Vera R. Amineva

Information about the author(s)

Vera R. Amineva, DSc in Philology, Аssociate Рrofessor, Kazan (Volga region) Federal University, Kremlyovskaya 18, 420008 Kazan, Russia. E-mail: amineva1000@list.ru







Literature of the Peoples of Russia




DOI: 10.22455/2500-4247-2016-1-3-4-278-297


УДК 82.01/.09


ББК 83.3(2Рос=Тат)


The article was written with the financial support of the Russian Foundation for Humanites (project no 16-14-16010). Abstract: The article examines subjective architectonics in the work of the Tatar poet R. Akhmetzyanov’s (1935–2008) seeing it as a medium that discloses peculiar post-classical paradigm in the Tatar lyrics of the 1960–1680s. The object of analysis is a series of poems representing various thematic aspects. Using these poems as а case study, the paper aims to to achieve theoretical understanding of the role avant-garde played in the renewal of the Tatar literature in this period. The author employs a systematic structural methodology: an individual work is seen as a solid artistic system that develops a solid worldview representing a specific aesthetic concept of reality. The essay claims that in love poetry, there is a certain parallelism that ensues an open world model that includes: the autonomy of the “I” and the “you,” the protagonist’s desire to get closer to “her,” and the achievement of the otherworldly and passive unity with the beloved. In poems addressing national and sociocultural problems, the protagonists and those he calls “we” (children and the country) form a liaison that knows not subjective borders. Existential interpenetration of the “I” and the “we” reflects the process of the protagonist’s selfidentification. In a number of works, there is a peculiar super-protagonist whose relation to the world of the “I” is that of un-engagement and transcendence. The dialogue of the “I” with this transcendent position has a structure-forming function in that it reveals the peculiarities of self-apprehension and self-identification of the protagonist. Subjective neo-syncretism corresponds with the special structure of the verbal image and the employment of both mythopoetic language and tropes that interact with each other dialogically. The principle of poetic and figurative architectonics is associated with the law of polygenres and polystylistics responsible for the integrity of the analyzed works.


Tatar lyrics, avant-garde, figurative languages, subjective sphere, composition, architectonics.

Works cited

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