Turkic-language interpretations of Quran from Bashkiria of the XIX century as literary monuments

The subject of this research is the literary-aesthetic characteristics of interpretation of Manzil written by Bashkir theologians Bahadirshah al-Qaynawi and Taj ad-Din ibn Yalchigul: the presence of coherent narratives based on the authorial approach towards the interpreted text, literary-aesthetic interpretations of plots and images reflected in the Quranic text directly, intertextual connections of interpretations with the works in other genres. The goal of this article lies in determination and description of the meaningful literary-aesthetic characteristics of interpretations of Manzil. The following tasks are resolved within the framework of this research: 1) determination of the key characteristics of the Tafsir genre, 2) revelation of the role of works under review for the tradition of the Turkic-language interpretation of Quran, 3) description of the literary-aesthetic characteristics of the interpretations by Bahadirshah al-Qaynawi and Taj ad-Din ibn Yalchigu, 4) translation of fragments of their interpretations that are significant from the perspective of literature into the Russian language. The scientific novelty and practical importance of this publication lies in introduction into the scientific discourse of two previously unexplored literary monuments that have not been translated into the Russian language. This significantly broadens the knowledge on the literary process in Bashkiria of the early XIX century. The author concludes that the interpretation of Quran fragments should be viewed in the context of evolution of Bashkir literature of the pre-national period. This opens great potential for studying their intertextual correlations with Turkic-language literary of the earlier period in the genres of “chronicles”, “history of the prophets”, and “miracles of the created”, as well as with sententious literature of the later period.

An Exploration of the Existence and Utility of a Quaker Literary Aesthetic in the Poetry of Philip Gross and Sibyl Ruth

Quakers have had an ambivalent historical relationship with creativity, initially placing taboos around its creation and reception, but they now actively make and enjoy literature. This article explores what might constitute a Liberal Quaker Literary Aesthetic (QLA), and tests a theoretical model through an analysis of the poetry of British Quaker poets Philip Gross and Sybil Ruth. The QLA, it is suggested, consists of seven key features: openness, ambiguity and seeking; dialogical engagement; ethical rather than moral writing; creative attention; Quaker sensibility; an apophatic approach to the Divine; silence as presence and force. I argue that this QLA, while partially displayed by other writers of faith or none, is fully demonstrated by these writers, as a development in this context of particular values and the silent, apophatic approach found among British Liberal Quakers brought over into literary writing. I demonstrate that this QLA is a distinctive expression of Liberal Quakerism. I discuss its utility and suggest future avenues of research in comparison with other branches of Quakerism and other faith traditions and none.

Muqimi's Relations With His Contemporaries and The Work He Did With Them

The field of textual literature and literary source studies play an important role in thedevelopment of world culture and literary-aesthetic thinking. One of the urgent tasks is to study theancient sources of different periods, which have been preserved for centuries, and to use them to raisethe morale of society. The analysis and discussion of manuscript sources is also important in terms ofidentifying the scientific truth about literary heritage.

Inscribing Textuality

In The Preface to Gondibert (1650), William Davenant proposes a new literary aesthetic predicated upon philosophical and scientific learning. Like Milton, he was concerned with poetic form, though, unlike Milton, Davenant wrote numerous plays. Milton’s minimal engagement with dramatic form could be construed as representative of him positioning himself in opposition to the aesthetics of drama and the politics of the Restoration stage. This chapter addresses how Davenant’s notions of aesthetics and how Milton’s engagement with the theatricality of ink informed their ideas of drama. By placing these two authors in dialogue with one another, we are presented with a rich cultural poetics that is underpinned by questions of authorship and continued anxieties regarding the moral and didactic space of the stage and of the page.

