Srukova, Y., Naptsok, R., Unarokova, B., Sokolova, V., Kudaeva, Z. /Vol. 8 Núm. 24: 402 - 413/ diciembre 2019 402

Artículo de investigación Peculiarities of national identity in Alim Keshokov's novel “Saber for the Emir”

ОСОБЕННОСТИ НАЦИОНАЛЬНОЙ ИДЕНТИЧНОСТИ В РОМАНЕ АЛИМА КЕШОКОВА «САБЛЯ ДЛЯ ЭМИРА»

Recibido: 25 de agosto del 2019 Aceptado: 3 de octubre del 2019

Written by: Srukova Yuliya Yuryevna168 Author ID: 6543564 Naptsok Bella Radislavovna169 Spin-code: 6968-8000 Unarokova Raisa Batmirzovna170 Spin-code: 4231-5579 Sokolova Galina Viktorovna171 Authos ID: 555199 Kudaeva Zinaida Zhantemirovna172 Spin-code: 9584-8225

Abstract Аннотация

The relevance of the study is due to the lack of Актуальность исследования обусловлена knowledge in Russian literary criticism of the малоизученностью в российском problem of national identity and its artistic литературоведении проблемы национальной generation in North Caucasian literature. The идентичности и ее художественной purpose of the article is to study the typology of генерации в северокавказских литературах. national identity and its reflection in national Цель статьи – исследование типологии stereotypes, ethno, auto, heteroimages in the национальной идентичности и ее отражения в novel “Saber for the Emir” by the Kabardian национальных стереотипах, этно-, ауто-, (Adyghe) writer Alim Keshokov. The types of гетерообразах в романе кабардинского national identity represented in the fairy tale (адыгского) писателя Алима Кешокова narrative, in the genres of folklore, epic «Сабля для эмира». На основе подходов traditions, and dominant metaphors, in the литературной имагологии и national idea, language and poetry, are identified компаративистики выявляются, and analyzed based on the approaches of literary обосновываются и раскрываются типы imagology and comparative studies. The main национальной идентичности, findings indicate that A. Keshokov’s novel shows представленные в сказовом повествовании, в various forms of national identity generated by жанрах фольклора, эпических преданиях, Adyghe (Kabardian) folklore, in the khabar доминирующих метафорах, в национальной genre, in the national epic heritage, in historical идее, языке и поэзии. Главные выводы and heroic songs, in traditional rites, in dominant указывают на то, что в романе А. Кешокова metaphors - “tribal the nature of the people” and показаны разнообразные формы the “ internal principle of the nation ”, in the национальной идентичности,

168 Candidate of Philology, teacher of and literature at the College of Medicine, Kabardino-Balkarian State University named after H.M. Berbekov, city, Russian Federation, Kabardino-Balkarian Republic 169 Associate Professor, Doctor of Philology, Professor, Department of Literature and Mass Communications, Faculty of Philology, city, Russian Federation, Republic of 170 Professor, Doctor of Philology, Head of the Adyghe History and Culture Department, Adygea Philology and Culture Department, Adygea State University, Maykop city, Russian Federation Adygea 171 Associate Professor, Candidate of Philological Sciences, Department of Literature and Mass Communications, Faculty of Philology, Adygea State University Maykop city, Russian Federation, Republic of Adygea 172 Doctor of Philology, Professor of the Department of Russian and Foreign Literature of Kabardino-Balkarian State University named after H.M. Berbekov Nalchik city, Russian Federation, Kabardino-Balkarian Republic.

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national code of Adyghe Khabze, in the concepts генерирующиеся адыгском (кабардинском) of“ Fatherland ”,“ business of the nation ”, in the фольклоре, в жанре хабара, в национальном national language. In the work of A. Keshokov, эпическом наследии, в историко-героических the problem of national identity is combined with песнях, в традиционных обрядах, в the concepts of national stereotype, ethno-, auto- доминирующих метафорах – «родовой and hetero-images. Materials and conclusions of характер народа» и «внутренний принцип the study can be used in university lectures on the нации», в национальном кодексе Адыгэ history of Adyghe literature and on the history of Хабзэ, в понятиях «Отечество», «дело Kabardian literature. The theoretical significance нации», в национальном языке. В of the results lies in the expansion of scientific произведении А. Кешокова проблема ideas about national issues, in the terminological национальной идентичности объединена с clarification and in the semantic disclosure of the понятиями национального стереотипа, этно-, concept of “national identity” on the material of ауто- и гетерообразов. Материалы и выводы the novel “Saber for the Emir”. исследования могут быть использованы при чтении вузовских лекционных курсов, по Keywords: National identity, A. Keshokov’s истории адыгских литератур и по истории novel “Saber for the Emir”, generation. кабардинской литературы. Теоретическая значимость полученных результатов заключается в расширении научных представлений о национальной проблематике, в терминологическом уточнении и в семантическом раскрытии понятия «национальная идентичность» на материале романа «Сабля для эмира».

Ключевые слова: национальная идентичность, роман А. Кешокова «Сабля для эмира», генерация.

