Document Type : Research Article
Kazan Federal University, Kazan, Russia
Department of Tatar Linguistics, Institute of Philology and Intercultural Communication, KFU
Department of Finno-Ugric Philology, FSBEI HE, National Research, Mordovian State University named after N.P. Ogareva
The article discusses the nominative domain and function of image symbols traditional for the Tatar poetry in the 1930s based on poetic works by M. Jalil, Kh. Tufan, and A. Fayzi. The mould-breaking pursuit of the verse form in the 1920s, playing with more complicated techniques, and plausibility to generate an image out of numerous mosaic details caused poets to folklore image symbols. The study demonstrates that traditional image symbols are observed as an opportunity to develop the artistic paradigms, regenerate the ideological and philosophical depth, as well as to present ambiguity and a chance to double read the text and national traditions of the Tatar poetry. The scientific novelty is defined through a different means to reviewing traditional (folklore) images in the structure of the poetic heritage, i.e., the study concentrates on their usage as a symbol being a structure-forming component. The analysis explained that the presentation simplicity and musicality typical of folk songs becomes the dominant feature of the period's Tatar poetry. It was facilitated by the sociocultural characteristics of national artistic mentality too.