Academic literature on the topic 'Turkmen Epic poetry'

Складывавшийся на протяжении тысячелетий духовный и культурный потенциал туркменского народа воплотился в творениях народного творчества, произведениях музыкального и художественного искусства. Яркую страницу в богатом наследии туркмен представляет живая эпическая традиция, носителями которой являются бахши-дестанчи. До сегодняшнего во всех уголках Туркменистана слушатели с большим воодушевлением воспринимают выступления эпических сказителей, в репертуаре которых сохранились многочисленные народные дестаны, а также главы монументальной героической эпопеи «Гёроглы».Цель статьи – проследить исторические предпосылки зарождения и пути формирования эпических жанров туркмен. Представленный в работе историко-хронологический метод исследования позволяет воссоздать общую панораму развития туркменского эпического сказительства, дать характеристику сказительского искусства в его современном бытовании, а также выявить значение народной песни, являющейся движущей силой туркменских эпосов и дестанов. Эпическая песня концентрирует в себе весь контекст жанра. Суть эпического интонирования проступает в мелодике народной песни и исполнительских особенностях бахши-дестанчи. Отличительная для каждой локальной школы манера исполнения эпоса придает искусству туркменских сказителей стилистическое разнообразие и обогащает его самобытными красками. Стиль каждого дестанчи глубоко индивидуален, вместе с тем, он прочно связан с незыблемыми исполнительскими традициями. При всем стилевом многообразии, структурная основа песен, их месторасположение в сказании и драматургическое развитие, а также традиционные прозаические формулы и поэтические повторы-клише, специфические гортанные украшения исполнителей свидетельствуют о близости устной традиции различных эпических школ. Преемственность основных компонентов музыки и стиля влияет на наследование музыкального напева от наставника, что также говорит о прочной опоре сказителя на складывавшуюся столетиями традицию. Она не препятствует проявлению индивидуального начала, но удерживает исполнителя в четко ограниченном русле. Поэтому, исполнение эпоса считают его воссозданием в пределах музыкально-стилевой традиции. Как видим, развитие эпической песни, а также живое бытование туркменского эпоса движет и поддерживает традиция. Пока есть традиция, существует и эпическое наследие туркмен. The spiritual and cultural potential of the Turkmen people, which has been developing for thousands of years, has been embodied in the works of folk art and music. A living epic tradition represented by bakhshi-destanchi is a bright page in the rich heritage of the Turkmen people. Until today, in all corners of Turkmenistan, listeners feel very enthusiastic about the performances of epic storytellers. Their repertoire includes numerous folk destans, as well as the chapters from the monumental heroic epic “Gorogly”.The purpose of the article is to trace the historical background of the origin and formation of Turkmen epic genres. The historical and chronological research methodology recreates the general panorama of the development of the Turkmen epic storytelling, characterizes this art in its modern existence, and identifies the importance of folk songs, which are the driving force of Turkmen epics and destans. The epic song focuses on the whole context of the genre. The essence of epic intonation comes through the folk melodies and features of bakhshi-destanchi performance. The distinctive style of local schools’ epic performance enriches the art of Turkmen storytellers with stylistic diversity and original colors. The style of each destanchi is deeply personal; however, it is closely connected to the sacred performance traditions. With all stylistic diversity, the structural basis of the songs, their location in the legend and dramatic development, as well as traditional prose formulas and poetic repetitions-clichés, performers’ specific faucal decorations indicate the proximity of various schools to the oral epic traditions. The continuity of the main components of music and style affects the inheritance of the musical tune from their master, which also speaks of the century-old traditional basis of the narrator. It does not prevent the manifestation of the individual beginning, but it keeps the performer in a clearly limited channel. Therefore, the performance of the epic is its reconstruction within the musical and stylistic tradition. As you can see, the development of the epic song, as well as the living existence of the Turkmen epic, moves and supports the tradition. While there is a tradition, the Turkmen epic heritage continues to exist.