Introduction

Awareness of the uniqueness of national produced, developed, takes concrete forms, literatures and cultures is gaining importance in verbalized and symbolized in national literature. the modern world space, focused on In other words, this category affects the artistic globalization, on isolation from traditional ethnic world of literary works, is a tracer of the national values and national models of the world. “Due to idea and problems, national mentality and the complexity of national identification, it author’s consciousness, and serves as a means of becomes necessary to appeal to the historical and creating national characters (Srukova, 2019). literary experience of various peoples of ” (Srukova, 2019). The main goal of our study is to analyze the typology of national identity and its reflection in In A. Keshokov’s novel “Saber for the Emir”, the national stereotypes, ethno, auto, heteroimages in representation of the national world as an artistic the novel “Saber for the Emir” by Kabardian model is connected “with the ideas and ideas of (Adyghe) writer Alim Keshokov. The the Adyghe nationality, to which the author implementation of this goal provides for the belongs with his worldview and philosophical solution of the following tasks: to characterize position. Certainly, the work in question can the types of national identity in the studied serve as a relevant source on the urgent problem literary text; to consider the process of artistic of national identity” (Srukova, 2019). generation of national identity based on modern imagology; to study the features of national “The process resulting from the peoples' stereotypes and images. recognition of the common language, folklore, culture, history, ethical values and traditions was Literature Review designated by the definition of “national identification” (Srukova, 2019), and “national Since the late 1990s, the traditional concepts of identity” was defined by the “spiritual and moral “national specificity”, “national identity” and category” (Napso, 2009). National identity is “national characteristics” have become limited

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for scientists, because in an rapidly changing Rybalchenko (2011) and others. These scientific world, peoples turned to the study of national works analyze the complex process of national genesis and self-determination, felt the need to identification, which consists in the comprehend their ethnic values. In this regard, multidimensionality of the criteria and aspects of the category of “national identity” has become identity. S. Filyushkina believes that “the actively affirmed in the thesaurus of humanities, problem of national identity is closely connected including literary scholars. with the problem of national stereotype,” which “is a kind of social construct” that contributes to The problem of national identity has become one “the orientation of the individual in life”, which of the main issues in literary imagology. Literary acts as a “source of motivation for social actions imagology is a literary field that has been of the latter” (Filyushkina, 2005). R.N. Napso engaged in the study of ethnic images, which are defines national identity as “a spiritual and moral artistic representations of other national cultures. category deeply rooted and naturally present in At the turn of the 20th –21st centuries, the all manifestations of the national” (Napso, 2009). discourse of national identity in comparative O.Yu. Polyakov emphasizes that “today the most studies is developing, “studying various national urgent issue of imagology is the problem of literature in their general and specific content, “One’s own”, the problem of the study of car considering literary relationships, mutual images, the maintenance of the “self,” in which influences, typological convergence, as well as the historical and cultural memory of nations the interaction of national literature with the plays a large role” (Polyakov, 2012). world” (Srukova, 2019: p. 88). One of the representatives of literary imagagology, the We should note the collective monograph of M.K. Ukrainian scientist D. Nalivaiko, implies a Popova, P.L. Borodina, T.A. Ternovoy national identity in the monograph “Theory of “National mentality and national literature in the Literature and Comparative” (2006) as a (post) imperial era” (Popova, 2006), which component of ethnocultural identity, whose main examines the problem of national identity and its function is that “it is a means of self- reflection in the artistic consciousness of the determination and self-orientation of an English (J.M. Hopkins), Irish (W.B. Yeats), individual in the world through a prism collective Russian writers and poets (R. Gamzatov, S. personality and its original culture” (Nalivaiko, Stalsky, V. Arsenyev, L. Latynin, A. Vesely, R. 2006). The researcher believes that the problems Nye and others) (Popova, 2006). The book of identification with ethnocultural communities contains an analysis of existing in modern and their image-images come to the fore in humanities views on national mentality and modern imagology (Nalivaiko, 2006). At the national identity. same time, the focus of attention of imaginative scientists is mainly heteroimages, that is, images M.K. Popova notes that “in the process of self- of “Alien”, “Other”, depicted in a work of art in identification, a person likens, identifies himself the light of their perception by representatives of with someone or something, creates a system of a certain ethnic group. answers to the question “who am I?”. This system also includes the answer to the question The problem of national identity is considered in “what nationality am I?”, That is, national many works of Russian and foreign scientists in identity, identifying oneself with a certain the historical, sociological, ethnographic and national community is part of the identity of the ethnocultural aspects and is little studied in person” (Popova, 2006). According to the connection with the literary context. Since the scientist, it is necessary to draw a clear line beginning of the 2000s, several research papers between individual and collective identities, devoted to this problem have appeared in Russia. because “a collective national identity is These are articles by S. Filyushkina “National developed in the process of self-reflection of a Stereotype in the Mass Consciousness and nation, during which not an assimilation and / or Literature” (2005), R.N. Napso “National identification is made, but a comparison and / or Identity and Its Attributes” (2009), O.Yu. comparison of oneself with other nations consists Polyakova “Actual problems of studying the in awareness a nation, recognition of oneself as a reception and representation of national images nation with certain attributes” (Popova, 2006). in the light of imagology” (2012), monographs by M.K. Popova, P.L. Borodina, T.A. Ternovoy The issues of national self-identification of the “National mentality and national literature in the individual and society in literature, the (post) imperial era” (2006), “Problems of manifestations of the national worldview in art, national identity in of the 20th the reflection of the national mentality in cultural century” under the scientific editorship of T.L. studies, literary criticism and literary criticism

