Passage, kitga, and parcha: А comparative study of the genres

The lyrical genres of Russian and Tatar poetry (passage, kitga, and parcha) have been compared. It should be noted that in the modern study of literature, particularly in comparative studies, these forms have never been analyzed from the point of view of their similarities and differences. The purpo...

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Main Author: A.Z. Khabibullina
Format: Article
Language:Russian
Published: Kazan Federal University 2018-02-01
Series:Učënye Zapiski Kazanskogo Universiteta: Seriâ Gumanitarnye Nauki
Subjects:
Online Access:https://kpfu.ru/passage-kitga-and-parcha-a-comparative-study-of_356356.html
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author A.Z. Khabibullina
author_facet A.Z. Khabibullina
author_sort A.Z. Khabibullina
collection DOAJ
description The lyrical genres of Russian and Tatar poetry (passage, kitga, and parcha) have been compared. It should be noted that in the modern study of literature, particularly in comparative studies, these forms have never been analyzed from the point of view of their similarities and differences. The purpose of the present paper is to clarify the essence of these genres in the light of comparative poetics, as well as to explain their unique properties based on the works of Russian classical writers (A.S. Pushkin and A.A. Fet) and Tatar poets of the early 20th century (Därdemänd, S. Ramiev, and Sh. Babich). Our study confirmed that kitga as a genre of small poetic forms dating back to the traditions of the literatures of the East, if compared to the romantic passage, is more holistic and complete in terms of its meaning, in which philosophical themes and ideas hold a special position. In many ways, this feature of kitga poetics depends on the mindset of the Eastern poets: the eternal is revealed in the small, the single expresses the universal, i.e., an undoubted thing is perceived as the eternal law. In the romantic passage – a genre of classical Russian poetry – the idea of incompleteness, lyrical perspective, and being turned towards the future identified both the plot of works and their graphical organization. The latter is expressed through dots and graphic spaces in the first and last lines. This paper proves that in the Tatar literature another short form of poetry – the genre of parcha – is close to the romantic passage. Unlike kitga, it is more amorphous in the context of genre features; its graphicalorganization is also similar to the passage. In particular, the analysis of the lyric cycle of S. Ramiev's “Parchas of Lermontov's Poems” and Sh. Babich's short work “The Winds Blow” confirms this idea.
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spelling doaj.art-1b04e8ea433e460ea0e447e44829e9a22023-07-05T15:33:43ZrusKazan Federal UniversityUčënye Zapiski Kazanskogo Universiteta: Seriâ Gumanitarnye Nauki2541-77382500-21712018-02-011601145158Passage, kitga, and parcha: А comparative study of the genresA.Z. Khabibullina0Kazan Federal University, Kazan, 420008 RussiaThe lyrical genres of Russian and Tatar poetry (passage, kitga, and parcha) have been compared. It should be noted that in the modern study of literature, particularly in comparative studies, these forms have never been analyzed from the point of view of their similarities and differences. The purpose of the present paper is to clarify the essence of these genres in the light of comparative poetics, as well as to explain their unique properties based on the works of Russian classical writers (A.S. Pushkin and A.A. Fet) and Tatar poets of the early 20th century (Därdemänd, S. Ramiev, and Sh. Babich). Our study confirmed that kitga as a genre of small poetic forms dating back to the traditions of the literatures of the East, if compared to the romantic passage, is more holistic and complete in terms of its meaning, in which philosophical themes and ideas hold a special position. In many ways, this feature of kitga poetics depends on the mindset of the Eastern poets: the eternal is revealed in the small, the single expresses the universal, i.e., an undoubted thing is perceived as the eternal law. In the romantic passage – a genre of classical Russian poetry – the idea of incompleteness, lyrical perspective, and being turned towards the future identified both the plot of works and their graphical organization. The latter is expressed through dots and graphic spaces in the first and last lines. This paper proves that in the Tatar literature another short form of poetry – the genre of parcha – is close to the romantic passage. Unlike kitga, it is more amorphous in the context of genre features; its graphicalorganization is also similar to the passage. In particular, the analysis of the lyric cycle of S. Ramiev's “Parchas of Lermontov's Poems” and Sh. Babich's short work “The Winds Blow” confirms this idea.https://kpfu.ru/passage-kitga-and-parcha-a-comparative-study-of_356356.htmlpassagekitgaparchacomparative poeticsrussian literaturetatar literature
spellingShingle A.Z. Khabibullina
Passage, kitga, and parcha: А comparative study of the genres
Učënye Zapiski Kazanskogo Universiteta: Seriâ Gumanitarnye Nauki
passage
kitga
parcha
comparative poetics
russian literature
tatar literature
title Passage, kitga, and parcha: А comparative study of the genres
title_full Passage, kitga, and parcha: А comparative study of the genres
title_fullStr Passage, kitga, and parcha: А comparative study of the genres
title_full_unstemmed Passage, kitga, and parcha: А comparative study of the genres
title_short Passage, kitga, and parcha: А comparative study of the genres
title_sort passage kitga and parcha а comparative study of the genres
topic passage
kitga
parcha
comparative poetics
russian literature
tatar literature
url https://kpfu.ru/passage-kitga-and-parcha-a-comparative-study-of_356356.html
work_keys_str_mv AT azkhabibullina passagekitgaandparchaacomparativestudyofthegenres