Искусство туркменских бахши-дестанчи имеет древние истоки и отличается жанровым богатством и стилевым разнообразием. Эпическое наследие туркмен в достаточной степени изучено филологами, этнографами, однако специальных исследований, раскрывающих природу сохранения изустной традиции и описывающих методы передачи эпических жанров из поколения в поколение в Туркменистане, до сих пор нет. Цель статьи – описать бытующие школы эпического сказительства, выявить их жанровые, исполнительские особенности, сохранившиеся в искусстве бахши-дестанчи традиции наставничества, а также охарактеризовать методы, позволяющие сказителям хранить в памяти огромное количество эпических песен и текстов. Для решения намеченных целей были осуществлены следующие задачи: проанализированы эпические жанры различных локальных школ; проведен сравнительный анализ исполнения эпоса одним и тем же сказителем в различные периоды времени, а также наставника и его учеников; определены факторы, влияющие на изменение дестанов. В качестве методологической базы использованы труды А. Лорда, В. В. Бартольда, В. М. Жирмунского, В. Я. Проппа, Е. Э. Бертельса, Б. Н. Путилова, К. Райхла. Источниками для анализа послужили образцы эпического наследия из аудио фонда Туркменской национальной консерватории, а также полевые аудио/видео материалы из личного архива авторов. Впервые в статье в качестве жанров эпических сказителей рассматриваются не только традиционные эпосы и дестаны, но и жанр легенды с музыкой, а также излюбленные в народе музыкально-поэтические транскрипции произведений поэтов-классиков. Проведенные исследования позволили выявить формообразующую роль песен и их функции, осуществляющие развитие музыкальной драматургии в дестанах. Впервые в работе выявлены «песни-маяки», составляющие каркас эпического сказания и способствующие запоминанию повествования в памяти народных сказителей. Незакреплённость песенных мотивов к текстам, а также использование в песнях мелодий-тем (музыкальных напевов, характерных для конкретных локальных школ) определяет особенности туркменского дестанного исполнительства. Учитывая тенденцию к ослабеванию интереса молодого поколения к древней традиции, изучение методов преемственности, используемых в процессе сохранения традиции устного наследия, представляется своевременным и актуальным. The art of Turkmen bagshy-dessanchy (epictellers) is ancient and distinguished by its genre richness and stylistic diversity. The epic heritage of Turkmens has been sufficiently studied by philologists and ethnographers, but there are no special studies in Turkmenistan revealing the nature of the oral tradition preservation and the methods of transmitting epic genres from generation to generation. The purpose of the article was to reveal the genre and performing features of the schools of epic epic-telling in Turkmenistan, describe the traditions of mentoring that have survived in the art of bagshy-dessanchy, and identify methods that allow Turkmen storytellers to keep in memory a huge number of songs and texts. To solve these goals, the following tasks were carried out: the epic legends of various local schools were analyzed; a comparative analysis of the performance of the epic by the same narrator in different periods of time was carried out; revealed differences in the performance of the same legend by the mentor and his students; the factors and means influencing the change of destans have been determined. The works of A. Lord, V. Barthold, V. Zhirmunsky, V. Propp, E. Bertels, B. Putilov, K. Reichl were used in the article as a methodological base. The sources for the analysis were samples of the epic heritage from the Fund of audio materials of the Turkmen National Conservatory, as well as field audio-, videomaterials from the authors’ personal archives. In the article, for the first time, not only epic cycles and destans, but also the genre of legend with music, as well as poetic transcriptions of the classical poet’s works were considered as the main genres of bagshy-destanchy. The studies helped to identify the formative role of epic songs and their important functions, thanks to which the development of the musical dramaturgy in epic genres was carried out. For the first time, we identified the beacon songs, that make up the frame of Turkmen epic works, thanks to which the epic text remembering in the memory of bagshy-dessanchy. The looseness of song motifs with texts, using the theme-melodies (musical tunes, which characteristic of specific local schools) in epic songs showed the particularities of Turkmen destan performance. Taking into account the tendency towards a gradual weakening of the interest of the younger generation in the ancient tradition, the identification of the methods used in the process of preserving the oral epic heritage is highly relevant.

