Pub Date : 1900-01-01DOI: 10.21638/spbu13.2021.210
Badegül Can Emir, H. Saraç
Yuri Vasilyevich Bondarev is one of the well-known names of 20th century Russian literature, and he is one Russian writer familiar to Turkish readers. A successful author of war prose, Bondarev attracted the attention of the Turkish audience with a wide range of literary works which includes novels, novellas, short stories, poems, articles, essays, interviews, etc. In this respect, the years in which he produced writings on the universal theme of war have an important place in Turkish politics. Bondarev began to be published in Turkey during the politization process following the military coup (1980) and he continued to be present in Turkey until the day he died. Especially in the 80’s when he was adopted as a war prose writer he was a guide for left-wing people in the struggle after the events of September 12. It is worth noting that the recent significant increase of interest in Bondarev’s work among Turkish linguists and philologists indicates that he is popular with the Turkish reader no less than the recognized classics of Russian literature. In this article, Bondarev’s position in Turkey from past to present will be analyzed in view of the studies on him in Turkish press and literature, and it will be emphasized that the author engrossed the Turkish reader with his artistic expertise and the ideology relayed through his works.
{"title":"A Look at Yuri Bondarev in Turkey from Past to Present","authors":"Badegül Can Emir, H. Saraç","doi":"10.21638/spbu13.2021.210","DOIUrl":"https://doi.org/10.21638/spbu13.2021.210","url":null,"abstract":"Yuri Vasilyevich Bondarev is one of the well-known names of 20th century Russian literature, and he is one Russian writer familiar to Turkish readers. A successful author of war prose, Bondarev attracted the attention of the Turkish audience with a wide range of literary works which includes novels, novellas, short stories, poems, articles, essays, interviews, etc. In this respect, the years in which he produced writings on the universal theme of war have an important place in Turkish politics. Bondarev began to be published in Turkey during the politization process following the military coup (1980) and he continued to be present in Turkey until the day he died. Especially in the 80’s when he was adopted as a war prose writer he was a guide for left-wing people in the struggle after the events of September 12. It is worth noting that the recent significant increase of interest in Bondarev’s work among Turkish linguists and philologists indicates that he is popular with the Turkish reader no less than the recognized classics of Russian literature. In this article, Bondarev’s position in Turkey from past to present will be analyzed in view of the studies on him in Turkish press and literature, and it will be emphasized that the author engrossed the Turkish reader with his artistic expertise and the ideology relayed through his works.","PeriodicalId":342908,"journal":{"name":"Vestnik of Saint Petersburg University. Asian and African Studies","volume":"63 3-4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114130923","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu13.2022.109
N. Timko
The relevance of this study is due to the growing interest in translations of fairy tales of small peoples and methods of linguistic and cultural translation of the content of the text in the process of translation. The work is interdisciplinary in nature and is at the intersection of cultural linguistics, folklore studies, comparative linguistics, and translation. The aim of the work is to determine how information about the values of the Karachay-Balkarian linguoculture is verbalized in the texts of fairy tales in the Karachay-Balkarian language, as well as to analyze the advantages and disadvantages of strategies of linguocultural adaptation (explication or elimination of national color) of this type of text into Russian and English. To solve the set tasks, two complementary research methods were