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Academic literature on the topic 'Folk literature, Azerbaijani'
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Journal articles on the topic "Folk literature, Azerbaijani"
1
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
2
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.
3
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
4
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
5
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.
6
Zeyqəm qızı Rzayeva, Qərənfil. "Issues of spiritual education in proverbs and parables." SCIENTIFIC WORK 67, no. 06 (June 21, 2021): 34–39. http://dx.doi.org/10.36719/2663-4619/67/34-39.
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The folklore of each nation is an indicator of the history of the formation of its thinking and artistic thinking. If we look at the history of our oral literature, we see that our oldest examples date back to the archaic period of hundreds of thousands of years ago. Our folklore, which originated from mythological thought, has improved over time, formed as a product of new thought in different historical periods, passed down from generation to generation and has survived to the present day. The folklore of the Azerbaijani people is rich in genre and colorful in terms of its theme and content. Our oral literature, which is the heart of our people, has not lost its freshness, but is also valuable as a source of our national and spiritual values. Labor songs, counting words, holavars, bayats from lyrical genres; proverbs and parables, legends, myths, epics, etc. from the genres of the epic type. In the womb of genres, the spiritual values that our people have acquired throughout human history are embodied. Proverbs and parables in the most concise genres of oral folk literature are very valuable materials from the point of view of education. There are hundreds of proverbs for all aspects that form the basis of education (patriotism, love of work, collectivism, struggle, loyalty, respect for elders, passion for science, knowledge, etc.). Many proverbs and parables were created by hard working people. Therefore, they talk more about the hard work and poverty of the people in the past, and express deep hatred and protest against the ruling classes and the exploiters. Key words: proverbs, parables, epic type, oral literature, folk literature, spiritual heritage, wisdom, folk wisdom
7
Sarxan qızı Fətullayeva, Məhbubə. "Karabakh is Azerbaijan - the national-historical culture of the country, where history and modernity meet." SCIENTIFIC WORK 66, no. 05 (May 20, 2021): 53–56. http://dx.doi.org/10.36719/2663-4619/66/53-56.
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The article tells about the history of the Karabakh region, its cultural monuments, rich literature, art and musical culture. Considered the cradle of Azerbaijani culture, Karabakh is described as a land where history and modernity meet, describing the richness of the region's beautiful nature, climate and natural resources. It is explained that the cultural values of the ancient land are the result of the centuries-old traditions of the people of this land, the mysterious nature of the region, the wealth of natural resources, which has a positive effect on artistic thinking and creativity. Thanks to the work of the Karabakh people, the folk art of Karabakh, which is widely used in the life of the region, has a long and rich history. Key words: Karabakh, cultural monuments, Shusha fortress, Karabakh horses, national-historical culture
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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.
9
Morkoç, Ayvaz. "On the novel “Armenian Named Letters” of the Mevlüt SüleymanlıMevlüt Süleymanlı’nın “Ermeni Adındaki Harfler” romanı ve tarihi gerçekler." Journal of Human Sciences 13, no. 3 (December 8, 2016): 5290. http://dx.doi.org/10.14687/jhs.v13i3.4278.