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are studied in the collective monograph 1) National identity, based on the "Problems of National Identity in Russian formation of a national essence: folklore, Literature of the 20th Century" under the represented in national poetry, in folk scientific editorship of T. L. Rybalchenko (2011) songs, tales, etc.; on the material of Russian literature of the 20th 2) National identity, based on the century (Rybalchenko, 2011). hypothesis of the national pramif: mythology, traditions, epic heritage; The degree of knowledge of the problem of 3) National identity, associated with the national identity in literature has not reached the understanding that the national essence desired completeness and scientific results discovers the properties of entelechy, despite various studies of Russian and foreign i.e., a certain pronounced form that literary scholars. “Descriptive” studies cannot fill develops and lives. In connection with the gaps in understanding this problem; a number national identification processes, the of theoretical questions require more precise dominant metaphors are established - formulations, coverage and refinement of certain “the generic nature of the people”, “the concepts. It seems necessary to study the internal principle of the nation”; historical, literary and theoretical nature, 4) National identity, based on the idea that containing a comprehensive analysis of the a nation can be represented only as a problem of national identity on the basis of the kind of “idea”, which is associated with works of North Caucasian literature, in particular, the concepts of “Fatherland”, “business A. Keshokov’s novel “Saber for the Emir” of the nation”; (Keshokov, 2001). 5) National identity, which is based on the hypothesis that every national spirit is Materials and Methods embodied in oral language and poetry, the “cognitive properties” of a person, The methodological basis of the study is a set of his “indivisible forces” are hidden approaches to the analysis of a literary work: The (Srukova, 2019). main research methods were historical-genetic, historical-typological, typological, comparative- The intended coordination of the concepts of historical or comparative; systemic-structural, national identity requires terminological methods of imagology, theoretical holistic additions in our study. In Russian humanitarian analysis of literary text and receptive poetics. science, the category of “national identity” has its own correlate - the category of “national The theoretical basis of the study was the mentality”, which includes methods of popular theoretical and literary works of K. Hübner perception of the world and thinking, stereotypes (2011), S. Filyushkina (2005), D. Nalivaiko of collective consciousness, spiritual values, etc., (2006), R.N. Napso (2009), O.Yu. Polyakova “through which and in which a person (2012), M.K. Popova (2006), and others. representing one or another culture, perceives, reproduces the world ”( Hübner, 2011). M.K. In our work, the research vector was aimed at Popova called “identity - a self-conscious studying various forms of national identity in A. mentality”, which from this point of view is Keshokov’s novel “Saber for the Emir”, created “subjective reality” (Popova, 2006). in Adyghe (Kabardian) folklore, in the genre of national fairy tale narration - khabar, in an epic Based on these definitions, we can say that the heritage, in historical and heroic songs, in rituals, extensive category of national mentality in in dominant metaphors - “the patrimonial literary criticism corresponds to the category of character of the people” and “the internal national identity, since it is rooted in language, in principle of the nation”, in the national idea, folklore, in forms of thinking, in life style and in formed on the basis of the Adyghe Khabze code, literature (Srukova, 2019). However, it should be in the concepts of “Fatherland”, “the cause of the noted that the “national mentality” is a broader nation”, in the national figurative language. concept and includes “a system of views, the tasks of their solutions, implicit attitudes, value Results orientations, inferences, behavioral patterns, which are fixed in the national consciousness, in We determined the theoretical aspects of the cultural stereotypes” (Maslova, 1978). study based on the types of national identity introduced by K. Hübner (Hübner, 2011):

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National literature is the most important 2001). The song about the prince reveals the generator of national identity. A literary narrative ideological and moral essence of a national translates the national language, spirituality, character. character and ethnic culture. The keyword “national” becomes an affirmation of the A special role in the novel “Saber for the Emir” fundamental values predetermined by historical is played by small folklore forms - proverbs and and cultural traditions (Srukova, 2019). sayings that help to reveal national characters and give national coloring to the story. The didactic The problem of national identity is the main one beginning of the Adyghe (Kabardian) proverbs in A. Keshokov’s novel “Saber for the Emir” and becomes an original reflection of folk truths, is a rich material for literary analysis. views and opinions: “sing the song of the one on whose cart you are sitting”, “A worthy man has a 1. National identity, reflecting the true worthy opponent”, etc. (Keshokov, 2001). forms of national essence, is presented in the work of A. Keshokov in the genre An emotional assessment of events and people is of the Caucasian fairy tale narrative - given with the help of various sayings, which the khabar, in various genres of folklore - author includes in the text of his novel: “A man song, proverb and fairy tale (Srukova, is judged according to his deeds”, “A bird prefers 2019). his will to a golden cage”, “Adygs fight - they don’t think about life, go to certain death”, “Who In the novel “Saber for the Emir”, Alim walks shortens the road” and others (Keshokov, Keshokov uses the form and style of the 2001). traditional narrative - khabar, which has been widespread in the since ancient times. The diverse folklore and ethnographic material Each of the chapters of this work consists of of () is organically khabar stories or short stories that have their own combined in Keshokov’s novel with fiction and name and often convey a folk allegorical national history. Performing ideological and character. For example, the first chapter opens stylistic functions, he becomes another with the stories “King of the saddle”, manifestation of national identity. “Shopshako - a distraction from pain”, “Thalo”. The principle of khabar (oral tale), the most 1. The next type of national identity is common narrative genre of Adyghe folklore, based on an epic heritage, in particular, connects stories into a single plot and establish a on national traditions. common semantic and logical connection between them (Srukova, 2019). The storyteller “In the Kabardian legend about Koitsuk told by begins to slowly lead his narrative, relying on the Zhiraslan, the national theme of blood feud is tradition of oral creativity, using folklore realized. The custom widespread in the Caucasus imagery and symbolism. The romantic existed in the popular consciousness and was description of the hard way of the brave based on a patriarchal ethics, which considers horseman allows the narrator to reveal his revenge to be a retribution for shed blood. In a national spirit and character, to emphasize his conversation with Mariam, Prince Zhiraslan natural masculinity and determination. narrates about the popular hero of Kabardian legends - Koitsuk” (Srukova, 2019). The legend Another example of khabar in “Saber for the refers to horse-thief who could not be caught in Emir” is the story of two Circassian villages of the aul. “The courageous Koitsuk punished the Wadi El and Sir-i-Naur, who stopped the elusive horse-thief, but, observing the law of Australian army in . The story sounds honor, fulfilled the promise to punish the blood- from the lips of the writer and public activist of thief and independently accepted death. To lose Circassian origin Khalida Adib. honor for a mountaineer (Kabardian) is to lose a soul. The legend of Koitsuk plays the role of a “Various genres of folklore - a song, a fairy tale lyrical digression and is organically woven into and a proverb in A. Keshokov’s nove l “Saber for the plot-compositional line of the novel. The the Emir” become fruitful means of national principle of national identity is realized here identity. At the beginning of the story, the through a system of social and moral storyteller speaks of a song dedicated to relationships, through ethnic value standards of Zhiraslan: “Legends followed Zhiraslan. Songs the Adyghe Khabze Code” (Srukova, 2019). were sung about him, folk rhapsodies about him were composed. In one of them, he was The third type of display of national identity is nicknamed "Pasha of the Dzhigits" (Keshokov, the installation of the fact that the national