used: an introspective method, oriented to the process (the author’s translation of five Karachay-Balkarian fairy tales into English), and the traditional method of retrospective analysis for translation studies by comparing the originals of Karachay-Balkarian fairy tales and their published translations into Russian. The material for this study was the Collection of Karachay-Balkarian fairy tales and legends, the Collection of Karachay-Balkarian fairy tales (transl. by A. Alieva, A. Kholayev, 1983), the Collection of Karachay fairy tales (transl. by I. Rumyantseva, 1981), the Collection of folk tales of Balkarians and Karachays (transl. by A. Alieva, A. Kholayev, 2003). The novelty of the research lies in the fact that for the first time the Karachay-Balkarian fairy tale as a cultural narrative of the people is considered in the aspect of translation criticism. The translation of such tales is conditioned by both a culturally specific plot and the form that is its basis - cultural details, peculiarities of mentality, expressed in language and constituting a special axiological background of the Karachai-Balkarian fairy tale. When translating, a significant part of these formal elements can be neutralized by translators for the sake of children’s perception (use of analogues in the target text, omission, deliberate domestication of the source text), which, however, leads to the loss of the main thing - the national and cultural originality of the source text. When explicating the cultural characteristics, the translator makes the reader familiar with the national flavor of another culture, however, at the same time, some excessive culturally specific information is transferred into the target text, which can cause misunderstanding or distorted perception on the part of the child reader (for example, the topic of polygamy and the peculiarities of the distribution of roles in family). In this regard, a balanced approach to the choice of the optimal strategy for the cultural and pragmatic adaptation of fairy tale texts during translation is necessary: the translator’s decision to explicate or eliminate national cultural specificity is of a compromise nat
本研究的相关性是由于人们对小民族童话翻译的兴趣日益浓厚，以及在翻译过程中对文本内容的语言和文化翻译方法。这项工作本质上是跨学科的，是文化语言学、民俗学研究、比较语言学和翻译的交叉点。这项工作的目的是确定关于卡拉恰伊-巴尔干语的语言文化价值的信息是如何在卡拉恰伊-巴尔干语的童话文本中被语言化的，以及分析这种类型的文本的语言文化适应策略(解释或消除民族色彩)的利弊。为了完成既定的研究任务，本研究采用了两种互补的研究方法:一种是以过程为导向的内省法(作者将卡拉恰伊-巴尔干半岛的五部童话翻译成英文)，另一种是传统的回顾性分析方法，通过比较卡拉恰伊-巴尔干半岛童话的原著和已出版的俄文译本进行翻译研究。本研究的材料是《卡拉恰伊-巴尔卡里亚童话故事集》，《卡拉恰伊-巴尔卡里亚童话故事集》(译)。A.阿利耶娃、A.科拉耶夫，1983)，《卡拉恰伊童话故事集》(英译)。I. Rumyantseva, 1981)，《巴尔干人和卡拉恰伊人民间故事集》(英译)。A. Alieva, A. Kholayev, 2003)。本研究的新颖之处在于，首次将卡拉恰伊-巴尔干童话作为一种民族文化叙事纳入翻译批评的范畴。这类故事的翻译既受到特定文化情节的制约，也受到作为其基础的形式的制约——文化细节、心理特征，这些都是用语言表达出来的，构成了卡拉恰伊-巴尔卡里亚童话的特殊价值背景。在翻译过程中，为了儿童的感知，译者可以将这些形式因素中的很大一部分(在译文中使用类似物、省略、有意的归化原文)加以中和，但这却导致了最主要的东西——原文的民族和文化原创性的丧失。在阐释文化特征的同时，译者使读者熟悉了另一种文化的民族气息，但与此同时，一些过多的文化特定信息被传递到译文中，这可能会引起儿童读者的误解或扭曲的认知(例如，一夫多妻制的话题和家庭角色分配的特殊性)。因此，在童话文本的翻译过程中，有必要平衡地选择最优的文化和语用改编策略:译者决定阐明或消除民族文化特殊性是一种妥协的性质。
{"title":"Strategies of Cultural and Pragmatic Adaptation of Karachay-Balkarian Children Fairy Tales in Translation: The Limits of What is Possible and Permissible (Based on Translations of Karachay-Balkarian Fairy Tales into Russian and English)","authors":"N. Timko","doi":"10.21638/spbu13.2022.109","DOIUrl":"https://doi.org/10.21638/spbu13.2022.109","url":null,"abstract":"The relevance of this study is due to the growing interest in translations of fairy tales of small peoples and methods of linguistic and cultural translation of the content of the text in the process of translation. The work is interdisciplinary in nature and is at the intersection of cultural linguistics, folklore studies, comparative linguistics, and translation. The aim of the work is to determine how information about the values of the Karachay-Balkarian linguoculture is verbalized in the texts of fairy tales in the Karachay-Balkarian language, as well as to analyze the advantages and disadvantages of strategies of linguocultural adaptation (explication or elimination