Uran A-O. Dongak
Publications by the Author
3 publications
RESEARCH ISSUES OF THE HISTORICAL POETICS OF TUVAN LITERATURE
The article is devoted to the study of historical poetics of Tuvan literature. The author, relying on the research of Russian literary critics on the three types of artistic consciousness in the history of the so-called “big time”, draws attention to the forms of manifestation of archaic, traditionalist and individually creative poetics in the evolution of artistic and visual media in the history of Tuvan literature. Based on the material of the works of classics of Tuvan literature, the article analyzes various aspects of historical poetics: the formation of the category of authorship, genre blurriness and new genre forms, stylistic complexity of new art (innovations in versification, etc.). Thus, in the reconstruction of archaic poetics, the origins of the most important artistic properties of Tuvan literature are revealed. The background of the identification of the category "author", for example, is recorded in shamanic texts. Genre distinction begins to manifest itself in the rules of ritual and etiquette, for example, in the etiquette of guessing - solving riddles - tyvyzk in the Tuvan folklore tradition (baazhyz). The artistic heritage of D. Barykan is defined as a transitional period in the origin of Tuvan national literature: from folklore to literature, from traditionalist artistic consciousness to individual authorship, which consolidated the phenomenon of literary thinking in Tuva. The poetics of traditionalist, on the one hand, and socialist realism, on the other, is most vividly reflected in the structure of the first poetic works of Tuvan authors included in the collection of 1939. Active manifestations of the category "author" in the poetics of new poetic works indicate the intensity of penetration into the works of poetics of artistic modality already at the initial stage of the history of Tuvan literature.
VLADIMIR SEREN-OOL: ANALYSIS OF ONE POEM
The article analizes poetic organization of modern Tuvan poetry. based on the study of one verse Based on the material of one poem, the author reveals such verse-forming elements of expanding rhythm and metrical repertoire of Tuvan verse as 2-syllable and 3-syllable groups (SG), unlike 4-syllable traditional for Tuvan poetry. The author has examined poetry of the Tuvan poet Vladimir Seren-ool (1942-1994) in search of innovations in stanza and new rhythms.
THE THEME OF LENIN AND OCTOBER REVOLUTION AS THE CULTURAL CANONS OF SOCIALIST REALIST ART IN TUVAN POETRY
The article considers the issue of the formation and development of Tuvan literature in the context of totalitarian art. From the standpoint of the aesthetics of socialist realism, the cultural canons of socialist realism are revealed in the works of Tuvan poets. Then such concepts as ritualism, rhetoricalness, self-censorship, doublethink and double-layeredness in fictional work are explained. Starting from the first years of the formation of Tuvan national literature (1927-1930) appeal to the topic of the conquests of the socialist revolution, to the theme of Lenin and October revolution, the praise of Stalin as the great leader of the peoples become mandatory, ritual, canonized components of the Tuvan Soviet literature. The theme of Lenin and October revolution in the Tuvan literature of the Soviet period was a leading topic until the end of the 1970s. The dominant of the poetic works of the Tuvan poets throughout the Soviet period is the concept of happiness expressed by the words “aas-kezhik” (happiness), “kezhik” (luck), “chyrgal” (bliss, paradise), “chyrgalang” (paradise life) accumulating aesthetic ideal of the era. The poetic collections of the Tuvan poets and the editions of the almanac “Ulug-Khem” invariably opened by the section including these “common places”. As a means of literary self-reflection literary works and criticism analyzed works primarily in a given angle. In the article, the author focuses on the analytical tools of the substantial plan (topic, “common places”, canon, aesthetic ideal), as well as the chronological perspective of the study of Tuvan Soviet literature. The period of 1940s -1970s is pre-designated as the heyday of socialist realism in Tuvan literature; the 1980s are the transitional period accumulating new meanings and expressive forms. The 1990s were defined as the completion of the hegemony of socialist realism marked with the scene postmodernism carrying a free from ideologized art new trend. The author also emphasizes the importance of understanding the worldview foundation of the distinguished cultural canons, aesthetic ideal captured in works as well as the transitional state of literature from the traditionalist poetry to poetics of artistic modality.