Etapas del proceso administrativo

Landysh R. Faezova1, Milyausha М. Khabutdinova1, Gulfia R. Gaynyllina1, Ainur Mashakova 2 1 Kazan Federal University

2 M.O. Auezov Institute of Literature and Art, Almaty, Kazakhstan Abstract

The theme of Tatar Muslim emigration has become an object of study of Tatar scientists since the 1990s. A corpus of historical and sociological works on this topic has been gradually formed. Tatar writers first turned their attention to this topic in the first third of the twentieth century. However, until now Tatar literary criticism had no works on the systematic study of the literary interpretation of the topic of emigration in the Tatar literature. The aim of this article is to analyze the main stages of the formation and evolution of the image of Tatar Muslim emigration in the Tatar literature. Literary texts that belong to different historical and cultural periods of the 20th and 21st centuries have been analyzed as the examples accumulating the reception of time. The methodological basis of the research was the theoretical works on literary criticism and history. The system comparative analysis and the comparative- contrastive analysis allowed us to find iterative stories, motifs and images in the texts of different Tatar writers, which is indicative of the formation of certain tendencies in developing this theme in Tatar literature. In the course of the study we found that the topic of emigration in the Tatar literature was initially peripheral. In the first third of the twentieth century we can find a depiction of the characters who came off the beaten track of life under the weight of circumstances. The plots of literary works develop in a dramatic manner. Activation in the development of the topic is observed in the 1960s. The fate of emigrants is shown in historical context. The sympathetic depiction succeeds the diatribe position. The realistic tendency is intertwined with the romantic one. In the overwhelming majority of works in the millennial tradition, foreign landscapes are portrayed as a fatal place.

Keywords: Tatar literature, the theme of emigration, Tatar prose, national identity, national history. Introduction

In Kazan, it is planned a Museum of Tatar emigration to have been founded by 2020. It is believed that Tatar emigration as a phenomenon has a six-century history. The starting point for scientists was the emigration of one of the sons of Mamay in the 1390s to Lithuania, where he took the service with the Grand Duke Vytautas. If we turn directly to the history of the emigration of the Volga Tatars, individual cases of resettlement to Turkey are known, beginning with the eighteenth century, i.е. in the period of strengthening the policy of Christianization of non-Russian peoples of the Volga and Ural regions by forcible means. In the years 1892-1894 in connection with mass transmission of rumors about the expected baptism of Muslims about 400 families filed petitions for moving to Turkey from the Kazan province. Although in 1900 Nicholas I forbade the departure of the Turkic peoples abroad, however, the Mukhajirism continued in the beginning of the 20th century. In the early twentieth century the Tatars participated in the construction of the Chinese-Eastern Railway, therefore, this direction of the Turkic- Tatar emigration had a character of labor migration at the outset. After the revolution of 1917, we can already get at the phenomenon of political emigration of the Volga Tatars. During the Great Patriotic War the phenomenon of collaborationism was developed.

Methods

The subjects for our study are the Tatar literary texts, which deal with the theme of the Tatar emigration, belonging to different historical and cultural periods of the 19th-21st centuries. In the course of

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investigation the following methods were used: the dialectic principles of universal communication and development, the principle of ascent from the abstract to the concrete, the principle of unity of analysis and synthesis, subject and object, the principles and methods of historicism in the cognition of sociocultural phenomena, the system approach, the comparative method, the method of interpretation analysis.

Results and discussion

The theoretical basis of our investigation was the works covering the problems of studying identity [1-2], the specificity of the national ideal [3-5]. Tatar scholars could mention the phenomenon of Tatar emigration only in the 1990s ([6-11]). Tatar literary scholars tried to pass this topic over in silence for a long time. Researchers often attach importance to emigration and associate a figure of emigrant with heroic and mythological images (Ovidius), romantic (Robinson Crusoe), etc. [12: 3]. Tatar literature in the development of the emigrant myth followed Russian literature. According to Yu.V. Matveeva, the emigrant theme in Soviet literature was one of the peripheral ones. Since 1917, two trends have been formed to develop the theme of the White Russian emigrant world: accusatory-official, where the path of the emigrant was assessed as a blind alley of life (A. Tolstoy) “A Manuscript Found Under the Bed”, “Black Friday”, “Ibicus”, “Emigrants”, V. Mayakovsky “Paris Letters”) and a romantic one, where the emigrant myth turned into a symbol of possible freedom (M. Bulgakov “Running”, “Zoya’s Apartment”). In the mid-1980s the idealized image of emigration emerged in the public consciousness and became more and more consolidated, the constituent parts of which were patriotism, high sacrifice, an attitude to preserve language and culture” [13: 205-206].

