“Ozyn shigyr” in Modern Tatar Poetry

Abstract

The article for the first time considers the most active form of modern Tatar poetry - “ozyn shigyr”. It is noted that this form is not identical to the “long poem”, it has oriental roots. In Tatar literature, “ozyn shigyr” with its unique thematic and aesthetic features was formed in the 1920s and 1930s in the era of experiments to create “new poetry of the revolutionary time”. The revealed features of the genre “ozyn shigyr” of this period are a contextual background for studying the functioning of this form in modern Tatar poetry. The focus is on the work of the young poet Lilia Gibadullina, the author of three poetry collections. In her work, “ozyn shigyr” occupies a leading place, the analysis of her most famous poems to the modern Tatar reader allows us to determine the structural, figurative and motivational features, aesthetic attitudes, artistic preferences of the genre. So, in “ozyn shigyr” by L. Gibadullina, the main place is occupied by existential-evaluative motives. The lyrical heroine analyzes the events of her life, and repeated symbols or symbolic images turn them into the history of the people, the country, humanity in general. Among the identified techniques, the flickering of motives and intertextual dialogue are important, with the help of which a multiplicity of contexts and meanings is created. Thus, it is established that the genre of “ozyn shigyr” in modern Tatar poetry has its own characteristics that arise in dialogue with the traditions of Tatar poetry and make its form different from the “long poem”.

Keywords

• tatar poetry
• ozyn shigyr
• shimmering motifs
• intertextuality
• euphony
• psychological parallelism
• symbol
• l. gibadullina