Artículos de revistas sobre el tema "Crimean Tatar Poets"

Cemil Kermenchikli is one of the brightest Crimean Tatar poets of the early twentieth century, who played a significant role in the development of the national poetic word in the Crimea. On the basis of new materials recently discovered both in the central and in the repositories of regional libraries in Russia, the article reveals new facets of his work and introduces many clarifications into the development of the author’s scientific biography. Attention is paid to the rich journalistic component of his work. The appendix to the article contains unknown poetic works of the author relating to the period of the First World War.

This work examines the little-known facts from the life and creative heritage of one of most reputable Crimean Tatar populist poets of the XX century Hasan Chergeyev. For revealing the semantic and linguiso-stylistic peculiarities of his works, namely of the poems “Listen to What the Dead Man Says!” (“Eşit, mevta ne sevleyur!”, 1909) and “Fate” (“Taqdir”, 1917), the author carries out comparative typological, semiotic and textological analysis of the original texts. The strategic approaches towards depicting the authentic, dramatic episodes from life of the people and the clergy employed by the poet are analyzed. The phenomenon of the impact of the idea, theme and storyline upon the structure of his poems is revealed. Lateral thinking, specially selected methods for representation of life material turn the lyrist's poetic works into living canvases. They reflect the depth of inner emotional experiences of the title characters, reveal the natural flavor of ethnic language, and demonstrate the energy, power of his style. At the same time, the article outlines the prospects for studying publicistic activity during the prewar and wartime within the Crimean Tatar Soviet periodicals.

Crimean Tatar translations of Taras Shevchenko’s poetic compositions are most perfectly represented in Simferopol publications as “Saylama sheerler” [“The elected Works”] (1940) and “Far and Near – Uzaq ve yaqyn – Shevchenko” (1999). A substantial contribution to this sphere was done particularly by such modern poets as Isa Abduraman, Yunus Kandym, Shakir Selim. Ablyaziz Veliyey is also among them, being the author of the poetical interpretations of such Shevchenko’s lyrics as “Don’t marry the rich one,” “Mother Gave Birth to Me” and also “A meditation (Water Is Flowing to the Blue Sea…).” The last composition and the comparison of it with Crimean Tatar translation is the main object of studying in the suggested publication. Personality of the stranger, who endures the ordeals at foreign land and thinks about his misfortune, being at sea coast, is in the centre of the composition. Laconically impressive metaphorical-picturesque imagery is characteristic to the poetics of this work. Permanent association of water flowing with irreversible flying of time is connected here with the poetic thoughts about the difficulties of human’s destiny. Genre-stylistic, versification, image-composition and other peculiarities of the origin are conveyed appropriately in Crimean Tatar interpretation by A. Veliyev. Conveying these peculiarities, the translator absolutely in accordance to the poetics of the origin, tactfully and spectacularly appeals to the poetic means of folk song.

Crimean Tatar’s history is that of agony, exile, sorrow, oppression and persecution, but it is also the history of Crimean Tatar nation’s national struggle. Crimean Tatars’ history has 5 stages: 1. Crimean Khanate Period (1441-1783), 2. Russian Domination: Invasion of Crimea (1783-1917), Crimea during Russian Revolution and Early Bolshevik Reign: Crimean Tatar Republic (1917-1918), 4. Exile Period (1944-1987), 5. Return to Homeland (1987 – up to the present), 6. Repeated annexation of Crimea by Russia (2014 – up to the present). The first three periods are presented in Crimean Tatar National Anthem. National anthems have a significant importance in the histories of nations, as they reflect the national identities. Crimean Tatar National Anthem has been sung and listened with high zest by the majority of the nation in different times and places. So what does it tell to us? What values does it advice us to maintain? What kind of targets does it point out? In order to give satisfactory answers for such questions, we will handle “Ant Etkenmen” in quartets, making use of past studies on History and Linguistics. The name of Crimean Tatar National Anthem is “Ant Etkenmen”, and it was written by Numan Çelebi Cihan, the first president of Crimean Tatar People’s Republic. In our study, important poems in the history of Crimean Tatars, mainly “Ant Etkenmen” (I Vowed) the national anthem of Crimean Tatars written in 1917 by Numan Çelebi Cihan, will be analysed in terms of vowing motif. Our study is based on the both the symbolic languge analysis and the aesthetic aspects of the national anthem in terms of its sound, words, harmony, the world of sense, dream and thought, its lyricism, meter, rhyme, rhtym, language and style. The first three quartets of the anthem focus on the agonies in the history of Crimean Tatars. In the analysis of the poem data received in the field of History will also be made use of.