COMPARATIVE STUDIES OF E.BERTELS ON NAVOI WORKS

The article studies the scientific activity of E. E. Bertels (1881-1957), one of the orientalists who seriously studied Uzbek classical literature on the basis of high textological training. The aim of the article is to reveal the literary criticism of Uzbek classical literature in Russian orientalism of the XX century in comparatively study of the process of the Uzbek classical literature research in connection with cultural, literary and historical-social processes, unbias evaluation of Russian scholars literary-aesthetic viewpoints

Dostoevsky in Slovakia: the novel “Crime and punishment” in Slovak translations

The paper deals with the reception of F. M. Dostoevsky's legacy in Slovakia. The authors point out five paradoxes in the history of aesthetic existence of the works of Russian realist in Slovakia. They also identify literary, aesthetic and ideological reasons for the late arrival of the writer's works to the Slovak reader as well as the stages of difficult mastering of the classic's polyphonic novels. The theme Dostoevsky in Slovakia had attracted the attention of many researchers, but the problems of translating the writer's works into the Slovak language have not been analyzed yet. The paper focuses on four Slovak translations (Peter Tvrdý, 1932; Zora Jesenská, 1944, 1945; Zora Jesenská, 1957, 1965; Juraj Klaučo, 2006) of the novel Crime and Punishment. The authors specify the difficulties of an adequate transmission of the individual lexical units that are of the fundamental importance in the ideological and stylistic terms, e. g.: nouns and adjectives with diminutive suffixes, collision in the dialogues of characters of literary and vernacular word forms. The absence of equivalent forms in a lexical arsenal of receiving language leads to artistic losses. The socially and culturally marked differences in the speech of characters, representative for Dostoevsky's stylistics, are lost in translation. The translator of Dostoevsky's novels has to turn to serious philological research in order to convey nuances of the word used in the original.

The Concept of The Duplicity of Being (From German Romanticism to Present)

The following scientific paper aims to show the realization of the romantic concept of a progressive universal poetry by Friedrich Schlegel on the basis of the works of E.T.A. Hoffmann and Thomas Mann. To this purpose, the fairy tale “The Golden Pot” (“Der goldene Topf”) and the novella “Tonio Kröger” are subject to analysis. In the analysis of the literary works and the presentation of the poetics of the writers, the main emphasis is on the problem of the relationship between poetry and reality, spirit and nature, which lies at the basis of the concept of the duplicity of being. Keywords: cognition, truth, duplicity, dualism, literary-aesthetic reflections.

Avant-garde and Experimentalisms in Poetry for Children from Rodari to the Present Day: a Travel between Authors and Works

In 1985 Franco Fortini wrote provocatively that poetry for children does not exist, arguing that it is alien to their ability to fully grasp its expressive significance. However, there had already been the experience of Gianni Rodari, from whose contribution the critical and historiographic reflection on an authorial (and quality) poetic word addressed to childhood cannot be ignored: he had placed linguistic game at the center of poetry for children, combining the lesson of French surrealism with the Italian futurist experience of Palazzeschi and he consciously placed himself along that modern poetic line that sees a flowering of great importance especially in the post-war period. It is a type of poetry that is enriched by the contribution of a playful and divergent dimension and that knows how to speak the language of children: the rhythm, the assonance, the rhyme, but also the associative procedures grafted through the surrealist techniques naturally meet the child animus and at the same time open to an articulated, plural dimension, rich in ethical and political tension. Along this trajectory of linguistic experimentalism masterfully inaugurated by Rodari, the contribution intends to identify the paths of other authors in the proposal of a poetry aimed at children that is innovative and valid on a content and formal level: the reference is to Roberto Piumini and Pietro Formentini in particular, who have recognized, in poetry for children and young people, a vast and welcoming space for exploration and expressive freedom, but also, more recently, to the refined research of poetesses such as Chiara Carminati and Silvia Vecchini, whose poetic production is constantly embellished by a reflective work of undoubted charm and of notable interest for the investigation on a literary, aesthetic, educational level.

Quare Memory in Brendan Behan's Borstal Boy

This essay adapts David Cregan's concept of ‘queer memory’ – a form of memory defined ‘by exclusion rather than inclusion’ – to the author of The Quare Fellow, analysing narrative gaps in Brendan Behan's Borstal Boy in order to better understand its construction of cultural memory. Situating Borstal Boy within a growing canon of Irish writing on coercive confinement, the essay contends that draft versions act as an important component of textual memory, as can be seen by the more explicit portrayal of queer sexuality in Behan's drafts. Both in its transgressive portrayal of queer masculinity, and in the ‘quare’ narrative strategies used to incorporate this material into the published text, Borstal Boy presents an author whose ‘quareness’ is a key part of his literary aesthetic.