The 3rd Annual Lecture on Exile in Comparative Literature and the Arts - ALECLA 2020 by Anticus Multicultural Association

ANTICUS MULTICULTURAL ASSOCIATION

The 3 Annual Lecture on Exile in Comparative Literature and the Arts ALECLA 2020 rd

27-28 November 2020, Constanta, Romania, FULLY VIRTUAL CONFERENCE PROCEEDINGS

Anticus Multicultural Association

27-28 November 2020, Constanta, Romania, FULLY VIRTUAL CONFERENCE PROCEEDINGS

Issue 3 ISSN 2668-3466, ISSN-L 2668-3466

Anticus Press, Constanța, 2020

Asociația Multiculturală „Anticus” Editura Anticus Press Constanța www.anticusmulticultural.org friends@anticusmulticultural.org

The 3rd Annual Lecture on Exile in Comparative Literature and the Arts ALECLA 2020, 27-28 November 2020, Constanta, Romania, Fully virtual Co-Chairs: Senior Lecturer Dr. Alan Reed Libert, Newcastle University, NSW, Australia Dr. Maria Magdolna Tatár, retired from the University of Oslo

Journal: The Annual Lecture on Exile in Comparative Literature and the ArtsALECLA, ISSN 2668-3466, ISSN-L 2668-3466 Editor in Chief: Taner Murat Editors: Dr. Gulnara Jamasheva, Alexandra Flora Munteanu, Bakhtygul Makhanbetova, A'zam Obidov, Sagyn Berkinalieva Computerized editing: Elif Güney Address: Luntrașului 16, 900388, Constanța, Romania Phone: +40 961 273219 Web: www.anticusmulticultural.org Email: friends@anticusmulticultural.org

Servind scriitorul, salvăm patrimoniul Serving the writer, saving the heritage

Contents

Program 2020: ALECLA, AKECH, FECH, CLAFest ................................................... 7 ALECLA 2020–The 3rd Annual Lecture on Exile in Comparative Literature and the Arts, Fully virtual - Conference proceedings ......................................................11 Grammatical Viruses and Real Ones: Implications for Endangered Languages ....12 Alan Reed Libert, University of Newcastle, Callaghan, Australia Reclusive Culture in Chinese Mountain and Water Painting...............................17 Giacomo Bruni, China Academy of Art, Hangzhou, China Rediscovered Darkness: The Franciscan ideal in Gabriele d’Annunzio’s “nocturnal” prose ............................................................................................30 Donato Gagliastro, Institute of Greek and Latin Studies, Faculty of Arts, Charles University, Prague Power, Rule and Social Order in a Society Without Fathers and Orphans ...........42 I. Emma Borjigid Bohm, Xiamen University, Xiamen Kazakh Literature .............................................................................................70 Bakhtygul Makhanbetova, International literary agent, Almaty, Kazakhstan Cultural Heritage Promotion Through Art .........................................................76 Lidia Drozdova, Art-manager and art-journalist FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage......................96 Azam Abidov, Tashkent, Uzbekistan .................................................................... 97 Bayangali Alimzhanov-Баянгали Алимжанов, Nur-Sultan, Kazakhstan ........... 102 Kökböri Mübarak Qïzatulı-Көкбөрі Мүбарак Қизатұлы, Almaty, Kazakhstan . 108 Lenar Shaekh-Ленар Шаех, Kazan, Tatarstan ................................................... 113 Munaydar Balmolda-Мұнайдар Балмолда, Oral, Kazakhstan ......................... 122 Sagyn Berkinalieva-Сагын Беркиналиева, Bishkek, Kyrgyzstan ....................... 127 Yusuke Miyake, Tokyo, Japan ............................................................................ 130 Yusuke Miyake & Daniela Varvara, Tokyo, Japan & Corbu, jud. Constanta, Romania ............................................................................................................. 133

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages)

CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival - ICATAT panel "In memoriam Swietlana Czerwonnaja" ......................................................... 139 Mieste Hotopp-Riecke / Monika Górka - Introduction // The legacy of Swietlana hanım ................................................................................................................. 141 Mieste Hotopp-Riecke, With Yunus a literary farewell for Swietlana and Ali ... 148 Mieste Hotopp-Riecke/Ali Khamzin - The political relationship of the Russian and Soviet empires to oppressed peoples ................................................................ 150 Ammar Awaniy, Magdeburg - The Rose of Jerichow ......................................... 152 Ammar Awaniy - Living.home.night. .................................................................. 155 İldar Kharissov - Advocate for the Turkic Peoples of Europe: In memory of Swietłana Czerwonnaja ...................................................................................... 157 Monika Górka / Dominik Napiwodzki - Thinkings. »Akkerman steppes« by Adam Mickiewicz .......................................................................................................... 161 Mieste Hotopp-Riecke - Zwei Gedichte. Eine Welt. Dzhemile Umerova ........... 165 Enver İbrahimov - Men anamnıñ bir qızı edim. A Crimean Tatar traditional folk song. ................................................................................................................... 174 Taner Murat - Ak-Kerman kîrî ............................................................................ 176 CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival - Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni .............................. 177 Alexandru Birou, Liga Scriitorilor Dobrogeni ..................................................... 178 Traian Brătianu, Cenaclul Literar „Mihail Sadoveanu” ...................................... 182 Mihaela Cojocaru, Societatea de Haiku Constanța ............................................ 185 Nicolae Dumitru, Cenaclul Literar „Mihail Sadoveanu” ..................................... 189 Arșaluis Sarchisian Gurău, Uniunea Armenilor din România (Filiala Constanța)191 Emel Emin, Constanța, Romania ........................................................................ 198 Izolat la domiciuliu cu pictorul Iaia Ferodin din Mangalia de Arșura................. 200 Constantin Iordan, Clubul Umoriștilor Constănțeni........................................... 202 Vasilica Mitrea, Liga Scriitorilor Dobrogeni........................................................ 208 Dan Norea, Clubul Umoriștilor Constănțeni ...................................................... 210 Ion M. Ruse, Clubul Umoriștilor Constănțeni .................................................... 212 Tănase Serea, Cenaclul Literar „Mihail Sadoveanu” .......................................... 215 INDEX ............................................................................................................ 217

Program 2020: ALECLA, AKECH, FECH, CLAFest

Program 2020: ALECLA, AKECH, FECH, CLAFest The Annual Lecture on Exile in Comparative Literature and the Arts – ALECLA, 3rd edition The Annual Kurultai of the Endangered Cultural Heritage – AKECH, 3rd edition Friday, November 27, 2020, 21:00 GMT (23:00 Bucharest) Zoom Meeting 21:00 GMT Opening and Greetings, Taner Murat 21:05 GMT Grammatical Viruses and Real Ones: Implications for Endangered Languages, Senior Lecturer Dr. Alan Libert, University of Newcastle, Australia Panel 1 Chair: Dr. Maria Magdolna Tatár, University of Oslo, retired 21:20 GMT Blood and Honey: The Secret Herstory of Women: South Slavic Women's Experiences in a World of Modern-day Territorial Warfare, Dr. Danica Anderson 21:40 GMT Power, Rule and Social Order in Traditional Moso Society, Ilaria Emma Borjigid Bohm, Xiamen University / University of Hamburg 22:00 GMT Reclusive culture in Chinese Mountain and Water painting, Giacomo Bruni, China Academy of Art 22:20 GMT Language shift reversal thanks to COVID-19, Valeria Buonocore 22:40 GMT Bilingual language behaviours in multicultural Australia: An insight into the nature of bilingualism and directions for sustainable community language practices, Iryna Khodos, University of Newcastle, Australia

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages)

Saturday, November 28, 2020, 07:00 GMT (09:00 Bucharest) Zoom Meeting Panel 2 Chair: Senior Lecturer Dr. Alan Libert 07:00 GMT Indigenous Sign Languages, Gestures, and its Revitalisation: Implications for deaf and non-deaf Indigenous Communities in the Pacific, Rodney Adams, University of Newcastle 07:20 GMT A Critical Examination of Teaching Methodology in ELICOS in Australia: a Transition to Online Course under the COVID-19 Crisis, Sarah Mengshan Xu, University of Newcastle, Australia 07:40 GMT Distinct linguistic characteristics of Trakya Türkçesi: a cultural treasure, Devo Y. Devrim, University of New England, Australia 08:00 GMT Cultural heritage and place naming: An ecolinguistic analysis of the interaction between humans and the environment, Dorcas Zuvalinyenga, University of Newcastle, Australia 08:20 GMT Establishing Rapport with Evaluative Language in Online Hotel Responses, Ly Wen Taw, Universiti Putra Malaysia, Malaysia/The University of Newcastle, Australia 08:40 GMT From the light of noon to the nocturnal earth. Gabriele d’Annunzio and the Franciscan nature Donato Gagliastro, Institute of Greek and Latin Studies, Charles University, Prague, Czech Republic 09:00 GMT Distinguishing between language difference and language disorder in deaf children who use sign language, Wolfgang Mann, School of Education, University of Roehampton & Hilary Dumbrill, Specialist Speech and Language Therapist, Hamilton Lodge School and College & Dr. Joanna Hoskin, Language & Communication Science Division City, University of London 09:20 GMT Supporting deaf and hard-of-hearing children to access their linguistic and cultural heritage, Kathryn Margaret Crowe, University of Iceland / Charles Sturt University (Australia) / National Technical Institute for the Deaf (United States of America) 09:40 GMT On the equal chances of minority populations in all EU countries, Dr. Maria Magdolna Tatár, University of Oslo, retired 10:00 GMT Translation, adaptation, and imitation, Steve Rushton, UK 10:20 GMT Kazakh Literature, Bakhtygul Makhanbetova, International literary agent 10:40 GMT Closing, Senior Lecturer Dr. Alan Libert, University of Newcastle, Australia

Program 2020: ALECLA, AKECH, FECH, CLAFest

The Festival of the Endangered Cultural Heritage - FECH, 3rd edition Panel 1: Friday, November 27, 2020, 09:00 GMT (11:00 Bucharest) Zoom Meeting 1. Bakhtygul Makhanbetova (International literary agent), Kazakhstan, Introductory speech 2. Dina Amirova (Dombra player), Kazakhstan, Dombra live performance 3. Duisenaly Alimakyn (Poet, translator, journalist), Kazakhstan, Poetry 4. Saule Doszhan (Poet, writer, journalist), Kazakhstan, Poetry 5. Bayangaly Alimjanov (Poet, writer, composer, playwright), Kazakhstan, Poetry (with English translation) and dombra song 6. Perizat Almasqyzy (Poet, translator), Kyrgyzstan/Kazakhstan, Poetry 7. Munaidar Balmolda (Poet, journalist), Kazakhstan, Poetry and his song with audio video 8. Lenar Shayehov (Poet, writer), Tatarstan, Poetry 9. Sagyn Berkinaliyeva (Poet, opera singer), Kyrgyzstan, Poetry and opera song 10. Azam Abidov (Poet, translator), Uzbekistan, Poetry 11. Lidiya Drozdova (Art manager, artist), Kazakhstan, Art project presentation 12. Kokbori Mubarak (Poet), Kazakhstan, Poetry 13. Yusuke Miyake (Poet), Japan, Poetry 14. Taner Murat, Romania, Poetry

Panel2: Saturday, November 28, 2020, 10:45 GMT (12:45 Bucharest) Zoom Meeting 1. Joel Maripil, Chile, Singer 2. Marat Nuritdinov (Dombra player), Kazakhstan, Dombra live performance 3. Bayangaly Alimjanov (Poet, writer, composer, playwright), Kazakhstan, Poetry of Manas by dombra 4. Munaidar Balmolda (Poet, journalist), Kazakhstan, Poetry and his song with audio video by Dimash 5. Sagyn Berkinaliyeva (Poet, opera singer), Kyrgyzstan, Poetry and opera song 6. Azam Abidov (Poet, translator), Uzbekistan, Poetry of Navoi in English and national music 7. Kokbori Mubarak (Poet), Kazakhstan, Poetry 8. Soussi Houssine, Morocco, Poetry 9. Elsadig OMDA, Zaghawa Language, Sudan, Poetry 10. Jakeline Troy - Sydney language, Australia, Poetry 11. Yusuke Miyake, Japan, Poetry 12. Kevin Marshall Chopson, US, Poetry 13. Ram Krishna Singh, India, Poetry

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) Constanța Literature and the Arts Festival - CLAFest, 3rd edition Sunday, November 29, 2020, 09:00 GMT (11:00 Bucharest) Zoom Meeting Panel 1 1. Daniela Varvara, Romania, Poetry 2. Yusuke Miyake, Japan, Poetry 3. Violeta Pintea, Romania, Poetry 4. Ram Krishna Singh, India, Poetry 5. Oana Cătălina Bucur, Romania, Poetry 6. Kevin Marshall Chopson, USA, Poetry 7. Andreea Valentina Miroiu, Romania, Poetry 8. Joel Maripil, Chile, Singer ICATAT-Panel @CLAFest in memoriam Swietlana Czerwonnaja 9. Mieste Hotopp-Riecke, Magdeburg, Germany; Poetry & Reading 10. Ammar Awaniy, Magdeburg, Germany / Syria, Poetry & Reading 11. Ildar Kharissov, Berlin, Germany, Classic (Frédéric Chopin, Röstäm Yaxin, Ildar Kharissov) 12. Monika Górka, Magdeburg, Germany, Reading 13. Dominik Napiwodski, Magdeburg, Germany, Reading 14. Dzhemile Umerova; Magdeburg, Germany, Poetry 15. Enver Ibrahimoğlı, Magdeburg, Germany, Crimean Tatar Classic

ALECLA 2020–The 3rd Annual Lecture on Exile in Comparative Literature and the Arts Conference proceedings

ALECLA 2020–The 3 rd Annual Lecture on Exile in Comparative Literature and the Arts Fully virtual Conference proceedings

Grammatical Viruses and Real Ones: Implications for Endangered Languages ....12 Alan Reed Libert, University of Newcastle, Callaghan, Australia Reclusive Culture in Chinese Mountain and Water Painting...............................17 Giacomo Bruni, China Academy of Art, Hangzhou, China Rediscovered Darkness: The Franciscan ideal in Gabriele d’Annunzio’s “nocturnal” prose ............................................................................................30 Donato Gagliastro, Institute of Greek and Latin Studies, Faculty of Arts, Charles University, Prague Power, Rule and Social Order in a Society Without Fathers and Orphans ...........42 I. Emma Borjigid Bohm, Xiamen University, Xiamen Kazakh Literature .............................................................................................70 Bakhtygul Makhanbetova, International literary agent, Almaty, Kazakhstan Cultural Heritage Promotion Through Art .........................................................76 Lidia Drozdova, Art-manager and art-journalist

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages)

Grammatical Viruses and Real Ones: Implications for Endangered Languages Alan Reed Libert University of Newcastle, Callaghan, Australia Alan.Libert@newcastle.edu.au

Grammatical Viruses and Real Ones: Implications for Endangered Languages Alan Reed Libert

Grammatical Viruses and Real Ones: Implications for Endangered Languages Abstract: This paper looks at a grammatical phenomenon which has been referred to as a grammatical virus. An example of this in English is the nominative case form of pronouns in constructions such as between you and I. It is argued that real, i.e. biological, viruses, such as the one responsible for COVID-19, may create situations from which both grammatical viruses and endangered languages (as well as other minority and heritage languages) may benefit. Keywords: COVID-19, grammatical viruses, endangered languages

1. Introduction The world has been dominated by the COVID-19 situation, and the negative effects on humanity have been huge – many lives lost, many people sick, many jobs lost. Without minimizing these negative effects, there have also been some positive effects; for example, air pollution has (for a relatively short time) diminished in some places. Another possible positive effect involves endangered languages (and other minority languages and heritage languages): many people have been in lockdown, i.e. at home, and the home is where many such languages are primarily (or exclusively) used; children in homes where a minority or heritage language is spoken might have more exposure to that language than they would normally (e.g. when they are at school).

2. Grammatical viruses COVID-19 is caused by a (quasi-)biological entity, a virus. I will now talk about a quite different kind of virus, a grammatical virus. The notion of a grammatical virus was introduced by Nicholas Sobin; below is a quotation from him about these viruses. “I propose a theory of editing or monitoring toward prestige forms that I call virus theory. The particular rules that facilitate such editing toward prestige constructions are called grammatical viruses... A grammatical virus is a device that can read grammatical structure and affect it, though it is grammar-external. A virus is parasitic on a grammar, and, as I will argue, it facilitates the construction of prestige forms.” (Sobin, 1997, p. 319) Later on the same page he gives a possible example of a construction caused by such a virus: (1)

... between you and I... (Sobin, 1997, p. 319)

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) Of course, the expected or prescriptively correct form of this would be … between you and me …, since in English prepositions (usually) take accusative forms of pronouns. However, examples such as (1) are not very rare. As Sobin (1997, p. 319) indicates, such constructions are due to hypercorrection. One can easily imagine how they would arise: when children say things like “Me and John are going to the park” or “John and me are going to the park”, they are told by their parents to say “John and I are going to the park”. The children would then posit a rule requiring the form I rather than me after the word and (regardless of the larger context, e.g. whether the conjoined noun phrase was a subject or a prepositional object). This rule would then remain in the children’s linguistic system as they become adults. This reference to and is important, as it displays a key feature of grammatical viruses; Sobin (1997, p. 329) states, “The first property that the prestige [i.e. virus] rules exhibit is lexical specificity: a virus strongly involves particular lexical items. Lexical specificity is uncharacteristic of mainstream syntactic processes, which are normally lexicon-neutral and category-neutral”. Some other examples of sentences created by viruses are given in (2); they come from Sobin (1997, p. 318), who says, “Nonprestige forms [i.e. forms not due to a virus] are given in parentheses”. (2a)

Mary is richer than I (me).

