Academic literature on the topic 'Tatar Personal narratives'
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Journal articles on the topic "Tatar Personal narratives"
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Leparskienė, Lina. "Tatars by the Vokė River: Historical Memory and Personal Experiences." Tautosakos darbai 63 (July 20, 2022): 62–80. http://dx.doi.org/10.51554/td.22.63.03.
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In the historical narrative of Lithuania, the Vokė River is inseparable from the settling of Tatars in the territory of the Grand Duchy of Lithuania in the end of the 14th century, under the rule of Vytautas the Great. Until the present day, members of this Muslim ethnic community continue to live in villages and towns scattered along the banks of the river. According to their life stories, identity narratives and dreams analyzed in this article, the Tatars primarily perceive the landscape by the Vokė River through their community life, and in terms of their personal and family life evolving in this space. People reflecting on the historical narrative emphasize the importance of their voluntary decision to be there, contradicting popular historiographic theories of their ancestors having been moved there as prisoners of war or under the orders of the Lithuanian rulers. A string of villages situated along the Vokė River from its source to the mouth near the town of Grigiškės, have names that sound Turkic or Slavic; elderly local Tatars call them akolicas and point out to their peculiar layout, recognizing Tatar features even in the faces of the local inhabitants of other nationalities. The locals call their main settlement and the center of the Muslim community, the village of Keturiasdešimt Totorių (‘Forty Tatars’) in the Old Russian – Sorok Tatary. This place name was known as early as the 16th century, testifying to the deep entrenchment of the Tatar inhabitants in the culture of Lithuania, in which the Old Russian language was used for official writings and spoken by the nobility. From the 17th century, the Polish language took over, becoming both written and spoken language, adopted by the noble Tatars as well. Currently, local Tatars mostly use the local Belorussian dialect or Polish and Russian languages; this sets them apart from their fellow-countrymen living in the Kaunas Region who have started speaking Lithuanian during the interwar period. The author of the article regards Slavic languages as part of the cultural identity of the Vilnius Region and as an important mark of the ethnic Tatar culture related to their regional and noble identity, and to their attempts at fostering the Tatar families by means of frequently seeking spouses from the Tatar settlements in Belarus or Poland.
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Karimova, Liliya. "Muslim Revival in Tatarstan." Nova Religio 17, no. 1 (February 2013): 38–58. http://dx.doi.org/10.1525/nr.2013.17.1.38.
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This article examines post-Soviet Muslim revival among the Volga Tatars, historically Sunni (Hanafi) Muslims, in the central Russian Republic of Tatarstan. Drawing on ethnographic research among practicing Muslim Tatar women and discourse analysis of their piety stories, I argue that at the heart of the revival is the Tatars’ debate over the extent and nature of Islam that should be part of Tatar identity. In this debate, sources of Islamic knowledge and physical manifestations of Muslim piety function as the primary, if inaccurate, indicators of one’s Muslim identity. I conclude that practicing Muslim Tatars are aware of the role their religious education and physical practices play in others’ (often stereotypical) perceptions of them, and they deal with such perceptions by (re)negotiating their religious identities in personal narratives.
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Karimova, Liliya. "(Re)constructing Muslim Identities from the Soviet Past: Muslim Tatar Women’s Stories of Soviet Moral Selves." Central Asian Affairs 3, no. 2 (April 19, 2016): 117–41. http://dx.doi.org/10.1163/22142290-00302002.
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The revival of Islam in the central Russian republic of Tatarstan has transformed the daily landscape and the very notion of Muslim piety in the region. While a growing number of historically Muslim Tatars of all ages are embracing embodied piety, an older generation’s turn to religion is often perceived as late in coming and insincere. Based on ethnographic research and personal narratives of practicing Muslim Tatar women, I explore the ways the older women (re)construct their Muslim identities in the context of Tatars’ recent interest in Islam. Specifically, I analyze two older Tatar women’s stories about their paths to Islam. My analysis suggests that by tapping into the Soviet past, the women strive to create a continuously moral self that can serve as a solid basis for their present-day Muslim piety.