Abstract At many points in modern history, Ukrainian identity has been bound up with the Ukrainian language, Ukrainian forms of Christianity, and specific collective experiences of trauma as Ukrainians. This sense of national identity was particularly felt in the immediate post-Soviet period; for although Soviet nationalities policy attempted to eradicate dangerous forms of nationalism and ethnic prejudice, these policies often had the reverse effect, creating a heightened sense of competition between individual ethnic groups, which persisted into the post-1991 reconstruction of East European borders. In the wake of the 2013–14 Euromaidan protests, poets in Ukraine have sought to correct the failures of both Soviet nationalities policy and post-Soviet Ukrainian national-identity formation by weaving Jewish, Ukrainian, and Crimean Tatar histories of collective trauma into their writing. This article focuses on the recent work of the poet Marianna Kiyanovska, whose attempt to bridge seemingly irreconcilable histories can be read as part of what scholars have identified as a recent shift from viewing Ukrainian identity as an ethnic category to a civic one. Reading Kiyanovska in the context of other recent Ukrainian poems and songs, the author argues that this “civic turn” in Ukrainian identity formation is both a direct response to conversations taking place about the meaning of the Maidan, and part of a global conversation about privilege, erasure, and culpability.

The article is devoted to the linguistic image of the Crimea, conceptualized on the basis of the analysis of Lesia Ukrainka’s poetic texts from the cycles “The Crimean Recollections” (the collection “On the Wings of Songs”, Lviv, 1893), “The Crimean Reminiscences” (the collection “Thoughts and Dreams”, Lviv, 1899) and two poems “A Memory from Yevpatoria” (1904) and “A Wave” (1908) which do not belong to any collections. In these texts Lesya Ukrainka’s recollections about the visit to the Crimea in 1890–1891, 1897–1898, and in 1907–1908 are reflected with the help of figurative means. A linguistic image of the Crimea is a segment of the individual-authorial map of the world of the writer that reflects her language-thinking, Ukrainian origin, and profound knowledge of folklore resources. It has been found out that the image is consists of the descriptions of such cities as Yalta, Yevpatoria, and Bakhchysarai where the writer stayed or visited them. A special distinction is given to Bakhchysarai with its realia of the khan’s palace and muslimness to which three poems were devoted. With the help of figurative means the lines of mountains and certain places, connected with the Crimean legends (Baidary, Chortovi skhody (Devil’s stairs)), obtain their prominence. The nature and elements of the Black sea are thoroughly depicted – quiet in the bright weather and wild during the storm. Many contexts prove that the poetess perceived the sea as a living creature, relevant to her moods and feelings. It has been pointed out that Lesia’s Crimea is associated with her dear ones – first of all with her brother Mykhailo and beloved Serhii, with the forgotten poet Nadson, with the Crimean Tatars (the appearance and clothes of a young female Tatar (who is called by a diminutive form of the ethnic name Tatar - tatarochka) is described in the brightest way). Most of the appellatives of the peninsular (God’s given land, a land of constant rays, a bright country, a country of light, a joyful country, a beautiful side (of the world) and others) have a positive connotation caused by the author’s admiration of its gorgeous nature. But there have been found negative evaluative expressions that resulted from the understanding of the decay of the traditional Crimean Tatar material and spiritual culture, enslavement of the indigenous people (Неволя й досі править в сій країні! - Captivity still rules in this country!). That is why the author compared the captivated land with a boat, broken by a storm, and a steppe horse that dies in the sands of a desert.