(2b)

There are (-’s) books on the table.

(2c)

There are (-’s/is) a cat and a dog in the yard.

Lasnik and Sobin (2000) see whom in English as involving a virus; I will return to this word below. Consider now the following passage: “Though viruses are external to the grammar, they are nonetheless ‘natural’, and can be ‘smoothed in’, so that the output may sound natural or acceptable to a native speaker. However, unlike grammatical principles, viruses must be explicitly learned because, in their natural form, they are lexically specific. Viruses are, in effect, lexically concrete syntactic idioms. Unlike the normal principles of grammar, viruses are acquired and applied in connection with particular vocabulary.” (Sobin, 1997, p. 338) To me this sounds a little like the acquisition of a second, i.e. non-native, language. The passage below expresses the same sort of idea: “The grammar of a standardized language is thus heterogeneous, in that it comprises both generalized rules acquired through normal acquisition and highly specific pseudo-rules that are picked up at school or through contact with speakers who themselves have learned the relevant pseudorule. Virus Theory … captures this duality by positing the existence of 14

Grammatical Viruses and Real Ones: Implications for Endangered Languages Alan Reed Libert parasitic rules or ‘viruses’ that colonize the basic grammar and manipulate its output.” (MacKenzie, 2013, p. 21)

2. Grammatical viruses, endangered languages, and biological viruses I would suggest that there may be similarities between virus rules and endangered/minority/heritage languages, in the sense that both may be acquired “artificially”, i.e. not through the normal first language acquisition process. Both may require some effort: it might take effort to acquire an endangered language, if it is not one’s first language, and it might require some effort to use it (especially outside the home), even if it is one’s first language, when the main language in the community is another language, i.e. one might have to remember to use the minority language. In the early stages of acquiring a grammatical virus rule, a (probably young) speaker might forget to apply it – it might take several corrections by an adult before it takes hold, and it might take some effort on the part of the speaker to remember it. Especially given the current world situation, I should hasten to add that, when I link grammatical viruses and minority languages, I am not at all implying anything negative about minority languages. It should perhaps be pointed out that not all biological viruses are bad (although the most famous ones certainly are); there are viruses which are good (from a human point of view), e.g. bacteriophages. However, there is a more significant possible similarity between minority/heritage languages and grammatical viruses: perhaps both might be affected, either adversely or positively, by the lockdown situations which we have seen and are seeing in many parts of the world. Consider the situation with whom. I think that I am in a small minority of English speakers, but I try to use whom in the appropriate contexts, e.g. in “Whom did you see?” (Although I am a linguist, and linguists are supposed to be descriptive, not prescriptive, I am extremely prescriptive.) Not only do I use it myself, but I might correct other family members when they say who in such contexts. I am probably the only person whom [!] my children are in contact with who does this (I would think that their teachers at school do not do it), and so they do not get that much exposure to it, although of course I spend a lot of time with them. However, during the school closures due to COVID-19, I spent more time with them than I was before, and there was thus the possibility that they would experience my corrections with respect to whom more often. There probably were not more corrections during this time, since it is not a correction which I necessarily make every day or even every week, but there was that possibility, as well as the possibility for other corrections towards prestige forms. In that sense, the situation caused by COVID-19 may have been beneficial for the grammatical viruses of English, giving them more possibilities to take hold, one might say.

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) Turning now to endangered, minority, and heritage languages, the situation may be similar in at least some households. If children are not going to school, or many other places, due to lockdown requirements, they will be spending more time at home, and the home is where such languages will probably be spoken most. At least for a brief time they may not be so exposed to majority or dominant languages, which will probably be to the benefit of their home (i.e. minority or heritage language).

4. Conclusion For more than a year, the world has been struggling with the COVID-19 situation. We have faced enormous challenges and tragedies, but there may also have (relatively minor benefits) for endangered, minority, and heritage languages: just as the biological virus may have assisted in the survival of some grammatical viruses, it may also have played a small role in the preservation of these languages.

References Lasnik, Howard and Nicholas Sobin (2000). The who/whom puzzle: On the preservation of an archaic feature. Natural Language & Linguistic Theory, 18(2), pp. 343–371. MacKenzie, Ian (2013). Participle-object agreement in French and the theory of grammatical viruses. Journal of Romance Studies, 13(1), pp. 19–33. Sobin, Nicholas (1997). Agreement, default rules, and grammatical viruses. Linguistic Inquiry, 28(2), pp. 318–343.

Reclusive Culture in Chinese Mountain and Water Painting Giacomo Bruni

Reclusive Culture in Chinese Mountain and Water Painting Giacomo Bruni China Academy of Art, Hangzhou, China 2261206911@qq.com

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) Reclusive Culture in Chinese Mountain and Water Painting Abstract: In Chinese traditional thinking, isolation is often a prerequisite for the landscape painter in order to fully understand and express the characteristics of the subject he paints, as merely the external observation would be insufficient to comprehend and clearly describe the natural scenario. By analysing the texts of two fundamental Chinese traditional artists, Zong Bing’s Introduction to Mountain and Water Painting, Hua shanshui xu, 《画山水叙》and Guo Xi’s Essay on Mountain and Water Painting, Linquan gaozhi 《林泉高致》, and some paintings, we see how the realization of a mountain and water painting is not only an artistic practice delivering aesthetic pleasure, but it is also an experience of self-cultivation and spiritual improvement, thanks precisely to a life in harmony with nature. The choice of an isolated life of asceticism, of course, was not within everyone’s reach, in fact most of the artists who chose this type of life were literati who abandoned official positions, or Taoist or Buddhist monks. For those who lived in the cities having to carry out official tasks and assignments, these art works became their means to experience the solitude of the mountains, as if they were taking a long walk up to the mountains themselves. In Chinese landscape painting, the vector perspective is not included, as it is an element that limits the representation of a grandiose subject like the mountain environment. Instead it is represented with a combination of multiple points of view, as in this way the observer will not be able to see the work in a single glance, but the observer’s gaze must travel within the painting, as if he was actually in the mountains experiencing the painter’s isolation and receiving the aesthetic benefits along the way. Keywords: Mountain and water painting, reclusive culture, self-cultivation, Carefree wandering

1. Origins of the Reclusive culture Reclusive culture yinshi wenhua隐士文化 is an important branch of Chinese traditional culture with distinctive characteristics and far-reaching influence, till the contemporary times. The reclusive culture has basically taken shape in the pre-Qin period, in particular in a historical phase that includes the period of Springs and Autumns 春秋時代 Chunqiu shidai (722-481) and of the Warring States 战国 Zhanguo (453-221). The latter was a period of violence, characterized by political and social instability, but also of great cultural richness and creativity, which led to the birth or theoretical formalization of the many currents of thought, giving light to the Hundred Schools of Thought 诸子百家 Zhuzi baijia, of which Confucian and Daoist will become fundamental pillars of Chinese culture. Since this historical moment there are relevant records of hermits 隐士, both from Confucian and Daoist sources, characters such as Chang Ju 长沮 and Jie Yong 桀溺 in the Confucian classics the Analects of Confucius, Lunhua 《论语》and in the Taoist classic Zhuangzi 18

Reclusive Culture in Chinese Mountain and Water Painting Giacomo Bruni 庄子, there are fables of reclusive people who cherish Daoism, such as Xu You 许由 and Shan Juan 善卷, who rejected the throne for a simple and carefree life. At a time when taking up a government post could be a dangerous choice for one's own safety, retirement from social life became a choice by the intelligentsia of the time. Even in the Confucian context, where social participation was one of the fundamental aspects of the intellectual's life, the choice of the hermitage was accepted, naturally always following the teachings of Confucius, therefore for the purposes of self-cultivation, ethically and morally, but always with the idea of returning to participate in socio-political life with a deep commitment of social responsibility. Otherwise, the Daoist hermit, while always having the purpose of selfcultivation, saw the secular world as a world from which to move away, in order to enter into a relationship of communion and contact with nature, developing the most intimate aspects of his personality, preferring spontaneity, therefore acting free from utilitarianism. This vision also includes the Daoist concept of wuwei 无为, or acting without effort, from which the topical association with water was born, which has no shape, has complete freedom of movement and despite being weak it can erode the stone. Concept close to that of carefree wandering, xiaoyao you 逍遥游, conceived by Zhuangzi himself, a carefree existence requires goal-free wandering, only by forgetting the boundaries of the object and self, reaching the realm of selflessness, futility and anonymity is possible to reach the real "carefree travel". One of Zhuangzi's Daoist tales in the section of 《秋水 - The Floods of Autumn》 tells us: “Zhuangzi was (once) fishing in the river Pu, when the king of Chu sent two great officers to him, with the message, 'I wish to trouble you with the charge of all within my territories. Zhuangzi kept on holding his rod without looking round, and said, 'I have heard that in Chu there is a spiritlike tortoise-shell, the wearer of which died 3000 years ago, and which the king keeps, in his ancestral temple, in a hamper covered with a cloth. Was it better for the tortoise to die, and leave its shell to be thus honored? Or would it have been better for it to live, and keep on dragging its tail through the mud? ' The two officers said, 'It would have been better for it to live, and draw its tail after it over the mud.' 'Go your ways. I will keep on drawing my tail after me through the mud. ' ” (Legge, 1891) 庄子钓于濮水，楚王使大夫二人往先焉，曰：「愿以境内累矣！」庄子持竿不顾，曰：「吾闻楚有神龟，死已三千岁矣，王巾笥而藏之庙堂之上。此龟者，宁其死为留骨而贵乎，宁其生而曳尾于涂中乎？」二大夫曰：「宁生而曳尾涂中。」庄子曰：「往矣！吾将曳尾于涂中。」《庄子-外篇- 秋水》 This episode in addition to illustrating the character of the hermit who moves away from the burdens and honors of secular life, describes Zhuangzi while fishing, which clearly recalls the figure of the fisherman who will become of great importance in the panorama of reclusive culture. The fisherman, a solitary figure closely linked to water, is the natural 19

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) hermit, so his vision of the world and lifestyle is the one to follow. In 《楚辞 - Chu Ci》, a text traditionally attributed in part to Qu Yuan 屈原 (c. 340-278), a Chinese poet and politician who lived during the Warring States period, relates an episode when the exiled Qu Yuan complains with a fisherman of the secular world: “The fisherman: “Sages do not cling to things, but can move on with the world. The world is turbid, why don't you stir up the mud and spread the waves." (Legge, 1891) 渔父曰: “圣人不凝滞于物，而能与世推移。世人皆浊，何不淈其泥而扬其波? 《楚辞 · 渔父》 Qu Yuan then replied him, but the fisherman goes away singing and smiling without answering. This episode illustrates the wisdom of the fisherman who finds no interest in the affairs of the secular world or in complaining about it. The same can be said of the figure of the mountaineer/woodcutter 樵夫 qiaofu, who, like the fisherman, spends his life in the isolation of the mountains surrounded by nature, giving no importance to the secular world. The figure of the fisherman and the woodcutter will acquire a great deal of importance in the imaginary of reclusive cultures, so much so that they become topical figures.

2. Reclusive culture and the rising of mountain and water painting In 221 BCE the phase of instability ends with the establishment of the Qin empire 秦朝, which after only 15 years will be replaced by the Han dynasty 汉朝 (202BCE-220CE), which will be in power for about 400 years, apart from a brief interruption from 9 to 23 when the Xin dynasty 新朝took over. These four centuries of Chinese history were characterized by a Confucian-based ideological setting, which as we have said gave great importance to the political and social participation of the individual, therefore the ideals of the reclusive culture, but also more generally the Daoist teachings became minorities in the intellectual scene of the time. Things began to change in the years of the decline of the Han dynasty and after its fall, when a situation of instability and violence due to conflicts returned, there was a revival of the Daoist and reclusive culture. This period, which ends with the establishment of the Sui dynasty at the end of the sixth century, was another era of cultural innovation and creativity, Buddhist thought had entered China during the Han dynasty, and during the following era it had its first true development in China, which then among other things will lead to the birth of Chan (Zen) Buddhism 禅宗 Chanzong, which was greatly influenced by Daoist teachings. Characteristic of the Wei-Jin 魏晋 period (220420) was the philosophical movement called Xuanxue 玄学, which had a great influence, which took up the texts of the origins of Daoism and the Yijing 《易经》and reinterpreted them according to the needs of the time taking into account also considering Confucian teachings and in particular the Buddhist ones, a form of thought that among other things

Reclusive Culture in Chinese Mountain and Water Painting Giacomo Bruni gave importance to reclusive culture and the figure of the hermit. Wei-Jin period was a turbulent period in China's feudal society. National contradictions intensified, wars were frequent, dynasties changed constantly, Confucian ethics collapsed, sectarian struggle was cruel, high ranked were killed one by one, scholars were precarious and anxious, the wind of Xuanxue flourished and Buddhism and Laozi thought prevailed. At this time, the hermit thought and culture had a great development, so the literati who avoided disaster began to face the nature, went into the mountain forests and countryside, enjoyed the beauty of the woods and springs. Life in the wilderness inevitably led to isolation from society, but at the same time it led to a liminal environment that lies between the material and spiritual world, where one can meet supernatural or immortal beings, the shenxian 神仙 who live following the “Way” (the Dao 道) naturally, fully applying the concept of carefree wandering. The mountains and wild forests become places of threshold where the concepts of space and time disappear, where the existential modalities of reclusive culture can be fully applied, in order to reach higher levels of union with the natural world, an intimate relationship, which leads to another fundamental concept of Daoist thought, but also Buddhist and Confucian, that of the tianren heyi 天人合一 that is the unity between man and the sky, a holistic vision of the universe that sees man and nature on the same level, without one having supremacy over the other, where the well-being of the elements that form the universe acting in communion is greater than that of the individual elements taken separately. Seclusion is also based on this: the compatibility and integration of man and nature, and the mutual connection. Daoism thinking believes that this kind of harmony eventually leads to the Dao, the “Way”, and only with a clear mind can it fit in and reach the highest aesthetic realm. Harmony has become the basic requirement of Chinese art. The first theorists and artists who dedicated themselves to mountain and water painting moved in this context. The Introduction to Mountain and Water Painting, Hua shanshui xu, 《画山水叙》written by Zong Bing 宗炳 (375-443), an extremely dense short text, the first one of it's king, reveals the secrets of mountain and water painting, which will lay the foundations for the development of this practice as artistic. Zong Bing was himself a hermit at Mount Lu, Lushan 庐山 devoted to Buddhism, disciple of Hui Yuan 慧远 (334-416), a great master of the Chinese Buddhist tradition who also founded the White Lotus society Bailian she 白莲社on Mount Lu, dedicated to translating and studying the Buddhists sutras. The cultural environment of Lushan at the time, but also in subsequent eras, was of great importance, in fact the area was inhabited by various hermits or in any case it was a stop for scholars and itinerant sages, where they met and exchanged their philosophical ideas, both whether they were of Confucian, Daoist or Buddhist training. These exchanges were very important for the subsequent development of Chinese philosophical thought, so much so that the meeting between Hui Yuan, Tao Yuanming 陶渊明 (352/365-427) and Lu Xiujing 陆修静 (406-477), called Three laughs at Tiger Brook, Huxi sanxiao虎溪三笑 (Figure 1),

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) became idiomatic. These three exponents of the three main currents of thought of the time had one day met and had a long and fruitful conversation, so fruitful that it lead Hui Yuan to cross the Huxi, a stream that he never crossed, but they were so absorbed in their talk that they did not realize they had passed it. This story is important because it describes the fervent intellectual activity of the time, characterized by cultural syncretism, where the reclusive culture that was at the basis of the theory of mountain and water painting flourished. In fact, Tao Yuanming with his pastoral poetry was one of the greatest spreaders and supporters of the reclusive culture of the time, and of the withdrawal from society for a quiet life, so much so that his works and himself became one of the topoi of the artistic expression of the wenren 文人, the literati, when they emerged in the Chinese cultural landscape, made the theories of reclusive culture their own. Zong Bing follows and spreads the teachings of Hui Yuan, whom he considers a shengren 圣人, that is a sage who has reached the highest level of knowledge, who naturally lives according to the "Way", who lives in the Dao without effort, like the immortals who eventually populate the wild mountains. Zong Bing considers himself a xianzhe 贤者, a wise and virtuous man, who follows the teachings of the shengren but who cannot follow the Dao effortlessly but must seek it, and it is precisely for the purpose of this search and will to reach the "Way" who dedicates himself to painting of mountains and water, through life in the mountains, even itinerant, and the painting of the environment that surrounds him manages to experience and enjoy the benevolence ren 仁 and the highest wisdom zhi 智, status that the shengren can reach naturally simply by living in the mountains. This is the core of Zong Bing's text, which explains the motive and purpose of applying to mountain and water painting. The Dao is invisible, but it is present, through the pictorial practice, the form of the natural environment that is represented, is only a means to represent it, so you must not be a slave to visual perception, otherwise it would be like reading a metaphor literally, ignoring its true meaning, which goes beyond the words used. The invisible but perceptible element, that which has no form, becomes fundamental, characteristic and essential in the painting of mountains and water, which less than a century later will be standardized as qiyun shengdong 气韵生动, the resonance of the spirit, the first of the six rules of Xie He谢赫 (5th century) which became and is the main focus of the Chinese painter. Hence a long and rich speculation on the concept of image beyond the image xiang wai zhi xiang 象外之象, that the essence of what surrounds us goes beyond its image, and its material perception. Another important aspect that transpires from Zong Bing's text is that of the importance of the state of mind with which one approaches nature and then in the practice of painting. Fundamental is the tranquility of heart (mind, soul), the heart that unites external vision and internal perception, the state of tranquility, which is more easily reached in a situation of isolation from society, creates a synchrony and harmony between the environment (the world) and the most intimate part of the subject, only thanks to the achievement of this status it is possible to see/perceive the reality of things, breaking the barriers of space and time and achieving happiness. Here we see the theories of Zhuangzi's carefree wandering and of how painting is one of the ways to reach and express one's 22

Reclusive Culture in Chinese Mountain and Water Painting Giacomo Bruni personality, heart, mind, state of mind, etc. which also leads the observer of painting to experience this state of happiness and perception of the Dao. In the final section of the Introduction to Mountain and Water Painting Zong Bing writes: “In moments of relaxation, after having put my mind in order, emptied a glass of wine or strummed the lute, I unroll a painting and sit in front of it and without leaving the crowded houses of men I find myself wandering in solitude, in wild lands, with no trace of human beings. Mountain peaks rise above the mists and clouds, gorges and forests extend into the distance. The wise and virtuous shine from antiquity, and all the interesting aspects of life come together in the mind. What else do I need? Being in this state I am happy and delighted, what more can I ask for?” (translation mine) 于是闲居理气，拂觞鸣琴，披图幽对，坐究四荒，不违天励之藂，独应无人之野。峰岫峣嶷，云林森眇。圣贤暎于绝代，万趣融其神思。余复何为哉，畅神而已。神之所畅，熟有先焉。 Another very important figure of the period who contributed to the theoretical structuring of mountain and water painting was Wang Wei 王微 (414-453), who in his Xuhua《叙画》expresses the need to have a more emotional, intimate and personal aesthetic approach towards the environment and in artistic expressions.