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Sozina, Elena Konstantinovna. "“BETWEEN EUROPE AND ASIA.” ORIENTALIST NARRATIVES OF ALEXANDRA FUCHS: THE RHETORIC OF WRITING AND THE AUTHOR’S POSITION." Yearbook of Finno-Ugric Studies 14, no. 3 (October 2, 2020): 465–75. http://dx.doi.org/10.35634/2224-9443-2020-14-3-465-475.
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The article discusses ethnographic essays and novellas in the poems by Alexandra Andreevna Fuchs. The wife of a famous professor Karl Fuchs, she was resident of Kazan, hosted a literary salon, which was frequented by many local and visiting writers and poets, and met with Alexander Pushkin during his stay in the town. Alexandra Fuchs became the first Russian ethnographer writer; she purposefully traveled to places where the Chuvash, Mari (Cheremis), and Udmurts (Votyaks) lived, and wrote essays about the life, daily routine, manners and customs of these peoples drawing on her personal observations. Her essays took the form of letters and were often accompanied by response letters from her husband. They were published in the Kazan magazine Zavolzhsky Muravey [Zavolzhsky Ant], in the regional newspaper Kazanskie gubernskie vedomosti [Kazan Provincial Gazette], as well as in a number of separate books. The article analyzes the rhetorical peculiarities and author’s position of Alexandra Fuks’ essay writing. The analysis also involves ethnographic-fiction novellas (poems) by A. Fuchs, taken, according to her, “from the Tatar tradition”: ‘Princess Habiba’, ‘Founding of the city of Kazan’, a comment to which was written by her husband. These works fit into the tradition of the “Eastern novella”, popular in Russia since the eighteenth century. Depicting the exotic life of ancient Tatars and the peoples neighboring Kazan, Alexandra Fuchs sought to reconcile the orientation of the region to the East with the Orthodox-Imperial ideology which (in her view) was more advanced and progressive. Her sympathies as the author lay with female characters who contradicted traditional Muslim customs. Alexandra Fuchs’ essays and tales played a considerable role in awakening the interest of a Russian reader to the peoples of the empire, which preceded the mid-19th century rise of ethnography in science and literature.
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Pchelovodova, Irina Vyacheslavovna, and Nikolai Vladimirovich Anisimov. "THE PERFORMER AND TRADITION: PERSONALITY AS A PHENOMENON IN TRANSMISSION OF THE UDMURT CULTURAL HERITAGE." Yearbook of Finno-Ugric Studies 14, no. 3 (October 2, 2020): 418–33. http://dx.doi.org/10.35634/2224-9443-2020-14-3-418-433.
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For the first time, this article concentrates on the phenomenon of personality in the Udmurt ethnical culture. This is a good framework to talk about Olga Nikolaevna Solovyova (1932-2018), well-known among the Udmurt as Dzhaky/Dzhakapay/Dzhakyapay (litt.: Jay/aunt Jay). There are several reasons for scientific interest about her: she had a huge knowledge of singing repertoire and rituals, she was able to improvise freely within her local tradition, she had exceptional musical abilities. The analysis of Olga Solovyova’s character as a performer allows to connect the songs in her repertoire with her singer’s fate. Many of her non-ritual songs are indeed autobiographic narratives with her reflections about her unhappy life, her fate as an orphan. A large corpus in her songs belongs to the so-called personal songs, a kind of memory about a person in musical, singing form. Another original feature in her singing art was the knowledge of other communities’ songs (Russian, Mari, Tatar), from the surrounding villages, both in the original languages as in translation into Udmurt. Because of her knowledge of the local ritual tradition, Olga Solovyova was a significant and respected member of her village community. Until her life’s last day, she respected the traditional worldview positions, the behavioural rules, the canons of ritual and singing performance, which she endeavoured to instil in her entourage. All this arose genuine interest in social and scientific circles. And today, when she is no more among us, her name comes back to life in numerous different projects.
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Predescu, Alina. "Public Performance of Private Interviews: Reinserting the Self into the Family Narrative." University of Bucharest Review. Literary and Cultural Studies Series 11, no. 1 (October 2021): 41–52. http://dx.doi.org/10.31178/ubr.11.1.4.