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.

This article examines the little-known facts of life and artistic legacy of the reputable Crimean Tatar poet-populist of the early XX century Hasan Chergeyev. In order to reveal the semantic and linguo-stylistic peculiarities of his works, namely the poems “Heed What The Dead Man Says!” (“Eşit, mevta ne sevleyur!”, 1909) and“Fate” (“Taqdir”, 1917), the author carries out a comparative typological, semiotic and textological analysis of the original texts. The strategic approaches in poet’s depiction of the authentic, and dramatic episodes from the life of people and the clergy are conceptualized. The article reveals phenomenon of the impact of idea, theme and plot upon the structure of H. Chergeyev’s poems. Due to lateral thinking and selected methods of representation of life material, his poetic works transform into living canvases. They reflect the depth of internal emotional experiences of the title characters, reveal the natural flavor of the national language, and demonstrate the energy and power of his poetic instrument. At the same time, the article outlines the prospects for studying journalistic activities in Crimean Tatar Soviet periodical press of prewar and wartime.

настоящая статья рассматривает проблему развития жанров крымскотатарской поэзии ХХ века. Определена специфика новаторской поэзии революционного времени. Проанализированы «диалогические жанры» – открытые диалоги с современниками, жанры малой поэзии. Доказано, что в процессе регенерации художественных форм в современной крымскотатарской поэзии возникли новые ирические поэмы, композиционной основой которых явились сонеты (Черкез-Али), романы в стихах (Ю. Темиркая ), разновидности посланий, восьмистиший (Э. Шемьи-заде), путевых заметок (Ю. Кандым) и т.д., отличные от традиционных. Вместе с тем следует отметить, что новые жанры определяют ведущие тенденции в современной крымскотатарской поэзии. В результате исследования установлено: что в современных поэтических произведениях Ш. Али, С. Эмина, Ю. Кандыма, С. Сулеймана мифологический компонент определил не только направление стилевого характера, но и характер лирического героя. this article examines the problem of the development of genres of Crimean Tatar poetry of the twentieth century. The specificity of the innovative poetry of the revolutionary time is determined. The "dialogic genres" are analyzed – open dialogues with contemporaries, genres of minor poetry. It is proved that in the process of regeneration of artistic forms in modern Crimean Tatar poetry, new lyrical poems arose, the compositional basis of which were sonnets (Cherkez-Ali), novels in verse (Yu.Temirkaya), varieties of epistles, octopuses (E.Shemy-zadeh), travel notes (Yu.Kandym), etc., different from the traditional ones. At the same time, it should be noted that new genres determine the leading trends in modern Crimean Tatar poetry. As a result of the study, it was established: what is in the modern poetic works of Sh.Ali, S.Emin, Yu.Kandym, S.Suleiman, the mythological component determined not only the direction of the stylistic character, but also the character of the lyrical hero.

Cemil Kermenchili is one of the brightestCrimean Tatar poets of the 20th century, who played significant role in the development of the national poetic word in Crimea. In the article, on the basis of new materials recently found in the central and in the repositories of regional libraries in Russia, new facets of his work are revealed and many refinements are made to the development of the author`s scientific biography. Attention is paid to the rich journalistic component of his work. The appendix to the article contains unknown poetic works of the author relating to the period of the First World War.