3. New political stability and mountain and water painting At the end of the sixth century China regained its stability and political unity, first with the brief phase of about 40 years of the Sui dynasty 隋朝 (581-618) and then with the period of the Tang dynasty 唐朝 (618-907), characterized by peace and prosperity, which favors the flourishing of the arts. The first works of mountain and water painting that have come down to us come from the Sui-Tang phase, the first technical form was that of blue-green mountain and water painting qinglü shanshui 青绿山水, the hermit practice had lost the momentum of the precedent period, precisely because of the rediscovered social peace, but its themes and purposes had remained and will always remain present in the contents and pictorial theory of mountain and water painting. The first works characterized by the use of green and blue, have a great formal care and often we find themes that recall the life of immortals or supernatural beings in the wild mountains, which are clear references to Zhuangzi's carefree wandering. With peace and prosperity, the material needs to choose a life far from society had declined, but the ideals remained, even at the level of the imperial court, where palaces with gardens were built that reproduced life among unspoiled nature. A similar process is the one that accompanies the birth of the gardens of the literati or wenren, which served to re-propose the hermit experience within the secular world. Wang Wei 王维 (701-761), poet, musician, man of letters, painter, but also a statesman and adept of Chan Buddhism, gave rise to the figure of the literate painter wenren hua 文人画or School of South Nanzong hua 南宗画, a figure that stood out from the professional painter, technically

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) much more formal and academic, who most often was a court painter, called School of the North Beizong hua 北宗画. This new conception of painting fully expressed the theories of reclusive culture, even on a technical and formal level, with the use of broken ink pomo fa 破墨法 it gave more expressive freedom to painting, and inaugurated the taste of monochromatic mountain and water painting, which characterized much of the production of wenren hua. Also, thanks to Chan's theories, he made paintings, but also poetry, more subjective and intimate, where the representation of the natural environment served to express the artist's feelings. The figure of the literate artist made his own the philosophy of reclusive culture, trying to follow his lifestyle even if he was forced to live in contact with the secular world. The post-Tang epoch, the Five dynasties and Ten Kingdoms period 五代十國 (907-979) and the Song dynasty 宋朝 (960-1279), were also characterized by peace and prosperity, and in particular saw the maturity of mountain and water painting, both by painters of court or professionals, who inherited the techniques of blue-green and gold-green mountain and water painting, and from the wenren hua, who carried forward the vision of Wang Wei and the reclusive culture. Although it was an era of peace and political stability, some figures of the artistic panorama chose a life as a hermit, the most famous are the painter and theorist Jing Hao 荆浩 (ca. 850-911), who wrote a milestone in the pictorial theory of mountain and water, the Bifa ji 《笔法记》 who spent his life as a hermit on Mount Taihang Taihang shan 太行山, and Fan Kuan 范宽 (950-1032) (Figure 2) that dwelt on Zhongnan mountains Zhoongnan shan 终南山 and Mount Hua Taihua shan 太华山, both were Daoists, who decided to spend their lives in the mountains in order to better understand the secrets and mysteries, bringing the painting of mountains and water at levels never reached before and difficult to reach in the future, also creating a technical and formal apparatus that will be fundamental for the following generations of painters. Guo Xi 郭熙 (ca. 1000-1090), one of the most important figures in the history of Chinese painting, creator of works of the highest level, was the author of Essay on Mountain and Water Painting, Linquan gaozhi 《林泉高致》, a text that is also fundamental for the theoretical structuring of mountain and water painting. In the text Guo Xi among other things defines the importance of mountain and water painting precisely because in a flourishing and stable era it would be a sin to abandon the state and the family, so thanks to painting, both the artist and the observer can experience life far from society, be transported to nature and enjoy solitude. In the Linquan gaozhi he writes: “It is in human nature to feel the hustle and bustle of society and desire to see spirits and immortals hidden in the clouds. In times of peace, under a good emperor and excellent parents, it would be wrong to leave to be alone, because there are duties and responsibilities that cannot be ignored [...]. The dream to retreat in the forests and springs and to find oneself in the company of clouds and mists is always there, but the eye and ear are deprived of it. Now a good hand has reproduced them for us. Without

Reclusive Culture in Chinese Mountain and Water Painting Giacomo Bruni leaving your room you can imagine yourself sitting on the rocks in a gorge and listening to the screaming of monkeys and birdsongs; while the light of the mountains and the colors of the water dazzle the eyes. Isn't it a joy, a realization of a person's dream? This is why mountain and water paintings are so in demand. Approaching these paintings without the necessary mood would mean ruining this magnificent view and clouding the refreshing breeze.” (Lin Yutang, 1967) 尘嚣缰锁，此人情所常厌也; 烟霞仙圣，此人情所常愿而不得见也。直以太平盛日，君亲之心两隆，苟洁一身，出处节义斯系，岂仁人高蹈远引，为离世绝俗之行 [...]。然则林泉之志，烟霞之侣，梦寐在焉，耳目断绝。今得妙手郁然出之，不下堂篷，坐穷泉彗星猿声鸟啼，依约在耳山光水色，混漾夺目。此岂不快人意，实获我心哉？此世之所以贵夫画山之本意也。不此之主而轻心临之，岂不芜杂神观，混浊清风也哉！ Furthermore, Guo Xi in his text re-presents the fisherman and the carpenter as topical figures of the reclusive culture, the one that the noble man seeks through the arts, since he is unable to do so by the secular world: “Why is it that a gentleman loves nature? The reason is that he usually lives in a house and garden, enjoys whistling over rocks and streams, loves to see fishermen, woodcutters and recluse scholars, and enjoys the company of monkeys and cranes.” (Lin Yutang, 1967) 君子之所以爱夫山水者，其旨安在？丘园养素，所常处也；泉石啸傲，所常乐也；渔樵隐逸，所常适也；猿鹤飞鸣，所常亲也。 Later on, again in the first chapter of Linquan gaozhi, Guo Xi exposes how the mountain environment should be experienced and lived, he wrote four different ways of relating to it, or sike 四可, four ways of experiencing and expressing it. Guo Xi writes: “It has been truly said, that among the landscapes there are those fit to walk through, those fit to contemplate, those fit to ramble in and those fit to live in. All pictures may reach these standards and enter the category of the wonderful; but those fit to walk through or to contemplate are not equal to those fit to ramble in or to live in it. “(Siren, 1963) 世之笃论，谓山水有可行者，有可望者，有可游者，有可居者。画凡至此，皆入妙品。但可行可望不如可居可游之为得。 Those works that are able to give a sensation of traveling keyou 可游 or that of living in the mountains keju 可居, are the better works, since they are able to communicate the ways of experiencing the natural environment of the reclusive culture, which is the most intimate, indepth and engaging way, which leads to establishing a close relationship with the mountains and the waters. It should be remembered that the importance and the pleasure of traveling in the mountains is a concept already expressed by Zong Bing, who had embraced the hermit 25

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) lifestyle. In the Hermits, Yimin si section of the Taiping Yulan (《四部丛刊三编》本《太平御览》：逸民四) these words are reported: “Every time I visit the mountains and waters, I forget to return “, 每游山水，往辄忘归

4. Revival of the reclusive culture in Yuan dynasty At the end of the Song dynasty, a new period of instability begins, for about a century the Chinese empire was led by the Mongolian populations, who engaged in a bloody struggle for power. Chinese intellectuals and writers, on the one hand, felt culturally uprooted because a foreign population was at the head of their civilization and therefore began to no longer appreciate political participation, both for ideological factors and for the material risks that were run in the hold official positions. Once again, the response of the Chinese intelligentsia to the socio-political crisis was the choice of a secluded life away from the active society. In the Yuan era 元朝 (1271-1368) the painting of mountain and water had reached its splendor, the literate artists had imposed themselves on the Chinese cultural landscape, naturally the turbulent historical moment had awakened hermit desires, the union of these elements led to the creation of a large amount of works that refer to the reclusive culture, as the painters chose a hermit lifestyle. This lifestyle was no longer as easily attainable as it was during the Wei-Jin period. In the thirteenth and fourteenth centuries China was much more urbanized than during the Wei-Jin, and leaving the secular world was a more difficult choice to make. However, the painters of the Yuan era, even if they were unable to have a completely secluded lifestyle, strongly used the types and ideas of the reclusive culture. The four greatest mountain and water painters of the Yuan dynasty, yuan sijia 元四家, were all four literati and more or less followers of Daoism, all chose a secluded lifestyle, trying as much as possible to keep away from the world secular. These four great artists were Huang Gongwang 黄公望 (1269-1358), Wu Zhen 吴镇 (1280-1354), Wang Meng 王蒙 (1308-1385), Ni Zan 倪瓒 (1301-1374), and , who through their works re-proposed themes and topoi of the reclusive culture, such as the fisherman, became Wu Zhen's favorite theme, as for the woodcutters, Wang Meng signed himself as the “woodcutter of Huanghe shan” 黄鹤山樵, where he spent his years as a hermit. The lonely trees and thatched cottages xushe 芧舍, traditionally were narrative topoi that recalled the hermits world, and are often found in the works of Ni Zan, who besides being a great painter was an excellent calligrapher and poet, in the full spirit of the wenren hua. Also in Huang Gongwang's works we find all the themes of reclusive culture, in his famous Dwelling in the Fu Chun Mountains, Fuchunshan ju tu 《富春山居图-无用师全卷》 (Figure 3) which is a work that is the result of years of study and four of painting of the area in which Huang Gongwang had retired, the painting represents the mountain and river area of Fuchun mountain, the use of ink and brush reflects the mental state of tranquility reached by the painter thanks to a life in solitude. In the painting it is possible to find all the topical elements of the reclusive culture, the fishermen, a thatched cottage with a man of letters 26

Reclusive Culture in Chinese Mountain and Water Painting Giacomo Bruni intent on admiring the landscape. The lightness of the lines, the wide empty spaces and the delicacy of the ink communicates a feeling of peace and silence, expressing the artist inner world. The observation of this work puts us in the state of the hermit, making us relive his experiences, transporting us between the mountains and the waters, as indicated by Zong Bing or Guo Xi.

5. Conclusion We see how reclusive culture is extremely important and present in the Chinese cultural landscape, at least since the Spring and Autumn period, where the figure of the Chinese hermit is structured, who sees his adversity to government and public life as the first fundamental characteristic. Therefore, automatically, everything that entails, such as social utilitarianism, the thirst for power and wealth, and all elements that ultimately lead to a life of trouble strays from the main purpose, which is essentially the pursuit of happiness. The aversion to social life is clear in moments of political instability, where the reclusive culture becomes a sort of protest of the intellectual towards the system, literate artists who from the period of the Wei-Jin lived far from the secular world, but did not live in complete loneliness, indeed they almost created a new cultural network alternative to that of the governments, which opposes the struggles for power and materialism, a cultural network that is very rich and dynamic, much more dynamic than the one that gravitates around the secular world, which when shaken by instability and violence, becomes arid and monolithic. This is even more evident in the last period taken into consideration, namely that of the Yuan dynasty, where a high level of social evolution made it more difficult to reach the status of the hermit, a factor that gave great strength to the hermit topoi born during the Chinese cultural history and were used by writers as symbols against the political situation of the time to spread the conceptions and ideas of reclusive culture. The case of mountain and water painting is of particular interest, since it sees the birth of a genre and its evolution within this cultural class, from which it took its theoretical-philosophical bases and carried them forward to the contemporary age, profoundly influencing a class of intellectuals, the wenren, who have written a fundamental part of the cultural and artistic history of China, and who continue to do so in the contemporary world, clearly adapting to the times, but pursuing ideals that perhaps have never been more vital than now. The search for communion and balance with nature and attention to the feelings of the individual is of utmost importance. Therefore, we need a strong sense of humanity and the abandonment of utilitarianism and materialism, and the stigmatism of the race for power, the accumulation of riches, which are the root causes of what’s destroying the world we live in.

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Reclusive Culture in Chinese Mountain and Water Painting Giacomo Bruni

Appendix

Figure 1: 萧照（传）Xiao Zhao 《虎溪三笑图》 Three laughs at Tiger Brook

26x47.6

Figure 2: 范宽 Fan Kuan 《临流独坐图》 Sitting alone along the stream 156.4x106

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages)

Rediscovered Darkness: The Franciscan ideal in Gabriele d’Annunzio’s “nocturnal” prose Donato Gagliastro Institute of Greek and Latin Studies, Faculty of Arts, Charles University, Prague gagliasd@ffcuni.cz

A mio padre e mia madre

Rediscovered Darkness: The Franciscan ideal in Gabriele d’Annunzio’s “nocturnal” prose Donato Gagliastro

Rediscovered Darkness: The Franciscan ideal in Gabriele d’Annunzio’s “nocturnal” prose Abstract: An early interest in Saint Francis is manifested in the youthful works by Gabriele d’Annunzio. “Franciscan” are some of Alcyone’s famous poems that reflect the admiration for the clarity and the passionate depth of the saint’s Laudi. But it is in the writings that critics define as “nocturnal” that the Franciscan ideal deepens, drawing the culmination of the poet’s spiritual essence from memory and contemplation. The beginnings of the memorial turn date back to the French years (1910-15) with Le faville del maglio, texts in which the birth of “nocturnal” d’Annunzio is usually identified. The final approach to nocturnal art takes the form of a literary autobiography in perennial evolution that also relies on Franciscanism in its internal unfolding. This paper attempts to search these writings for a suitable key to interpreting the deep components regulating d’Annunzio’s relationship with Francis-which at times seems oriented towards the desire to achieve a sublimated spiritual identity. Such a vast subject matter requires, as is natural, more extensive interventions that the limits of one article cannot exhaust. As such, these exegetical premises can only activate partial analyses welded, however, to the systematic dimension of the problem. In the incessant circularity of motifs in which the relationship between texts that refer to each other consists, references to previous works (such as Alcyone and Le vergini delle rocce), multiple sources of the poet’s spiritual universe, could not be missing. Finally, the analysis benefits from some fragments of the Taccuini, precious documents for Dannunzian philologists, which, when combined with the works, allow a fruitful mutual relationship. Keywords: Purity; Contemplation; Clarity; Reminiscence

“Ho catechizzato invano più in queste settimane di convalescenza che nei sedici mesi fiumani! (…) Io non sono e non voglio essere se non un Poverello d’Italia. Io non vivo se non del mio lavoro. Perciò faccio l’operaio della Parola.” “Poverello d’Italia”: this is the historical definition that Gabriele d’Annunzio decrees of himself with the gloomy words addressed to his loyal factotum Antongini (quot. in Andreoli 2004: 166 and 2005b: 3461). The reference to Saint Francis, the poor man of Assisi, resounds in the depths of man at a topical moment for the fate of the nation. It is October 1922, and the inexorable ‘march on Rome’ is about to take place. For d’Annunzio it is the beginning of his perpetual exile and of the monumental epilogue of a public protagonism lasting many decades: the Vate, who is about to leave the political arena, retires to the shores of Lake Garda with the burden of the sacrifice of Fiume. Here “l’operaio della Parola” will devote himself until the end to a memorial writing that reveals him in his ontological nakedness.

