extensive analysis of the satirical poetry of Mirza Alekper Sabir.
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Quliyev, Faxraddin. "ABOUT SCIENTIFIC AND PHILOSOPHICAL PROBLEMS OF FOLK POET RY OF AZERBAIJAN: SYNERGIC APPROACH." Labor and social relations 20, no. 2 (2023): 15–25. http://dx.doi.org/10.61764/lasr.2.2023.15-25.
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The article examines some aspects of the scientific and philosophical problems of folk poetry of Azerbaijan from the standpoint of synergetic principles. The isomorphism between the Universe, the brain and the topological structures of Azerbaijani (Turkic) folk poetry is substantiated. It has been determined that the structures of Azerbaijani folk poetry are formed according to the principle of recursion and convergence. The genesis of Azerbaijani folk poetry is based on the principle from simple to complex, thanks to heredity and processuality, it gradually approaches its optimal form, which corresponds to Kolmogorov’s epistemological principle. All poetic forms of folk poetry have a common structure, i.e. the lines converge into rhymes, which are semantic centers that ensure the integrity of the poetic work. Azerbaijani folk poetry, as a non-linear multi-level system, has its own specific processes of convergence, divergence and parallelism. The integrity of folk poetry is dynamic in nature and this is important for reflecting the dynamics of the surrounding world. In organisms, convergent similarity is never deep. But in poetry, the situation is different. Unlike living organisms, convergent similarity in poetry has a deep basis, since points of convergence constitute rhymes, and thereby the integrity of the poem. Purpose: to study of ontognoseological problems of Azerbaijani folk poetry using synergetic paradigms. Methodology: To study the systemic-structural problems of folk poetry, evolutionary epistemology, categories of optimality, nonlinear synthesis, the principle of dominance of A. A. Ukhtomsky and the theory of functional systems of P. K. Anokhin were used, and the principles of parallelism and convergence were involved in the study of the problem of adequate reflection of reality. Scientific novelty: An isomorphism has been established between Azerbaijani folk poetry, the Universe and the structures of the brain. The role of the principles of parallelism and convergence in the evolution and development of living organisms and folk poetry has been studied, and similar and different aspects have been identified using the comparative method.
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Shamilova, Shahnaz. "MODERN FRENCH AND AZERBAİJANİ POETRY AT THE LEVEL OF COMPARATİVİSTİCS." Scientific Journal of Polonia University 62, no. 1 (July 8, 2024): 104–14. http://dx.doi.org/10.23856/6214.
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In the article, the stages of development of Azerbaijani poetry from the 19th century to the 20th–21st centuries, which were accompanied by fundamental changes, were reviewed. It has been noted that the wars that took place at the beginning of the 20th century and the strict rules and regulations applied by the Soviet regime had an undeniable influence on our literature. It was at that time, during the years of Repression, prominent representatives of Azerbaijani poetry were subjected to political oppression and persecution, exiled and shot. The names of the poets who played a special role in the development of Azerbaijani poetic thought during the Soviet period were mentioned, and at the same time, the genre and form innovations they brought to our poetry were shown. Starting from the 60s, poets and writers began to deepen their view of man and his spiritual world. This movement, which began in literature for the sake of freedom of speech and thought, political thought, pluralism, national independence, and social justice, was continued in the 70s and 90s, and finally achieved its prospective goals with the acquisition of political sovereignty and state independence of Azerbaijan. The trend of critical realism that prevailed in Azerbaijani poetry in the 19th century was replaced by socialism- realism in the 20th century. The names of the leading representatives of this current have been mentioned. The article compares the similarities and differences of both French and Azerbaijani poetry of the 20th century in terms of literary trends, form, content, and genre, citing the names of poets and showing examples. In particular, the poems of the French surrealist poet Jacques Préver are compared to the poems of Rasul Rza and Huseyn Javid and Adil Mirseyid. The article also examines the form and content of the newest poets distinguished by their innovation in 21st century Azerbaijani poetry.
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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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Honcharuk, Maryna. "Azerbaijan mission of Ukrainian: Mykola Myroshnychenko as a poet, translator, literature explorer." SUMY HISTORICAL AND ARCHIVAL JOURNAL, no. 41 (2023): 33–41. http://dx.doi.org/10.21272/shaj.2023.i41.p.33.
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The article examines the role of the prominent Ukrainian translator and researcher of Azerbaijani literature, Mykola Miroshnychenko, in the development of bilateral dialogue between our peoples in various spheres. The author considers the role of the individual as a key and unique resource for the development of relations between countries that have only restored their state independence after decades of Soviet occupation, the destruction of the mechanisms of creating a unique state, cultural, and diplomatic space peculiar to the Ukrainian and Azerbaijani peoples; who learn to build bilateral dialogue, establish cooperation in various sectors, including literature, culture, and journalism. The relevance of the article lies in the lack of research into the figure of Miroshnychenko as a Ukrainian translator, a researcher of Azerbaijani literature and its heritage in the context of the revival of the Ukrainian-Azerbaijani dialogue and the presence of certain crisis processes, such as a crisis of competence, quality of work and expertise of self-proclaimed researchers of cultural relations between our countries. The phenomenon of Ukrainian-Azerbaijani studies (in the context of which the figure of M. Miroshnychenko is considered) is characterized as a constant, long-lasting process, with its own traditions and values, the formation of which was made by the outstanding Mykola Gulak, Oleksandr Navrotskyi, Lev Lopatynskyi, Agatangel Krymskyi, Leonid Pervomaiskyi, Valery Marchenko , Pavlo Movchan, etc. The main achievements of Mykola Miroshnychenko as a Ukrainian translator of Azerbaijani literature are named: the development of Ukrainian Azerbaijani studies as a phenomenon in Ukrainian literature and science, the continuation of the traditions of the outstanding M. Gulak, A. Krymskyi, etc., the actualization of their achievements; systematization and research of large volumes of translation and scientific works, selection of high-quality and competent ones; development of dialogue between writers, literary experts, journalists of Ukraine and Azerbaijan; translation of dozens of Azerbaijani poets to Ukrainian, both classics and modern authors. The author emphasizes the reasons for the exceptional value and significance of Miroshnychenko's works: unlike many Ukrainian translators from Azerbaijani, Mykola Mykolovych perfectly mastered the Azerbaijani language (as well as Turkish, Old Turkish, Crimean Tatar) and constantly improved his knowledge of literature, culture, history, customs and traditions of Azerbaijanis, without which it is impossible to carry out a highly artistic translation of both modern literature and classics that wrote their texts under the influence of complex mystical and philosophical currents; the researcher devoted more than thirty years of his life to Azerbaijani studies, which culminated in the fundamental two-volume "Anthology of Azerbaijani Poetry", which was published in 2006 and to this day remains the main work that represents Azerbaijani literature in Ukrainian translations at a high artistic level. The article outlines a number of tasks that must be implemented in order to continue the work of M. Miroshnychenko and the qualitative development of literary relations between our countries: publication of manuscripts of translations from Azerbaijani that never saw the light of day during the translator's lifetime due to lack of funding; publication of author's poetry collections, in particular, a series of poems dedicated to Azerbaijan; development of dialogue platforms for discussion and analysis of the heritage of the poet, translator and researcher between specialists of Ukraine and Azerbaijan.