We have managed to find a number of literary texts covering in one way or another the problem of emigration of the Tatars. The starting point for us was the famous poem by G. Tuqay «Не уйдем» / “We Will not Go Away” (1907), in which the resettlement of the tribesmen to Turkey is denounced [14: 44]. M. Galyau in the dilogy «Муть» / “Darkness” (1931), «Мухаджиры» / “Mukhajirs” (1934), reflecting on the fate of the Tatar village of the end of the 19th century and the beginning of the 20th century, showed the whole tragedy of Mukhajirism as a phenomenon in the history of the Tatar people. “Mukhajirs” historically reliably recreates the scene of anxious expectation of the First General Population Census in 1897, uncovers the causes of the riots in the Tatar environment in detail, the motives for opposition to the authorities, as well as the reasons for the forced emigration of the Tatars to Turkey [15].

Tatar writers dared to speak on this topic only in the 1960s, since the theme of emigration was not popular in Soviet literature. Those who fled from the country were endowed with the brand of cowards and traitors. When “the iron curtain” disappeared in the late 1980s, the literary heritage of the Tatar emigrants began to return to their homeland during the years of perestroika and their works began to be interpreted [16-18]. It turned out that this branch of national literature preserved the adherence to the age-old literary tradition, from which Soviet Tatar writers were banned.

The Soviet Tatar writers began to mention the problem of emigration only in the years of thaw. A.M. Gilyazov in a number of his works protested against state policies that stimulated migration, the outflow of Tatars from places of compact residence [19: 5-154, 72-123, 382-451]. In 1990, he appealed to all “fugitives” for returning and saving their homeland from ruin and desolation [20: 402]. M. Yunus in the story “Our House was Under Willows ...” (1964) [21] began to speak on formation of a special type of consciousness among the emigrants, connected not only with the loss of “home”, “native land”, but also with the loss of personal biography.

A particular block is composed of works of literature, where the theme of Tatar collaborationism, legionaries ([22], [23-24]) is highlighted. In literary criticism, this topic began to be developed in jalilology [25-26]. A.M. Gilyazov speaks with compassion of the tragic fate of Tatar prisoners of war and

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legionnaires in their homeland in the novel “Wound” (1981, 1984) [22] and the novel “Let’s Pray!” (1991- 1993) [20]. Following him, Z. Hakim writes in “Legionnaire” that the emigration of prisoners of war was a forced measure [24]. Critical discourse is formed in relation to the state system, the representatives of which are characterized as traitors, and the emigrants, on the contrary, are declared to be victims of circumstances. The playwright I. Juzeev in the 1990s in the play«Мой белый калфак…» / “My White Calfack ...” [23] discovered a new facet in the theme of Tatar emigration. Like other Tatar writers, he authentically shows the reasons for this phenomenon. However, the leading topic for him is the problem of preserving the national identity of the Tatars at the end of the 20th century. Like A. Giljazov, I. Juzeev reflects in the play on the steady inclination of the Tatars for assimilation. The playwright acquaints the readers with the gallery of “servants of the nation” who have earned respect during their lifetime, who should help the Tatar people expand the spiritual horizon and overcome the crisis: writers Gabdulla Tukay, Gajaz Ishaki, mullah Galimzjan Habib, and businessman Zajni Akchura.

T. Ajdi in the story “Without Homeland” depicts the path of Tatar emigrant Hanafi as a dead end in terms of accusatory tradition. The sufferings of the character, his nostalgia for his homeland are psychologically truthfully conveyed [27:15]. Developing the theme of emigration, the writer adheres to a realistic tendency, clearly identifies the key problems and the consequences of such step in a person’s life. The short story by T.Ajdi echoes the novel by M. Junus “Our house was Under the Willows” [21].

The playwright S. Gaffarova in the play «Пришлый» / “Alien” (2017) demonstrates a new perspective in developing the topic of emigration [Gaffarova, 2017]. Portraying an idealized image of emigrant Nakip Auhadiev, the writer relies on heroism, sacrifice, patriotism, hard work, patience, love of life, cordiality. If the Tatar writers unequivocally treated an alien country as a wicked place (compare chronotopes Germany, Suslonger, Yaroslavl in the story “Wound” by A. M. Giljazov), then in S. Gaffarova’s story America becomes to be homeland for emigrants, where they manage to have happy life, to carve out a career for themselves (Scot Samujel), Tatar Nakip) [28].