of national color) of this type of text into Russian and English. To solve the set tasks, two complementary research methods were used: an introspective method, oriented to the process (the author’s translation of five Karachay-Balkarian fairy tales into English), and the traditional method of retrospective analysis for translation studies by comparing the originals of Karachay-Balkarian fairy tales and their published translations into Russian. The material for this study was the Collection of Karachay-Balkarian fairy tales and legends, the Collection of Karachay-Balkarian fairy tales (transl. by A. Alieva, A. Kholayev, 1983), the Collection of Karachay fairy tales (transl. by I. Rumyantseva, 1981), the Collection of folk tales of Balkarians and Karachays (transl. by A. Alieva, A. Kholayev, 2003). The novelty of the research lies in the fact that for the first time the Karachay-Balkarian fairy tale as a cultural narrative of the people is considered in the aspect of translation criticism. The translation of such tales is conditioned by both a culturally specific plot and the form that is its basis - cultural details, peculiarities of mentality, expressed in language and constituting a special axiological background of the Karachai-Balkarian fairy tale. When translating, a significant part of these formal elements can be neutralized by translators for the sake of children’s perception (use of analogues in the target text, omission, deliberate domestication of the source text), which, however, leads to the loss of the main thing - the national and cultural originality of the source text. When explicating the cultural characteristics, the translator makes the reader familiar with the national flavor of another culture, however, at the same time, some excessive culturally specific information is transferred into the target text, which can cause misunderstanding or distorted perception on the part of the child reader (for example, the topic of polygamy and the peculiarities of the distribution of roles in family). In this regard, a balanced approach to the choice of the optimal strategy for the cultural and pragmatic adaptation of fairy tale texts during translation is necessary: the translator’s decision to explicate or eliminate national cultural specificity is of a compromise nat","PeriodicalId":342908,"journal":{"name":"Vestnik of Saint Petersburg University. Asian and African Studies","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114176950","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu13.2022.211
O. Sokolov
Both Arab and Western scholars agree that, starting in the mid-20th century, the correlation of Western Europeans with the Crusaders and the extrapolation of the term “Crusade” to modern military conflicts have become an integral part of modern Arab political discourse, and are also widely reflected in Arab culture. The existence of works examining references to the theme of the Crusades in Arab social thought, politics, and culture of the second half of the 20th century contrasts with the almost complete absence of specialized studies devoted to the analysis of references to this historical era in Arab culture in the 19th century and first half of the 20th. An analysis of references to the era of the Crusades in the work of Arab poets before 1948 shows that, already in the period of the Arab Revival, this topic occupied an important place in the imagery of anti-colonial poetry, and not only in Egypt, Syria, and Palestine, historically attacked by the Crusaders, but also in other regions of the Arab world. If, before World War I, Arab poets only praised the commanders of the past who defeated the Crusaders, then afterwards the theme of the Crusades was also used to liken the European colonialists to the “medieval Franks”. The authors of the poems containing images from the era of the Crusades were, among others, the participants of the Arab Uprising of 1936–1939 and the Arab-Israeli War of 1947–1949, who set their goal with the help of poetry to mobilize the masses for the struggle.