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Serban Oliver Tataru and Alfred Guzzetti are filmmakers that investigate on camera the role of memory in the construction of family history. They interview family members, gather old home movies and family photographs, and dig for public archival footage, in an effort to assume their position within a personal historical continuum, and to affirm their agency within their familial community. In their creative affirmation of generational subjectivity, they push against accepted familial narratives, and use the camera as a surgical tool that troubles lingering wounds beyond the surface of old images. In Anatomy of a Departure (2012), Romanian-German filmmaker Serban Oliver Tataru interviews his parents about their decision to emigrate from Ceausescu’s Romania while he was a teenager, scrutinizing on camera the conditions and consequence of a life-changing decision. While the dynamic of filming one’s own family is reminiscent of home movie tropes, and the tension built around sharing delicate memories reveals an intimacy usually intended to remain private, the film proposes a multilayered performance of the authorial self. As the film reveals a self-portrait set against the familial portrait (Marianne Hirsch), an inherent performative element acts as the necessary mediator between private and public, between ethic, aesthetic and politic. Negotiating between a restorative and a reflective nostalgia (Svetlana Boym), Tataru proposes a live performance of homecoming.
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Weideman, Julian. "TAHAR HADDAD AFTER BOURGUIBA AND BIN ʿALI: A REFORMIST BETWEEN SECULARISTS AND ISLAMISTS." International Journal of Middle East Studies 48, no. 1 (January 14, 2016): 47–65. http://dx.doi.org/10.1017/s0020743815001464.
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AbstractUnder the Bourguiba and Bin ʿAli regimes, the early 20th-century women's rights advocate Tahar Haddad (1899–1935) was a symbol of “state feminism.” Nationalist intellectuals traced the 1956 Personal Status Code to Haddad's work, and Bourguiba and Bin ʿAli claimed to “uphold” his ideals and “avenge” the persecution he suffered at the hands of the ʿulamaʾ at the Zaytuna mosque-university. Breaking with “old regime” narratives, this article studies Haddad as a reformist within Tunisia's religious establishment. Haddad's example challenges the idea that Islamic reformists “opened the door to” secularists in the Arab world. After independence, Haddad's ideas were not a starting point for Tunisia's presidents, but a reference point available to every actor in the political landscape.
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Khabutdinova, M. M., and G. R. Gaynyllina. "Amirkhan Eniky’s frontline diaries in the mirror of Russian-Tatar literary relationships." Philology and Culture, no. 1 (April 6, 2024): 99–105. http://dx.doi.org/10.26907/2782-4756-2024-75-1-99-105.
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The article systematizes information on the history of the diary entries “Front daftarlarennan” (“From Frontline Notebooks”, 1941–1944) by Amirkhan Eniky, which served as a starting point for the creation of his war stories. They were published in the media half a century later, on the 50th anniversary of the Great Victory. In his brief comments, the writer admits that he kept notes secretly while working as an HQ clerk, serving in the guard, in between battles, and he decided to publish them in his declining years, considering their content to be instructive for a new generation. Our analysis of the diary entries reveals their genre and stylistic features. The article proves that their narrative is of discrete nature: it is not a picture of military everyday life that is brought to the fore, but a man’s image of the inner world, pictures of nature, which leads to the transformation of psychologism. In his “notebooks” the writer reflects on life and death, on war as a phenomenon and on human behavior in critical circumstances. The process of national self-knowledge in these frontline notebooks is associated with the process of personal self-knowledge. The artistic fabric of A. Eniky’s diaries includes episodes with prophetic dreams, excerpts from wartime letters, Tatar legends, Turkic proverbs and quotes from the books he had read.
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Tallone, Giovanna. "Beyond Folklore: Gothic Intersections in Éilís Ní Dhuibhne’s Fiction." Irish University Review 54, no. 1 (May 2024): 37–44. http://dx.doi.org/10.3366/iur.2024.0643.