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Ağacan qızı Əliyeva, Rəna. "Peculiarities of Kadi Burhan al-din in medieval Azerbaijani poetry." SCIENTIFIC WORK 67, no. 06 (June 21, 2021): 63–67. http://dx.doi.org/10.36719/2663-4619/67/63-67.
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Kadi Burhan al-Din was one of the outstanding representatives of medieval Azerbaijani literature. He was the first poet in literature to write in the genre of tuyugh-classical genre of Turkic poetry. His diwan comprises 1,500 ghazals, 119 tuyughs. Not only individual poems of the poet, but all poetry of Kadi Burhan al-Din is very valuable for the history of Azerbaijan literature. Key words: native language, diwan, tuyugh, poetry, poet, literature, medieval
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Ağacan qızı Əliyeva, Gültəkin. "Meaning and stylistic means of Bakhtiyar Vahabzade's free rhymed poetry." SCIENTIFIC WORK 65, no. 04 (April 21, 2021): 89–94. http://dx.doi.org/10.36719/2663-4619/65/89-94.
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The article analyzes the free rhymed poetry of Bakhtiyar Vahabzade, a prominent representative of XXth century Azerbaijani poetry, in terms of meaning and stylistic nuances. It is noted that free rhymed poetry once again entered the stage of self-affirmation in the 50s, which began to decline in the literary environment in the late 30s,. At that time, B.Vahabzadeh began to express himself both in syllables and free rhyme. Starting from the first examples of creativity, the poet increased the journalistic tone in the way of purification and formation of the national consciousness, inspirinig new artistic and aesthetic qualities. One of the main qualities of the poet's poetry is that philosophical shades are expressed in the context of Man and time. At the same time, contrast and contrastivity have enriched the originality and stylistic possibilities of his free rhymed poems. Associative perception and poetic capacity of thought are among the factors ensuring the originality of B.Vahabzadeh's free rhymed poetry. These stylistic enrichments also play an important role in shaping the development of Azerbaijani free rhymed poetry. The stylistic richness of the poet's free rhymed poetry creates wide opportunities for the description and philosophical understanding of life and world events. Key words: B.Vahabzade, free rhymed poetry, structure, meaning, style, contrast
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Mirzayeva, Khanim. "Ghazal in the Azerbaijani poetry." Azerbaijan Journal of Educational Studies 1, no. 1 (2020): 275–82. http://dx.doi.org/10.29228/edu.205.
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Mirzayeva, Khanim. "Mukhammas in Azerbaijani ashug poetry." Philology and Art Studies, no. 01 (2023): 202. http://dx.doi.org/10.59849/2663-4368.2023.1.202.
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Firuz Sadigova, Nigar. "Katran Tabrizi and the Turkish spirit." SCIENTIFIC WORK 60, no. 11 (November 6, 2020): 38–41. http://dx.doi.org/10.36719/2663-4619/60/38-41.
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Katran Tabrizi is an Azerbaijani poet of the 11th century. In his work, he reflected the political history of Azerbaijan. These are known as "history verses". Tabrizi wrote poetry on various topics. If you look closely at his work, you can see that he retained the Turkish spirit, way of thinking, Turkish culture in his works, retained the patriotic spirit that we see in Nizami, Fizuli, Khagani. The poetic ideas expressed in "Dada-Gorgud", "Divani-lugati-Turk", "Gutadgu-bilik" are very similar. Turkish culture here is very close to Katran Tabrizi; purity, courage, loyalty. Like many medieval poets, Katran Tabrizi wrote in Persian for socio-political reasons. Key words: Gatran Tabrizi, poet, poetry, Azerbaijan, turkic peoples
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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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Piriyeva, L. M. "CLOTHING VOCABULARY IN AZERBAIJANI ASHIG POETRY." Scientific notes of Taurida National V.I. Vernadsky University, series Philology. Social Communications, no. 3 (2020): 231. http://dx.doi.org/10.32838/2663-6069/2020.3-1/41.
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Isaxanli1, Hamlet. "History and Policy of Translating Poetry: Azerbaijan and Its Neighbors." Meta 59, no. 2 (November 21, 2014): 310–29. http://dx.doi.org/10.7202/1027478ar.
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Throughout the history of civilization the art of translation has existed as a bridge that connects different cultures. The article focuses on the history of poetic (and other) translations in the Middle East and territories abutting Azerbaijan from the Middle Ages to the 20th century. It also explores the practice of translating holy books and its influence on the region, as well as the tradition of nezire, or writing a new book under the inspiration of an original one rather than simply translating the original. The second part of the article discusses the history of poetic translation into and from the Azerbaijani language, especially translation work from Abbas Sehhet and Samad Vurghun, two renowned translators in Azerbaijani history. Finally, important aspects of the art of translating poetry are reviewed and analyzed, such as poetic forms and metaphors, rhythm and rhyme schemes, and the style of the text. The article concludes by making the point that poetry should indeed be translated; however, translators must take many factors into account in their work so that the target text reflects as much as possible the beauty of the original.
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Pashayeva, Simuzar. "Degree of development of poetic subjects in the creation of Rasul Rza." Scientific Works 18, no. 1 (April 22, 2024): 200–203. http://dx.doi.org/10.62706/bqiz.2024.v18i1.128.
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This article examines the poetic contributions of Rasul Rza, a prominent representative of Azerbaijani literature at the beginning of the 20th century. This study aims to investigate the degree of development of poetic themes in Rasul Rza's work through the analysis of his poetry. By examining the socio-political context of his time and the dominant themes in his works, this article aims to shed light on the deep influence of Rza's poetry on Azerbaijani literature.