{"title":"Unsheathing Poet’s Sword Again: The Crusades in Arabic Anticolonial Poetry before 1948","authors":"O. Sokolov","doi":"10.21638/spbu13.2022.211","DOIUrl":"https://doi.org/10.21638/spbu13.2022.211","url":null,"abstract":"Both Arab and Western scholars agree that, starting in the mid-20th century, the correlation of Western Europeans with the Crusaders and the extrapolation of the term “Crusade” to modern military conflicts have become an integral part of modern Arab political discourse, and are also widely reflected in Arab culture. The existence of works examining references to the theme of the Crusades in Arab social thought, politics, and culture of the second half of the 20th century contrasts with the almost complete absence of specialized studies devoted to the analysis of references to this historical era in Arab culture in the 19th century and first half of the 20th. An analysis of references to the era of the Crusades in the work of Arab poets before 1948 shows that, already in the period of the Arab Revival, this topic occupied an important place in the imagery of anti-colonial poetry, and not only in Egypt, Syria, and Palestine, historically attacked by the Crusaders, but also in other regions of the Arab world. If, before World War I, Arab poets only praised the commanders of the past who defeated the Crusaders, then afterwards the theme of the Crusades was also used to liken the European colonialists to the “medieval Franks”. The authors of the poems containing images from the era of the Crusades were, among others, the participants of the Arab Uprising of 1936–1939 and the Arab-Israeli War of 1947–1949, who set their goal with the help of poetry to mobilize the masses for the struggle.","PeriodicalId":342908,"journal":{"name":"Vestnik of Saint Petersburg University. Asian and African Studies","volume":"81 2-3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116588465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu13.2023.112
Hui Yang, A. Borisova
The article deals with the actual problems of the inheritance of the ethnic traditions of shamanic culture in the modern song and storytelling dance art of the genre of comedy miniatures Erzhenzhuan of northeast China, which have preserved elements of the culture of shamanism in traditional art. In China, the term shaman first appeared in the historiography of the Southern Song Dynasty (南宋) over 800 years ago. Shamanism in a broad sense is a multicultural tradition, and at the same time integrates various ethnic cultures, including folk beliefs, traditional medicine, etc. Erzhenzhuan (二人转) is a folk song and storytelling dance art, when performers sing, tell and dance at the same time. In this case, the dance of the sorcerer in shamanism developed into a unique form of Erzhenzhuan folk art as a secularization of religious classics. Later, the sorcerer’s dance became the Balaman dance (巴拉莽式舞), the Balaman dance became the Yangge (秧歌), the Yangge became the Erzhenzhuan. The article traces the history of the development of the Erzhenzhuan style as a folk art with strong local characteristics. Erzhenzhuan was first recognized by the national literary and artistic circles of China in the fifties of the 20th century. The first Erzhenzhuan program was presented by the northeastern delegation of the People’s Republic of China. Very interesting are the original ways of performing songs, storytelling and dancing, such as Danchutou (单出头) and Lachansi (拉场戏). The transformation of the shamanic attire into the modern costume of Erzhenzhuan performers is interesting. The following describes the musical accompaniment of sacred prayers preserved from shamanic sacrificial songs. At present, Erzhenzhuan is not only flourishing in the northeast of China, but also popular with the entire Chinese people. Erzhenzhuan is now becoming more famous in the rest of China because many Erzhenzhuan performers appear on television and star in TV series. In the process of research, it is supposed to determine that in Erzhenzhuan there is an influence of the culture of shamanism on the costumes of performers, song, storytelling and dance art in a conceptually fused syncretic form.