The goal of this work is determine the peculiarities and origins of artistic thinking of the Crimean Tatar writer of the XX century Mehmet Nuzhet. The methodological and theoretical framework of this research is comprised of the works of U. Ipchi, E. Shemizade, J. Bekirov, A. Altanly, I. Kerimov, Y. Kandymov and others. The aforementioned authors made an indisputable contribution to the development of Crimean Tatar literature and literary criticism. The artistic heritage of M. Nuzhet is diverse and unique. His poetic, prosaic and translation works are fused with national spirit. The actions and feelings of the protagonists of the artist’s lyrical works are a direct reflection of his psychological state. This article pays special attention to the psychological type of the lyricist. Using comparative, textual analysis, the author examines the published and original handwritten texts by M. Nuzhet. The conclusion is made that the writer systematically worked on the study of the depth feelings, emotions and ways their expression. The application of traditional folk poetic forms, genres, images allows creating the new patterns of influence upon the audience. Conveying the eternal anthropological topics, he transforms into a wise folk storyteller and preacher. For depicting the life realities, he disguises an old poor man or a street drunkard. Poetic alliterations and assonances enliven these images. In the process of declamation of such poems, the audience is captivated by the text and uses various mimic emotions intended by the context.

  The goal of this article consists in determination of peculiarities and origins of artistic thinking of the Crimean Tatar writer of the XX century M. Nuzhet. Methodological and theoretical basis of the research is comprised of the works of U. Ipchi, E. Shemizade, J. Bekirov, A. Altanly, I. Kerimov, Y. Kandymov, and others. The aforementioned authors made an indisputable contribution to the development of Crimean Tatar literature and literary criticism. The creative heritage of M. Nuzhet is versatile and peculiar. His poetic, prosaic and translation works are fused with national spirit. The actions and feelings of the central characters of the artist’s lyrical works directly reflect his psychological state. Special attention is given to the psychological type of the lyricist. Comparative and textual analysis allow viewing the published and original manuscripts of M. Nuzhet. It is established that the writer systematically worked on studying feelings, emotions and ways of their expression. Using the traditional folk poetic forms, genres and images, he creates new patterns for affecting the audience. Speaking of the eternal anthropological topics, he transforms into a wise folk storyteller and preacher. For depicting the everyday reality, the writer assumes the masks of an old beggar or street drunkard. The poetic alliterations and assonances enliven the poet’s images even more. In the process of declamation of such poems, the audience actively uses various mimic emotions anticipated by the context.  

THE CAUCASUS AS A GATE TO THE ORIENT. ORIENTAL MOTIFS IN TADEUSZ ŁADA-ZABŁOCKI'S OEUVREThe East, its culture and literature were always part of the rich, erudite poetic imagination of Tadeusz Łada-Zabłocki 1811–1847, a tsarist exile to the Caucasus. He spoke Oriental languages Georgian and Persian and had a thorough knowledge of the Koran, a short fragment of which he even translated probably from French. Although today we only have his poetry inspired by the Caucasian mountains, he was also no stranger to extensive travel accounts unfortunately, his Dziennik podróży mojej do Tyflisu i z Tyflisu po różnych krajach za Kaukazem Journal From My Journey To and From Tiflis Across Various Countries Beyond the Caucasus and notes from his Armenian expedition were lost. An important source of inspiration for Zabłocki, encouraging him to explore the East, were the Philomaths’ translations of Oriental poetry by Jan Wiernikowski and Aleksander Chodźko, while his model of reception of the Orient were the oeuvres of Mickiewicz primarily his Crimean and Odessa Sonnets, Byron and Thomas Moore especially the fragment of Lalla Rookh — Paradise and the Peri. The exile brutally brought Zabłocki into contact with the real Orient, terribly dangerous and diametrically different from the one described by Western travellers. It is, therefore, not surprising, that their superficial and simplified accounts were criticised by the Polish poet and soldier.Zabłocki’s oeuvre, both pre-exile and Caucasus period works, is full of various Oriental reminiscences: from the Biblical topos of the Paradise ab Oriente, through numerous splendid images of Caucasian nature, scenes from the life of Caucasian highlanders, poetic imitation of the metre of Caucasian folk dances, apt ethnographic observations in the verses, borrowings from Oriental languages, extraordinarily sensual eastern erotic poems, to translations of texts of Caucasian cultures Tatar, Azeri and Georgian songs. Zabłocki drew on both folk culture of Caucasian tribes, and on Eastern mythologies as well as universal culture of the Islamic world. He presents an ambivalent image of Caucasian highlanders in his poetry: sometimes they acquire traits of noble, free, valiant and indomitable individuals, typical of the Romantic idea of highlanders, on other occasions the label “Son of the East” becomes a synonym of Asian barbarity.Freed from the service in the tsarist army, Zabłocki planned travels across nearby Persia, Asia Minor, and even Arabia, Nubia and Palestine. However, the plans never became a reality, owing to a lack of funds and the poet’s early death of cholera.Zabłocki’s “Eastern” oeuvre fully reveals the “liminal”, demarcational nature of the Caucasian mountains, for centuries constituting the limes between Europe and Asia, the East and the West, a meeting place of the Christian and the Muslim Orients.]]>