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Jeyran Valiyeva, Jeyran Valiyeva. "SCENERY TRADITION IN AZERBAIJAN POETRY (FROM VI-VII CENTURES BC TILL THE MODERN AGES)." PIRETC-Proceeding of The International Research Education & Training Centre 28, no. 07 (October 2, 2023): 39–48. http://dx.doi.org/10.36962/piretc28072023-39.
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The main aim of the article is to study the scenery tradition of Azerbaijan poetry. Literary studies as a science in Azerbaijan began to emerge in the Middle Ages. Travelogue, historical chronicle, dictionary, etc. there are many elements of literary studies in the works, biographical information about the writers is given, quotes from the works are given, the date of their creation, the plot, etc. is talked about. However, the development of national literary studies began directly at the beginning of the 20th century. The subject of the research is to explore the period from VII-VI centuries BC till the modern period of Azerbaijani poetry. The task of the research is to clarify the possibilities of folklore symbolism in scenery lyrics. Research methods: the theoretical-methodological basis of the article is the comparative-historical method. Depending on the nature of the research and investigation, the theoretical-analytical method was also used in the explanation and interpretation of the problems that were attempted to be solved scientifically. Main provision: evaluation of poetic themes based on factual materials that give rise to conditioning of landscape lyrics as an artistic practice. Application importance is the material can be used in lecturers and seminars in Higher Education Institutions, and it can be useful whom is interested in literature, poetry and the history of culture. Keywords: Azerbaijan, literature, scenery, poetry, well-known writers of Azerbaijan
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Todorova, Bogdana. "The Music Sent by God." Balkan Journal of Philosophy 14, no. 1 (2022): 35–40. http://dx.doi.org/10.5840/bjp20221415.
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Mugham is deeply rooted in Azerbaijan’s history as it is undoubtedly depicted as the pearl of Azerbaijani musical art. Mughаm (Azerb. Muğam) (God sent music) is one of the main genres in traditional Azerbaijani music, part of the musical-poetic art of Azerbaijan’s nation. The Mughаm embodies philosophical poetry including the philosophy of music as a complement to the harmony of being. In 2008, UNESCO proclaimed the Azerbaijani Mugham as one of the masterpieces of verbal and intangible cultural heritage. This music must be understood in its two dimensions – as an example of an art and as a way of thinking, in which Sufism and Mysticism are two lines that intersect. The aim of the article is to show the unity of Azerbaijan’s spiritual culture and the synthesis of music and religion. Special attention is focused on Mugham as a type of connection with God, through mystical love and spiritual experience. This perspective differs from that of common research and discussions of Mugham, which view it principally as a unique type of poetic-musical communication between performers and a devoted audience. The post-Soviet period allowed Western scholars to become acquainted with the musical works of Azerbaijani masters of Mugham and to compare their musical-aesthetic features with those of German Romanticism. In this paper, we move beyond such considerations to claim that Mugham ought to be recognized ‘as a spiritual process preserving the dynamism of thinking’. The report will conclude with the concomitant claim that Mugham represents an intercultural philosophy.
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Hariri‐Akbari, Mohammad, and Behrooz Aazbdaftari. "A brief review of contemporary Azerbaijani poetry." Critique: Critical Middle Eastern Studies 6, no. 11 (September 1997): 95–118. http://dx.doi.org/10.1080/10669929708720113.
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SULEYMANOV, Salman. "OUR FIRST POET AND THE ARABIC LEXICAL UNITS." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 9, no. 2 (April 25, 2022): 45–53. http://dx.doi.org/10.38064/eurssh.337.
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In the article, the Arabic word units in the works of our poet Gazi Burhaneddin (1344-1398), who created the first Divan in the history of Turkish dialects literature are investigated. It is stated that these dictionary units are widely reflected in the works of Gazi Burhaneddin for the first time in the literature of Turkish dialects. Thus, Gazi Burhanaddin tried to ensure the eruza compatibility of his own language by using these dictionary units. Generally, the interrelationships between eruz and the Azerbaijani language are explored in the article. Gazi Burhaneddin is the first poet to write "Divan" in our mother tongue. In the third volume of the history of literature of Azerbaijan the article of Gazi Burhanaddin (1344-1398) begins with the following sentences: “Azerbaijani literature in the XIII-XIV centuries is entering a new stage of development. The most important event of the period is the emergence of mother tongue poetry. For centuries due to historical-socio-political reasons, Arabic (VII-X centuries) and Persian (XI-XII centuries) were in high positions in the literature of written Azerbaijan, as well as in the literature of some Near and Middle Eastern countries. The well-known literary theorist and critic Hatib Tabrizi wrote his works in Arabic, the world-famous Hagani, Nizami wrote in Persian... Raising the flag of poetry in its own language in the XIV century, Gazi Burhaneddin is one of the poets who created hundreds of works in the Azerbaijani language. It is clear from the sources that Gazi Burhaneddin was a well-known generation of his time, received an excellent education and he lived in Arab countries for a long time. Therefore, he knew Arabic very well. Yet according to literary history, “he... if he's holding a sword in one hand, he held a pen in his other hand, “Tercihit-tozih” (predominance of explanations), "İksirus-seadet fi esraril-ibadet" (The gem of happiness is in the secrets of worship) as. He wrote scientific works in Arabic and he has created precious melodies that touch the hearts…” "Although the sources indicate that the poet has poems in Arabic and Persian, its famous "Divan" is in the Azerbaijani language.
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ALIYEVA, Gultekin. "PROBLEMS OF THE DEVELOPMENT OF AZERBAIJANI BLANK VERSE IN THE 1980S." RIMAK International Journal of Humanities and Social Sciences 05, no. 04 (July 1, 2023): 410–16. http://dx.doi.org/10.47832/2717-8293.24.24.
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The article talks about the development path and features of the stage of the 80s of free poetry of Azerbaijan. It is noted that in the 80s, new signatures came to free poetry, and along with the poets who started their work in the 60s, young poets who started their career in the 70s and 80s created new examples of free poetry. R. Rovshan, S. Rustamkhanli, V. Jabrayilzade (Vagif Bayatli Oder, Taleh Hamid, Sayavush Sarkhanli, Vagif Bahmanli, e tc.) associativeness increases somewhat in free poems. The free poetry of these years differed from the poems of previous years due to many of its characteristics. free poetry is updated and diversified stylistically, poetic imagery increases, flexible variations, positional flexibility of thought increase, emotionality and expressiveness play a leading role. The article also refers to the literary criticism of the time about free poetry, and theoretical ideas about free poetry are preferred.