{"title":"Erzhenzhuan: A Reflection of Shamanistic Culture in the Folk Art of Northeast China","authors":"Hui Yang, A. Borisova","doi":"10.21638/spbu13.2023.112","DOIUrl":"https://doi.org/10.21638/spbu13.2023.112","url":null,"abstract":"The article deals with the actual problems of the inheritance of the ethnic traditions of shamanic culture in the modern song and storytelling dance art of the genre of comedy miniatures Erzhenzhuan of northeast China, which have preserved elements of the culture of shamanism in traditional art. In China, the term shaman first appeared in the historiography of the Southern Song Dynasty (南宋) over 800 years ago. Shamanism in a broad sense is a multicultural tradition, and at the same time integrates various ethnic cultures, including folk beliefs, traditional medicine, etc. Erzhenzhuan (二人转) is a folk song and storytelling dance art, when performers sing, tell and dance at the same time. In this case, the dance of the sorcerer in shamanism developed into a unique form of Erzhenzhuan folk art as a secularization of religious classics. Later, the sorcerer’s dance became the Balaman dance (巴拉莽式舞), the Balaman dance became the Yangge (秧歌), the Yangge became the Erzhenzhuan. The article traces the history of the development of the Erzhenzhuan style as a folk art with strong local characteristics. Erzhenzhuan was first recognized by the national literary and artistic circles of China in the fifties of the 20th century. The first Erzhenzhuan program was presented by the northeastern delegation of the People’s Republic of China. Very interesting are the original ways of performing songs, storytelling and dancing, such as Danchutou (单出头) and Lachansi (拉场戏). The transformation of the shamanic attire into the modern costume of Erzhenzhuan performers is interesting. The following describes the musical accompaniment of sacred prayers preserved from shamanic sacrificial songs. At present, Erzhenzhuan is not only flourishing in the northeast of China, but also popular with the entire Chinese people. Erzhenzhuan is now becoming more famous in the rest of China because many Erzhenzhuan performers appear on television and star in TV series. In the process of research, it is supposed to determine that in Erzhenzhuan there is an influence of the culture of shamanism on the costumes of performers, song, storytelling and dance art in a conceptually fused syncretic form.","PeriodicalId":342908,"journal":{"name":"Vestnik of Saint Petersburg University. Asian and African Studies","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129488780","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu13.2020.306
A. Moiseeva
The article discusses structure, semantic content, and functioning of the image of the Qur’anic prophet Sulaymān (Biblical Solomon) in Persian medieval poetry. Analysis of the poetic material leads to a conclusion about the main spheres of application of this image and its semantic connotations both in eulogistic and religious-mystical poetry. The article defines the main motifs of the Qur’anic story of this prophet that became a part of Persian poetic tradition and how they relate to the various themes that poets touch upon. For instance, motives of Sulaymān’s power over winds and demons, as well as images of his throne and the ring that gave him that power, were used primarily in eulogies when poets compared their patrons to the legendary king. A special place in Sufi poetry is occupied by the image of the hoopoe and the motif of the bird’s language that reveal topics of a disciple-mentor relationship and leadership in the path of mystical knowledge. As a global characteristic of Sulaymān’s image, we can outline its ambivalence which has its roots in the biblical narrative, where along with wisdom one can find mention of Solomon’s arrogance. Further exegetical tradition speaks of dethronement of Sulaymān by a demon as a punishment for arrogance. Later on, these themes can be found in Persian literature in the form of motifs of humility and frailty of the earthly life, which gained special meaning in the context of didactic and mystical poetry.