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The purpose of this essay is to investigate the way in which gothic topoi intertwine with the background of folk and fairy tales in Ní Dhuibhne’s fiction, in terms of characters, setting, motifs, situations and atmosphere. Recognising the presence of gothic tropes can highlight the dynamic intersections of genres, and sharpen the reading of Ní Dhuibhne’s short stories. In her very personal and unique approach to fiction, Éilís Ní Dhuibhne intertextually reworks traditional stories and juxtaposes them to their modern counterparts, thus expanding a sort of ‘palimpsestic memory’ that Maria Tatar identifies in the continuous rewriting of fairy tales. And the fairy tale’s instability as a genre has its counterpart in the gothic, a restless form and an unstable genre, whose influence can be seen in many of Ní Dhuibhne’s narrative and stylistic strategies.
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Аминева, В. Р. "GENRE OF IN MODERN TATAR LITERATURE: FEATURES OF FUNCTIONING (BASED ON THE MATERIAL OF R. GABDULKHAKOVA'S "SMALL" PROSE)." Актуальные вопросы современной филологии и журналистики, no. 4(39) (February 2, 2021): 83–90. http://dx.doi.org/10.36622/aqmpj.2020.39.4.011.
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На материале произведений современной татарской писательницы Р. Габдулхаковой выявляются конститутивные черты жанра парча в современной татарской литературе. Охарактеризованы жанровые разновидности парчи в творчестве Р. Габдулхаковой, которые соответствуют двум направлениям сюжетного движения: от внешнего к внутреннему или от единичного к универсальному и двум типам повествования - от 1-го или от 3-го лица. Художественное завершение в парчах первого типа определяется постижением некой нравственной истины, вытекающей из лично пережитой лирическим субъектом ситуации, в парчах второго типа оно создается переходом от отдельных явлений к их суммирующему итогу. Сделан вывод о том, что внутреннюю меру жанра определяет характер соотношения повествовательной фабулы и обобщающей ее «концовки». Описаны свойственные этому жанру пространственно-временные отношения и принципы организации субъектной сферы. Структурообразующая роль в парчах Р. Габдулхаковой отводится субъективно-лирическому началу в повествовании. В произведениях писательницы проявились как особенности ее творческой индивидуальности, так и типологические черты женской прозы в целом с ее повышенной эмоциональностью, автобиографичностью и проникновенностью. Большинство миниатюр Р. Габдулхаковой написаны от первого лица и представляют сознание женщины, сосредоточенной на переживании своего одиночества и «холода жизни», безответной любви и позднего раскаяния, боли утраты, преследующей каждого человека после ухода матери. Парчи, написанные от третьего лица, раскрывают сознание человека, знающего о существовании объективных закономерностей и пытающегося найти личный выход из безнадежных ситуаций. В творчестве Р. Габдулхаковой парча функционирует как синтетический жанр, вбирающий в себя элементы других жанровых форм. On the material of works of the modern Tatar writer R. Gabdulhakova the constitutive features of the genre of the parcha are revealed. Genre varieties of parcha in the work of R. Gabdulkhakova are characterized, which correspond to two directions of plot movement: from the external to the internal or from the individual to the universal, and two types of narrative-from 1 or 3 persons. Artistic completion in the parcha of the first type is determined by the realization of a certain moral truth arising from the situation personally experienced by the lyrical subject, in the parcha of the second type it is created by the transition from individual phenomena to their summing result. It is concluded that the internal measure of the genre determines the nature of the relationship between the narrative plot and its generalizing "ending". Space-time relations and principles of organization of the subject sphere peculiar to this genre are described. The structure-forming role in the parcha of R. Gabdulkhakova is assigned to the subjective-lyrical beginning in the narrative. The works of the writer manifested both the features of her creative individuality and the typological features of female prose in general with its increased emotionality, autobiography and penetration. Most of R. Gabdulhakova’s miniatures are written in the first person and represent the consciousness of a woman focused on experiencing her loneliness and “cold life”, unrequited love and late repentance, the pain of loss that haunts every person after leaving her mother. Рarcha written in the third person reveal the consciousness of a person who knows about the existence of objective laws and tries to find a personal way out of hopeless situations. Allegorical or symbolic imagery at the same time turns a personal scenario - into a typical, universal human one. In the work of R. Gabdulhakova parcha functions as a synthetic genre, incorporating elements of other genre forms.