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) The beginnings of this memorial turning point date back to the French years (1910-15) with the Faville del maglio, texts in which the birth of the “nocturnal” d’Annunzio is usually identified. Later, d’Annunzio’s prose will overcome the brevity of the fragment and will become torrential, with a retrospective look more and more extended until it goes back to the years of adolescence. This literary autobiography in perpetual evolution is the result of an impressive laboratory of private writing filled with notebooks and autograph sheets that finally claim the right to become works themselves. The title of one Favilla, Vivo, scrivo can effectively summarize this perfect identity between life and writing. Before starting the construction of his own hermitage that will become the “Vittoriale” sacrarium of the victorious war-, d’Annunzio donates his residence to the Italians. The act of donating the “Vittoriale degli Italiani” in 1923 is a gesture that reflects a paradoxical mysticism summed up in one of d’Annunzio’s most famous mottos, “io ho quel che ho donato”:1 placed on the entrance arch of the “Vittoriale”, it stands as an epigraph of the monument of stones to be placed side by side with the monument of words of the Opera Omnia.2 Through a gesture of munificence, also the act of donation of the Vittoriale to the State corroborates “il paradosso di una privazione che significa possesso (…) nei termini di una mistica (…) della profusione” (Zanetti 2005b: 3119) that as such strengthens also the identification with Francis. In the years of the long twilight at the Vittoriale, when the intimate prose replaces the narrative in first person, no longer able to objectify the author in the characters of the novels, d’Annunzio tends to make of Francis a spiritual alter ego. This intent is evident, for example, in a painting in the room entitled to the “leper”. Prominent among many Franciscan ornaments, the painting creates a symbiosis between d’Annunzio and Francis, interwoven with a vivid reference to the events of their respective biographies. The saint is portrayed as a leper—his entire body covered in bandages, one eye blindfolded—sacrificed after a heroic flight. His heroism for the Homeland having vanished, d’Annunzio is shown with the pitiable face of a leprosy patient. Francis, invaded by the experience of divine life, opens himself to the pitiful embrace of the leper who is no longer abhorred as before “quando era ancora nel peccato” (1Cel VII, 348). Furthermore, in the most religious of the rooms furnished in the Vittoriale, “il cenacolo delle Reliquie, fra i Santi e gli Idoli,” (2005a: 1722) a tapestry of biblical subject hangs on the walls underneath a sequence of saints engraved with the verses of clear Franciscan reference:

Scevola Mariotti observes that the motto dates back to a fragment of Rabirius’ poem on the war between Octavian and Antony, quoted by Seneca in De Beneficiis (VI, 3, 1): “hoc habeo quodcumque dedi” [Mariotti 2000: 579-580]. 2 As it is well known, d’Annunzio’s oeuvres were rearranged by himself for the national edition starting from 1927. 1

Rediscovered Darkness: The Franciscan ideal in Gabriele d’Annunzio’s “nocturnal” prose Donato Gagliastro “Tutti gli idoli adombrano il dio vivo … tutti i martiri annunciano un sorriso/ tutte le luci della santità/ fanno d’un cuor d’uomo il sole/ e fan d’ascesi l’oriente dell’anima immortale.” (D’Annunzio 2005b: 3508) In addition to these references to the personal cult of the saint scattered in the Vittoriale, we must remember the personal relationships that d’Annunzio maintains in his solitude with a young Franciscan ascetic, Padre Pio of Pietrelcina, the future friar with the stigmata who will be canonized and whose fame as a miracle worker will attract numerous pilgrims and prayer groups. So he writes to him in a letter of 28 November 1924 to thank him for his visit in Gardone: “Caterina la Senese mi ha insegnato a «gustare» le anime. Già conosco il pregio della tua anima, Padre Pio. E son certo che Francesco ci sorriderà come quando dall’inconsueto innesto prevedeva il fiore e il frutto inconsueti.” (28 November 1924, quot. in Andreoli 2004: 137) The examples illustrate that the approach to nocturnal art in the direction of autobiography also relies on symbolic references to the saint. D’Annunzio’s Franciscanism is deepened in his stylistically similar “ardue prose”, written – as he further affirms in his introduction to the Faville - “a chiarezza di me, con la volontà costante di acuire sempre più la mia attenzione sopra la mia vita profonda” (D’Annunzio 2005a: 1072). Clarity and depth are two coessential themes that develop the common theme of a revealed darkness in a number of these uniform writings. The Alcyone’s noons of “coscienza abituale” (2005b: 2167) reveal themselves precisely when they are eclipsed, not unlike the nocturnal “anima della terra” (2166) hidden by light more than by darkness. As a matter of fact, the premises of this relationship with the favorite saint have remote origins: Franciscan references emerge in many parts of his literary experience starting from the first short stories. Likewise, in the Vittoriale archives there are numerous notes on the life of the saint that fascinates Gabriele. Although abundant, in the youth phase, it is difficult to establish how authentic his Franciscan sentiments are. For example, the first novellas of Terra Vergine reveal a still immature relationship with Franciscanism, characterized by occasional motifs. In one novella, Fra Lucerta, the desire to emphasize the conflict between sensualism and spirituality is preponderant. The tale draws the title from the name of a Franciscan friar tormented by the erotic desire sparked by the feminine song and body. The weakness of the friar exalts by contrast the strength of Francis who - according to a legendary episode - throws himself among the brambles and thorns of the Porziuncola to suppress his carnal desire. The insistence of this motif also returns in Le vergini delle rocce, afflicting one of the protagonists, Massimilla, with the same theme of the tempting desire that assails Francis. In the novel, the purity of the girl, about to join the Order of Saint Clare, is threatened by the turbid sensuality of Cantelmo who quotes the lines from the Canticle of the Sun and tries to insinuate desire into her uncorrupted soul. A trace of d’Annunzio’s interest in this burning conflict between mysticism and sensuality is manifested in the same years in a page of his famous Taccuini: the precious “notebooks of memory” always carried 33

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) by d’Annunzio, a perpetual diary in which he reports impressions and makes lightning-fast annotations. In Taccuino XIV of 1897 he compares the tortuous course of a stream in the Franciscan countryside to the desire that, like a snake, crept through “l’anima pura e perfetta di San Francesco” (1965: 182). Abandoning this aestheticizing mystical imprint, in 1898 d’Annunzio begins the project of a sacred representation of the saint, Frate sole, inspired by repeated visits to Assisi alongside Eleonora Duse. He gives an enthusiastic announcement to his French translator Hérelle: (Pisani 2005b: 3680; 2015: 110). Despite his intentions, this project of the Franciscan tragedy was abandoned, a fate common to many unfinished works: “Tra i miei disegni -fra que’ tanti e tanti che la brevità della vita e la difficoltà dell’arte non mi consentiranno di compire”, as he will say in self defense in the pages of the Libro segreto (2005a: 1827). Although unfinished, the project of the Franciscan tragedy is an expression of strong interests, which in those years were fueled by the acquaintances of the Vate with distinguished medievalists such as D’Ancona and his disciple Novati—then professor of neo-Latin literature in Milan and future founder of the journal Studi Medievali. In particular, it is the latter that increases d’Annunzio’s interest in Franciscan literature and modules and, more generally, in poetry of the origins, the main object of the new discipline that will take the name of “Romance philology” (Andreoli 1991: 13). L’amor mistico in San Francesco d’Assisi ed in Jacopone da Todi by Novati stands out among d’Annunzio’s favorite readings in this period. These are the fruitful years of d’Annunzio’s fortunate tragedies born from the encouragement to compose for the theatre, spurred on by his relationship with Duse. The great actress, who lived in the “Porziuncola” named after the chapel in which Francis founded the order—defined in the Faville “cuna lapidea” (2005a: 1096)—admired the landscape of Assisi just as d’Annunzio did. In the aforementioned Taccuino of 1897 d’Annunzio refers to Duse’s admiration of the land: “in nessuna parte del mondo la Natura è tanto vicina a noi quanto è nella campagna francescana.” (183). This spiritual impulse will return to Duse’s alter ego, Foscarina, the protagonist of Il Fuoco (1900). The end of the novel describes the perfect spiritual serenity found by the woman in communion with the oblivious Franciscan landscape surrounding the convent founded by the saint on the island of San Francesco del Deserto. In the contemplation of nature as it appears in the scene, we can trace d’Annunzio’s adhesion to the aesthetic asceticism professed by Angelo Conti, who identifies intuition as the constitutive element of art. In the doctrines set out in La beata riva (1900) d’Annunzio recognizes “la legge per cui ogni cosa nella natura esprime all’esterno la sua propria forma interna.” (1900: XLVII). Therefore, even the immobile quiet of nature seen from the Franciscan perspective grants the artist “l’istante di oblio” (Conti 1900: 5). The Contian eye of the artist who, forgetful of himself, is “in relazione non più mediata con la natura,” (10) is found in the more distinctly “Franciscan” poems of the first section of 34

Rediscovered Darkness: The Franciscan ideal in Gabriele d’Annunzio’s “nocturnal” prose Donato Gagliastro Alcyone - L'ulivo, La spica, La sera fiesolana- that echo the praises of the Canticle of the Sun. The almost literal quotations of the famous exhortations in passive form (Laudato si’...) reveal d’Annunzio’s admiration of the clarity and passionate depth of Francis' praises. The poet who admires the high mysticism of the Canticle also understands that Francis, in love with God, describes him with words that are less and less his own. The saint’s exhortations to praise God for creation that reflects His greatness are the immediate and eternal expression of the one who “nell’abisso della sua vita in Dio”, know that he cannot address himself to Him except with His own words (Leonardi 2004: XXXI). The incipit of L'ulivo: “Laudato sia l’ulivo nel mattino!” Corresponds to that of La spica: “Laudata sia la spica nel meriggio!” In La sera fiesolana, carrying out a precise metric scheme, he places the hendecasyllables in praise of the evening in the first of three lines that follow each of the three stanzas of 14 lines and stand out like a melodic antiphon: “Laudata sii per il tuo viso di perla, o Sera,” (…) “Laudata sii per le tue vesti aulenti, o Sera,” (…) “Laudata sii per la tua pura morte, o Sera,” (D’Annunzio 1984: 429-430) In this cadenced triple scheme, the final pre-eminence assigned to the hendecasyllable in praise of death stands out, placed in the relief of the closure like the Francis’lassa in praise of “sora nostra morte corporale”. The stanzas retain natural elements that have characterized the contemplation of the Franciscan landscape described in the aforementioned Taccuino XIV: “fratelli olivi” (v.29), the elms and the vines wet by the rain, as in the descriptions of the notebook, testify to the essence and the totality of nature, revealed and continued in its individual elements: “Nei campi gli olmi portano le viti. Ovunque sono sparsi questi verdi maritaggi non meno pii del connubio antico tra il Santo e la Povertà.” (1965: 189)

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) The traditional purity attributed to the “chaste” olive trees, in the Sera called Franciscan brothers (“i fratelli olivi/ che fan di santità pallidi i clivi”, vv. 29-30), is identified in the clarity of the auroral light of the rising morning. It is no coincidence that at the end of the Ulivo the morning light, “gioventù dell’aria”, is invoked by the poet to purify the “casto ulivo” with its vivifying power. “O dolce Luce, gioventù dell’aria, giustizia incorruttibile, divina nudità delle cose, o Animatrice, in noi discendi! Tocca l’anima nostra come tocchi Il casto ulivo in tutte le sue foglie;” (D’Annunzio 1984: 432) Annamaria Andreoli (1984: 1194) remembers that “dolce Luce” is a Dantism that already appeared in synaesthesia in a couplet of the Elegie romane (“parvemi … bere la dolce luce”, 1982: 387). On the symbolic values connected to the two terms of the synaesthetic relationship – “luce” and “bere” – d’Annunzio founds a web of analogies that can be traced back to the model of Francis. In the Contemplazione della morte, the combination of clarity and holiness is the basis of the comparison between Francis and Adolphe Bermond, the religious landlord who hosts d’Annunzio in France during the years of his exile and whose religiosity and candor were admired by the poet (Torchio 2008 : 132). The transit towards Bermond’s death, observed by the exile, is described in parallel with that of Francis. Man embraces “la nostra suora morte corporale” (2005b: 2150), as it has never happened “nella storia della santità” (ibid.). Having been stripped of all clothing, the dying old man appears like Francis, already dead to the world, in the episode narrated by Thomas of Celano (2Cel II, CLX). So the man who is no longer clothed with mortal remains, is replaced by the auroral splendor of the “«nuditate d’Amore» oltre la quale, in paragone di purezza, v’è soltanto la prima luce del mattino” (2150). Again, the binomial clarity-holiness on the background of the Franciscan model appears in the Canzone d’Elena di Francia, the sixth of the Canzoni della gesta d’oltremare (later entitled Merope) which, in the same French years, interspersed the Faville to praise the Libyan War: the clarity of the birth of the Pleiades in the morning that gave rise to navigation prefigures Hélène’s “santità soave”. The heroism of the Duchesse who on the hospital ship Menfi, “pio viso di sorella”, offers relief to the Italian wounded in the ItalianTurkish war is celebrated with the double exhortation “sii benedetta” repeated in anaphor at the beginning of Dantesque triplets. The courage shown by Hélène develops in comparison with the heroism of Saint Louis, King of France who, in the same sea over six centuries earlier, buried the crusaders who died from the plague epidemic and remained a victim himself. The grandiloquent verses of d’Annunzio as an advocate of imperialism exalt the Franciscan sanctity of the king who heals the bodies of the sick with “pia mano” and is not 36

Rediscovered Darkness: The Franciscan ideal in Gabriele d’Annunzio’s “nocturnal” prose Donato Gagliastro repulsed - new Francis - to talk to lepers. The body of the saint transported on the Genoese ship is portrayed as Giotto frescoed it in the cycle for Saint Francis in the Bardi chapel in Florence, “con il cordiglio francescano” (1984: 695) according to a legend -accepted by d’Annunzio in his Note al libro di Merope- that makes the king “un terziario dell’Ordine” (748). Beyond the heated nationalism of the Canzoni in support of the Italian-Turkish war, d’Annunzio’s life spent in French exile is essentially summed up in contemplation, inspired by the many Franciscan biographies of which the “bibliothecula gallica” is rich, such as he defines his library in Arcachon.3 However, when the war breaks out, the reasons for political and warrior life are imposed. He who in his younger years had proclaimed “io non sono e non voglio essere un poeta mero” (2005a: 1972), sees in the conflict a fate that he cannot escape. The occasion to see unleashed the action long held back in poetry, according to the words of Gaston Paris that d’Annunzio quotes in a letter to Hérelle about Cantelmo (“Sa poésie est –pour me servir d’une phrase que M. Gaston Paris a citée tout récemment (…) sa poésie est «de l’action retenue», quot. in Cimini 2004: 406). For the exile, the war establishes the moment to rise to the new role as the Vate, to resume - as we read in Le vergini delle rocce- “l’officio che si conviene” (…) “a colui che indica una meta certa e guida i seguaci a quella” (1989: 19). Thus, for d’Annunzio, that awaited and fatal day is realized, but still far away for his character whose vehement “getti di energia” are disheartened and rendered useless by “bassezza” and “disonore” of his era, so that it is inevitable to transform his forces in “viva poesia” (19). Returning home in the “radiant days of May”, after the speeches that inflamed the crowd in Genoa and Rome, d’Annunzio enlists and risks his life in feats of flight and sea that celebrate his heroic virtues. In 1916 he is injured in an accident resulting in the loss of his right eye, forcing him to a period of blindness and immobility. From this condition some of the most lyrical pages of the Notturno are born, the heroic origin of a work written in part eye-impaired that reunites him with the contemplative and “nocturnal” atmosphere inaugurated in Arcachon. His “esplorazione d’ombra” - according to Cecchi’s lucky definition4 - is his most lasting conquest if, even after returning to the war, it will remain the primary area in the last horizon of Dannuzianism. It is also to be assumed that in the blindness d’Annunzio compared himself to Francis who suffered the same condition in San

It is known that d’Annunzio’s expatriation was caused by the inglorious siege of creditors. Here the alteration in “bibliothecula” reduces the value and size of the Arcachon library compared to the vast library of the Capponcina set up over the years. The Settignano villa, “casa dei sogni e delle opere”, had been auctioned with all that was contained therein. In sad pages, the exile will also regret the Franciscan and “monastic” furnishings, witnesses of the works composed with “so chaste hand”: “Or dov’è, or a chi serve e a quale uso, quella semplice e massiccia tavola francescana trovata nel refettorio di un monastero perugino? E quella gentile scrivania, anche monacale, ad uso di scrivere in piedi (…) E là io composi (…) con mano sì casta quel trasparente Ulivo, e quella fresca Sera fiesolana” [quot. in Andreoli, 2005b: 3451]. 4 See E. Cecchi, Il “Notturno” e l’esplorazione d’ombra in Ritratti e profili. Saggi e note di letteratura italiana, Garzanti, Milano 1957. 3

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) Damiano, a circumstance that gave rise to the original composition of the Canticle of the Sun. Earlier we mentioned the allusive values connected to the theme of “thirst.” At the beginning, the theme evokes the image of desire that torments Francis’ senses, the dryness that recalls by contrast the absence of water, the only thing capable of relieving it. In the sonnet Assisi, also originating from the aforementioned Taccuino XIV, the images of the “riviera sitibonda” of the small arid stream, the “furor del suo sitire” that breaks the peace of the landscape are used to symbolize the violent thirst for desire that has invaded Francis. On the contrary, the Notturno overturns this image and recalls in several places the thirst as martyrdom and physical suffering that afflicts the infirm d’Annunzio who is denied drinking for medical reasons. Where previously the figurative contrast between thirst for desire and the fire of senses exploded in Francis, the thirst for water now suffered by Gabriele contrasts with the ardor perceived in the depths of the wounded eye, and “sitibondo” is no longer the body of Francis thirsty for desire but the poet’s sick body: “Ho sete. Spasimo dalla sete (…) tutto il corpo è sitibondo” (247). Deprivation also seems to carry out an ideal parallel with the austere abstinence practiced by Francis when he was burning with thirst (LegM 1086). Connoted in terms of excruciating suffering, lack is icastically accentuated time after time by a biblical reference, as in the refusal of the nurse in response to the request for “un sorso d’acqua” (163): “Tu ti disseterai del tuo sudore e del tuo pianto”, echo of Genesis, 3, 19. By means of hyperbolic amplifications: “E non so se muoio dall’attesa o se muoio dalla tristezza o se muoio dalla sete.” (325) By the simultaneous relation through synaesthesia: “La sete mi urla dentro senza suono.” (391) In one case, the description of the torment uses a pregnant word such as “acciaiare” which suggests a relationship with iron: “Ho sempre sete. I torturatori mi vietano di bere e continuano ad acciaiarmi con l’iodio la bocca.” (306) In a painful and funereal descriptive picture, the author seems reminiscent of the episode of the red-hot iron used by doctors on Francis’ temples on the verge of death. The episode narrated by Celano and Chavin had aroused an impression in d’Annunzio to the point of taking it up again in the Contemplazione della morte (2005b: 2151) and to leave in the text of Chavin a sign of reading and a cartouche with the note “Francesco e il ferro rovente” (Pisani 2005b: 3735).