Studies of M.Zhumabayev’s creativity are carried out in various fields of science. It is known that in recent years “Magzhan tanu” as a separate branch of science has achieved a lot and began to take shape. The complexity of M.Zhumabayev’s life and the versatility of his heritage attracted the attention of foreign scientists. That is, the work of the poet is not limited to poetry. The need for a systematic and comprehensive study of philosophical and historical sources and pedagogical views in his works can be considered the imperative of the times. M.Zhumabayev, one of the prominent representatives of Kazakh literature, is one of the poets who sang the theme of Turkism in his poetry at the beginning of the 20th century, and is a unique figure for the Turkic peoples. In his poems, expressing his views and attitude towards society, it is stated that “the name of the nation is Turkic, the name of the homeland is Turan.” Obviously, the word “Türik” does not refer to one people in the works of this poet. He called the entire Turkic world to unity and solidarity, and for the rest of his life longed for the independence of the Kazakh people. In addition to depicting inner experiences, his poems widely discuss social issues written in the spirit of critical realism. It is known that the struggle for national liberation and ideological unity of the Turkic peoples of the early twentieth century was reflected in the poetry of M.Zhumabayev. Thanks to this feature, the name of M.Zhumabayev is one of the first to be mentioned when talking about Kazakh literature in Turkey, which is the leading country of the Turkic world. Although M.Zhumabayev did not travel to Turkey, his literary personality and views are widely known in Anatolia. In this context, the analysis of his poetic works by the method of analyzing the texts of Turkish literary critics and comparing the Turkic ideology of the poet with the works of poets who support the Turkic movement in Turkey shows the relevance of our topic. If we look at the principles of M.Zhumabayev and the poets of the national period of Anatolian literature, we will see that their subject matter is close, and their goals are the same. In this regard, the purpose of our study is to compare the poems of M.Zhumabayev with the works of poets who sang the Turkish direction in terms of national romanticism. In addition, the results of the study were differentiated on the basis of the methods of complex, systematic, comparative, objective-analytical, historical-systematic analysis, generalization, and generalization inherent in the science of literary criticism. The collected data were compared by topic. The main methodological and theoretical basis of our research is the enrichment of the conclusions of domestic and Turkish literary criticism, the nature of poetry, epic genres, epics, genre-stylistic, artistic and aesthetic features of poems.

В исследовании рассматривается чапщ черкесское (адыгское) врачевальное игрище, архаичный обряд, увеселительные ночные посиделки, устраиваемые у постели больного или раненого, включающие в себя приуроченные игры, песни, танцы, поэтические ристалища. Цель статьи выявить локальные терминологические версии мифоритуального комплекса чапщ, его связь с мифоэпической традицией, прагматикосемиотические особенности обряда, обратить внимание на существование нарративных рефлексивных суждений, касающихся текста (вербального, акционального) ныне уже не существующего обряда. Актуальность исследования обусловлена востребованностью новых разработок в области локалистики и регионоведения. В статью включены полевые материалы автора, в т. ч. по народнотерминологическому лексикону, впервые вводимые в научный оборот. Этим определяется новизна исследования. Автор рассматривает ряд символических элементов чапща, в их числе предметные символы (жезл в руках распорядителя обряда, шкуры жертвенных животных, обрядовая пища). Отмечается, что вербальноакциональные тексты (заговоры дутье и нашептывание , апотропеические действия, чапщевые игры и др.) необходимо рассматривать в связи с коммуникативным контекстом, сопоставляются терминологические варианты лексики обряда чапщ, фиксируемые в разных локальных традициях черкесов. Методы исследования: сравнительносопоставительный, прагматикосемиотический, функциональный подход. Излагаемые наблюдения основываются в т. ч. и на полевых материалах автора, собранных как на исторической территории проживания черкесов (республики Северного Кавказа), так и в диаспоре (Турция). Делается вывод о том, что разрушение коммуникативного контекста обряда влечет за собой определенное непонимание , отрицание, связанное с трансформацией этических представлений, в ряде случаев замалчивание, а порой и отказ информантов распространяться на тему чапщевых игр. В сравнении, например, с эпическими текстами, которые информанты относят к престижным жанрам, чапщевый фольклор оттеснен на периферию коллективной памяти. Возвращение к изучению обряда с привлечением новых полевых и исследовательских методик представляет собой перспективную задачу для изучения семиотики фольклорной культуры, истории поэтического языка словесных жанров, выявления локальных версий обрядовых и мифоэпических текстов. Abstract. The study examines chapshch the Circassian (Adyghe) healing game, the archaic rite entertaining night gatherings arranged at the bedside of a sick or wounded person, including timed games, songs, dances, and poetic lists. The purpose of the article is to identify the local terminological versions of the chapsh mythological ritual complex, its connection with the mythoepic tradition, the pragmatic and semiotic features of the rite, to draw attention to the existence of the narrative reflective judgments regarding the text (the verbal or action one) of the nowdefunct rite. The relevance of the study is due to the demand for the new developments in the field of localistics and regional studies. The article contains the field materials of the author including the ones on the folk terminological lexicon, first introduced into the scientific circulation. This determines the relevance of the study. The author considers a number of symbolic elements of the chapsh including subject symbols (a rod in the hands of the ritual master, skins of the sacrificial animals, the ritual food). It is noted that verbalaction texts (the spell blowing and whispering, the apotropic actions, the chapsh games, etc.) must be considered in connection with the communicative context. The terminological variants of the chapsh rite vocabulary fixed in the different local traditions of the Circassians are compared. The research methods: comparative, pragmatic, semiotic, functional approach. The stated observations are based on the authors field materials collected both in the historical homeland of the Circassians (the republics of the North Caucasus) and in the diaspora (Turkey). It is concluded that the destruction of the communicative context of the rite entails a certain misunderstanding, a denial associated with the transformation of the ethical ideas, in some cases silence, and sometimes the refusal of informants to spread on the theme of the chapsh plays. In comparison, for example, with epic texts that informants refer to prestigious genres, chapsh folklore is pushed to the periphery of the collective memory. A return to the study of the rite with the use of the new field and research methods is a promising task for studying the semiotics of folklore culture, the history of the poetic language of the verbal genres, and the identification of the local versions of ritual and the mythical epic texts.