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essence exhibits the properties of entelechy. The princes who led the Adyghe (Kabardian) nobility concepts of the “generic nature of the people”, were considered guardians of the Circassian “the internal principle of the nation”, and customs. What was forgiven to a commoner was “national spirit” become dominant metaphors not forgiven to a nobleman in the sense of that organize national identification processes. violating the norms of Adyghe Khabze. Zhiraslan invariably adheres to noble ethics and culture and “The patrimonial character of the Adyghe in his behavior is always guided by national (Kabardian) people is enclosed in the spiritual norms - Adyghe Khabze. However, he never and historical ethnophenomenon of Adygagye forgets the codes of his estate — Work Khabze (Адыгагъэ) - Adyghey, on which the concept of (Nobility Khabze) and Prince (Пщы) Khabze national consciousness and self-consciousness is (Princely Law). The hero of Keshokov’s novel is built. The unique Adyghe culture was an a national reference hero, acting as an example of essential factor in the lifestyle of the Adyghe impeccable behavior for both tribesmen - tribes (including Kabardians), a regulator of their Circassians (Kabardins), and for other ethnic behavior, a basis for ethnic identification” representatives of the Caucasus (Srukova, 2019). (Srukova, 2019). Adygagye is a broad concept that includes the five constants of the Adyghe Zhiraslan always follows the principles of noble ethics: цIыфыгъэ - humanity, нэмыс - honor, requiring him to control his natural respectfulness, акъыл - intelligence, лIыгъэ - emotions and feelings. The episode of the second courage, напэ - honor (Bgazhnokov, 1978). At chapter "Sabers for the Emir" can be a case in the same time, Adygagye is understood as point. “I have my own rules bequeathed to my etiquette, the traditional norms of behavior ancestors. I would not be worthy of the title of a reflected in Adyghe Khabze. prince if I violated them,” says Zhiraslan (Keshokov, 2001). In various life situations, he In the novel “Saber for the Emir”, Adyghe broadcasts his national identity, becomes the Khabze represents the “internal principle of the bearer of the "internal principle of the nation" - nation”. “The first part of the phrase - Adyghe the ethnic ideology of Adyghe, completely denotes the name of the Adyghe subethnoses - connected with the Adyghe Khabze code. The Kabardins, Besleeneites, Bjedugs, , notion of Work Nape - noble honor lies at the Abadzekhs, Temirgoyevs and others, best known heart of the behavior of the Kabardian prince” as Circassians. The second part - the word (Srukova, 2019). He always adheres to the main Khabze has meanings - “custom”, “law”, postulate: “Your honor is your face. There is “etiquette” (Srukova, 2019). nothing more expensive than honor (nape/ напэ) for the leading Khabze. Honor and dignity are not In the national sense, Adyghe Khabze for begged and bought, but deserved every day, Adyghe is a way of life and thinking developed although you can lose it in a moment of error” over the course of a centuries-old national history. (Bgazhnokov, 1978). This is a set of social rules, ethical principles and legal norms for all areas of life, a regulator of “In his actions, Zhiraslan is guided by another everyday situations and political decisions principle of the Adyghe code: “Having a goal, (Srukova, 2019). In a narrow social-class aspect, you will find the meaning of life” (Bgazhnokov, Khabze is associated with the class of Adyghe 1978). However, in attempts to find his goal, the noble knights, the Work" (уэркъ), for which prince becomes an involuntary participant in a there was their own knightly noble etiquette - political game built on injustice, lies and betrayal. Work Khabze. It consisted of a number of key Under any political regime, the horse-stealing positions: loyalty, politeness, respect for a prince Zhiraslan remains faithful to such key woman, elders, modesty, purpose, honor, principles of Adyghe Khabze as courage, courage, courage, patience, strength of character, courage, honesty, firmness, patience, humanity, altruism, humanity, honesty, hospitality, eloquence, hospitality, respect for women, distinguishing between good and evil, free mind, respect for seniority, politeness” (Srukova, 2019). the cult of beauty and harmony, non-disclosure of secrets, eloquence, respect for the enemy, for In the novel “Saber for the Emir”, the Adyghe personal weapons, etc. (Srukova, 2019). Khabze code is associated with various characters, for example, with Circassian In the novel “Saber for the Emir”, Adyghe emigrants, descendants of Circassian mahajirs - Khabze, or Work Khabze, becomes a Turkish Prime Minister Rauf Bey, scientist and manifestation of the national identity of the writer Khalida Adib, General Fakri Pasha and protagonist - Prince Zhiraslan, who represents others. Born outside their Fatherland, divorced the elite of the Circassian knighthood. The from their native environment, they genetically