Rediscovered Darkness: The Franciscan ideal in Gabriele d’Annunzio’s “nocturnal” prose Donato Gagliastro After his recovery and without his right eye, “specchio dei perigli” like that of Lazaro Mocenigo in the Canzone dei Dardanelli (1984: 710), the fever of action urges him to the return to the heroic life, which is once again marked by Franciscan images. About to fly over Pula (August 1917), he shouts for the first time the refrain of incitement to his fellow pilots in defiance of death: Eia, Eia, Eia! Alalà! On this occasion the cry of exultation, that will become famous among the legionaries of Fiume and will later resound in the twenty years of Fascism, exhibits an anaphoric sequence of Franciscan verses, revisited as follows: Per Frate Focu che non ci abbrucerà! Per Frate Vento che non ci rapirà! Per Sora Acqua che non ci annegherà! Eia, eia, eia! Alalà Two months later, the “litania francescana di guerra” rises in chorus, varied, before another aerial feat following that of Pula, the flight over Kotor: Per Frate Vento che non ci avverserà, eia, eia, eia! Alalà! Per Frate Focu che non ci arderà, eia, eia, eia! Alalà! Per Suor Acqua che non ci affogherà, eia, eia, eia! Alalà! (D’Annunzio 1965: 1035) The enterprise stands out against a Franciscan background evoked by the pages of the Taccuini CXI, CXII and CXIII that detail the preparations. A series of adverse events delays the flight which, after days of exhaustive waiting, finally takes off -”evento liberatore” (1006)-, on 4 October, the day of Saint Francis. The spiritual bond that unites d’Annunzio with the saint is evoked once again in terms of brightness and radiance that seem to prefigure a new ‘youth of the air’: “È il mattino di San Francesco. Tra poco egli canterà il Cantico del Sole” (1029). The intimism of the description is such that, in this incessant renewal of circular relations between oeuvres relating to each other, the text of the Taccuino, so to speak, allows itself be spoken by Francis. Even the night of take-off on the Gioia del Colle runway, in “Puglia estrema”(1346), is “adamantina”, purified by the protection of the saint, considered “il patrono che conosce il «passaggio d’oltremare»” (1029) for having traced in the itinerary to the Holy Land the maritime line that the air route is preparing to follow (“stanotte egli farà del suo cappuccio un’ala e la tenderà col suo cordiglio”, 1035). The image is certainly reminiscent of the double “passaggio d’oltremare” referred in Note a Merope (1984: 746) to the two crusades of Saint Louis, celebrated as seen in the role of the Franciscan martyr. Beyond the overwhelming “pienezza di vita” it infuses, the flight is an

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) experience that, in its ascent, goes beyond the real sphere to draw a further one in a mystical crossing of the limits (“vorrei poter significare il tono musicale di questa preparazione non al ‘passaggio d’oltremare’ ma al ‘passaggio d’oltremondo’ ”, 1033). And here the nocturnal theme returns to the foreground. Alone with his fate in the spreading night, in the heroic moment, the poet’s soul “si agguaglia agli elementi, diventa notturna” (1038). Once again, the Taccuini are linked to nocturnal prose. Memory entrusts to the thematic repertoire the search for a clear and steady image of the saint, blocked in the distinct purity of his contours: Francis, a universal emblem capable of designating both the specific degree of d’Annunzio’s spirit and an absolute and super-individual reality.

Acknowledgements Having completed the research, I owe my debt of profound gratitude to: Valerie Bogdan, Vincenzo Paolino, Claudio Pace, Annamaria Andreoli, Maria Teresa Imbriani, Carla Pisani. I am also grateful to the management and staff of biblioteca centrale di Lettere, Filosofia e Scienze della formazione “Corsano” and its sezione di Italianistica of “Aldo Moro” University of Bari; to the management and staff of the libraries of “Dipartimento di Studi Umanistici” -specifically, Scienze dell’antichità and Studi classici e cristiani- of “Aldo Moro” University of Bari; to the management and staff of biblioteca comunale “Chiantera” of Polignano a Mare; to the staff of biblioteca civica “Rendella” of Monopoli. To my Nevio.

References* Andreoli, A. (1991). Il rapporto Pascoli-D’Annunzio alla luce di documenti inediti in: Nel centenario di Myricae. Atti del convegno pascoliano di San Mauro 19-20 maggio 1990 (a cura di Mario Pazzaglia). Firenze: La Nuova Italia. Andreoli, A. (2004). D’Annunzio. Bologna: Il Mulino. Andreoli A., Lorenzini N. (a cura di) (1982). Gabriele d’Annunzio. Versi d’Amore e di Gloria. Volume 1. Milano: Mondadori. Andreoli A., Lorenzini N. (a cura di) (1984). Gabriele d’Annunzio. Versi d’Amore e di Gloria. Volume 2. Milano: Mondadori. Andreoli A., Lorenzini N. (a cura di) (1989). Gabriele d’Annunzio. Prose Di Romanzi, Volume 2. Milano: Mondadori. Andreoli A., Zanetti G. (a cura di) (2005). Gabriele d’Annunzio. Prose di Ricerca. Volume 1. Milano: Mondadori. Andreoli A., Zanetti G. (a cura di) (2005). Gabriele d’Annunzio. Prose di Ricerca. Volume 2. Milano: Mondadori. Cimini, M. (a cura di) (2004). Carteggio d’Annunzio – Hérelle. Lanciano: Carabba. Conti, A. (1900). La beata riva. Trattato dell’oblio. Milano: Fratelli Treves Editori.

Rediscovered Darkness: The Franciscan ideal in Gabriele d’Annunzio’s “nocturnal” prose Donato Gagliastro D’Annunzio, G. (1965). Taccuini (a cura di Enrica Bianchetti e Roberto Forcella). Milano: Mondadori. Leonardi, C. (a cura di), (2004). La letteratura francescana. Volume I. Francesco e Chiara d’Assisi. Milano: Fondazione Valla Mondadori. Mariotti, S. (2000). Scritti di filologia classica. Roma: Salerno editrice. Pisani, C. (comm.) (2005b) Gabriele d’Annunzio, Contemplazione della morte in Prose di Ricerca. Volume 2. Milano: Mondadori. Pisani, C. (2015). Una fonte francescana tra il ‘Martyre de Saint Sébastien’e la ‘Contemplazione della morte’: Paul Alphandery in: D’Annunzio drammaturgo d’avanguardia. Le martyre de Saint Sébastien e La Pisanelle (a cura di Carlo Santoli), Alessandria, Edizioni dell’orso. Torchio, E. (a cura di) (2008). Carteggio Pascoli - D’Annunzio, Bologna: Pàtron editore.

FRANCISCAN SOURCES MENTIONED IN ABBREVIATED FORM: 1Cel

Tommaso da Celano, Vita beati Francisci (Vita I)

2Cel

Tommaso da Celano, Memoriale in desiderio animae (Vita II)

* All the quotations by d’Annunzio present in the text - with the exception of the Taccuini refer to the edition of the works by Gabriele d’Annunzio published in “Meridiani Mondadori”.

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages)

Power, Rule and Social Order in a Society Without Fathers and Orphans I. Emma Borjigid Bohm Xiamen University, Xiamen suaiaheh@icloud.com

Power, Rule and Social Order in a Society Without Fathers and Orphans I. Emma Borjigid Bohm

Power, Rule and Social Order in a Society Without Fathers and Orphans Abstract: In Na (Mo-so) society there are no orphans. Parenting is

shared amongst all members of the extended mother's family/Clan. Power is a motherly potency of giving life, nurturing, sustaining, harmonising, tending to life. It comes from the centre of the Hearth, symbol of the heart and the earth, connection between earth and sky, in the Dabu’s room, where all the family and the guests eat, together with Zambalà, the Spirit of the Hearth. If in patriarchy power has a pyramidal structure made to exploit those below, in Na society, power is still a circle through which every decision is shared and all family members are looked after. The Dabu, leader of the family, with the womb-shaped stupa and fire burning therein, is not necessarily the eldest in physical age. She is chosen by the prior Dabu as the most caring who, as mother who gives birth at the risk of her life, and as a Grandmother who has demonstrated to be the most dedicated to the well-being of the family as a whole, thus the one who is most likely to make choices from the heart, for the wellbeing of all. In this paper I analyse the ways in which power is handled and expressed in this “gylanic” society, with regard to the Anglo-italic etymology of the term "power" as connected to the term Potnia, the primeval “Mother-Father” Goddess apateira, and from there I make some interesting considerations which may reveal the original meaning of this term. Social order in Na society comes from peace within the mother clan/extended family. For this reason, it is considered a “House society”. It’s the peace that comes from the fact individual needs are not only fulfilled but held sacred, as to the demonization of need typical of the societies of capitalism. In traditional Na society no-one is left homeless, without food, care, company or affection, just like parenting responsibilities are shared by the whole extended family. If the natural parents of a child die, the rest of family will look after the child. If an adult loses their entire family, another family needing an extra member will adopt the “orphan” even as an adult or elderly person. If a family doesn’t have enough members, someone from a more numerous family of the closer blood relations, will be come and join the household. This paper is an attempt to show how Na traditional “mothering” lifestyle could effectively upturn Western

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) capitalist paradigms based on an entirely incorrect notion of power, control and order. Vocabulary: in Na Abu means father, whereas the word D-abu designates the “boss of the house”, which in Na culture is Grandmother, the most caring, the embodiment of the Ancestress. Curiously it is composed by the letter D plus abu, father, though women only are the head of the house. The word Aba means mother in Sichuan Na (Ama in the Yunnan side), whereas D-aba means “priest”. Curiously it is composed by the letter D plus aba, mother, though men only can officiate rituals. The meaning of “D” as a suffix of the word should be investigated but it may be conjectured that it invests the following particle of the word with a leadership meaning. For example “head father” for Dabu. And “head mother” (Grand Mother in fact) for the word Daba. It does raise questions though that the Dabu is a female and the Daba a male instead. In my opinion this may well reflect the time in which through the centuries the Na culture witnessed the overlap of matrilineal and patrilineal society, as proved by the fact in Labei the Na live under patrilineal model and that in Yonging matrilineal perdures1

Introduction The Na people (摩梭人, Mósuō Ren)are an ethnic minority living in South Western China across the North of Yunnan and Sichuan borders, under the Himalayan chains. Even though not all researchers agree Naxi and Na to share common roots,2 since 1950 with Naxi independence as national minority, the Na (also called Na/Naru inhabiting the region of Yunnan), have been classified as an hybrid branch of the Naxi (Naxisu-zhi) ethnic group, ranging around 270.000, including Na people who are about 40000. It must be noted however, that the Na living in the Sichuan region were classified as branch of the Mongolians (Menggu zu). Only in 1997 the Na Yongning (in Yunnan), obtained at a provincial level the designation of "Na people" (Na ren).3 Na and Naxi currently differ from one another in family structure and descent, customs, traditions, religions and language. The origins of these two populations are shrouded in mystery. They may both descend from Tibetans populations established in North Yunnan about 2000 years ago or be the result of the mixtures of different peoples who occupied the region. According to the anthropologist

Cai Hua, Une société sans père ni mari. Les Na De Chine (Paris: Puf, 2001), 20. (Cai Hua 2001: 20) 3 (Radaelli 2009) 1 2

Power, Rule and Social Order in a Society Without Fathers and Orphans I. Emma Borjigid Bohm Christine Mathieu,4 the comparison of historical sources, oral tradition and linguistic analysis shows that the origin of these two populations cannot be traced back to a single tribe nor two distinct tribes, but to different populations such as Qiang, Tibetans and Mongols and other peoples who at different times have arrived in Yunnan and that through war and assimilation gave life to the people we now call Naxi and Na .5 Even linguistic analysis supports the hypothesis of the common origin of the Naxi and Na since both languages belong to the Sino-Tibetan and Lolo-Burmese language family.6 As the Naxi occupy the Western region of the river Yangtze corresponding to the Lijiang region, the Na start in Labei in the Ninlang district next to the river an extend down to the plane of Yongning beyond the Lugu lake at 2700 m up to Suchuan otherwise occupied by Mongols (before 1253).7 Since then the Na divide in various under groups speaking different dialects. This territory is not only inhabited by Na , but also by the other ethnic groups Norzu, Yi, Pumi and Tibetan. In Lijiang for instance there are 22 diverse ethnic groups, the major being Naxi who are the majority followed by the Yu, the Liu, the Bai, the Pumi, the Miao, the Tibetans and the Zhang.8

Viability of the term ‘matriarchal’ I am one of the researchers favorable to the term matriarchy in academic research. An entire chapter of my dissertation has been dedicated to it and its usage. As far as the debate around it is concerned, extensively discussed by Hutton in Triumph of the Moon,9 I plan to go deeper into it throughout my dissertation to defend the viability of this term with every instrument within my reach and my area of expertise. In this paper however, I shall limit myself to citing Professor Abendroth: The wave of popular and academic interest in non-patriarchal social models has inspired the coinage of new terms. Why then insisting on the term "matriarchy", when so problematic? Recovering this term means claiming the economic, political, social and cultural knowledge of societies created by women. The long history of these cultures has been carried on by women and men who have contributed in equal measure to keep them alive and to pass them on to future generations. (...) Matriarchies are authentic egalitarian gender societies; the social

Christine Matthieu, History and Anthropological Study of the Ancient Kingdoms of Sino-Tibetan Borderland. Naxi and Moxo. (Wales: The Mellen Press, 2003). Francesca Rosati Freeman, Sur Les Rives du Lac Mère: un voyage aux confins du Tibet à la rencontre du peuple Moso. (Buc: Editions Tensing, 2015) 4

Ibid.

The Na Beyond the Myths of Matriarchy: Gender Transformation and Economic Development. Ph.D. dissertation, Temple University, 2001 Eileen Rose Walsh. accessed on 15th Jan 2017 http://www.worldcat.org/title/Na -beyond-the-myths-of-matriarchy-gender-transformation-and-economicdevelopment/oclc/52321341?referer=di&ht=edition 7 Freeman, Sur Les Rives du Lac Mère. 6

Ibid.

Ronald Hutton, The Triumph of the Moon: A History of Modern Pagan Witchcraft. (New York: Oxford University Press, 1999), 26- 309. 9

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) collaboration of the two sexes is based on this principle and, in spite of women’s centrality, it regulates society as well as the freedom of both genders. Matriarchal societies must absolutely not be considered mirror images of patriarchal ones, because women have never needed such hierarchical structures. Patriarchal domination —a minority emerging from wars of conquest and replacing an entire culture— derives its power from impositive structures, private property, colonial rule and religious conversion. These patriarchal structures of power represent a historically recent development, since they started appearing around 4000-3000 BC. (and in many parts of the world even later), strengthening with the subsequent spread of patriarchy. Once the misunderstanding on the word "matriarchy" has been revealed, it is now necessary to consider more its linguistic background. The current (…) preconception according to which matriarchy means "women's government" or "domination of mothers" may be challenged, since such definitions are based on the assumption that matriarchy is parallel to patriarchy, with the difference that at the lead there is another gender. The fact that the two terms appear to be parallel has nourished the idea that the social models should be so as well. As a matter of fact, the Greek word "arché" does not mean only "dominion", but also "beginning", oldest meaning of the word. The two concepts are distinct and should not be confused. Even in Italian they are clearly different: you would never translate "archetype" with "dominator-type" and you would not understand what "archeology" means if it were translated as "study of domination". Those who believe in the myth of the universal patriarchy present this relatively recent form of society as if it existed all over the world. Hundreds of falsehoods of this type have been propagated by patriarchal orientation theorists. First of all, they are not able to see matriarchy except through the lens of the dominating model. Starting from this misunderstanding, they look far and wide for the testimony of a matriarchy founded on domination; then finding no evidence of a culture conform to their patriarchal hypothesis of a female domination, they proceed by stating that matriarchies do not exist and have never existed. They invent a phantom culture and then go in search of an example for it. When they fail to find it, they are pleased to proclaim that it was really a chimera. This circular reasoning is not only illogical, but it is also a shameful waste of science. According to the most ancient meaning of "arché", matriarchy means "at beginning the mothers" alluding with this both to the fact that women generate the beginning of life through childbirth, both to the cultural datum that the beginning of civilization was created by them. Patriarchy too could be translated as "the dominion of the fathers" or "at the beginning the fathers". However, this pretentiousness leads to the domination of fathers, because, lacking any natural right to claim a role at the "beginning", they were forced since the origins of the patriarchy to emphasize it and then to impose it with domination. On the contrary, precisely because of the fact that mothers give rise to the group, to the future

Power, Rule and Social Order in a Society Without Fathers and Orphans I. Emma Borjigid Bohm generation and therefore to society, they are clearly the beginning; (…) [and] do not need to impose their role with domination.10

Indo-European etymologies and Greek/Asian mythological parallelisms When invited to discuss the concept of power, rule and social order, I would initiate my disquisition by digressing shortly on the etymologic meaning of such terms, both in the language I am writing in, merely to clarify what I am actually discussing, and, whether possible in the language/s of the culture/s taken into exam in order to place those topics into context. In Na ‘power’ is ‘hrhasuò’11, rule is delou12 and ‘order’ is shu.13 Yet, being the etymology of Na language a widely unknown academic matter worthwhile a dissertation of its own, and while being at the final stages of my research, I am well far from being able to discuss the etymology of these terms in Na language. I will thus limit myself to a brief analysis of these terms in English just so to clarify and focus on what I am actually going to discuss in the following pages through the obvious filters of the language and culture of my educational background.