Tatar writer F. Bajramova has made her significant contribution to the development of this topic. In the historical novel “Исход” / “Way Out” (2017) [29], it is already stated in the title: it is a work that depicts the fate of the Muhajirs-Siberian Tatars who moved to Turkey in 1907 on the initiative of the Tatar public figure and theologian Gabderrashid Ibragim (1857-1944). The novel, from the point of view of I.B. Kukulin’s theory, can be called “a reflection of the collective trauma caused by the previous colonization” [30: 150]. In the novel by F. Bajramova, several strands of the plot are closely intertwined (the story of the Shikhovs, the activities of Tatar theologian, public figure, politician, publicist, traveler Gabderrashid Ibragim (1857-1944)) This gives an opportunity for the writer to try to understand the problem of the role of an individual in history. The reason for pushing the Siberian Tatars to go to a foreign land is formulated in the novel very clearly - the threat of coercive Christianization.

Summary

Tatar literature of the 20th-21st centuries has a corpus of literary texts, where the theme of Tatar emigration finds its interpretation. In the course of the analysis, we were able to identify key tendencies in its development. For almost a century of its existence, this image in the cultural consciousness of the Tatar people has been evolved many times and in different ways, each time demonstrating the complex dynamics of philosophical, social and political priorities of Russian society. Initially, the emigrant theme in Tatar literature was one of the peripheral topics. By the 1930s the main rhetorical figure of the time in relation to the emigrant world had become a figure of preterition. Tatar writers, if they turned to this topic, depicted the images of people who had been kicked out of their fortunes to the edge of life. They were the objects of pity and sympathy of the readers. G. Tukay and M. Galyau adhere to the exposing approach in developing the topic. This approach was brought to life not by state ideology (as in the case

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of Russian literature (M.Bulgakov, V. Mayakovskiy, A.Tolstoy), but rather by national ethical values (the national myth about the navel string).

The works of Tatar emigrants in the first half of the 20th century demonstrates their commitment, in contrast to the Tatar Soviet writers, to a thousand-year literary tradition. The leading tonality of their works is homesickness and hope for their return. The chronotopos of homeland preserves the former pre- revolutionary outlines and is not reduced, as in the Soviet Tatar literature to the scale of “birthplace”. Tatar emigrants dream of the restitution to Kazan a status of the Tatar capital and the former unity of the Turkic peoples, the heirs to the Golden Horde. If the Tatar Soviet literature shows the Russian people as a fraternal people, then the literature of emigrants – explicitly as colonialists people. Tatar emigre writers in their works pay much attention to the formation of national consciousness among their readers, that is why they often turn to the heroic pages of national history, the pantheon of national heroes, use the potential of national folklore and modern literature to be formed at the peak of the national identity of the Tatars.

Soviet Tatar writers again resort to the theme of emigration only in the years of thaw. We observe a transition from a denunciatory position to a sympathetic one. АA.Giljazov, M.Junys, T.Ajdi, I.Juziev, F.Bajramova realistically truly describe the reasons that prompted the Tatars to leave their homeland. Their works reflect the perspectives in covering this topic, such as political emigration, mukhajirism, collaborationism. Tatar writers using the examples of certain fates and fortunes show the ambivalence of the problem of emigration. The realistic tendency is intertwined with the romantic one. In the vast majority of works within the boundaries of the millennial tradition, foreign landscapes are depicted as a fatal place. Tatar writers try to convince the readers that some day or other each of us is destined to hear the voice of blood and feel the ties of blood with our native land. “The green cradle” of Motherland needs careful, caring hands that will propagate it. In 2017 a number of works appear (F. Bajramova «Исход» / “The Way Out”, S. Gaffarova «Пришлый» / “Alien”), where in the context of tradition one observes a glorifying of a new homeland. The Tatar emigres from the losers heroes in these works turn into successful people who managed to self-actualize in a foreign country. It remains to be seen how viable this concept, brought forth under the influence of multiculturalism.

Conclusions

The theme of the Tatar emigration in Tatar literature has a century-long history. It is closely intertwined with the theme of homeland. In portraying the characters who are forced to live in a foreign country, Tatar writers take compassion upon them. In most works, the undoubted value of the native land in the life of a person and the need to return to their homeland strengthens. The folklore traditions are very strong in development of the theme.

Acknowledgements

The work is performed according to the Russian Government Program of Competitive Growth of Kazan Federal University.

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