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absorbed Adyghe and were brought up in the identity and determines the meaning of traditions of Adyghe Khabze (Srukova, 2019). the existence of a people. The writer describes various situations in which the national identity of these heroes is manifested. In the novel “Saber for the Emir”, the national Adygs living outside the Caucasus identify idea associated with key concepts - “Fatherland”, themselves with the Adyghe ethnic group, “the cause of the nation” is reflected in the because, on the one hand, Adygagye is translated formulation of the tragic issues of national into the internal plane and internalized, and on history, in the depiction of the culture, life, the other hand, it is connected with a real, traditions and customs of the , in practical way of life. Adyghe Khabze for them is the novel system of images. In other words, the not only the value that they want to preserve, but national idea in the work of A. Keshokov is not above all, the vital philosophy, elevated to politically declared but connected with the national law. For Turkish Circassians, fidelity to Adyghe ethnic group, with its value constants national roots and the Motherland is manifested (Srukova, 2019). both in adhering to the basic behavioral norms of Adyghe Khabze (hospitality, humanity, honor, “The writer conveys to the reader the idea that the dignity, etc.) and in patriotic actions (military and national tragedy of the Circassians consists in the humanitarian assistance of the Committee of loss of historical territory, that is, in the loss of Circassian cooperation) (Srukova, 2019). the Fatherland, of national roots. All this was a consequence of the disastrous for the people of 2. Another dominant metaphor that the and the ensuing mass exodus reflects the national identification beyond the borders of the Homeland. The process in the work of A. Keshokov is national catastrophe divided the Adyghe the concept of “national spirit”, which is (Circassian) people into those living in their an expression of the popular principle of homeland and into the . The characters a particular people. V.E. Fomin in the novel “Saber for the Emir” try to understands this definition as understand their identity and find the meaning of “expressing in the national world their existence. In these attempts, they rely on outlook and national self-consciousness national values, on Islam, in their opinion, the extra-rationally comprehended contributing to the unification of the Adyghe “ideal national Self”, which organizes people. The saber legend for the emir is a national an ethnos-people-nation on a pan-Caucasian idea embodied in tradition. metaphysical level non-materially, However, it concerns not only the Circassians, superempirically” (Fomin, 2001; but also all peoples trying to preserve the original Srukova, 2019) territories of the ” (Srukova, 2019). The national spirit in “Saber for the Emir” is reflected in the peculiar ethnosocial and cultural Prince Zhiraslan is the conductor of the national life of the Circassians (Kabardians) and is idea in the work of Keshokov. He seems like a associated with oral folklore, with traditional hero of the Adyghe epic “The Narts”, which is a rites and dances. For example, the story of the symbol of beauty and national dignity. Endowed first chapter of the novel is devoted to the with a natural mind, he eschews political games, description of the rite “Shopshako - distraction devoid of self-interest. In an attempt to avoid from pain”, which is a manifestation of the blood feud, he goes on a journey, but understands “national spirit”. The ritual action, which the that the main thing is not to save his own life, but author describes in detail, is associated with to save the Fatherland. That is why with all his noisy fun, dressing up, jokes, songs, inexhaustible energy, desire to act, he is trying to improvisations (Srukova, 2019). Other episodes help the North Caucasus Emirate (Srukova, included in the novel describe the rite “Thalo”, 2019). the custom of “kidnapping the bride” by agreement, etc. “Keshokov shows how the folk Thanks to the assistance of Zhiraslan, a and national traditions and customs of the connection is being established with the Circassians act as a regulator in the process of , which is extremely people's lives, an unwritten moral law and a way concerned about the fate of the Adyghe people. of transferring social experience and traditions to The "business of the nation", located outside the subsequent generations (Srukova, 2019). homeland, is the sending of a caravan of weapons and humanitarian aid. The Circassian 3. National identity, reflecting a national Cooperation Committee, represented by Adygs, idea, is a generalization of national who are influential persons of Turkey, is crying