Power The Anglo-Mediterranean etymology of this term is very interesting when discussing matriarchal societies anywhere as it shall be discussed below. Its Middle English form comes from Anglo-Norman French poeir, modern French pouvoir, a surrogating of Latin posse (‘be able to’),14 which stands for pot-se, contracted from potis-esse= which in turn comes from the Latin verb poteret, standing for posset, potrebbe, potemus and for possumus, possiamo (‘we can’) [;] which takes its meaning from potis, ‘that who can’ and more properly ‘that who dominates’, from which the comparative potior, ‘that who can more’, and potiri, ‘to become master/mistress, possessor, owner, leader’[;] padrone in modern Italian [the closest Neo-Latin language to Latin] from the root pa- which holds concept of ‘protecting’, ‘dominating’ [;] (…) in Sanskrit पत्यते patyate to ‘dominate’, pa-ti ‘to protect’, palas ‘sovereign’, pàyù ‘guardian’, pàtis ‘master’, ‘husband’, pàtni ‘mistress’, ‘wife’, from which also the Greek pào-mai15 ‘purchase’, i.e. to enter in possession of [;] pater ‘father’, ‘master of the house’ Bohemian pàn, and in Lithuanian ponas, husband, gothic faths,

Heide Göttner-Abendroth, Matriarchal Societies: Studies on Indigenous Cultures Across the Globe (Frankfurt: Peter Lang, 2012), here translated by myself. 11 My own transcription of the Na language through the Latin alphabet. “h r h” should be read as an harsh “r” sound close to the throat as in some Native North American languages. 12 My own transcription of the Na language through the Latin alphabet. Two smaller vowels next to one another should be read as a vowel sound combination of the two. 13 My own transcription of the Na language through the Latin alphabet. 14 https://www.merriam-webster.com/dictionary/power Accessed January, 3, 2018. 15 Curiously enough mǎi in Chinese also means ‘to buy’ and a dedicated study drawing from Luigi Luca Cavalli-Sforza’s study ‘Gens, Language and People, may be able to demonstrate common etymologic elements roots of the word power in Anglo-Mediterranean languages, Sanskrit and Chinese. 10

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) ‘master’, which the obscured root in-po is found in the Greek pòsis ‘husband’, or master of the wife, pòtnia, mistress. (…)16

The Pòtnia and the Goddess of the mountain This is very interesting the light of the fact that such an etymology appears to suggest that the concept of power comes either from the idea of possessing/of being master/husband of the Pòtnia (ancient Greek Goddess as we shall see), thus the idea of drawing power from her, or, even more, from the ability capacity (‘that who can’) of the Pòtnia herself (‘that who dominates’). In fact, the term Pòtnia in its historical origin is actually alien and opposite to that of ‘wife’ and rather more realistically synonymous of ‘that who dominates’. This is because the Pòtnia was the hermaphrodite Goddess apateira 17 (‘fatherless’) and ‘virgin’ in the sense of ‘indomitable’ and ‘free from the yoke of marriage’, ‘without husband and master’.18 She was venerated widely in Greece and all over the Middle East, particularly in Crete where her worship left profound cultural, archaeological and historical traces, up to the invasions of the patrilineal Achaean tribes. 19 The latter split her into various Goddesses (with various names and roles functional to the new Achaean male-dominated society dictated by the invaders) and married her in her fragmented forms to several male Gods, thus introducing the idea of marriage, previously absent in Crete 20, in turn giving birth to the classical Greek pantheon of Gods and Goddesses led by Zeus. 21 Before the Achaean invasions, it was around the traditional religious and philosophical concept of Pòtnia that revolved that power (or ‘potency’ better still) as it shall be further discussed below. It should be anticipated at this regard, that the Cretan Pòtnia and Mistress of the snakes appears to share the same cultural and symbolical significance of the various Asian manifestations of the Goddess of the mountain and of the animals, as widely

http://www.etimo.it/?term=potere, Accessed December 10, 2017. As widely discussed by Uberto Pestalozza Religione Mediterranea. (Milano: Bocca, 1951. Uberto Pestalozza, Pierangelo Carozzi, Eterno Feminino Mediterraneo. (Vicenza: Edizioni NERI POZZA, 1996). Professor Pestalozza (1872-1966) was an Italian Catholic and celebrated classicist; he was also the first historian of world religions to hold a chair in this subject in Italy in 1935. His valuable studies upon middleeastern and Mediterranean Goddesses have inspired since.  18 Ibid. 19 Ibid. Cretan civilization reached its height about 1500 B.C., during the reign of Minos. (...) About 1450 B.C., the Achaean Greeks revolted against Cretan rule. They invaded Crete, crushed Cretans and burned Cnossus (King Minos' City) to the ground.” Gregorio F. Zaide, World History, 120. https://books.google.com.tw/books?id=Kq512SmGMIsC&pg=PA120&lpg=PA120&dq=achaean+invasion+ crete&source=bl&ots=Bu9ZkysiAE&sig=w9iPFrqboKs9BSbM0l35KQdLwVs&hl=en&sa=X&ved=0ahUKEwj 9oqybqtfYAhUIw7wKHZHQAPAQ6AEIWjAM#v=onepage&q=achaean%20invasion%20crete&f=false Accessed on January 19, 2018. 20 Ibid. As well as in Na society up to the mid-20th century, it must be noted. The link between Na Gammu and the Pòtnia shall be further discussed. 21 Ibid. 16 17

Power, Rule and Social Order in a Society Without Fathers and Orphans I. Emma Borjigid Bohm demonstrated in Pagan Traces.22 Amongst these, we may well include Na Gammu, as we shall see shortly.

Order This English term comes from French ordre, from Latin òrdo, ordinem in the accusative declination, which according to Corssen and Georges, is composed by the root AR- and OR, found in nòr-ior ‘I am born’, ordior, ‘I start’, and the Greek or-nymi ‘I make go’, in Sanskrit rnômi, standing for ar-nômi ‘I am starting movement’, ‘I stir’ (…) post-desinence found in dulcè-dolcezza (‘sweet’-‘sweetness’), cupi-do [from cupĕre ‘bramare’ in Italian, ‘to covet’, ‘to yearn for’]23 cupidità [‘lust’] 24etc., even though the D is not a simple elongation of the root: so that order would appear to be a ‘fashion of going’, of ‘proceeding’ and the like. The disposition of each thing in its place; series and disposition of things or ideas, according to a concept. Grade or citizens’ class, according to their capacity or condition; militias’ disposition; and thus ‘line’, ‘ranks’, ‘body of organized people’ in various grades and dignity. ‘Sacred Order’, ‘priests’ grade of priesthood’, ‘chivalry order’ (…), ‘monastic order’, ‘religious congregation’. ‘Order’ is also the disposition of things in the world given by Nature and Law, thus Rule, Normative, Command disposing any given matter. (…) disposition of things in the place that is rightful to it (…) Order in the sense of some task that must be completed, is different from ‘Commission’ or ‘Mandate’ because in the second and third the action by it required may not be necessarily be enacted, which in the first is compulsory. 25

Rule This term comes from French regle (…) and Romanian regula (…) Catalan rella, Spanish raja vomero, French règle, (…) Portuguese regra from Latin règula, diminutive of the obsolete form règa, from règere ‘to guide directly’, ‘to govern’ to rule’ (…) it is also the little lath [‘ruler] to draw lines, and metaphorically ‘norm’, ‘way’ measure’; ‘principle’, ‘law’ of a art. Principle, Law of a kind of art, of a discipline; Statute of a religious order. Derivation of ‘régolo’ and righello, [‘ruler’] 26

G.H. Castaldi and I.E. B. Bohm. Pagan Traces in medieval and Early Modern European Witch-beliefs. York: University of York, 2012. www.thesis.whiteros.ac.uk/2153 Accessed on September 19, 2017. 23 Square brackets outline my contribution. 24 Ibid. 25 http://www.etimo.it/?term=ordine&find=Cerca Accessed on December 19, 2017. 26 http://www.etimo.it/?term=regola&find=Cerca Accessed on December 19, 2017. 22

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages)

The Goddess of the Mountain, Power, rule and social order. In the light of the above, returning to the etymological root of power and the Pòtnia, it can be stated that from her descended rule, thus social order. Such an idea may surely be extended in my anthropological and historical observations to Na society, in spite of the absence of any proven linguistic direct links to Na language, in virtue of the cultural and historical link between the Pòtnia and Na Gammu, here to be taken into exam. Firstly, it should be underlined the presence of a shared linguistic heritage in the etymology of power with the Sanskrit language as noted above.27 This linguistic connection reflects onto cultural and symbolical and mythological significances in relation to the Pòtnia’s archetypical symbolism as the primeval Goddess of the Snakes, the animals and the mountains, from whom according to the cosmogenesis to her connected, the world originates in all forms (thus power is released, as her ability to generate), and whose traces are first found in India, interestingly enough. In fact the Mediterranean Pòtnia of the snakes of Cretan civilization28 descends from a much older divine archetype that is the Lady of the Mountain and of the animals also connected to the snakes (in Na mythology she is found associated both to fish and snakes as we shall see further on) found in India far before we have trace of her in Greece, as widely discussed in Pagan Traces.29 Her symbolism reached Greece from India (and later Europe) by way of Thrace. Daniélou claimed that the Proto-Australoids represent the oldest race in India and show affinities with the Neanderthal man, the other two main races being the Aryans and the Dravidians. The latter, of unknown origin, are said to have appeared in India in the Neolithic Age, their religion being Shivaism. The influence of their language and culture, still present in Southern India, is believed to have travelled to the Mediterranean before the Aryan invasions (ca. 1700 to 1300 BC).30 Linguistic traces of its influences (in the “Georgian, Basque, Peuhl, Guanche and the dialects of Baluchistan”31) still survived in peripheral zones which are said to have acted as intermediary for the diffusion of primeval Shivaism. 32 Furthermore, the Pelasgians, Etruscans and Eteocretans are claimed to share the same linguistic traits/roots. 33 It is further claimed that during the New Stone Age, Indian civilization used wood, and it hardly left a trace behind, hence why it is problematic to formally establish earlier Shivaistic activities since the first genuine Shivaistic remains are found at Çatalhöyük in Anatolia, dating from about 6000 B.C.34. It is from around 6000 B.C that Shivaism is believed to have travelled towards Europe, South Asia and Africa, with all its related symbols (phallus, horned God, bull, ram, snake, Lady of

P.2, note 15 ( “patyate to ‘dominate’, pa-ti ‘to protect’, palas ‘sovereign’, pàyù ‘guardian’, pàtis ‘master’, ‘husband’, pàtni ‘mistress’,” etc.) 28 See Appendix, pic.1, p.1. 29 Castaldi and Bohm, Pagan Traces, 2012. See appendix pics 1,2,3,4, p.1. 30 Alain Daniélou, Gods of love and Ecstasy: the traditions of Shiva and Dionysus , (Rochester: Inner Traditions Ltd., 1992), 20. 31 Ibid, 20. 32 Ibid, 20. 33 Ibid, 20. 34 Ibid. 27

Power, Rule and Social Order in a Society Without Fathers and Orphans I. Emma Borjigid Bohm the Mountains, the young God wearing a horned mask, the bull with human head or vice versa, the man with bull’s head), leaving traces at “all stages of Ancient Europe, from ProtoSesklo and Starcevo (sixth millennium) to Dimini and the Vinca period”35. Crete in particular emerges in Daniélou’s studies as the intermediary between Eastern and Greek, hence Western civilization, since religious Minoan elements undoubtedly mirrored Shivaistic ones. Clear examples are the Goddess of the Mountain, the bull and the Minotaur, the snakes, the young resurrecting God and the he-goat.36 The lady of the Mountain and animals is an archetypical Goddess figure present widely in Europe and Asia, including China as demonstrated by Gammu herself, in Na culture, Goddess of the mountain also connected with snakes and fish, the aquatic version of snakes as we shall see. In Sichuan Museum there is a representation of the first woman who allegedly found salt37 depicted in an interestingly similar fashion reminding of the Cow Goddess of the Mountain was in Greece and India, with a cow and a kind of snake like thyrsus in her hand. 38 Furthermore much of the mythology connected with the Na local Land deity Gammu, the Goddess of the homonymous Mountain, has parallelisms of significance with a great deal of folkloristic and mythological shamanistic symbolism connected to the Pòtnia, the Life Giver from which the concept of power appears to originate in the glottological analysis above. Such concept seems clearly to connect to her primary ability/ies: i.e. constant generation and regeneration of life from the primordial chaos/death, as well as nutrition. 39 At this regard, the symbolical parallelisms between myths in various parts of China and Europe can be explained through the role of India. As widely demonstrated in Pagan traces40 much of Indian Goddess’ related symbolism have reached Europe by way of Thrace and Greece. 41 On the other hand, as far as connections between India, Tibetan Buddhism and Na culture go, these are immediately evident. As it is unquestionable that the latter has for centuries been impregnated by Tibetan Buddhism, it is also a widely known fact the connection

Valcamonica Symposium, Les Religions de la Prehistoire, 135, cited in ibid, 33. Castaldi and Bohm, Pagan Traces, 2012, p.13-14. 37 See Appendix p. 2 pic. 5. Other interesting alchemic symbol discussed in Pagan Traces with relation to witches banquets and Greek mythology. Cf. Castaldi and Bohm, Pagan Traces, 2012, 93-95. Furthermore, for associations between Lady of the Mountains and of the Animals/ Goddess and cows/bulls see Appendix pic 6 p.2; pic 8 p.3; pic. 9 and 10 p.4 38 See following page with regard to fishes, and snake symbolism, of which snake or a thyrsus/stick to govern animals itself is a symbolic representation of the snake. See Appendix pic 29 p. 12. 39 Story of the cauldron from which innumerable warriors could feed and find healing in Celtic cultures, where the cauldron as discussed in Pagan Traces refers to the female regenerative and sexual body parts, to be intended physically and metaphysically. 40 story of the cauldron from which innumerable warriors could feed and find healing in Celtic cultures, where the cauldron as discussed in Pagan Traces refers to the female regenerative and sexual body parts, to be intended physically and metaphysically. 41 story of the cauldron from which innumerable warriors could feed and find healing in Celtic cultures, where the cauldron as discussed in Pagan Traces refers to the female regenerative and sexual body parts, to be intended physically and metaphysically. 35 36

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) between India and Buddhist Tibetan Monks.42 I myself have met and talked to tens of Tibetan Monks in Lugu Lake who have lived in India as part of their training. As a result, symbols have travelled from a region to the other as they travelled from previous religions to the next,43 the parallelisms between Na , Indian and Middle Eastern/European Goddess’ related symbolism are explained. An interesting example can be found in the Na myth of the fish44 told to my friend and researcher Francesca Freeman by a local guide about the origin of Lugu Lake which Na people call Shinami (literally, ‘Lake Mother’). 45 According to the tale, a long time ago the inhabitant of the region were poor and poorly nourished. A young man that every day used to take the yaks to the mountains dreamt that a great fish 46 offered him a portion of its flesh to calm his hunger. When he woke up he went to look 47 for the fish48 and found it in a cave,49 so he cut a portion of his flesh. The following day he noticed how the flesh of the fish had regenerated itself. The fish, very recurrent in Na (and Naxi for that matter) iconography as it can be observed in Na Sichuan and Daluoshui museum as well as in the houses and traditional paintings all over Lugu Lake; must be associated to the snake, as it is clearly visible in many paintings where fish and snakes or water snakes can hardly be told apart.50 In Pagan Traces I have widely discussed the snake symbolism51 in relation to female generative areas with regard to Hinduistic left hand Tantra and its strong parallelisms with medieval and pre-modern alchemy where the awakening of the red (male) and white (female) snakes (Kundalini) along the spine (=alchemic caduceus) 52 is found only slightly disguised in the myths of running Maenads with their Thyrsis around which coil snakes, and

In Lige and Daluoshui between March/May 2015, December 2016 and December 2017. Cf. Castaldi and Bohm, Pagan Traces, 2012, see p.93, although the whole thesis is dedicated to proving this point. 44 Freeman, Sur Les Rives du Lac Mère, 54. 45 Freeman, Sur Les Rives du Lac Mère, 54. 46 On the symbolism of fishes, widely present in Na and Naxi iconography and the link with the Goddess and her representation as Mermaids, see pictures on the present page and cf. note 48. 47 It is interesting at this regard that it is recounted as natural in the tale the fact that after a dream someone would go and look for what experienced in the dream, suggesting the idea of the absence of neat separation between wake and sleep and the possibility of seeing dreams as a means of suggestions/communication from divine dimension, drawing from the natural world of which she is representative. cf. note 48, note 68 and note 38. 48 On the symbolism of caves, and the link with the Goddess’ womb, and generative apparatus resembled by the yurta and the stupa see Castaldi and Bohm, Pagan Traces, 2012, chap.2, particularly pp. 50-61, 91and appendix p. 7, 12, 17, 23 49 On the symbolism of fishes, widely present in Na and Naxi iconography and the link with the Goddess and her representation as Mermaids, see also Castaldi and Bohm, Pagan Traces, 2012, 72, with regard to the folkloristic representations of the Goddess represented as a half woman and half fish(/snake) for her closeness to the animal and natural world, from which she symbolically draws her endless generative and regenerative power. 50 See Appendix pic 29 p. 12. 51 (appearing not only in India and in China—mostly in the form of dragon or flying snake— but throughout Europe and the Middle East as well as in prehistoric Eastern Europe in the snake birds representing the Goddess studied by Gimbutas) 52 the wand, club, caduceus, stick and other such recurrent masculine, vertical symbols, Castaldi and Bohm, Pagan Traces, 2012 84,88-95. 42 43