The article is devoted to the sources of the formation of a linguistic persona of the future famous scholar, writer, translator, and polyglot – Ahatanhel Krymskyi. In the article there has been conducted an analysis of the communicative geographical and epistolary discursive area of A. Krymskyi at the times of his childhood and adolescence. These periods of his life we consider the decisive ones for his linguistic individualization and the definition of the parameters of a linguistic persona. The linguistic persona’s features were caused by the origin of A. Krymskyi (the Crimean Tartar roots, an intelligent family of a teacher of history and geography and a Polish Lithuanian noble woman), and his unique abilities (the boy learned to read at the age of 3 and a half, had a phenomenal memory, and an analytical brain). A great role was played by the multilingual and multicultural places of dwelling and studying, namely the following towns and cities: Volodymyr Volynskyi, Zvenyhorodka, Ostroh, Kyiv (such languages as Ukrainian, Russian, Polish, and Yiddish were spoken there and different ethnic cultures cooperated), Moscow (A. Krymskyi was surrounded by the Russian, Ukrainian, and other languages; a Ukrainian community was actively working), Beirut (in the city, the Arabic, French, Russian, and other languages were spoken; there was a unique environment of Eastern/Oriental cultures). The formation of a polyglot was favoured by the study of classical languages, Western European, Slavonic and Eastern / Oriental languages at the secondary and higher educational institutions. The evolution of scientific abilities of the specialist in the Ukrainian, Slavonic and Oriental studies was supported by the highly professional teachers (first of all Pavlo Zhytetskyi in Kyiv and Vsevolod Miller, Oleksii Veselovskyi, Ihnatii Krachkovskyi in Moscow). The communication with famous people (Ivan Franko, Borys Hrinchenko, Omelian Ohonovskyi, Mykhailo Pavlyk, Lesia Ukrainka and others) intensified the Ukrainian vector of the linguistic persona of A. Krymskyi. Creative possibilities of the linguopersona-writer and translator are reflected in his literary and translation heritage (the collection of poems “Palm branches” (1901, 1908), “The Stories of Beirut” (1906), the novel “Andrii Lahovskyi” (1905, a full version was published in 1972), translations of the poetry by Hafez, Omar Khayyam, Saadi, Ferdowsi, Turkish folk songs and others into Ukrainian and Russian.

Following the annexation of the Crimea by the Bolsheviks, traditional Karaim folklore found itself endangered by the ongoing process of Sovietisation which intensified after WWII and the deportations of the Crimean Tatars. Following a request from Józef Sulimowicz, a Polish collector of Caraimica, in the early 1960s, Yosif Kefeli (1900–1976), a Karaim from Simferopol, started to write down or copy various works of Crimean Karaim popular literature. He filled a few copybooks with popular songs, poems and proverbs as well as with theatre plays penned by Karaim dramatists such as A.O. Levi and A.I. Katyk. Written in the Cyrillic alphabet, Kefeli’s copybooks today constitute part of Sulimowicz’s collection of Karaim manuscripts. The present article provides a review of the content of these manuscripts, with particular attention paid to those works, which may be regarded as manifestations of the Karaim folklore that was still alive at the time.