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out for the Caucasus, is trying by all means to At the same time, the writer constantly relies on support its compatriots morally and financially. folklore, ethnography and thereby creates a The patriot of his Fatherland, the activist of the national background in the work on which he Committee, Khalida Adib, painfully speaks of reveals the inner life of the characters. An her dream of seeing the blessed Caucasus: “How example from the novel “Saber for the Emir” I would like to visit my homeland!” She exclaims confirms this: Leila, the wife of the seriously (Keshokov, 2001). Not only a touch on the past wounded prince Zhiraslan, laments: “Open, my of their Fatherland, but also the active falcon, eyes. The life of the one who shortened participation of the Circassian repatriate forces in the stirrups for you, killed by Allah, the king of military operations in the Caucasus is important the saddle, will be shortened!” (Keshokov, 2001). for an educated, socially active Circassian writer. A. Keshokov conveys figurative speech, which She and her Circassian comrades-in-arms are full was characteristic of the lamentation genre, uses of determination and faithful to the main “cause the kenning of the warrior husband, which is of the nation” - the return of the lost homeland typical for the epic tradition, which is represented (Srukova, 2019). in the image of Zhiraslan. According to the Adyghe tradition, without mentioning the name 4. National identity manifested in the of her husband, Princess Leila uses kennings in national language and in poetry her speech - “king of the saddle”, “mountain eagle”, “my falcon”, and also calls him the The originality of the style and language of the epithet: “fair-faced”, etc. works of A. Keshokov is closely related to the specific content, which designates its genre form The novel presents a variety of phraseological and defines a life-affirming meaning. The turns, detailed comparisons, metaphors, specific author’s style in the novel “Saber for the Emir” imagery, and characteristic of the spoken becomes a synthesis of the artistic experience of language of Kabardians. Most comparisons in the people and their own creative personality; "Saber for the Emir" are vivid descriptions of the therefore, it is distinguished by its stylistic appearance of people. For example, the author diversity and poetry. Keshokov’s literary text notes: “Khalida combines female charm, beauty includes legends, traditions, proverbs, sayings, and intelligence, in government affairs she is like other means of artistic expression, folklore forms, a trout in a mountain river ... Zhiraslan is not a which reflect the lexical and semantic features of couple to her. Who harnesses a purebred mare the (Srukova, 2019). and an ox in one cart?” (Keshokov, 2001).

Kabardian words, expressions, phraseological Thus, in his historical and artistic realistic novel, phrases, sayings that are used by the author A. Keshokov not only conveys the speech throughout the text of the novel “Saber for the behavior, way of thinking, words and turns Emir” are explained in the author's footnotes or characteristic of a certain stage of development related translations and explanations. For of the national society, but also broadcasts the example, Prince Zhiraslan and other heroes ask national spirit of the Circassians. In “Saber for the traditional question: “Ui adyga ua (Уи адыга the Emir”, the national language becomes an уа)? Are you Circassian (Adyghe)?” (Keshokov, element of the writer's artistic worldview, a way 2001). This greeting-question makes the national of reflecting the past and reality (Srukova, 2019). identification of the interlocutor. Discussion In the second episode of the book "Emirate" Kazgirey Mathanov meets Zhiraslan, who returned We associate the category of “national identity” from a trip to Istanbul, and cordially greets him with with concepts such as national stereotype, the words: "Goguzh apshi! (Гогуж апши!) Dear literary ethnographic, auto-image (auto-image), Zhiraslan!” (Keshokov, 2001). This is a traditional auto-stereotype and hetero-image (hetero-image). greeting from the Kabardians (Circassians), which, National stereotypes can be defined as as a rule, was addressed to a traveler who returned “historically established external from afar, suggested a traditional answer: “Upso (heterostereotypes) or personal (autostereotypes) apshi! (Упсо апши)” (Keshokov, 2001). The ideas about the mentality and standard behavior linguistic formula of words and expressions used by of representatives of a particular ethnic group” characters is noteworthy here. Trying to rely on the original linguistic tradition, A. Keshokov skillfully (Filyushkina, 2005). On the one hand, these are reflects the everyday language that belongs to the “representations that are rooted in the past, have national environment (Srukova, 2019). a collective character and are inherited by a person through education, the influence of the environment and public opinion” (Filyushkina,

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2005). On the other hand, it is a kind of “social characteristic of Caucasian society at a particular construct that guides the individual in life, acts as historical stage. He does not give a detailed the motivator of his actions” (Filyushkina, 2005). description of the ethnic community of the The national stereotype has a discursive Kabardians (Circassians) and focuses on the character, because with the help of language it image of one representative of the people - Prince creates a verbalized reality in a literary text, in Zhiraslan. The created conditional connection which it reflects the nation's ideas about itself or with the national character of the protagonist about others. Researchers distinguish three main allows the writer to reflect the process of components in it: cognitive, emotional, and interethnic communication, in which the self- pragmatic (Filyushkina, 2005; Srukova, 2019). identification of the ethnic I. Kabardinets (Adyghe) in the Keshokov novel realizes itself as By literary ethnogeny we mean “a literary image part of its ethnos not only in its homeland, but that constructs not only individual traits, but also outside the Caucasus, that is, in Turkey. This is the ethnic (national) identity of characters, due to the fact that influential Circassian forces landscapes, and the historical past, depicting were concentrated abroad, while the atmosphere certain of their signs as typical of the of political confusion reigned in the Caucasus, corresponding country, characteristic of the and there was no genuine national leader in whole nation” (Filyushkina, 2005). Following Kabarda (Srukova, 2019). the researchers, we define the self-image or auto- image as a figuratively and ideologically framed The cognitive component of national stereotypes representation of ethnic groups, peoples or in “Saber for the Emir” is manifested in a rich nations about themselves, their roots, natural historical and national material, on the basis of properties and characteristics, a stable system of which there is a transition from self- values, its relationship with the value worlds of identification of the ethnic Self to self- other ethnic groups, etc. (Srukova, 2019). identification of the ethnic We. The concept We should include not only the ethnic community of Analyzing A. Keshokov’s novel “Saber for the Kabarda (), but also the nationality of Emir”, we turn to the well-known concepts of the entire Caucasus. On the one hand, A. modern imagology. The ethnocultural Self - a Keshokov seeks to create a national stereotype in self-image (auto-image), which is an idea of his work about the Caucasus as a multi-ethnic one's own community, corresponds with the region with picturesque natural landscapes and image of the Other, that is, another nation, ethnos centuries-old cultural traditions, on the other - a hetero-image (hetero-image). Moreover, they hand, he portrays the Caucasus as an arena of are interconnected and reflected in each other. In historical tragedies that have happened and are turn, we regard the autostereotype as an image of taking place. Stereotypical representations ourselves, i.e., as a positive self-characterization concerning the Caucasus are reflected in the of an individual and a nation that he represents novel primarily in the various statements of the (Srukova, 2019). heroes (Srukova, 2019). For example, one of the national stereotypes about the Caucasus is Obviously, the problem of national identity in the presented in a conversation between Khalida novel “Saber for the Emir” is combined with the Adib and Zhirazlan, when he says: “The problem of national stereotype. A. Keshokov Caucasus is the native land, attracts peoples ... If reflects the views of the Adyghe nation about it weren’t for Denikin, the mountain peoples itself or about others through the national past, would form their own state: , Kabardins, language, environment, education and public , Ingush - all these peoples are peasant. opinion (Srukova, 2019). The earth is as precious to them as air ...” (Keshokov, 2001). Love for the motherland is The cognitive component is associated with the combined with the dream of national self- attempts of the Adyge heroes to identify determination and independence. themselves and separate themselves from other nations, to restore the events and facts of the past The cognitive component of national stereotypes Adyghe ethnic group and to reveal the features of in A. Keshokov’s novel “Saber for the Emir” is ethnic consciousness (Srukova, 2019). For revealed not only on the basis of historical and example, in Keshokov’s novel, an external personal identification, but also found in characterization of the behavior individual, group, speech, behavioral portraits of (heterostereotype) of a national character is given, characters. By creating behavioral portraits of and ideas about the mentality, character and representatives of the Adyghe ethnic group, the behavior are reflected. The author reflects the author of the novel constantly notes their national picture of the world, which was impeccable behavior, always consistent with the