{"title":"Prophet Sulaymān in Classical Persian Poetry: Semantics and Structure of the Image","authors":"A. Moiseeva","doi":"10.21638/spbu13.2020.306","DOIUrl":"https://doi.org/10.21638/spbu13.2020.306","url":null,"abstract":"The article discusses structure, semantic content, and functioning of the image of the Qur’anic prophet Sulaymān (Biblical Solomon) in Persian medieval poetry. Analysis of the poetic material leads to a conclusion about the main spheres of application of this image and its semantic connotations both in eulogistic and religious-mystical poetry. The article defines the main motifs of the Qur’anic story of this prophet that became a part of Persian poetic tradition and how they relate to the various themes that poets touch upon. For instance, motives of Sulaymān’s power over winds and demons, as well as images of his throne and the ring that gave him that power, were used primarily in eulogies when poets compared their patrons to the legendary king. A special place in Sufi poetry is occupied by the image of the hoopoe and the motif of the bird’s language that reveal topics of a disciple-mentor relationship and leadership in the path of mystical knowledge. As a global characteristic of Sulaymān’s image, we can outline its ambivalence which has its roots in the biblical narrative, where along with wisdom one can find mention of Solomon’s arrogance. Further exegetical tradition speaks of dethronement of Sulaymān by a demon as a punishment for arrogance. Later on, these themes can be found in Persian literature in the form of motifs of humility and frailty of the earthly life, which gained special meaning in the context of didactic and mystical poetry.","PeriodicalId":342908,"journal":{"name":"Vestnik of Saint Petersburg University. Asian and African Studies","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130518195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu13.2019.301
Bakhtier A. Alimjanov
{"title":"The History of the Andijan Branch of the Russian-Asian Commercial Bank","authors":"Bakhtier A. Alimjanov","doi":"10.21638/spbu13.2019.301","DOIUrl":"https://doi.org/10.21638/spbu13.2019.301","url":null,"abstract":"","PeriodicalId":342908,"journal":{"name":"Vestnik of Saint Petersburg University. Asian and African Studies","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123617262","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu13.2022.309
N. Ivkina, O. Chikrizova
The article analyzes the influence of the Shi‘a factor on public and political life of Nigeria, the state in which the phenomenon of transformation of the religious (and more specifically, Islamic) field has been observed in the past few decades due to the growing diversity of movements and sects. In turn, the emergence of new communities contributes to the radicalization of the Islamist discourse in Nigeria and the exacerbation of intercommunal contradictions (between Sufis and Salafis, Salafis and Shiʻites). The authors identify the prerequisites and reasons for the growth in the number of followers of Shi‘a Islam in Nigeria, mainly among the Hausa people, features of political movements with Shi‘a ideology, as well as the role of Nigeria in the global Saudi-Iranian confrontation. The authors resorted to a behavioral approach and comparative analysis of the social base of the Shi‘a organization Islamic Movement of Nigeria and the Salafi Jamaʻat Izala al-Bidʻa wa Ikamat al-Sunna (Society for the Eradication of Innovation and Implementation of the Sunna). It was revealed that the key reason for the radicalization of Nigerian Muslims (living mainly in the north) was the penetration of alien ideologies into the country - radical Salafism and the political aspects of Shi‘a Islam. This was a consequence of Nigeria falling into the focus of Riyadh and Tehran, which arefighting for leadership in the Islamic world. It was established that in the case of Nigeria, Iran is inferior to Saudi Arabia, which has more significant financial capabilities and a network of non-governmental associations and foundations that promote the interests of official Riyadh in West Africa. One of the key areas where the Saudi-Iranian confrontation for the “minds and hearts” of Nigerian Muslims is unfolding is Islamic education.
{"title":"The “Shi‘a factor” in Nigeria’s Public and Political Life (1994-2020): Domestic and International Dimensions","authors":"N. Ivkina, O. Chikrizova","doi":"10.21638/spbu13.2022.309","DOIUrl":"https://doi.org/10.21638/spbu13.2022.309","url":null,"abstract":"The article analyzes the influence of the Shi‘a factor on public and political life of Nigeria, the state in which the phenomenon of transformation of the religious (and more specifically, Islamic) field has been observed in the past few decades due to the growing diversity of movements and sects. In turn, the emergence of new communities contributes to the radicalization of the Islamist discourse in Nigeria and the