Power, Rule and Social Order in a Society Without Fathers and Orphans I. Emma Borjigid Bohm found again in Egyptian and European Alchemy up to the early modern period in Hermes Trismegistus’ Caduceus with the same coiling snakes, still common logo of pharmacies (and thus symbol of healing) in Italy and Germany for instance, often in association to fountains or round containers of eternal youth water. 53 This in turn strongly reminds of the Celtic cauldron54 to which, according to numerous legends is the place where endless warriors could find nourishment and healing even from mortal wounds. 55 It also reminds of other female related shamanistic practices where snakes’ awakening, represented by the drum stick or rattle as well as by the Bacchantes’ Thyrsis and Witches’ scepter or the Lady of the Game’s rod,56 are likewise described as a means of ecstatic flight. The fish tale clearly reminds of those of cauldron that never became empty from which innumerable warriors could feed and find healing in Celtic cultures, able even to resuscitate as recounted in the Mabinogion and witches’ confessions, as widely discussed in Pagan Traces57 in the dedicated chapter with reference to the female regenerative and sexual body parts, to be intended physically, as physical organs, and metaphysically, in terms of religious and magical Goddess’ symbolism. 58 In the light of the above it may thus not be hazardous to advance hypothesis regarding the fact that the term power, very likely to be linguistically connected the hermaphrodite Greek Potnia (in her various representations and parallelisms from India to China, Greece and Europe) appears in Na society to revolve around the religious archetype of a Goddess regulating society through myth and folk belief, just like any religion, patriarchal or matriarchal). If around this Motherly ever-nourishing and generative divine figure the idea itself of power revolves and ‘descends’ on earth, it can do so, in effect, only through actual living women, who after death (and possibly before birth as widely believed in societies

Interestingly, this is still used as a graphic symbol for modern Italian pharmacies; whereas in Germany and sometimes in England we find a snake climbing a chalice (probably the alchemic vase, to drink the alchemic Panakeia, the liquid that heals all illnesses, associated with the elixir of life, which gives immortality). see Maier, Atalanta fugiens, 205, 259. For instance, the Norse God Odin stole his power from three Cauldrons of “wise blood” or mead of poetry by entering as a snake in the womb of the earth, the Giantess Gunnlod. By drinking the mead, he became a shape-shifter, turning himself into an eagle to gift others with the mead: Paul Acker, Carolyne Larrington, The Poetic Edda: Essays on Old Norse Mythology. (New York: Routledge, 2002), 32-38. It may be worth observing that Indra, Aryan God of Heaven, also stole the Gods’ ambrosia (which was like an elixir of life, with healing properties, reminding of the Alchemists’ panakeia (see note 92, p. 88), associated with Kali’s three Cauldrons) and also flew away in the form of an eagle: John Rhys, Lectures on the Origin and Growth of Religion as Illustrated by Celtic Heathendom. (Forgotten Books: 2004), 296, accessed May 19, 2011, available at ForgottenBooks.Com 54 Widely discussed in Castaldi and Bohm, Pagan Traces, 2012 chap.2. 55 Ella Young. Wondrous Celtic Tales. Davies Sioned, trans. The Mabinogion. (Oxford: Oxford University Press, 2007). 56 Castaldi and Bohm, Pagan Traces, 2012, p. 16, 38, 52, 56,57, 81, 82, 84, 86, 88, 91, 97, 98 Muraro, La Signora del Gioco, 2009. 57 For instance, the Irish Cauldrons may be associated with the patera of Rhiannon Queen of Dyfed, originally known by the Gaulish name of Rigatona, ‘Great Queen” and possibly associated with Epona, also a horse Goddess associated with plenty who was worshipped by the Romans: Miranda Green, The Gods of Roman Britain. (Buckinghamshire: Shire Publications Ltd, 2003), 56. Cit. in Castaldi, Pagan Traces, 2012, 55. 58 ibid, chap. 2 and note 38 p.4 above. 53

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) believing in soul transmigration as in Buddhism), represent the nourishing ‘Ancestresses’. This means that power in Na society is not synonymous of force but rather of nourishment for all, hence of responsibility.59 The Na Dabus call on the good influences of the spirits of Nature60, as recounted to me by Dabus in Daloushui61 walking around in clockwise direction62 the womb-shaped stupa at dawn and sunset after lighting a fire in it. 63 Comparably, in the mentioned areas where the Pòtnia was adored, priestesses used to offer on the palm of their hands fruits cut in half to their Pòtnia, such apples, pomegranates, pears and figs, all symbolizing their generative sexual organs, receptacles of those of their Goddess and symbol of cosmic knowledge and love, a concept which in those religious and cultural contexts were synonymous.64 As discussed in Pagan traces we find traces of female groups of priestesses all over the Middle East and Western Europe as well in Asia, all honoring everlasting fires in round temples and round cauldrons or temples, 65 representative of female generative organs as shown by the steatopygic statuettes discussed by Gimbutas. This is indeed significant in regard to Na society in the light of the fact that in Na society the power and consequent social order revolves around the figures of the Dabu, the Grandmothers socially lived as embodiment of justice and of the Ancestresses, for the reason that not only are they the eldest (thus supposedly more knowledgeable) but also because they are described as the most caring, most responsible, most correct and most loving.66 The Dabu in fact is not chosen based on the age of the daughters. The daughter who will succeed her mother in the role of Dabu of the house is not necessarily the eldest but is the most caring, most responsible, most considerate in protecting of everyone’s wellbeing and in taking into account every family’s members need justly. It seems clear Na culture the justness and harmony in the matriarchal67 family should be seen to represent the harmony more widely in society as a whole, just as in the I Ching

As recounted to me by Ake Dama, on 8th March 2015. As widely proven in Pagan Traces, 2012, Nature in all animistic societies as in several matriarchal religions like the Moso such as the Cretan as well as in patriarchal ones such as Zoroastrians in Mesopotamia today, is a representation of the deity itself, usually seen as a nourishing divine mother, but in some cases as a father, like in Zoroastrianism, or as a neutral genderless spirit as in Northern Native American cultures. 61 In Lige, She Kua, Lugu Lake Town and Daluoshui between March/May 2015, December 2016 and December 2017. 62 In worldwide shamanism representing generation and Good Fortune. See Appendix pics 31 and 32 p. 13. 63 Which in Greece and continental Europe in the mountains it is still recalled by rural old people as the time of the Gods (in Peloponnese) or of the Fairies (in the mid Alps and Apennine) in Northern Italy), as noticed by myself in interviews and travels in the area between 1996 and 1998. 64 Uberto Pestastalozza, Religione Mediterranea, 1949. 65 See Appendix p. 1 picture 15 and 16. 66 Interviews In the five months I spent with Moso people so far, interviewing more than twenty households and over a hundred-forty locals amongst which more than a hundreds were Moso and others Yi, Tibetans, Mongols and Han, across Sichuan and Yunnan side, as well as documenting myself extensively about the Moso social structure well ahead my first trip to Lugu lake through academic publications and documentaries, I can possibly state I have a clear idea of how the traditional Na family is structured. 67 I shall later discuss the legitimacy of the term matriarchal and the limits of the terms matrifocal and 59 60

matrilineal.

Power, Rule and Social Order in a Society Without Fathers and Orphans I. Emma Borjigid Bohm harmony in the patriarchal family is the base upon which the harmony in the Empire is described to draw its strength.

Power, “Order” And “Rule” in social and family structure The Dabu, the Grandmother is the head and most important member of the family, next to her is usually her brother (a wu, ‘maternal uncle’) although in some cases in more recent years there can be a male companion instead, as Han culture is gradually introducing the patriarchal concept of marriage and companionship. The brother of the Grandmother comes just after her in grade of importance. Apparently, every decision in the family is discussed amongst all members as to find an agreement suiting all, so it may be stated that Na people employ the “method of consensus”, 68 which has been argued to be a typical feature of matriarchal societies. 69 However not through imposition, the final decision is made by the Grandmother, who as discussed above is considered to be the most neutral, experienced, and loving, thus most just. 70 With the Grandmother live her daughters and sons, or a part of her daughters and sons (also depending on the capacity of the house itself) and her daughter/s’ children. The idea is that the children live with the mother and are looked after by their mother and her brother, as well as –until they are alive— by their Grandmother and the brother of their Grandmother. The father of the children may or may not be in a relationship with their mother. In any case, according to tradition, he does not live with them. He can see them as much as he wants though, and offer them gifts, but he is not socially obliged to be responsible—financially or emotionally— for them. He leaves the mother of his children at dawn to return to his sister’s family and is responsible for his sister’s children. This matrifocal family arrangement ensures a high degree of emotional stability which in turns reflects on social order and stability. This is because nobody in Moso society is left an orphan. Children are not subjected to the emotional instability of the romantic connection between her or his parents, and women are not forced to be the isolated cohesive element keeping the family together when all fails, as if often happens in patriarchal societies. These large strong Na families don’t leave anyone uncared for. No-one has to carry all the weight on her/his shoulders alone. All responsibilities are distributed and are not subject to romantic jolts. Adults are free to be devoted to their chosen partner for the rest of their lives, as it is not uncommon, or to break up when they feel their paths go in a different direction.

This in my field work in West Papua and Lugu Lake consists in consulting each member involved in the consequence of any given decision, as also confirmed by Abendroth in her extensive work in indigenous societies. Cf. note 58 and Heide G. Abendroth, Matriarcati Viventi, Göttner-Abendroth, Heide 2013, Le società matriarcali 5RPD 9HQH]LD 14. 69 Abendroth, Matriarchal Societies, 2012. 70 As recounted by Sadama and her Grandmother Ku Mu in late April 2015. 68

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) The Zou Hun, has been misinterpreted very often by Han and Westerners as a kind of open relationship. This is incorrect. The Zou Hun is a devoted and exclusive relationship. It is translatable in English as Walking Marriage as it expresses the idea of two people walking together until their feet walk the same direction. There is no promise of eternal love or to found on it the stability of the family which only lays its basis on unbreakable blood links, highly praised and valued by Na people71 If the Zou Hun is broken for whatever reason, it is done so without arguments and fights, which are somewhat regarded as improper behaviour in Na society, just like jealousy, which is not part of the social understanding of romantic connection, based on mutual trust. The children enjoy the stability and harmony of the mother family. If they are born of temporary relationships outside the official Zou Hun, such as Nana Sessé 72 they may not even know who the father is. This instance is however more and more rare nowadays as the Chinese Government requires for the marriage to be registered in order for the children to be able to attend school.

Traces of female shamanism and women’s religious role in social order As far as religions have been recorded by history, they have been linked to social order, by creating a degree of shared values hence social discipline and norm amongst human members of a given society. Abramitic religions achieve such discipline usually through fear of hell in the afterlife and the idea of a so-called compassionate yet highly punishing God that on one hand will forgive anyone for committing any crime against other fellow humans—just so long as they ‘repented’— but on the other hand punish anyone in terrible ways if only they do not believe in his word and his unique supremacy above any other faith and God/dess. What is interesting about pre-Abramitic religions all over the world, including various forms of Buddhism spread around Asia, as well as various tribal animistic beliefs, is the fact they are largely based on respect and kindness towards all fellow human and non-human beings more inclusive of a sense of tolerance for the right to difference. This sense of respect seems to spring from a sense of fulfilment and wellbeing in this life with the certainty of the benevolence of both divine and human (family and society) levels rather than from fear of punishment (from God, or the authority representing him, father/feudal lord/husband etc.) in this life as well as in the afterlife (hell or purgatory). The linguistic pretext with regard to the etymology of the term power and its connections with Sanskrit and Hinduism, hence with Asian Goddesses of the mountains such as Gammu by way of India has pointed in the direction of an idea of power that stems out of the

As recounted by every household (about 20 so far) I have interviewed between March –May 2015 and September-December 2016 and December 2017. 72 unofficial relationships usually amongst young people which are kept secret (nana) because being nonofficial they should be private and are considered temporary (literally ‘secretely’ nana, ‘paying visit’, sessé, Freeman, Sur les rives du lac Mère p.96) 71

Power, Rule and Social Order in a Society Without Fathers and Orphans I. Emma Borjigid Bohm nourishing/caring role of maternity rather than of male domination by force and disciplining authorities; thus from motherly and nourishing Goddess archetypes rather from punishing Gods. This in turn clearly points in the direction of female shamanism, hence the role of women, as mothers and most importantly as Grandmothers as inbetweeners (thus ‘shamans’) with the Ancestresses’ archetypes, as carriers of a nourishing generative power. Rule and order in the evident idea of it being something descending from “above” are just a consequence of everyone’s fulfillment. In order to discuss female shamanism and its role in Na social order we need to quickly overview what local life as well as history can reveal of women’s every day ‘shamanic role’. This may reinforce the links evidenced between the western/eastern etymologies of the word power and the related Asian and Indo-European mythological parallelisms. Other than mythology, the remaining sources that we must look at are: historical archives; the Dongba pictograms and Na iconography; local language and vocabulary and anthropological evidence. In the annals of Sui (AD 581-618) and Tang (618-907 d. C) there’s mention to a "kingdom of women" (nü guo) which was located north of Yongning and ruled by Queens side by side State Council formed by women ministers who gathered every five days. 73. Fan Ye, in the chapter entitled "The Ethnic Groups of the Southwest" in Houhan shu, the Chinese annals of the years A.D. 2 5-2 20, relates: in Wenjiang, north of Sichuan, "women are superior, the family group is made up by members of the maternal lineage. When someone dies, the body is burned."74 In Yunnan zhilue (Yunnan monographic account), Li Jing, an author from the Yuan Dynasty (1279-1368) reported: The Mo-so ethnic group lives north of Dali, at Tibetan border and to the banks of the river Jingsha. The women wear their hair shaved to eyebrows level and wear woolen clothes instead of skirts. They are not ashamed to leave their sexual parts exposed. Once married, they no longer have any sexual taboos” 75 These meager but significant bibliographic referrals show the women’s position characterizing the Na population has ancient origins in spite of the stratification of cultures and ethnicities through the centuries.

Mathieu, 2003; Stefano Zamblera, Introduzione alla Cultura Naxi Dongba, www.xiulong.it/pubbl/introduzioneNaxiDongba.pdf, 2007, accessed on Decemer 23rd 2016. Cit. in Rosati Freeman, Benvenuti nel paese delle donne, (XL edizioni Sas Roma:2010), 150. 74 Cai, Hua  , A Society without Fathers or Husbands: the Na of China, (New York: Urzone, 2001), 20, cited in Stefania Renda, "Difendere il Lago Madre fino alla morte" Etnografia dell'incontro turistico nei villaggi Na del Lago Lugu, Tesi di Laurea, Corso di Laurea magistrale in Antropologia, etnologia, etnolinguistica. Università Ca' Foscari Venezia, pdf. Kind concession of the Author. 75 Ibid. 73

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages)

Pictograms The Dongba Cultural Museum declares that there have never been female Dongbas. However, the iconographic studies conducted by Christine Mathieu and Stefano Zamblera on some of the pictograms of Dongba manuscript tradition let us suppose that female shamans exercised in the Lijiang region. + The Naxi pictogram “pa” considerably more ancient than “do ba” represent the classical iconography of hair and female headdress both symbolizing the concept of female shaman; + Another pictogram “lu bu” pictogram appears to show some characteristics as “pa”. Apparently the “lu bu” shaman could be male and female in the past76 though only men have been integrated in modern Dongba practices.77 + The iconographic characters of fluctuant hair are a confirmed characteristics by the same manuscripts where “pa” and “lu bu” appear to describe divination powers such as those of talking to the dead, predicting the future, expelling undesired spirits and illnesses.78 * As a result of the study of pictograms researchers have supposed the coexistence possibly up to the mid 20 century of three typologies of shamans: the Pu, the Do ba, and the Lu bu.79 They shared the same territory inhabited by the Pu, indigenous inhabitants of the Lijiang region, who were led by the female shamans, whilst the Naxi, from the Nord, led the region with their spiritual tradition with the “Do ba” and who according to the Chinese chronicles of the time were already mentioned by the name “Mo so”. 80

Joseph F. Rock, The Life and Culture of the Na-khi Tribe of the China-Tibet Boorderland (Wiesbaden: Franz Steiner Verlag, 1963). 77 Mathieu, 2003. 78 However, according to Zamblera (2007) only male Dongbas were believed to communicate with sky spirits however, which may indicate either that women shamans were active but socially restricted in their roles, or that, as it is likely and as I may try to demonstrate, women shamans were originally present and powerful in the Lijiang area but that the increasing male political power restricted their roles until complete disappearance. The pictogram “do ba” is in fact more tardive and very different from “ pa” and “lu bu” 79 Rock 1963 Mathieu 2003; Stefano Zamblera, Naxizu, L’Etnia Naxi, www.vicina.org/ecole/ShijiuLijiusketch.pdf. 2007, Accessed on December 6th 2016. 80 Matthieu, 2003. It has thus been supposed that Naxi/Na immigrants mixed up slowly with local people of the Li Jiang valley, eventually confining local people to the outskirts of the region so that the indigenous female shamans pa and lu bu were marginalised, whilst men lu bu were integrated. This leads to another very relevant investigation as to if the Na were originally patrilineal and as to why they adopted matrilineal social structure. One possible answer is that mixing with the matrilineal Pu they adopted some aspect of women leaderships that would be harder to change in the local population, such as family structure and arrangements, whilst making them abandoning other, “higher” ones, such as the religious, more linked to power, hence to political power. The other hypothesis is that the Na already had matrilineal social structure but women had already lost the religious leaderships encountered in other matrilineal societies. It has been supposed that female shamans have continued to serve people in mountain places for some decades even after their apparent disappearance. 76

Power, Rule and Social Order in a Society Without Fathers and Orphans I. Emma Borjigid Bohm Returning to the pictogram pa, another plausible hypothesis is that the pa pictogram refers to priestesses shamans of ancient tribal groups such as the Qiang, Tibetans and Mongols who, anthropologists identify as the common matrix of today Naxi and Na . Between 1950 -1985 all practices Dongba and Lubu were declared illegal and disappeared from public scene. Since the 50’s the shamans disappeared formally and Dongbas have in reality replaced them. Today we give for granted the existence of male only Dongba but we cannot ignore the presence of female shamans still survived today in isolated figures.81 Na female shamanic symbols I have already identified which need investigation due to strong analogies with female shamanism in other parts of Asia and Europe are: the everlasting fire; the cauldron, the stupa, the praying wheel, the circumambulation around the stupa; Dabus’ retreats to the island and rituals.