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Alıyeva, Saltanat. "GAZI BURHANADDIN’S “DIVAN” AND ITS RESOURCES." Scientific Journal of Polonia University 58, no. 3 (September 1, 2023): 15–22. http://dx.doi.org/10.23856/5802.
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The sources of the XIV century Azerbaijani poet Qazi Burhanaddin's creativity are diverse and rich. These resources are mainly: 1. Oral folklore 2. Written all-Turkic poetry 3. Religious sources, Quran motifs 4. Sufistic philosophy Oral folk literature is defined as the main and primary source for the poet's creativity. As we investigate, it becomes clear that the work of Yunus Amre, one of the representatives of Turkish-language poetry, had a serious impact on the worldview of the poet. The reason for this is primarily Yunus Emre's creativity, including It is shown that the Sufism poetry of XIII,XIV centuries became widespread. The influence of the poet by Nizami Ganjavi's poetry was also emphasized. As well as his excellent religious education and the demands of the time, the motifs of the Qur'an also acted as a source for the poet's creativity. The question of reflection of the Sufism philosophy, which became the object of controversy in the artist's poetry for a long time, was also clarified. As a result, it has been proved by facts that Sufism philosophy plays the role of a source for the poet's creativity.
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Dessiatnitchenko, Polina. "The Pearl of Muğam Philosophy: Qəzəl Poetry and Musical Hermeneutics in Independent Azerbaijan." Ethnomusicology 66, no. 1 (April 1, 2022): 81–105. http://dx.doi.org/10.5406/21567417.66.1.06.
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Abstract The 650th anniversary of Azerbaijan's beloved poet Imadaddin Nasimi (1369–1417) in 2019 was marked by two compositions in which his famous qəzəl “Sığmazam” was set to music. Qəzəl poetry is usually performed in muğam, a branch of traditional Azerbaijani music, and its unorthodox use by pop stars in these two compositions sparked intense debates. In this article, I discuss how the deep significance and instrumentality that qəzəl poetry holds in the post-Soviet context explains the powerful impact of the two pieces. I show how interpretation and imagination of qəzəl meanings in muğam, especially the theme of the beyond, is a way to make social and political realities and articulate post-Soviet subjectivities that emerge through the narrative of loss and in relation to beliefs about the Soviet past.
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Abbasova, Sevinj Zakir. "“ALI AND NINO”: BETWEEN POETRY AND REALITY." Scientific Journal of Polonia University 62, no. 1 (July 8, 2024): 9–19. http://dx.doi.org/10.23856/6201.
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One of the most interesting and enigmatic works of art of the history of Azerbaijan culture in terms of a lot of problems is a novel of “Ali and Nino”. This work whose author is still unknown can be considered as the masterpiece of world literature both in artistic and aesthetic terms and also from the point of view of intellectual level. The point is that there are some examples of creativity in the world that they are covered with the secrets between the destiny and love of reader and author and become target of different opinions for a long time. Personality and tragedies of Shakespeare, conflicting opinions around "The Quiet Don" of M.Sholokhov etc. also includes here. The work “Ali and Nino” that can conquer the hearts of readers with its character which is cohere with its generation – pedigree, Baku, Motherland with endless love and deep fanaticism in all respects, translated from German language to Azerbaijani language in the 70s are among such mysterious works of the world literature.
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Aliyeva, Gandab. "The lyrical psychologysm in contemporary South Azerbaijani poetry." Azerbaijan Journal of Educational Studies 1, no. 1 (2020): 219–29. http://dx.doi.org/10.29228/edu.191.
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KULİYEVA, MAHİRE. "NESİMİ’NİN LİRİKASI: İRFANÎ MÜNDERİCE VE POETİK ZİNETLER." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 106 (June 20, 2023): 413–20. http://dx.doi.org/10.34189/hbv.106.020.
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The article presents a monograph by Saadet Shikhiyeva. Her monograph "Nesimi's Lyrics: Wisdoom Content and Poetic Decorations" discusses the themes of Nasimi's creativity that have not been studied so far and the place of the poet in the history of Azerbaijani philosophical poetry. In this work, research on Nesimi was carried out on two divans of the poet, which he wrote in Azerbaijani Turkish and Persian. Keywords: Nesimi, Shikhiyeva, Hurufism.
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ISAKHANLI, HAMLET. "Wavering Azerbaijani Literati Views of America: From the Russian Tsarist through the Modern Periods." Journal of American Studies 48, no. 3 (January 22, 2014): 839–71. http://dx.doi.org/10.1017/s0021875813001990.
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The historical thoughts and opinions of one nation regarding another are useful both for the purpose of analyzing global events and for understanding both nations. Until modern times, the Azerbaijani people did not have contact with the USA or widespread knowledge of American people, but throughout the past two centuries elite Azerbaijani thinkers and scholars have expressed interest in America from various viewpoints, including the political, scientific, and educational fields. The article reviews statements about the USA as they are documented in the publications by Azerbaijani historians, journalists, creative writers, educators, and politicians from the 1830s through to contemporary times. Using these documents, and poetry of Soviet times, the article analyzes Azerbaijani perspectives on America, which over time have wavered, both upwards and downwards, but often reflected the prevailing political ideology towards the USA, particularly during the Soviet period.
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Ahmadova, P. "WORKS OF ART ABOUT IMADADDIN NASIMI IN AZERBAIJANI POETRY." Тrаnscarpathian Philological Studies 3, no. 13 (2020): 173–76. http://dx.doi.org/10.32782/tps2663-4880/2020.13-3.31.
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Sadigova, Nazila. "COMPARISON OF ROMANTICISM IN ENGLISH AND AZERBAIJANI LITERATURE ON THE BASE OF HUSEYN JAVID'S POETRY." Молодий вчений, no. 3 (103) (March 31, 2022): 57–60. http://dx.doi.org/10.32839/2304-5809/2022-3-103-12.