exacerbation of intercommunal contradictions (between Sufis and Salafis, Salafis and Shiʻites). The authors identify the prerequisites and reasons for the growth in the number of followers of Shi‘a Islam in Nigeria, mainly among the Hausa people, features of political movements with Shi‘a ideology, as well as the role of Nigeria in the global Saudi-Iranian confrontation. The authors resorted to a behavioral approach and comparative analysis of the social base of the Shi‘a organization Islamic Movement of Nigeria and the Salafi Jamaʻat Izala al-Bidʻa wa Ikamat al-Sunna (Society for the Eradication of Innovation and Implementation of the Sunna). It was revealed that the key reason for the radicalization of Nigerian Muslims (living mainly in the north) was the penetration of alien ideologies into the country - radical Salafism and the political aspects of Shi‘a Islam. This was a consequence of Nigeria falling into the focus of Riyadh and Tehran, which arefighting for leadership in the Islamic world. It was established that in the case of Nigeria, Iran is inferior to Saudi Arabia, which has more significant financial capabilities and a network of non-governmental associations and foundations that promote the interests of official Riyadh in West Africa. One of the key areas where the Saudi-Iranian confrontation for the “minds and hearts” of Nigerian Muslims is unfolding is Islamic education.","PeriodicalId":342908,"journal":{"name":"Vestnik of Saint Petersburg University. Asian and African Studies","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124461744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu13.2022.307
G. Galbayar, Maria P. Petrova
The extant variants of the now-lost treatise Činggis-un yisün örlüg-tei önöčin köbegün-ü čečelegsen šastir are attested in the 17th-18th century Mongolian historical chronicles Altan Tobči / The Golden Chronicle (1655) by Lubsangdanjin and the Bolor Erike / “Crystal Rosary” / (1774-1775) by Rasipungsug. This article addresses the history of transmission, translations, and studies of this text, and demonstrates that the Činggis-un yisün örlüg-tei öničin köbegün-ü čečelegsen šastir is not merely an account of Chinggis Khan’s discussion with his nine high officials about the benefits and evils of alcohol, but contains deeper hidden meanings. Specifically, this paper offers the following four findings: First, based on comparison with Mongolian historical sources, this paper clarifies the origins of Chinggis Khan’s nine high officials, how they befriended Chinggis Khan, their merits and accomplishments, and their deaths. Based on these sources, we have determined that the events described in the Činggis-un yisün örlüg-tei öničin köbegün-ü čečelegsen šastir date to 1206-1207. Second, this paper discusses the hidden meaning that Bo’orchu, Muqali, Boqorul, Jebe, who wish to abstain from alcohol and diligently perform their duties, befriended Chinggis Khan in their childhood without seeking any benefit, were fully trustworthy officials, whereas Sorqan-Shira, Jelme, Yelü Chucai, Qara Kiru and Shigi-Qutuqu - who, in their own words, wish to drink alcohol and revel - befriended Chinggis Khan later out of self-benefit, and were untrustworthy officials. Third, the paper discusses the symbolism of the order of the speakers’ words on alcohol as it relates to the ranks of Chinggis Khan’s officials, as well as Mongolian cultural symbolism relating to directions. Fourth, based on the debate in the text between the orphan boy, wise nobleman Chindagha, and Chinggis Khan, this paper discusses the fact that one reason Chinggis Khan’s state was powerful is that he listened to average people and he was able to reflect their ideas in national affairs. Fifth, this paper demonstrates that the text retains important features of deep hidden meaning and poetic verse characteristic of 13th century Mongolian literature.
现已失传的论文Činggis-un yis n örlüg-tei önöčin köbegün-ü e elegsen šastir的现存版本在17 -18世纪蒙古历史编年史Altan to i /黄金编年史(1655)由Lubsangdanjin和Bolor Erike /“水晶念珠”/(1774-1775)由Rasipungsug证实。本文阐述了该文本的传播、翻译和研究的历史，并证明了《Činggis-un yis n örlüg-tei öničin köbegün-ü elegsen šastir》不仅仅是成吉思汗与他的九位高级官员讨论酒的好处和坏处的记述，而且还包含了更深层次的隐藏含义。具体而言，本文有以下四个发现:首先，通过与蒙古史料的比较，厘清成吉思汗九大官的出身、他们与成吉思汗的关系、他们的功勋、他们的死亡。根据这些来源，我们已经确定Činggis-un yis n örlüg-tei öničin köbegün-ü e elegsen šastir中描述的事件可以追溯到1206-1207年。其次，本文探讨了博尔楚、穆喀利、博古鲁、杰别等人在幼年时期与成吉思汗为友，而不追求任何利益，是完全值得信赖的官员，而索尔干shira、耶尔美、Yelü楚才、卡拉基鲁、Shigi-Qutuqu等人，用他们自己的话说，是想喝酒狂欢，后来与成吉思汗为友，是不值得信赖的官员，这其中的隐含意义。第三，本文讨论了说话人对酒的话语顺序的象征意义，因为它与成吉思汗官员的等级有关，以及蒙古文化中与方向有关的象征意义。第四，本文通过文本中孤儿、英明贵族成吉思汗与成吉思汗之间的争论，论述成吉思汗国家强大的一个原因是他能倾听普通人的心声，并能在国家事务中反映他们的想法。第五，本文论证了文本保留了13世纪蒙古文学的深层隐含意义和诗性特征。
