A comparative study of Russian poetry Tatar translations is performed in this scientific article, in particular, the poems by A. Pushkin, M. Lermontov, N. Nekrasov with the original to analyze lexical expressive means, namely the metaphors of the original. The following methods and techniques were used in the work: comparative and hermeneutic. The study is based on the translation of poems by A. Pushkin, M. Lermontov and N. Nekrasov, which was performed by Tatar writers A. Iskhak, A. Yunus, M. Sadri, A. Faizi, A. Erikay and N. Arslanov. The choice of authors and their works is conditioned not only by their popularity, but also by the peculiarity of their literary language, the distinctive feature of which are original pictorial and expressive means. On the basis of poem analysis from the point of view of lexical pictorial means of the language use, it was revealed that the language of the selected writers has a rich imagery and a high degree of metaphorization. The authors analyze the issues of metaphor adequate embodiment concerning the poetry by A. Pushkin, M. Lermontov, N. Nekrasov in Tatar language. The problem of the original meaning recreation is considered with the preservation of its form features. This problem is faced by the translators of a poetic text.
The article is intended to show the relations between Tatar and Chuvash and to examine Chuvash loan words in the dialect of Kreshin Tatar, which is a specific group of Tatar people. Tatars and Chuvash, who have lived as neighbors for a long time, not only have economic and daily relations, but also a mutual language influence, as a result of which mutual loans are exchanged between them. The paper also approaches the tight links between the two peoples and some language relations. Chuvash loans are present in the various aspects of daily life of the dialect of Melki Kreshins, for example, tundi kĭn (Monday), utlari kĭn (Tuesday), kekey (meat), kukşa (skinhead), kırsut (house fairy), cĭkres (twin), çaplĭ (good, beautiful), etc. to be compared with their Chuvash parallels, in terms of usage features. In addition, the dresses of girls and women of Melki Kreshins, which are accepted as Chuvash dresses, but whose names are not taken from Chuvash, such as takıya (women's headdress, decorated with bright stones and scales, fez), tastar (hijab made of white linen weave), tastar yawligi (tastar hijab), kaşpaw (round cap decorated with scales that used to be worn by women), etc. which will be examined on the basis of their equivalent in Tatar, Chuvash and other dialects.
Bulunuşunun üzerinden 200 yılı aşkın bir zaman geçen Dede Korkut Kitabı, 15.-16. yüzyıllarda Anadolu-Azerbaycan coğrafyasında Eski Oğuz Türkçesiyle yazıya geçirilmiş bir eser olsa da teşekkül tarihinin derinliği ve tarihî coğrafyasının genişliği bakımından sadece Oğuz Türklerinin değil, tüm Türklüğün en önemli eserlerindendir. 8. yüzyılda Oğuzların Seyhun kıyılarına göç etmelerinden itibaren oluşmaya başlayan Dede Korkut kahramanları etrafındaki boylar, Seyhun kıyılarında, Maveraünnehir ve Horasan'da ve son olarak Azerbaycan ve Anadolu sahasında yüzyıllarca sözlü gelenekte yaşadıktan sonra 15. yüzyılda Akkoyunlu coğrafyasında son biçimlerini alarak yazıya geçirilmiştir. Dolayısıyla, Dede Korkut Kitabı'nın dilinde Oğuz Türkçesinin yanı sıra diğer Türk lehçelerinden izler bulmak mümkündür. Bu çalışmada Dede Korkut Kitabı'nda yer alan Türkçe kelimeler, günümüz Kazak Türkçesinin söz varlığıyla karşılaştırılmış, ortak ve benzer olduğu düşünülerek ele alınan 77 kelime alfabetik olarak sıralanmış ve değerlendirilmiştir.
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