The Influence of Ancient Greek Culture on Macedonian Literature of the 19th CenturyIn Macedonia under the Ottoman rule during the nineteenth century, the Macedonian people-the nation is subject to political pressure and the cultural influence of Turkey and other countries. Under the influence of propaganda leading by Athens and education politics in the area of contemporary Republic of Macedonia, some Macedonian militant intellectuals embraced, at the same time, were influenced by romanticism and the Old-Greek culture, which strongly affect their literary works. In this context, two authors are viewed as the most significant-Jordan Hadji Murad Konstantinov Džinot and Grigor Prlichev. Džinot is the author of dramatized dialogue inspired by the classic Greek mythology, at the school, where he is a teacher. On the pages of the press he announces the publication of its ancient-themed dramas, however, for unknown reasons, none of them does not appear in print. Prlichev well knew the Old-Greek and is an admirer of the works of Homer. Influenced by the poetry of Homer writes in an epic poem in the archaized Greek. Wpływ starogreckiej kultury na literaturę macedońską w XIX wiekuW ramach imperium osmańskiego, którego częścią jest Macedonia w ciągu XIX wieku, macedoński lud-naród podlega politycznej presji i wpływom kulturowym ze strony Turcji i innych państw. Pod wpływem propagandy, którą prowadzą Ateny i która wyraża się m.in. w zakładaniu swoich szkół w Macedonii, niektórzy macedońscy intelektualiści, ogarnięci w tym samym czasie wpływami romantyzmu poznają kulturę starogrecką, co silnie wpłynie na ich twórczość literacką. W tym kontekście wybijają się dwie najbardziej znaczące postaci – Jordan Hadži Konstantinov-Džinot i Grigor Prličev. Džinot jest autorem dramatyzowanych dialogów inspirowanych klasyczną, starogrecką mitologią, wystawianych w szkole, w której sam jest nauczycielem. Na łamach prasy zapowiada publikację swoich dramatów o tematyce antycznej, jednak z niewiadomych przyczyn żaden z nich nie pojawia się w druku. Prličev dobrze zna starogrecki i jest znawcą twórczości Homera. Pod wpływem poezji Homera pisze w archaizowanym języku greckim poemat epicki zatytułowany ‛Ο 'Aρματωλός (w macedońskim przekładzie Сердарот albo Мартолозот), który przynosi mu zwycięstwo w konkursie poetyckim w Atenach w 1860 roku. Jego drugie dzieło epickie zatytułowane Σκενδέρμπεης jest napisane także w duchu poezji Homera, głównie jeśli chodzi o styl (epitety i porównania) i kompozycję (opracowanie typowych dla eposu motywów tematycznych). Obydwaj są także tłumaczami, Džinot zapowiada w prasie przekład Antygony Sofoklesa, o losach przekładu nic nam nie wiadomo, a Prličev dokonuje poetyckiego przekładu Iliady Homera na wymyślony przez siebie język, który jest w istocie mieszanką języków słowiańskich, a sam autor nazywa go "ogólnosłowiańskim". Влијанието на старогрчката култура врз македонската литература во XIX–иот векВо рамките на Турската Империја од која Македонија е дел во текот на 19-иот, македонскиот народ е изложен на политичка пресија и културното влијание и на Турција и на некои соседни држави. Под влијание на пропагандата на владата во Атина која отвора свои школи во Македонија, а во исто време и зафатени од бранот на романтизам, некои македонски интелектуалци се запознаваат со старогрчката култура што ќе остави силен печат врз нивното литературно творештво. Во тој поглед се издвојуваат две најзначајни имиња – Јордан Хаџи Константинов Џинот и Григор Прличев.Џинот се јавува со драмски дијалози инспирирани од класичната старогрчка митологија кои се изведуваат на приредбите во школите во кои тој е учител, а во печатот најавува објавување на свои драми со античка тематика кои, од непознати причини, не се појавиле.Прличев е добро образован во старогрчкиот јазик и особено добар познавач на Хомер. Под влијание на хомерската поезија, тој пишува на еден архаизиран грчки јазик епска поема под наслов ‛Ο ’Aρματωλός (во македонски превод Серадот или Мартолозот) и со неа победува на поетскиот конкурс во Атина 1860 година.Второто негово епско дело под наслов Σκενδέρμπεης исто така е напишано во духот на хомерската поезија и тоа се гледа главно во областа на стилот (епитети и споредби) и во композицијата (обработка на типични епски теми). На преведувачки план, Џинот најавува во печатот превод на трагедијата Антигона од Софокле, дело чија судбина исто така не ни е позната, а Прличев пишува препев на Хомеровата Илијада на еден посебен јазик кој претставува смеса од словенските јазици, а самиот автор го нарекува „општословенски“.