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The article is devoted to the issue of the choice of the Azerbaijani scientific thought of the English literature as an object of comparison in relation to Huseyn Javid’s romanticism. It was noted that Azerbaijani literary studies, as a rule, when evaluating the work of Huseyn Javid, samples of English literature were selected for comparison, in particular, the literary heritage of the great classical English literature of the XIX century George Gordon Noel Byron (1788-1824). The literary criticist Ali Sultanli called the image of Arif in the tragedy “Iblis” (the Devil) the younger brother of Childe Harold, the personage of Byron. In the comparative analysis of Huseyn Javid’s art with English literature, literary critisist Ajdar Ismailov gave rise to a new stage. Although in the work “Huseyn Javid and the world romanticism traditions” creativity of English romantic poet Byron and Azerbaijani writer Javid became the object of comparison. The comparison of Byron and Javid led to recognition of originality in the works of both poets. It is no coincidence that Javid’s work “Devil” differs substantially from Byron’s work “Cain”. Although the Azerbaijani romantic was familiar with Byron’s work from a young age, he did not accept the views of his European predecessor on many issues, but gave the concret ways of problem solvation to the reader, who faced serious socio-political and philosophical problems.
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Ismayilova, Shamsura. "Azerbaijani poetry in the 1990s - the influence of the new socio-political environment in poetry." AZERBAIJAN LITERATURE STUDIES, no. 01 (2023): 134. http://dx.doi.org/10.59849/2663-4406.2023.1.134.
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Strzemżalska, Aneta. "Slam in the Name of Country: Nationalism in Contemporary Azerbaijani Meykhana." Slavic Review 79, no. 2 (2020): 323–44. http://dx.doi.org/10.1017/slr.2020.86.
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Meykhana is spoken word improvisation, verbal recitatives, and a kind of entertainment that in the last two decades has largely spread across Azerbaijan. Contemporary meykhana, although it retains its characteristic rhythm, increasingly resembles popular songs rather than classical Middle Eastern poetry, and is now often being sung, not read. Thus, in its form and function, it has become an element of mass popular culture. At the same time, meykhana is increasingly considered to be one of the national symbols on a par with other traditional musical genres such as mugham and ashig art. Meykhana's contemporary dual nature, which is understood differently by different constituencies within the Azerbaijani population, with their own politicized agenda, is inherently nationalist in nature. Using such aspects of nationalism as ethnicity, tradition, modernization, and folkloricization I analyze different levels of meykhana and the various actors involved in its implementation. This paper contributes a case study to the rich body of literature on nationalism in musical performances by analyzing the ways in which identities are constructed and mobilized.
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Mammadova, N. H. "THE REFLECTION OF SOCIAL POLITICAL EVENTS IN POETRY OF THE LANKARAN LITERARY ENVIRONMENT ON THE PERIOD OF INDEPENDENCE." EurasianUnionScientists 7, no. 5(74) (June 14, 2020): 50–52. http://dx.doi.org/10.31618/esu.2413-9335.2020.7.74.774.
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The social and political events which were reflection in poetry of the Lankaran literary environment on the period of independence have been investigated and grouped in the article. As a result of the research, we see that the historical events in the literary environment of the region are sufficient in the writers’ creativity. The Karabakh war, the events of 20th January, the propagation of ideas of independence, and HeydarAliyev’s coming to power are reflected in the poetry more vividly. Since Azerbaijani literature of independence has a different color compared to other periods, the literary environment of Lankaran, which is an integral part of Azerbaijani literature, also the literary people who form this medium and their peculiar method of creativity attracts attention. From this point of view it is safe to say that the study of the period of independence of the regional literary environment is of particular importance. The reason for this is that literature is not only in the center. Undoubtedly, these are the specific shades of regions that enrich and make changes to it. It is precisely the research that we have made that allows us to reach this conclusion
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Makhamatov, T. M. "The Philosophy of Man in the Poetry of Sеid Nasimi Imadeddin." Humanities and Social Sciences. Bulletin of the Financial University 10, no. 4 (November 3, 2020): 99–103. http://dx.doi.org/10.26794/2226-7867-2020-10-4-99-103.
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In the article, the author substantiates the position about the relevance of Nasimi’s thoughts about the unity of God, that all people are children, that everyone should enlighten his mind. The poet’s lines about ignorance as to the cause of evil and cruelty because it is the essence of Shaytan remain relevant. Nasimi’s work, which is pantheistic, anthropocentric and humanistic, developing the language of the Azerbaijani people, contributed to the unification of Azerbaijanis into a single people, the formation of self-consciousness and national identity. The beauty of a syllable, depth of thoughts, melodiousness of lines of poetry of the poet and the philosopher, attracting love to itself and admiring such poets and thinkers of related Turkic nationalities as Alisher Navoi, Lutfi, Babur, Mashrab, etc. , promoted understanding by them of the relatedness with each other. Nasimi’s thoughts, based on the profound progressive humanistic and democratic provisions of the Qur’an, were ahead of his time and did not fit the socio-political conditions of the Islamic world of those times. It is so because he wrote that he does not fit into this world. The author concluded that the provisions of Nasimi about man as the highest value of existence are relevant today. Nasimi revealed the basis of the civilisational unity of humankind, which is also achieved by the legal “frame” of the value of human life, its freedom, and equality.
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Nazarova, Adila. "The role of Nasimi's poetry in the formation of students' outlook." Scientific Works 18, no. 1 (April 22, 2024): 190–94. http://dx.doi.org/10.62706/bqiz.2024.v18i1.126.
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I.Nasimi, a great Azerbaijani poet living in the XIV century, believed in power of a word and skillfully used it as a poet. Nasimi's philosophical thoughts encourage people in moral development. His thoughts sound like human values rather than only admonitions. Dynamics of Nesimi's poems are both literary peak of his creativity and the centre of his literary personality. Determinations as well as resolution to keep one’s promise and courageous characters in the poet's ghazals are factors that influence the formation of students' outlook.
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Alizade, F. N. "FEATURES OF THE MANIFESTATION OF TRADITIONS AND INNOVATIONS IN CLASSICAL AZERBAIJANI POETRY." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 2, no. 5 (2021): 49–55. http://dx.doi.org/10.32838/2710-4656/2021.5-2/08.
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Muzadil Verdiyeva, Turkan, and Shakar Murshud Mammedova. "The Nizami Ganjavi mausoleum in 20th-century Azerbaijani poetry: A distinct perspective." Nizami Studies - Scientific Works, no. 09 (2023): 132. http://dx.doi.org/10.59849/3006-2403.2023.9.132.
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Huseynova, M. N. "DIALECTISMS IN NASIMI’S WORKS AND THEIR INTEGRATION INTO TURKIC LANGUAGES." Linguistic and Conceptual Views of the World, no. 68 (1) (2021): 40–54. http://dx.doi.org/10.17721/2520-6397.2021.1.04.
