Musa Jalil’s lyric poetry in Ravil Bukharaev’s translations as a phenomenon of the Russian-Tatar borderland (genre aspects)

Abstract

The study aims to identify the genre transformations of Musa Jalil’s lyric poems in Ravil Bukharaev’s Russian translations. The material of the article comprises lyric poems by Musa Jalil that exhibit features of genres traditional to Tatar poetry (parcha, näser) as well as genre forms of other origins (confession, lyrical testament, elegy, and elegism). The study demonstrates that parcha loses its fragmentary and meditative character, while näser loses its rhythmic organization and openness, giving way to lyrical-confessional and elegiac models. The scientific novelty lies in introducing and substantiating the concept of the “genre tunnel”, through the prism of which the phenomenon of the cultural borderland is examined as a factor hindering the faithful recreation of the original genre in the Russian language. Relying on comparative-historical and contrastive methods, the paper explores the sources of modifications in the original genre structures of the classics of Tatar literature. Through a structural-semiotic analysis, it is established that the modification of the subject sphere is subordinated to Bukharaev’s aspiration to emphasize the ideological and moral meanings embedded in war-themed poetry (“The Last Grievance”, “The Red Daisy”) and to transform the original genre basis into a lyrical-confessional narrative. The study establishes that this strategy is implemented through the psychologization of the narrative, the individualization of the subjective perspective, and the reduction of symbolic ambiguity. The results demonstrate that Bukharaev’s translations of Jalil’s lyric poetry reveal interpretive approaches grounded in the “genre tunnel” as a source of the “blurring” of Tatar literature’s genre structures and the resulting culturological distance from them.