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Pub Date : 1900-01-01DOI: 10.21638/spbu13.2019.206
T. I. Breslavets
В 1938 г. Окамото Каноко создала повесть «История старой гейши» («Рогисё»). Это произведение, в котором в качестве главной героини представлен образ пожилой женщины, независимой, обладающей благородством, креативной силой и страстью. «Рогисё» — это история гейши в отставке. Изображая представительницу известной древней профессии, японская писательница раскрывает ее гендерный аспект, затрагивает социокультурные вопросы, актуальные в андроцентрическом обществе (в котором глубинная культурная традиция сводит общечеловеческую субъективность к единой мужской норме, репрезентируемой как универсальная объективность, а иные субъективности, прежде всего женская, представляются как маргинальные). Социальная принадлежность героини определяет и дискурс повествования. Гейша выступила покровителем подающего надежды изобретателя Юки. Однако он не оправдал ее ожиданий, оказался ненадежным и слабым человеком. В этом произведении, обладающем признаками традиционного западного «романа воспитания», автор искусно описал материнские чувства. Героиня направляет свою энергию на опеку Юки и своей приемной дочери Митико, чтобы ощутить полноту чувств, которые ей не удалось испытать ранее в жизни, однако она остается в одиночестве. Нарциссические и демонические мотивы, характеризующие художественную палитру писательницы, вплетаются в сложный психологический рисунок индивидуальных характеров в повести, несущих черты доминантности или виктимности. Эмпатия стала основой поведения героини, преодолевающей собственный демонический элемент. Исследуемое произведение отличается лапидарностью и дискретностью нарратива, насыщенного скрытыми значениями, аллегориями, коннотациями. Ключевые слова: современная японская литература, гейша, нарциссизм, демонический мотив, аллегория.
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Pub Date : 1900-01-01DOI: 10.21638/spbu13.2021.202
O. Rodionova
The article examines the themes, images, and artistic features of the animalistic novel Black Flame (2006) by the Chinese writer of Mongolian origin Gerel-Сhimeg Black Сrane’s. The general and comparative analysis of the novel not only reveals the peculiarities of the author’s individual style, but also characterizes the general trends in the development of animalistic prose in China and abroad. Respect for the laws of nature, as well as the theme of love and devotion of an animal to man, run through the entire novel Black Flame as red threads. A characteristic feature of the work is the combination of scientific and artistic styles. Such qualities of the writer as truthfulness and subtle understanding of animal psychology are also remarkable. Among the features of Black Crane’s artistic style, one can note the poetic language enriched with original metaphors and epithets. Instead of the usual narration of the characters’ actions, Gerel-Chimeg focuses on the physical and mental sensations evoked by these actions and transmitted to the readers. The writer does not humanize animals, nevertheless, he manages to penetrate their inner world through the use of a rich arsenal of smells, sounds and even tactile sensations. Today, Gerel-Chimeg is an original and iconic figure among Chinese writers of this genre. The article emphasizes that animalistic literature of such a level plays an important role both in the study of the wild world as well as in the education of humanity in people. The novel Black Flame not only enriches our knowledge of nature and animals of northern and western China, but also evokes a powerful emotional response from the readers.
本文考察了蒙古裔中国作家格列尔-Сhimeg Black Сrane的动物主义小说《黑色火焰》(2006)的主题、形象和艺术特征。通过对小说的综合分析和比较分析，不仅揭示了作者个人风格的独特性，而且揭示了国内外动物主义散文发展的总体趋势。对自然规律的尊重，以及动物对人类的爱与奉献的主题，贯穿了整部小说《黑焰》的主线。这部作品的一个特点是科学风格与艺术风格的结合。作者的诚实和对动物心理的敏锐理解等品质也是值得注意的。在《黑鹤》的艺术风格特点中，我们可以看到富有独创性的隐喻和修辞格的诗意语言。Gerel-Chimeg没有像以往那样叙述人物的行为，而是将这些行为所引起的身心感受传递给读者。作者没有将动物人性化，然而，他设法通过使用丰富的气味、声音甚至触觉来穿透它们的内心世界。如今，吉瑞尔-奇梅格是中国这类作家中具有独创性和标志性的人物。文章强调，这种层次的动物文学，无论是对野生世界的研究，还是对人的人性教育，都具有重要的作用。小说《黑焰》不仅丰富了我们对中国北方和西部的自然和动物的认识，而且引起了读者强烈的情感反应。
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