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In this paper, dialectic lexemes, which is the part of the vocabulary of an outstanding poet Imadaddin Nisami’s, are analyzed. He played the great role in the development of the Azerbaijani language of the XIV–XV centuries. Based on the folk texts and the works of his famous predecessors Khagan, Nizami, leading representatives of the Middle East poetry, Nasimi himself, knowing and skillfully using all the meanings and forms of classical poetry, gave a new freshness to the literature of his epoch, created poetic texts which have being highly appreciated till our days. The outstanding poet realized his responsibility as a craftsman in the history of the standard Azerbaijani language, also used dialectic words for the creation of certain stylistic effects and enriching the vocabulary of the language. Being the master of his talent, he was able to express very subtle and deep philosophical meaning. The comprehensive investigation of his literary heritage with rich and varied vocabulary and its integration into Turkic languages is one of the urgent task which the modern Turkology faces. In this sense his every line and verse is the challenge for any reader who is far from the East poetry, Islamic religion eastern theology and mythology. Undoubtedly, the scope of an article is beyond the scope of exploring this great and relevant topic. But this paper is the first attempt to investigate and comment the integration of the dialectic words into Nasimi’s literary heritage and also the integration of these lexems into turkic languages. It is analyzed also the peculiarities of reflexive pronounce (oz, kendi) and their usage in all Turkic languages.
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Məhəmməd qızı İsmayılzadə, Gülbəniz. "Musical memory of Muhammad Fuzuli's poetry." ANCIENT LAND 11, no. 5 (May 27, 2022): 14–17. http://dx.doi.org/10.36719/2706-6185/11/14-17.
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Azərbaycan söz sənətinin klassilərindən biri sayılan Məhəmməd Füzulinin bədii yaradıcılığı istənilən dövrdə tədqiqatçıların diqqət mərkəzində olmuşdur. Aparılan tədqiqatların mövzu, məzmun və say etibarilə çoxluğuna baxmayaraq, Füzulinin söz xəzinəsi bitib tükənmir. Məqalə M.Füzuli poeziyasının musiqi yaddaşına, buradakı musiqi alətlərinin poetik mövqeyinin təhlilinə həsr olunmuşdur. Burada şairin əsərlərində, müxtəlif qəzəllərində bədii obraz kimi təqdim etdiyi musiqi alətləri və musiqi ilə bağlı olan müxtəlif sözlərin linqvopoetik xüsusiyyətləri araşdırılır. Açar sözlər: Füzuli, musiqi alətləri, müğənni, səs, aşiq. Gulbaniz Mahammad İsmayılzada Musical memory of Muhammad Fuzuli's poetry Abstract The work of Muhammad Fizuli, one of the classics of Azerbaijani verbal art, has always been in the center of attention of researchers. Despite a large number of studies on topics, content and quantity, Fizuli's vocabulary is not exhausted. The article is devoted to the musical memory of M. Fizuli's poems, the analysis of the poetic position of musical instruments in his work. It explores the linguistic and poetic features of musical instruments and various words associated with music, which the poet presents as an artistic image in his works, and various gazelles. Key words: Fizuli, musical instruments, singer, voice, lover.
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Novruz qızı Məmmədova, Nəzrin. "Azim Azimzada’s attitude towards poetry of Mirza Alakbar Sabir." SCIENTIFIC WORK 66, no. 05 (May 20, 2021): 140–44. http://dx.doi.org/10.36719/2663-4619/66/140-144.
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The heritage that Mirza Alakbar Sabir left for us has always been a source of inspiration for creative people throughout ages. People who are engaged in fine art have always highly appreciated this work too. It requires too much responsibility to address Mirza Alakbar Sabir’s poetry, one of the most famous literary figures in world literature. As if the artists who addressed this patriotic writer’s poetry, feel the poet and created unique works with an inspiration that they got from him. It is undeniable that Azim Azimzada played a vital role in publicity of Mirza Alakbar Sabir’s poetry. Azim Azimzada’s all illustrations are engraved in people’s memory. Average spectators can perceive artist’s illustrations too. By looking through illustrations, it is possible to guess almost all poems that they are dedicated to. Educating people who are indifferent to education and waking them up from this ignorance was Azim Azimzada’s main goal. Artist’s illustrations differentiate with its harsh ironic spirit which is the main peculiarity of Sabir’s poetry. We can definitely see the strong influence of Sabir’s poetry in Azim Azimzada’s works. This is the reason why Azim Azimzada is usually called as Sabir of fine art. Literary approach of artists towards Sabir’s poetry has still been ongoing so far. Addressing Sabir’s poetry by most artists is the sign of love, respect and curiosity to Sabir’s works and life. Key words: Mirza Alakbar Sabir, book illustrations, Azim Azimzade, “Hophopname”, Azerbaijani graphic art, master of caricature
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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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Bairamova, Alla Gadzhi aga kyzy. "MUGHAM AND ASHIG ART IN THE AZERBAIJANI POETRY OF THE XIX-XX CENTURIES." Manuscript, no. 5 (May 2019): 206–11. http://dx.doi.org/10.30853/manuscript.2019.5.43.
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Hajiyeva, Gulmira. "EDUCATIONAL OPINIONS OF ALIBEY HUSEYNZADEH." 3i intellect idea innovation - интеллект идея инновация 3 (2023): 169–75. http://dx.doi.org/10.52269/22266070_2023_3_169.
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The article is about the educational opinions of Alibey Huseynzade, who dedicated his whole life to the enlightenment of his nation. It is noted that, Ali Bey Huseynzade made speeches on the press pages or on the “Fuyuzat” journal founded by him with his considerations on the problems, views and opinions of the national literary press on such educational issues. The ideas about the great and exceptional service of Ali bey Huseynzade as a public figure, educator, pedagogue, poet, artist, and journalist are discussed in the article,his contribution to the history of Azerbaijan's enlightenment, the development of school and pedagogical ideas, the national awakening and progress of the Azerbaijani people and Turkish world. Ali Bey Huseynzade's loyalty to the traditions of classical Eastern poetry and our ancient cultural heritage is remarkable.It is conveyed to the reader's attention that, Ali Bey Huseynzade actually played an important role in increasing the educational power of Turkish-Islamic nations along with acquiring the Western culture and civilizational achievements by defending the idea of not separating from its spiritual, religious and ethnic foundations.