Books on the topic "Tatar Personal narratives"
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Khalilov, Nuri. Dolgai︠a︡ doroga domoĭ: Vospominanii︠a︡ krymskogo tatarina ob uchastii v Velikoĭ Otechestvennoĭ voĭne, 1941--1945. Moskva: T︠S︡entrpoligraf, 2016.
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Zaḣid, Shăfigyĭ, U̇tăbaĭ-Kărimi Ravil, and Abdullin I͡A︡khʹi͡a︡ Gabdullovich, eds. Islam: Beleshmă-su̇zlek. Kazan: Tatarstan kitap năshrii͡a︡ty, 1993.
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Seni︠u︡tkina, O. N. Nizhegorodskai︠a︡ i︠a︡rmarochnai︠a︡ mechetʹ: T︠s︡entr obshchenii︠a︡ rossiĭskikh i zarubezhnykh musulʹman (XIX-nach. XX vv.). Nizhniĭ Novgorod: Izd-vo Nizhegorodskogo islamskogo medrese "Makhinur", 2006.
Find full textBook chapters on the topic "Tatar Personal narratives"
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Pchelovodova, Irina, and Nikolai Anisimov. "An Udmurt Exceptional Performer, Dzhakapay." In Sator, 439–68. ELM Scholarly Press, 2021. http://dx.doi.org/10.7592/sator.2021.22.16.
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This article concentrates on the phenomenon of the individual in the ethnic culture of the Udmurt, bearing in mind that this has never been attempted before. This is a proper framework to analyse Ol’ga Solov’yova’s (1932–2018) personality, who was famous among the people as Dzhaky / Dzhakapay / Dzhaky apay (lit: Aunt Jay). A whole range of reasons justifies scientific interest in her: her huge repertoire of songs and rituals, her ability to improvise freely within her local tradition, her unique musical and auditory skills. The analysis of Dzhakapay’s character allows us to connect the songs of her repertoire and her fate. Many non-ritual songs are in fact autobiographical narratives, dedicated to reflexions on an unhappy fate, on being an orphan. A considerable number of songs in her repertoire belong to the category of so-called personal songs (in Russian: imennyye pesni, ‘name songs’), which represent a kind of personal memoire in musical form. Another unique feature of this performer’s art is her knowledge of songs from neighbouring villages in their original language (Russian, Mari, Tatar) and their translation into Udmurt. Her knowledge of the local traditional rituals made her very important to the local community, in which she was deeply respected. Until the last day of her life, she followed the ontological positions, the rules of behaviour, the canons of ritual and singing performance elaborated by tradition, and attempted to instil them into the people surrounding her. This awakened her genuine interest in the social and scientific milieu. And today, when she is no longer among us, her name is attached to many very different projects.
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Reinhartz, Adele. "Transmitters of Information." In “Why Ask My Name?”, 45–60. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195099706.003.0004.
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Abstract In The Absence Of fax machines, telephones, and computers, biblical kings, prophets, and other dignitaries required the services of individuals to carry information, convey intentions, and act as their agents. It is not surprising, therefore, to find an abundance of characters whose main role is to transmit information. Some messengers are named, such as Bathsheba’s husband, Uriah the Hittite, who carries a letter from David to Joab that details the instructions for his own murder (2 Sam 11:14), and Elisha’s servant Gehazi, through whom the prophet speaks to the Shunammite woman (2 Kgs 4:12-13).1 The majority, however, are as anonymous and lacking in personal identity as the technology we now use to accomplish the messenger’s task. Some messengers are implied rather than directly portrayed in the narrative. The plot of Genesis 38 is propelled by specific pieces of information that Judah and his daughter-in-law Tamar acquire about one another. The knowledge that Judah is going up to Timnah for the sheep shearing (38:13) prompts Tamar to meet him at Enaim in the guise of a prostitute.