Turkmens; With its rich oral cultural products, strong national ties and dynamic lifestyle, it forms an important part of the Turkish cultural circle. In various sources, there is information that the epic is composed of poetry or parable genres, with the mention that it is based on the literary reworking of prose genres such as tales, legends, and narrations, and that it is written as a mixture of verse and prose in literatures based on the Turkish language. In this respect, the concept of epic is considered as an important part of the literary heritage, social memory, written and oral tradition, although it is considered within the category of “parable” in folk literature in Turkmen culture. In this tradition, under the title of “dessan”, the concept of the term is quite broad compared to other traditions and Turkish literature, since many topics related to social life are covered besides the themes of heroism, love, religion, history and music.
 In this study, the nature of the concept of epic, which has an important place in the literary tradition of Turkmenistan, the performers, the musical instruments used, the schools of bahshilik and the ways of epic are emphasized.

The epic branch is one of the central directions of the oral musical and poetic heritage of the Turkmens. The carriers of the epic tradition in Turkmenistan are the bagshy-dessanchy, the modern heirs of the ancient art of ozans. The centers of epic storytelling are located in the Dashoguz and Mary regions, they differ significantly from each other in terms of repertoire, genre and performance features. The main genres in the repertoire of bagshy-dessanchy are the monumental cycles of epic tales “Gokut ata” and “Gorogly”, numerous author's and folk dessans, legends with music, as well as musical transcriptions of literary works of Turkmen classical poets. The structure of epic genres is based on the alternation of poetic and prose sections. Poetic lines are sung in the form of songs, and prose is recited in a performing manner characteristic of each school. Songs determine the development of musical dramaturgy in dessans. The performances of the bagshy-dessanchy represent a consistent movement towards the climax, where each stage of the narrative is characterized by a certain type of epic songs.

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

This chapter examines the emergence of colloquial Arabic poetry as populist-political commentary in Egypt by offering a reading of Mahmud Bayram al-Tunisi's series of texts, which figured political contestation in the thematic-formal mould of the sira shaʻbiyya. It first provides an overview of the sira shaʻbiyya (folk epic, folk romance) before discussing at least four Bayramic sira compositions, all of which narrate the Turkish–Greek conflict over possession of Asia Minor in the context of postwar intra-European negotiations for neocolonial primacy. The texts, labelled ‘Sira Kemaliyya’, chronicle the conflict between Greece and Turkey in 1919–1922, highlighted by the exploits of Turkish ‘epic hero’ and nationalist leader Mustafa Kemal Ataturk. The chapter explains how Bayram manages the duality of heroic posturing as a heavy-handed colonialist tactic versus the effective heroism of Mustafa Kemal.