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Mevlüt Süleymanli, born in 1943, is one of the significant living representatives of the contemporary Azerbaijan novelism. He is a bright person who combines talents of a novelist, short story writer, scriptwriter, radio and television producer. He entered Azerbaijan literature in 1964 with his poem “Ellerim” (“My Hands”) which was published in the newspaper “Azerbaycan Gençleri” (“Azerbaijan Youth”). Süleymanli who was living in a village, enriched his literary works with his observations of those years. He successfully used elements of folk literature and folklore. In his works he masterfully showed his love to Azerbaijan people, language, culture and literature. In his works he mostly criticized social and ethic aspects and Soviet system.In this work, the novel “Armenian Named Letters” which expresses the view of Süleymanlı on Armenians in the form of novel, was crticised, analysed and evaluated. Özet1943 yılında dünyaya gelen Mevlüt Süleymanlı, çağdaş Azerbaycan romancılığının yaşayan önemli temsilcilerindendir. Romancı, hikâyeci, senaryo yazarı, radyo ve televizyon yapımcısı gibi çok sayıda niteliği bünyesinde barındıran bir aydındır. Edebiyat dünyasına 1964 yılında Azerbaycan Gençleri gazetesinde yayımlanan “Ellerim” şiiri ile adım atmıştır. Köyde yaşayan Süleymanlı, bu yıllara ait gözlemlerini edebi eserlerinde zengin malzeme halinde sunmuştur. Halk edebiyatı ve folklora ait unsurları başarıyla kullandığı görülür. Azerbaycan halkına, diline, kültür ve edebiyatına olan sevgisini eserlerinde ustaca dile getirmiştir. Kaleme aldığı ürünlerinde toplumsal ve ahlaki tenkitlere ağırlık vermiş, Sovyet sistemine eleştiriler yöneltmiştir. Pek çok ünlü roman ve hikâyenin yazarı olan Süleymanlı, son eseri Ermeni Adındaki Harfler adlı romanıyla edebiyat dünyasında adından çokça söz ettirmektedir. Türklerle Ermenilerin kaotik ilişkilerinin gündemden düşmediği günümüzde Ermeni Adındaki Harfler romanı üzerinde çok yönlü yorumlar yapılmaktadır.Çalışmamızda Mevlüt Süleymanlı’nın Ermenilere bakışını roman formu içinde dile getiren Ermeni Adındaki Harfler romanı incelenmiş, üzerinde tahlil, yorum, açıklama ve değerlendirmeler yapılmıştır.
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Pace, Ian. "The Panorama of Michael Finnissy (II)." Tempo, no. 201 (July 1997): 7–16. http://dx.doi.org/10.1017/s0040298200005775.
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A large body of Michael Finnissy's work refers to music, texts and other aspects of culture outside the mainstream European tradition. As a child he met Polish and Hungarian friends of the family, and was further attracted to aspects of Eastern European music when asked to transcribe Yugoslav music from a record, for a ballet teacher. Study of anthropological and other literature led him to a conviction that folk music lay at the roots of most other music, and related quite directly to the defining nature of man's interaction with his environment. Finnissy went on to explore the widest range of folk music and culture, from Sardinia, Yugoslavia, Rumania, Bulgaria, the Kurdish people, Azerbaijan, the Vendan Africans, China, Japan, Java, Australia both Aboriginal and colonial, Native America and more recently Norway, Sweden, Denmark, India, Korea, Canada, Mexico and Chile.
Books on the topic "Folk literature, Azerbaijani"
1
Dunyā-yi sabz-i Āz̲arīʹzabānʹhā: The beautiful world of Azari language. Qum: Ṭāvūs-i Bihisht, 2000.
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2
Abbaslı, İsrafil, and Mämmädäli Qövsi Färzanä. Güney Azärbaycan folkloru. Bakı: "Elm vä Tähsil", 2013.
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3
Zvezdnai︠a︡ grozdʹ: Folʹklor i literaturnye pami︠a︡tniki Azerbaĭdzhana. Moskva: Khudozhestvennai︠a︡ literatura, 2009.
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4
Ăfăndii̐ev, Pasha. Dastan i̐aradyjylyghy: Filoloġii̐a faku̇ltăsi tălăbălări u̇chu̇n. Baky: ADPU-nun Năshrii̐i̐aty, 1999.
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5
Ăfăndii̐ev, Pasha. Azărbai̐jan shifaḣi khalg ădăbii̐i̐aty: Ali măktăb tălăbălări u̇chu̇n dărslik. 2nd ed. Baky: Maarif, 1992.
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Azärbaycan folklorunun rus dilinä tärcümäsi probleminin özünämäxsusluğu. Bakı: Säda, 2007.
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Folklor İnstitutu (Azärbaycan Milli Elmlär Akademiyası), ed. Azärbaycan, Türk nağılları. Bakı: Nurlan, 2009.
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Ălăsġăr, Islam. Äläsgär ocağı ilä bağlı yaradılmış dastan-rävayätlär haqqında. Bakı: Nurlan, 2007.
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9
Bihrangī, Ṣamad, and Vaḥīd Naṣīriyān. Kūrʹūghlū va Kachal Ḥamzah. Tihrān: Nashr-i Māh-i Rīz, 1999.
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