鞑靼散文中民族身份守护之母的原型

A. Ganieva
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摘要

母亲的原型反映了古代神话思想、社会生活条件、民族哲学和世界观。本文研究了母亲原型在鞑靼散文中作为维护民族身份和自我认同的形象的体现案例,并为此考虑了从古代文学到现代的不同散文作品。在鞑靼-穆斯林文学中,对母亲的特别尊重源远流长。20 世纪初民族意识的觉醒增加了对鞑靼现实主义散文中母亲形象的关注。文章作者引用了格-伊斯哈基的小说《奥斯塔兹比克》和格-伊布拉吉莫夫的小说《年轻的心》,说明在革命前的文学作品中,精神和信仰的完整性在作家的作品中被置于肉体存在之上。十月革命摧毁了民族家庭的生活方式:文学作品中的母亲形象发生了变化。母亲不再是代代相传的家庭价值观的守护者,而是新社会建设的参与者和社会活动的领导者。作者在文章中研究了阿-恩尼基《无法言说的遗书》、阿-巴雅诺夫《高原的故事》、茨-哈基姆《母亲之歌》等作品,得出以下结论:在大多数情况下,母亲原型的出现与民族问题密切相关,并经常被用作传承民族精髓的最重要形象。从一个特定的人,一个女人的形象,发展成为一个国家的象征。而在母子关系中,尤其是在儿子寻找母亲的动机和见面的动机中,体现了一个人对生命意义的追寻和发现。因此,鞑靼作家将母亲的形象提升到原型的地位是为了加强民族自我意识。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
THE ARCHETYPE OF THE GUARDIAN MOTHER OF NATIONAL IDENTITY IN TATAR PROSE
The archetype of the mother reflects the mythical ideas coming from antiquity, the conditions of social life, the philosophy and worldview of the nation. This article examines the cases of the embodiment of the mother archetype in Tatar prose as an image preserving national identity and self-identification, and for this purpose separate works of prose are considered, starting from ancient literature and up to the modern era. In Tatar-Muslim literature, a special respect for the mother has ancient roots. The awakening of national consciousness at the beginning of the 20th century increased attention to the image of the mother in Tatar realistic prose. The author of the article refers to G. Iskhaki's story «Ostazbike», G. Ibragimov's novel «Young Hearts» and shows that in pre-revolutionary literature, the integrity of the spirit and faith were placed above physical existence in the works of writers. The October Revolution destroyed the way of life of the national family: there were changes in the image of the mother woman in literature. The mother began to be portrayed not as the keeper of family values passed down from generation to generation, but as a participant in the construction of a new society, leading social activities. Having studied the works of A. Eniki «The Unspoken Testament», A. Bayanov «The Tale of the Highlands», Z. Hakim «The Song of the Mother» in the article, the author comes to the following conclusion: the archetype of the mother in most cases appears in close connection with national issues and is often used as the most important image for preserving the essence of the nation. From the image of a particular person, a woman, it grows to a national symbol. And in the relationship between mother and son, especially in the motive of the son's search for his mother and in the motive of the meeting, the search and finding of the meaning of life by a person is reflected. Consequently, the elevation of the mother's image to the status of an archetype by Tatar writers is done to strengthen national self-awareness.
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