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Pautkin, Alexey A. "Chronicle News about the Scriptorium Activity of Vladimir Vasilkovich Volynsky (Attemption of Reading)." In Hermeneutics of Old Russian Literature. Issue 21, 307–18. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/horl.1607-6192-2022-21-307-318.
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The article considers the final fragment of posthumous praise of Vladimir Vasilkovich Volynsky, which contains unique information about the creation of handwritten books by order and with personal participation of the prince. This text is read as part of Khlebnikov list of the Ipatiev Chronicle, which has preserved a number of features of the protograph. Turning to this component of narrative about the reign of prince-philosopher allows us not only to evaluate the nature of activities of the local scriptorium and state of applied art in the region, which has experienced repeated Tatar raids. The geography of book donations testifies to the consistent desire to establish Vladimir-Volynsky as a spiritual center of Russia south. Church-organizing activity is becoming an important aspect of politics in the context of a new fragmentation of the south-western lands and increasing external threats. The analyzed material allows us to make a number of clarifications concerning the place of writing praise and personality of its creator. A detailed story about the book-writing and educational activities of Volyn prince contributes to the understanding of value guidelines and ideological orientation of the entire Volyn code of the end of the 13th century.
Conference papers on the topic "Tatar Personal narratives"
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Tabirca, Sabin, Hassan Zaida, Edith Allen, Sharon Curtin, Claire Murphy, and Garreth Stack. "DENTLEARN PERIODONTICS: CLINICAL SKILL DEVELOPMENT FOR UNDERGRADUATE DENTAL STUDENTS." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-185.
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Students in dental education are increasingly becoming technologically advanced, perhaps more than their teachers. Their communication is progressively becoming reliant on technology rather than a person to person path. They are also more reliant on educational web based resources to support their learning. Advances or development in interactive web based educational tools (IWET) will meet their expectations and allow for an on demand flexible delivery of educational material that supports their learning and allows vertical and horizontal integration within the syllabus. IWET have the added benefit of bridging the gap between theoretical knowledge and development of psychomotor skills. Interactive web based tools in dentistry are as valuable as other methods of traditional teaching. However, they should not replace the pedagogy but be complementary to it. Periodontology is the clinical, dental specialty that is concerned with the diagnosis and management of plaque bacteria-mediated inflammation in the supporting tissues around teeth. The complete removal of plaque-retaining calculus/tartar from all tooth surfaces is a crucial part of successful treatment. This calculus removal, be it above the gum margin (supragingival), or below the gum margin (subgingival), requires a psychomotor skill that may take years of practice to attain, particularly for subgingival calculus, where its removal relies on tactile sensation, and in effect is a blind procedure. This also requires the knowledge of and the use of various types of instruments, depending on the location in the mouth and whether the calculus is supragingival or subgingival. The initial stage of development of the skill requires repeated practice on clinical mannequins/simulators. Research collaboration between the Dental School and Hospital Cork and the Department of Computer Science at University College Cork saw the development of an interactive web-based educational tool and a phone application. The methodology employed in the development of these educational tools include a video recording of the clinical procedures for full mouth scaling with a visual narrative describing various seating positions of the dental clinician, instrument selection and application and a synchronized verbal description of the steps undertaken when engaging in a periodontal scaling procedure. These educational tools have been developed and will be made available for students to use during their practice on mannequins/simulators. DentLearn is a repository of interactive e-learning materials which can be populated dynamically with new content. The core of the e-learning tool is an e-learning content player that can display the video and the slides associated with a procedure in a synchronized manner. The player uses some recent Smile-based technologies that make the synchronization possible as well as it enhances the player controls with more visual elements. Furthermore, the player can swap between video and slides slides in the central panel for displaying the e-learning content. The repository contains at present only e-learning materials related with Periodontics teaching. However, it has some user friendly functions that allow for new content to be added to it. A scale down version of the repository was made available for mobile devices. A future aim is to evaluate the effectiveness of the interactive web-based tool and phone application as an educational support for dental students. Further plan is to apply this e-learning to other dental specialties in addition to the development of animation and simulation models that are virtually pressure sensitive, interactive and responsive.