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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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Zaripova, Dilfuza Bakhtiyorovna. "The role of didactic works in world literature." International Journal on Integrated Education 3, no. 2 (February 6, 2020): 10–14. http://dx.doi.org/10.31149/ijie.v3i2.316.
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In the 10th - 11th centuries, Persian - Tajik fiction began to develop, with some governors, especially Samanis, paying much attention to the development of Persian poetry. Literary centers were established in Bukhara, Samarkand, Marv, Balkh and Nishapur. The great speakers like Rudaki, Daqiqiy, Firdavsi, Asadi Tusi, Nosir Khisraf, Omar Khayyam, Nizami Ganjavi from the Tajik, Iranian and Azerbaijani nations were educated. Each of these writers has their own way of life and creativity, artistic style and literary services. Accordingly, these writers, who have lived and worked in such places as Bukhara, Samarkand, Termez, Merv, Khorezm, Nishapur, Balkh, Tus, Ghazna, Ganja and Shirvan, have gained popularity throughout the Middle East.
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Zeynalova, R. H. "CLASSICS OF CONTEMPORARY AZERBAIJANI POETRY IN LITERARY CRITICISM (BASED ON THE WORKS OF SHAMIL SALMANOV)." Scientifik news. Series for Social and Humanitarian Studies 17, no. 4 (2021): 39–42. http://dx.doi.org/10.54758/16801245_2021_17_4_39.
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Muhamedova, Saodat, and Khankishi Mammadov. "SEMANTICS OF THE POETIC STRUCTURE OF THE “EVVEL-AKHYR” PARADIGM ‘BEGIN-NING-END’ OF AZERBAIJANI, RUSSIAN AND UZBEK PROVERBS." Uzbekistan:Language and culture 5, no. 2 (February 26, 2023): 25–38. http://dx.doi.org/10.52773/tsuull.uzlc.aphil.2023.2.5/ftbf9979.
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In this study, Azerbaijani, Russian and Uzbek proverbs and sayings in the form of “evvel-akhir” (samples that begin and end with the same letter) characteristic of Turkic versification are studied. It should be noted that “evvel-akhyr” is one of the special cases of assonance and alliteration / consonance. It is known that assonance is a multiple repetition of sim-ilar vowel sounds in poetic speech, alliteration is a repetition of similar consonant sounds in poetic speech, and there are no rules of repetition of consonant and vowel sounds here. They can be found at the beginning, in the middle and at the end of the text. However, the stylistic technique of versification “evvel-akhyr” differs from assonance and alliteration. Despite the fact that here too consonants and vowels are repeated, but they occur not only in the middle of the phrase, but necessarily at the beginning and end. For example, in the Uzbek proverb: “Avval ўйла, keyin сўйла” the pro-verbial verse begins and ends with the vowel sound [a]. It should be noted that proverbs forming rhyme at the beginning and end of proverbial verse in Azerbaijani, Russian and Uzbek languages are considered for the first time in a comparative plan. And this testifies to the relevance and scientific novelty of the research. Studies show that there are enough examples of “evvel-akhir” in Azerbaijani, Russian and Uzbek proverbs. And this testifies to the richness of thought of our ancestors, indicates their spiritual and ar-tistic wealth, global ideas and aesthetics, greatness of all three languages, deep intelligence of peoples and their inclination to poetry, sharpness of memory philosophy of all three peoples.
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Qadir qızı Məcidova, Leyla, and Ləman Zahir qızı Muradova. "Nizami's heritage: the unity of art and history." SCIENTIFIC WORK 75, no. 2 (February 18, 2022): 56–60. http://dx.doi.org/10.36719/2663-4619/75/56-60.
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Məqalədə Azərbaycan lirikasının dahi nümayəndəsi Nizami Gəncəvi yaradıcılığının bədii-tarixi xüsusiyyətlərindən bəhs edilir. Burada qeyd olunur ki, Nizami Azərbaycanı bəşər tarixinə bəxş etmiş dahi şəxsiyyətdir. Şərq xalqlarının müxtəlif nümayəndələri Nizami yaradıcılığına böyük maraq göstərmiş, Nizamini öz ustadı hesab edərək sonrakı əsrlərdə onlarla “Xəmsə” yaratmışlar. Şairin yaradıcılığı sonrakı dövrdə böyük ədəbi məktəb formalaşdırmışdır. Sovet dövründə Nizami kimi böyük sənətkarın əməyinin dövlət səviyyəsində yüksək qiymətləndirilməsi ulu öndər Heydər Əliyevin müdrikliyinin bəhrəsidir. Bu gün, Nizaminin şöhrətinin, Nizami qüdrətinin qanadlarının açılmasında ümummilli lider Heydər Əliyevin xidmətləri əvəzsizdir. Ədəbi irsin qorunması qayğısına qalan dahi şəxsiyyət təkcə Nizami Gəncəvinin, Azərbaycanın klassik şair və yazıçılarının ev-muzeylərinin yaradılmasında deyil, onların xatirələrinin əbədiləşdirilməsində də böyük işlər görüb. Açar sözlər: şair, yaradıcılıq, ədəbi məktəb, mütəffəkir, irsiyyət, müdriklik, dahi Nizami, cəmiyyət Leyla Gadir Majidova Laman Zahir Muradova Nizami's heritage: the unity of art and history Summary The article discusses the artistic and historical features of the work of Nizami Ganjavi, a genius representative of the Azerbaijani lyric poetry. It is noted here that Nizami is a genius who gave Azerbaijan to human history. Various representatives of the peoples of the East showed great interest in Nizami's work, and considering Nizami as their master, they created dozens of "Khamsa" in the following centuries. The poet's work formed a great literary school in the following period. The high appreciation of the work of such a great artist as Nizami at the state level during the Soviet era is the fruit of the wisdom of the great leader Heydar Aliyev. Today, the services of national leader Heydar Aliyev are invaluable in opening the wings of Nizami's fame and Nizami's power. Taking care of the protection of the literary heritage, the genius did a great job not only in the creation of house-museums of Nizami Ganjavi, classical poets and writers of Azerbaijan, but also in perpetuating their memories. Key words: poet, creativity, literary school, great-thinker, heredity, wisdom, great Nizami, society
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Norova, Nasiba, Shokhsanam Davronova, Shoira Axmedova, and Marhabo Xudoyqulova. "About some of Osman Kochqor’s translations In Uzar literature." E3S Web of Conferences 538 (2024): 05018. http://dx.doi.org/10.1051/e3sconf/202453805018.
