Elegiac as a Form of Representation of the Russian-Tatar Borderland (Based of the Material of R. Kozhevnikova’s Poetry)

This paper, for the first time, explores the elegiac mode of artistry in the works by a Russian-speaking poet of the late 20th–21st centuries, Roza Kozhevnikova. This topic is related to the examination of the genre strategies of transcultural literature, going back to the codes of Russian and Tatar culture. It is stated that the poetics of “Elegy (When on the Autumn Cemetery...)” poem is based on the traditions of Russian elegy; particularly, the features of cemetery elegy combining with the rest models of this genre are quite recognizable. Meanwhile, in the lyrics by the transcultural author, a large amount of works reflecting intension to the codes of the Tatar culture are revealed. The study revealed that the poetics of the elegy “As in this another snowy March...” by R. Kozhevnikova represents the “transition” of elegiac in the field of the Tatar song and mother tongue. The specificity of the “Songy shem” (“The last candle”), the lines of which are included in this poem, is the sound of mon which is the national concept representing original features of the Tatar worldview. Special attention is paid to those elegies that use imaginative and motive systems of the Tatar poetry. It is revealed that the most assonant to the elegiac of the artistic thinking of the Russian-speaking author is “autumn” poetry by Zulfat and first and foremost his poem “There is a special sorrow in autumn fires...”. The author concludes that the study of the elegiac in the works by R. Kozhevnikova has theoretical significance, allowing deeper understanding of the transformation nature of this lyrical genre not only within modern Russian elegy but in Russian phonic transcultural literature formed by the material of the Tatar ethnicity.