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code of Adyghe rules, customs and norms of Georgian Prime Minister Noah Jordania gives a Adyghe Khabze. The stereotype that is broadcast fair assessment of the current situation in the here is connected with the understanding that this Caucasus. His statement reflects a real idea of the moral code did not have the character of seething Caucasian events. Comparing the imposition and law in Adyghe society, but was Caucasus to a boiling cauldron, under which fire taken by people for granted, that is, as customs, is growing more and more, and then the fear that habits and rules of good form. The example of this fire will spread throughout its territory, is a the national behavioral stereotype in the novel terrible forecast for a possible political future. “Saber for the Emir” is Prince Zhirazlan, Khalida Indeed, large-scale chaos was observed in the Adib, Fakri Pasha, Adham and others, brought up history of the Caucasus for many years, and its in the spirit of Adygagye (Srukova, 2019). territory was a zone of national tragedies and catastrophes absorbed by imperial militarism The emotional component of the national (Srukova, 2019). stereotype is due to the fact that it always contains an assessment - positive and negative. In An ethnic image is formed on the basis of A. Keshokov’s novel, it extends to national stereotypes and is a form of description representatives of the Adyghe ethnic group and of its ethnic group, its significant and typical other nations, and, as a rule, it becomes double- features are revealed. One of the purposes of an edged, characterizing not only the object of ethnic image is a self-image, or auto-image, stereotyped judgments, but also the one who which consists of figurative representations that created this stereotype. At the same time, the an individual or groups of individuals (ethnic author very often gives mixed opinions about groups, peoples, nations) develop about events and people, uses national stereotypes with themselves and translate them into literary texts a certain degree of irony. (E. Menert) (Polyakov&Polyakova, 2013). Another concept is always associated with the The construction of the national identity of the concept of “auto-image” - an autostereotype, that characters, the historical past, and landscapes in is, an “image of oneself”, an established idea that A. Keshokov’s novel “Saber for the Emir” also is created about oneself or about that national occurs due to literary ethnogenes who are group to which a person belongs (Srukova, 2019). represented in two forms: Considering A. Keshokov’s novel “Saber for the Emir”, we dealt with the problems of national 1) In the ethnic group of the Caucasus as a identity and addressed the self-characterization historical homeland; of the Adyghe people, their cultural values, but 2) In the ethnic diversity of the Adyghe we did not put a survey of the self-image (auto- (Kabardian) people - the auto-image, or image), which includes the ethnocultural image auto-image (Srukova, 2019). of the Adyghe (Kabardian) people. On the one hand, a self-image is an ideologically formed In the national worldview of the novel “Saber for representation of an ethnic group; on the other the Emir”, the Caucasian ethnos develops in hand, it is a certain ethnic concept (Srukova, binary opposition - “harmony - chaos”, in which 2019). the romanticization of the Caucasus (Cherkessia) is combined with its image as an arena of many In the studied work, the first form of self-image years of military conflict, accompanied by is associated with an individual ethnic identity, bloodshed and mass eviction of people (Srukova, which the author combines with the personality 2019). For example, a Turkish writer of of the main character - Prince Zhiraslan, who in Circassian origin Khalida Adib wants to at least turn translates Adyghe traditions, mentality and once feel the harmony of Caucasian nature and exemplary behavior. The idea of this self-image says about this: “I would go on foot! I often is based on the ideals of their own ethnic group, dream of mountains - the Caucasus, my native on the national concept of Adygagye, on the code land! ”(Keshokov, 2001). The novelist uses a of Adyghe Khabze (Srukova, 2019). The writer national stereotype that is prevalent among creates a sufficiently idealized, but realistic Circassian and Caucasian mahajirs. It is based on image of the Circassian of those times. The auto- a nostalgic perception by them of the Caucasus image reflected in the hero - Prince Zhirazlan, as a heavenly place where divine harmony and includes several archetypes - a warrior, a beauty reign. It is difficult for Zhiraslan, who has horseman, a wanderer, a leader, a sage. These lived all his life in his homeland, to compare it archetypes can be called national, since they with paradise, because he knows what reflect ethnic characteristics enshrined in the atmosphere prevails there in reality (Srukova, culture, traditions, and public consciousness of 2019). the Adyghe people (Srukova, 2019).

