Information about the author:

Abstract:

The poems of R. Buharaev (1951–2012), who wrote in the Russian, Tatar, English, Hungarian languages and at the same time involved in the Tatar literature and culture, have a specific artistic and aesthetic nature which requires scientifically based and adequate assessment. For the first time an attempt is made to analyze the features of fixed form of sonnet sequence in the poet’s works based on the material of four poetic cycles similar in range of problems, worldview of the lyrical hero and ways of artistic completion. It is stated that in R. Buharaev’s lyrics a sonnet cycle is no more a static form, the genre semantics of which is formed only by its compositional structure. An artistic value of this genre and stanzaic system is not in its “chaining” sequence construction connecting the end and the beginning of the whole cyclic context in general, but also in concentric principle of the main theme development, reflecting the interaction of “afferent” and “efferent” types of artistic thinking. It is concluded that subjective architectonics of Buharaev’s sonnet cycle reconstitutes various types of “border-line” identity. It is defined by the lyrical hero and supersubject’s attitude of a special type: vital and creative element of “Fatherland speech” (“Zhuk i Zhaba”), the Tatar speech (“Milostynja rodnogo jazyka”), Motherland and Venice (“Zov”); personified images of a foreign culture (“Venok dikorastushhih sonetov”). The “I” dialogue with this above outlook performs a structure-directing function, revealing self-consciousness and self-identification of the lyrical subject.