Učënye Zapiski Kazanskogo Universiteta: Seriâ Gumanitarnye Nauki (Feb 2017)
The interrelation between 'self' and 'foreign' in the image of the Crimean Tatars' world (based on A.I. Kuprin's story 'In the Crimea (Majid)')
Abstract
The relevance of this research is defined by the chosen imagology approach assuming the embodiment of the image of foreign, comprehension of other culture, mentality by the representative of other nation. The material under analysis is A.I. Kuprin's poorly studied story “In the Crimea (Majid)” (1909). The purpose of the research is to reveal the specifics of the interaction between “self” and “foreign” in the Crimean Tatars' world through studying of the originality of composition, system of images, psychological plot, and features of narrative structure. A hypothesis has been suggested in this paper that A.I. Kuprin's interest in the Crimean Tatars' world is related to the myth created by the writer about his Tatar ancestors. During the analysis, it has been revealed that A.I. Kuprin paid attention to processes, which are dangerous from the perspective of preservation of the Crimean Tatars' ethnic identity. A number of the examples proving the ambivalence of the Crimean Tatars' world in A.I. Kuprin's work have been provided. The psychological processes taking place in the ethnic consciousness of the Crimean Tatars associated with their interaction with the foreign world of resort guests have been traced. It has been established that images of Tatar conductors connect two worlds – the Crimean Tatar and Russian (resort) ones, “self” and “foreign”. On the basis of the analysis, a number of conclusions have been made: 1. The objective view of the person capable to perceive other culture as their own is reflected in the story and, on the contrary, to see “foreign” as “self”. The author's position expresses the dialogue of cultures assuming openness to the valuable characteristics of “foreign”. 2. The psychological plot related to the submission of “self” to “foreign”, substitution of “inherited” by “secular” becomes the basis in the story; 3. The process of penetration into the Crimean Tatar's world laws of staging life, transformation of conduction (historically inherent in the Crimean Tatar ethnos) in a performance is reflected in the work.