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Translation works have a special place and influence in Usman Kochkar’s work. The combination of idea and art, meaning and image in the poet’s poetry is directly related to his translation. His translation skills are especially evident in the examples of Azerbaijani literature that he translated. The translator translated the works of Sayyid Imamuddin Nasimi, Husayn Javid, Yunus Samad, Sabir Rustamkhan, Yunus Oguz, Husayn Kurdogli, Hidayat, Anor, Elchin, etc. from Ozar into Uzbek. The artist later made translations from Russian, English, and Japanese. As a translator, choosing the best works, the Uzbek reader made a worthy contribution to the expansion of the reading space. The article examines the translation skills of Usman Kochkar and the influence of translated works on the poet’s work.
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Пюста Ахмедова. "ХУДОЖЕСТВЕННЫЕ ПРОИЗВЕДЕНИЯ В АЗЕРБАЙДЖАНСКОЙ ЛИТЕРАТУРЕ, ПОСВЯЩЕННЫЕ ИМАДЕДДИНУ НАСИМИ." International Journal of Innovative Technologies in Social Science, no. 1(22) (January 31, 2020): 36–41. http://dx.doi.org/10.31435/rsglobal_ijitss/31012020/6878.
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As a result of attention and interest to the heritage of Imadaddin Nasimi, the great thinker of the 14th century, numerous works of various genres have been written about the life and creativity of Nasimi. Each of the lyrical, epic and dramatic works dedicated to Imadaddin Nasimi are referred to his creativity and destiny. Reflecting the artistic and philosophical world of Nasimi, it becomes clear from each of these works that Nasimi is one of the greatest literary figures not only of his time, but of Azerbaijani literature as a whole. Other authors such as Islam Safarli, Rasul Rza, Aliagha Kurchayli, Nabi Khazri, Bakhtiyar Vahabzade, Isa Huseynov, Mahmud Ismayil, Ali Tuda, Sohrab Tahir, Jabir Novruz, Qabil, Khalil Rza Uluturk, Fikret Sadig, Kalantar Kalantarli, Isa Ismayilzadeh, Mammad Ismayil, Musa Yagub, Alakbar Salahzadeh who covered the poet's difficult life path, wrote about Nasimi and his time, they turned to the artist's creativity as a primary source, as a result, presented literary works that fully cover the poet's creativity and biography.In each of these works based on the historical principles and dedicated to Nasimi, Nasimi's poetry was analyzed and approached in the context of the period in which it was written. Each of these works is a literary example that gives a full idea of the poet's life and art.
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Mir-Bagirzade, Farida. "ORIENTAL SYMBOLISM OF THE BALLET “SEVEN BEAUTIES” BASED ON THE POEM BY NIZAMI GANJAVI." Historical Search 1, no. 4 (December 25, 2020): 197–201. http://dx.doi.org/10.47026/2712-9454-2020-1-4-197-201.
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The author explores creative interpretations of the work “Seven Beauties” written by a humanist poet Nizami Ganjavi (7th century) from the “Hamse” cycle. The poet was a genuine erudite, connoisseur of not only Koranic texts, history, ancient and Muslim philosophy, but astronomy as well. This article is an attempt to trace the oriental symbolism in the images of Ganjavi in one of the creative interpretations of the poem “Seven Beauties” through the prism of choreographic and scenographic art. The method of research is a semiological analysis, the object of study is the ballet “Seven Beauties”, combining the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of Azerbaijani composer Kara Karayev. The composer K. Karayev actively used authentic musical traditions of Azerbaijan (musical harmonies, Ashug melodics and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet “Seven Beauties” (1982, directed by Felix Slidovker) and the new production of the Theater of Opera and Ballet named after M.F. Akhundov (2011), the author traces the transformation of the libretto and offers his own rendition of symbolism in the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been a part of a thinking person. Eastern poets chanted this search, this long and difficult road to the truth, the ideal world. Court intrigues, the luxury of the palace and the daily life of the common people, nobility, guile and love intertwined in this metaphorical Eastern parable, which formed the basis for several interpretations of the ballet “Seven Beauties”. Despite the great degree of conventionality inherent in this genre of stage art, the film ballet is characterized by dramaturgical diversity, organic entwinement of developing storylines, dynamic interrelation of social and lyrical-psychological conflicts. The transformation of the libretto to the ballet “Seven Beauties” testifies to a new, deeper reading, its coming closer to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, to eternal search for the truth, love and justice sung by the poet with oriental imagery characteristic for him.
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BASHIRLI, ULVIYA. "EDUCATIONAL SUBJECTS IN THE POEM “PHOENIX” BY THE AZERBAIJANI FOLK POET NARIMAN HASANZADEH." Sharqshunoslik. Востоковедение. Oriental Studies 02, no. 02 (October 1, 2022): 26–29. http://dx.doi.org/10.37547/ot/vol-01issue-02-04.
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The works of the People's Poet of Azerbaijan Neriman Hasanzadeh are of great importance in the upbringing of the young generation in the spirit of patriotism. In this regard, the poem “Phoenix”, dedicated to our historical past, deserves to be remembered as a special. Although the events in the work cover the 1820s, they are still echoed today. The Russian Empire attacked Azerbaijan with a large army in order to conquer the Caucasus and enslave its inhabitants. He overthrew the existing Azerbaijani khanates and annexed their lands. Later he won the war with Iran and usurped the lands inhabited by Azerbaijanis. However, the Azerbaijani people were not defeated and the struggle for freedom continues, albeit locally. Along with men, girls and women also participate in these wars. In the background of all these heated massacres, the image of a mother traditionally called the “Phoenix” stands out. With the image of a simple artist, carpet weaver, N. Hasanzadeh created a generalized image of Azerbaijani mothers who put national pride and homeland honor above all else. While reading the poem “Phoenix”, the reader is as if experiencing the events of a difficult period, his heart is filled with love for the country, he is ready to sacrifice his life for the country. Of course, the effect of such work is sufficient in our victory in the Second Karabakh War.
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NAZAROVA, Adilya Hasan. "SUFISM AND THE CONCEPT OF UNITY IN AZERBAIJANI FOLK CREATIVITY (EXAMPLES FROM THE POETRY OF ASHIQ ALASGAR)." Humanities science current issues 2, no. 67 (2023): 243–49. http://dx.doi.org/10.24919/2308-4863/67-2-35.
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