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In “Saber for the Emir” by A. Keshokov, The novel depicts several striking hetero images Zhiraslan is the bearer of the national heroic - these are Chechen Mariam, Russian Grigory principle, therefore he is portrayed as a valiant Sedykh, Avar Yakub, Georgian Givi Birulava, personality, whose name became a legend not and others A. Keshokov creates a “mental picture only in Kabarda, but throughout the Caucasus. At of the Other,” which not only characterizes the the same time, the individual self-image in the individual image, but also describes the national novel is characterized by ideological characteristics of a different ethnic group declarativeness, ethnocentrism and inconsistency (Srukova, 2019). The heteroimage is embedded (Srukova, 2019). in Keshokov's literary text in two directions:

The second form of self-image in Keshokov’s 1) When the relationship between the Self work concerns an ethnic concept, which and the Other is opposed as nationally corresponds to a self-concept and refers to a identical (identical) and distinct, when group ethnic formation that is distinguished by its the Other can be perceived as a Stranger, multi-composition. Adyghe (Circassian) society i.e., there is a binary opposition of the is depicted both in the historical homeland and in Self (ethnos) - the Other / Alien (other Turkey. The idea of an ethnos concept that ethnic groups). An example from the underlies the novel “Saber for the Emir” is novel “Saber for the Emir” can be the associated with assessing the consequences of episode “Shot at a Wedding”, in which the historical tragedy of the Adyghe ethnic group the Kabardian prince Zhiraslan (auto - the Caucasian War (the destruction of the main image) is opposed to the English ethnic population, forced emigration, mahajirism) commander (hetero image); with a realistic recreation of the ongoing 2) When the culture of the I (ethnos) is turbulent events in Kabarda and the whole open to the influence of the Other / Caucasus, as well as a reflection of the Others (ethnic groups). For example, courageous struggle of the Caucasians for their the story “Night Halt” (Book 1, chap. 2) historical territories during the civil war. Ethnic describes the multinational bazaar in conception is declared by various Adyghe heroes Tiflis, to which Zhiraslan falls. The - Khalida Adib, Fakri Pasha, Zhiraslan, Rauf Bey author conveys the perception and and others. Their historical memory does not image of the Other or the Alien allow to forget the dramatic past, which has according to ethnic or linguistic become an important part of ethnic affiliation, but understands “his” as a consciousness. They historically and genetically consequence of identification by ethnic absorbed the spiritual and behavioral specificity and linguistic affiliation and then is - Adygagye, where courage is in one of the first depicted (Srukova, 2019). places. The legend of the saber for the emir, narrated by Khalida Adib and transmitted by Thus, the literary text of A. Keshokov’s novel Zhiraslan to the entire North Caucasus, contains “Saber for the Emir” includes both auto- and the essence of the ethnic concept - the national heteroimages (heteroimages), which reflect the unity of the Adyghe ethnic group in the Caucasus historically formed external image of Other and beyond in the struggle for their homeland peoples. The relationship of auto- and (Srukova, 2019). heteroobrazov is dialectical, because they mutually explain each other: “one's own” is Another form of ethnographic image is the defined by contrast with the other, and the other heteroimage, or heteroimage, which is the image is known as not “one's own” or “another's” of the Other nation, ethnos, presented in A. (Srukova, 2019). The combination of literary Keshokov’s novel “Saber for the Emir”. ethnical images makes up the national picture of According to the definition of A. Virlacher, the world that exists in a situation of mutual heteroimage is an image of a “conscious other”, knowledge and intercultural dialogue. a stranger as opposed to his own (Virlacher, 2001). “Alien” or other in a literary work within Conclusion the borders of imagology can be considered as a manifestation of stereotypical representations of A. Keshokov’s novel “Saber for the Emir” one nation about another. In addition, presents forms of national identity generated in heteroobjects are characterized by a tendency to Adyghe (Kabardian) folklore, in the genre of anthropostereotypes, due to the external national fairy tale narratives - khabar, in the appearance of other peoples, as well as to national epic heritage, in historical and heroic psychostereotypes associated with their specific songs, in traditional rites, in dominant metaphors mental traits (Srukova, 2019). - "The generic nature of the people" and the

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"internal principle of the nation", in the national The heteroimage is introduced into the literary idea of the code of Adyghe Khabze, in the text in two directions: in the binary opposition, I concepts of "Fatherland", "business of the (ethnic group) - Other / Alien (other ethnic nation", in the national figurative language. groups); in the openness of the culture of the I (ethnic group) for the influence of the Other / The principle of national identity is reflected in Others (ethnic groups). Thus, the national picture the novel through a system of social and moral of the world in A. Keshokov’s novel “Saber for relationships, through the ethnic value standards the Emir” is represented by a combination of of Adyghe Khabze. The Adyghe Code becomes literary ethnical images that reveal mutual a manifestation of the national identity of the knowledge and intercultural dialogue. protagonist - Prince Zhiraslan, representing the elite of the Adyghe chivalry. References

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