Anthropological field work In the morning and at sunset the Dabus go to the heart of the village where the stupa is. The stupa is a stone construction with the shape of a pregnant belly, just like the Mongol yurta, and has an oven inside, where herbs are burned to call the “Good Spirits of Nature”, I am told.82 The significance of the fire in the stupa looked after by the Dabus as well as the fire that must always be lit in the Dabu’s room, the most important in the house, has a clear shamanic significance of connection between the dimensions, of which we find trace in a wide number of other cultures across time and space as widely discussed in Pagan Traces with regard to the female keepers of everlasting fires and demiurges of good fortune in their societies.83 It is surely significant that this shamanic, demiurgic role revolving around the figure of the Grandmother, hence the archetype of the Ancestress, is a daily matter. Though a great portion of the social and personal wellbeing assigned to religion’s ability to answer to human needs is in the hands of male “inbetweeners” between human and divine, 84 the

I personally interviewed a 93 years old one near Yonging. See Appendix pics 31 and 32 p. 13 83 Cf Castaldi and Bohm, Pagan Traces, 2012, 27, 32, 50, 53, 91, 94 and appendix, 21-27 Other comparable Mulierum Societatis are the nineteen Irish Christian nuns of Saint Brigid, keepers of a secret fire which, like that of the Vestals, was never allowed to die to die out, 83 a cult of obvious pre-Christian origin perpetuated in Kildare until 1220 when the Bishop of Dublin forbid it as a survival of Pagan practices. Then there were semilegendary figures of the Amazons,83 connected to Diana’s cavalcades, and reminiscent also of the mythical Valkyrs of Norse myth; the German women’s secret societies called Fraubunden, in honour of Goddesses like Holla (and Berta)83 ; and the Gallisenae, Gallic priestesses who were nine “perpetual Virgins” (however they occasionally chose for themselves men as lovers) as described by Pomponius Mela and said to live on the island of Sena in the British sea.83 Then we have Ariadne’s (ari-agne, literally “the most virgin”) mythical cortege of, who is both a Virgin but also immortal bride of Dionysus, her paredro, who pushes women to abandon their houses and families to follow him on the mountains, curiously enough, not unlike Shiva 83 and, on a more individual Aphrodite, for whom women abandoned house and duties, as sung of in a poem by Sappho. Sappho, Frammenti. (Milano: Arnoldo Mondadori, 1996). (Castaldi and Bohm, Pagan Traces, 2012, Appendix, 21-22). 84 namely the Daba or Dongba (respectively in Na and Naxi culture) for more simple matters and of Lamas for matters of more complex significance, such as fatal illnesses or death 81 82

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) shamanistic role of everyday harmony is in the hands of the Dabus. On this simple daily harmony depends the order of Na society, which is in fact a reflection of family harmony. The everyday ritualized routine establishing such harmony is in the hands of women, particularly the eldest and supposedly wisest. Likewise in their hands is the matrilineal family structure that ensures no human members of Na society is left without stability, without food, without shelter and without affections. It must be observed that is this very absence of “orphans” and unloved elements in Na society that ensures the absence of violence and unhappiness, thus social order. Rather than discipline and vertical power, coming from authority, we assist here to a power coming from below in vision of equality, thus we could say, symbolically, from deep inside the bowels of the earth represented by motherly womb, which is to say by the Grandmother’s wisdom and love taking care that each and every one in her family is listened to and looked after. It is thus not mere idealization to enable the statement that in Na society power springs out of wisdom and love, as well as a deep sense of equality in family and society, in spite of the presence of what I would define as “kind hierarchies”. In fact who becomes the next Dabu is not necessarily the eldest daughter but rather the one who demonstrates to be more unselfish and to have at heart the wellbeing of all her siblings and close family members.

Mother law and the respect for “other” and nature It is easy to understand why the aforementioned Na traditional relationship with power as something sacred and deeply caring related to the motherly spiritual and emotional capacity of every human being to tend to the lives of others (not only of women but also of men and children), would respect the natural environment. The maternal clan has it as a forma mentis that of tending to the wellbeing of every form of life as it does towards every member of the maternal clan. It’s deeply rooted into these cultures of sharing as opposed to western individualism and inability to welcome the ‘alien’. It could be stated without hesitation from my life experience with the Na that they naturally have at heart the wellbeing of every form of life and they demonstrate it in rather extraordinary manners that differ greatly from my experiences as a researcher but also as a traveler in some forty countries of this wide planet. The care the Na have for every form of life it is something I only have seen in Mother-law based societies. In fact, in Na spiritual—hence social culture, as in Tibetan Buddhism, with which it is deeply intertwined in a complex spiritual-religious syncretism also involving Bon traditions,85 there is a deeply matriarchal view of the other as self. Every form of life is respected as a form of self, and of divine embodied into matter. As in the nearby Bai culture, with whom the Na share innumerable aspects, from myth to Cosmogenesis, to spiritual

cf. The Dongba Religion by Christine Mathieu and On the Na Daba Religion by Na Professor Lamu Gatusa Christine Mathieu, I was given privately as they were in towards the final drafts prior publication by Christine herself and Gattusa’s assistant, since I couldn’t find them elsewhere in our Chinese unversity’s library nor in any European one nor online for that matter.

Power, Rule and Social Order in a Society Without Fathers and Orphans I. Emma Borjigid Bohm tradition, everything old “enough” 86 is alive, everything has a spirit. Not only human beings and animals, not only the Lake, that is represented as part of Gammu herself, the Pregnant Sleeping Mountain, and not only the fire, and the wind, but also the Bridge, the womb-like Stupa and her steaming oven, the herbs donated to the oven, the old lanes that lead to the Stupa, or around the villages, the Altar to Zambalà, deity of the Fire. “Everything has God within”, as simply translated by my assistant, fluent translator and dear friend, Ms. Sadama Wang, who can’t either read or write for her family couldn’t afford sending her to school, but speaks English fluently after living in Lijiang with a non-native American couple for whom she worked as a teenager and from whom she was subsequently adopted for the seven years they spent together. In Sadama’s house, as future Dabu of her maternal Clan, I was immediately accepted as a member of the family already on my first days there in 2015 and hadn’t even made it to their house yet, when we had literally just met. This surpassed every expectation when I moved in with her family on my second trip to Lugu Lake in November 2016, ill and battered from a negative work experience in nearby Vietnam. On the first or second day I was already told that her home was my home too, and she explained as I had already heard from another Na woman, Ake Dama a year earlier, that in her culture no-one is left without family “even briefly” (to which she laughed loudly underlying the joke). Everyone “gets adopted by another who needs more people”. She warmly hugged me and said that my dogs would be welcome too if I wanted to bring them over. In the cold morning and evenings her mother pushed me to eat and would warm my hands in hers as they watched TV. In the morning her father would go fishing early or caught a bird to eat and then killed it in the garden, took of its feathers and cooked it in the wok or in a soup with vegetables. When we went to the fields to work, the women often sang, and my friend told me the Earth likes to hear the songs and laughter of the people more than She likes to hear their tears and grief. Sadama explained to me that they don’t take any life more than they need for food, and when it was the season of killing pigs, in early November, she suggested I could go for a walk, in virtue of the sensitivity westerners had previously displayed to such matters, and not knowing whether to treat me as a westerner or not given my hybrid cultural background. She then explained that they kill one pig only in the autumn, each ear it varies, for everything they do, in every aspect of life, is guided by the Daba, the holy man. Here I could open a long parenthesis in regard how certain linguistic details suggest that the Daba was originally a woman, but it would lead into an endless disquisition astray from the

Fieldwork with the last Na Seer and holy Woman who was enlightened by a “genderless” Living Buddha [neither man nor woman” were her words translated in Chinese by her daughter], in the country sides near Yonning, April 2015, October to December 2017, August-September 2018, March-April 2018, July-August 2018, mid-August to early-September 2019. It must be noted that when “fieldwork” shows in the notes concerning Na (Moso) and Bai people I was invariably adopted by the families in question and that I am describing experiences of anthropological investigation through direct participation, not through interview. I participated in all the activities of the family, and I lived and behaved abiding to their traditions both social and spiritual, as far as I was able to in consideration of the cultural and linguistic barrier. In fact, only young generations, under fifty for the most, speak Chinese and only three Na (Moso) I met spoke English. My Mandarin on the other hand is scarce and I can only have basic conversation and ask basic questions. I was however assisted by in translation by the three aforementioned English speaking Na interpreters. 86

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) purposes of this paper. Sadama explained that her whole small clan is fed one year by that and by the vegetables, potatoes and roots they share with the rest of the extended maternal clan of Grandmother and aunts. Her clan now in 2020 is made up of her mother, father, brother, spouse “of the walking marriage” and baby boy but five years ago when our friendship spark along with the project of a library in her home to reunite matriarchal studies and stories to read by the fire, she lived in a apparently mononuclear family with her parents and brother. The Grandmother’s house was too little to accommodate everyone. Another way in which the Na since early on expressed their respect for all forms of life, included humans outside their clan, is observable in the mentioned fact that everyone who is Na can stop in any Na household around the Lake and s/he will be given food and drink to honour the greater Spirit of their kin and kind. Yet this generosity culturally extends to strangers are celebrated as heavenly visitors. For instance, when I found myself invited into a the marriage of Luoushi’s Mayor’s daughter in March 2016, I was taken to the sacred room of the Dabu, that is held really as a sacred inner family space. There only the more intimate members of the maternal Clan can enter, even during a marriage, and in such circumstances only the elders. There the Mayor took me in and told me with my Han friend and interpreter that I was “a ray of sun breaking through the clouds of the heavens because in the olden day they held, the guests from afar arrived at a marriage or at a special occasions where seen as a holy sign from the Gods to bring extraordinary fortune and happiness to that marriage”.87 Then I was explained every Elder would come to honor me by drinking to my happiness (Timba-jackà,88 literally “to your happiness”). I was instructed I should get up for each member coming to salute me and drink the tiny glass of beer in one go, to show my truthfulness, by essentially getting absolutely drunk with them, a radical sharing of body and heart that of eating and drinking, which a respectful guest ought to accept. They each came in turn starting from the Dabu and followed by the eldest woman after, her. These absolute strangers and revered elder members of the maternal Clan at the lead of the village, in the heart and souls of their generous spiritual tradition, tapped their glasses against mine slightly lower or evenly to the tip of my own, as a symbolical sign of equality, and as “to bless the gift of the Gods who had sent a stranger with golden hair from oversea”, to use the Mayor’s poetic expressions. This is a true sign of matrifocal societies, the respect for the stranger as a messenger of the Gods or a God in disguise as human which was typical in ancient Greece but also found parallels in Ireland, in the respects and gifts of every kind that sacral Kings and Queens of the land gave to beggars who told them they were Queens who lost their reigns and demanded particular gifts upon their casual meeting. The Na respect for the sacred Guest went as far as allowing me to drink only a sip of beer for each Elder rather than an entire little glass, accepting I’m not used to drinking, which is

Luoushi, March 2016. My own transcript. Na (Mo-so) language doesn’t have a written form. There was an attempt to turn into a transcript by a non-profit association in the area but the work remained uncompleted and when I analysed it I didn’t have enough linguistic experience on the matter to grasp its coherency so I was allowed to use my own phonetic transcript based on the different Sichuan and Yunnan dialects of the same language. 88

Power, Rule and Social Order in a Society Without Fathers and Orphans I. Emma Borjigid Bohm normally seen as something deeply insincere in most parts of China I have visited except Xinjiang. Turning now from the respect for ‘Other’ in human form, I have observed this respect extends to animals and to the natural elements. In fact the Na tend to leave cats and dogs free to wander quite happily in the villages e.g. Luoshui落水, the main touristic village with more cars, people with cars are careful about the animals in the streets, and dogs and cats are fed by the villages’ community as a whole when they are not owned, which is still generally uncommon. Sometimes a restaurant will give them food remains, sometimes the food shop’s owners. This behavior doesn’t resemble that of the Naxi and Han Chinese of the Yunnan countryside, (including the Lugu Hu area). While the first are starting to develop a petculture borrowed from the West but still have rather horrific practices against animals, the latters, I found, only kill animals for food and can often be entirely unsympathetic with their animals they keep. Mostly they tend to dogs in small cages or tied to chains all day and night long “for protection from thieves”, 89 just to have them bark at every stranger as thieves are most uncommon. In truthfulness in the long periods I spent living closely with these peoples for several weeks and months every year, more than six and seven months a year, I have never heard of a theft— nor witnessed to a fight for that matter; neither amongst the Na (Mo-so), nor amongst all neighboring populations, such as the Yi, the Pumi, the Tibetans, the Norzu, the Na Naxi and the Bai. These local ethnic minorities, in spite of their varying relationships to the animal kingdom, which, if edible, is often found splattered in blood in the kitchens and hanging dry in the traditional courtyards of the houses, tend to be quite careful towards the natural surroundings and to treat it as something of the holy or even heavenly nature. For instance, during a walk under the stars with two Han friends in the forests near Luoushi by the sacred Mother Lake, we stumbled in the dark across two Yi women who lived in a hut hidden by the trees paid by the local government 800 RMB a month to look after the forest and the waters. Soon the five of us were chatting, laughing, sharing some food I made, some bread they made, some kind of hot slightly sweet wine, hot jasmine tea, a rarity, and sharing the songs of our lands and cultures. They then wanted to dress in their traditional clothes to show us these incredible textiles, and toward the end of the evening, when it was starting to be kind of late, they whispered something in Mandarin to my friends about the magical waters of the Lake, which wasn’t clearly translated to me, as an aura of mystery pervaded the conversation and the sudden silence. One of the women went to collect the water while the other entertained us and then gave us the water to drink cold as good as spring water. I didn’t want to drink it un-boiled (even though it’s no longer allowed to swim in the sacred lake) but did so out of respect for the way in which it was offered, as something sacred and

Words repeatedly heard from the villagers whom I prayed to free the cats and dogs, promising to teach them how to train them

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) almost of magical nature as I understood it, that would heal my body and soul, and “be good for me in everything”.90 Similar perception of the sacred in Nature are found amongst the sister ethnic group of the Na, the Bai, in the Shaxi areas, still in Yunnan, a few hundred km. south of Lijiang. There lies a sacred mountain, Shibaoshan, with grottoes of Buddhas and Bodhisattvas. The eighth Grotto, towards the edge of the mountain hosted the final part of a mourning ritual later described briefly. The grotto represents a Vulva and is worshipped by the pregnant women and those who wish to become mothers, though a local woman Shaman suggested this in ancient times didn’t concern simply physical motherhood, without explaining further but letting me reflect on the motherly ways in which these people treat, or used to treat life traditionally, as sacred manifested. Next to the Vulva Grotto, is Guanyin worshipped by all.91 I was exceptionally lucky at the time, when death hit my family, I found myself hosted in this beautiful temple for a week by Wuyunxin,92 the chief guardian of the Temple. He invited me to a farewell ritual held in honor of my recently deceased family members, where an old holy woman and Shaman of the nearby village (Duanjiadeng) performed a traditional ritual with and for me, to let the two souls of the deceased depart in peace and free from sorrow, that as in many other esoteric traditions is believed to hold back the souls of the beloved from finding their ways, both living or dead. Here I received one of the greatest examples of divine honored in every form of life. She and her two assistants, two other old women, made gifts and clothes of papers, for all the wandering spirits alive in the ether around us, and for all the Gods of the directions, for the rivers, for the sky, of the winds, of the mountains, of the trees, of the bridge, of all the nearby roads named one by one, because everything is holy to them and everything needs to be mentioned and included to give its alliance. She then told me to go out to call my sister’s name for she didn’t know how to pronounce it, and she told me to wait for the spirit of the animals to come to me. I followed her advice trustfully, respectful of the wisdom of her to me unknown tradition. When I called my sister’s name part of a herd of cows from the field directly opposite to Duanjiadeng mountain temple, came out ‘mooing’ quite wildly at me all of a sudden, until the whole herd was out in the mountain lane running towards the fields down below. The shaman’s assistants run to get me back into the temple and the shaman informed me through my Bai friend and English/French-speaking interpreter that these animals were closer to my sister now. This fact reveals therefore the presence, at present

Mandarin to English translation of Yusong, a 20-year-old student from成都, Chéngdū) who studied finance but was an expert of老子, Lǎozǐ, declaimed Nietzsche and spoke English fluently. 91 Goddess of mercy, described both as agendered and as hermaphrodite by the Bai. The story of her in Shaxi goes along the lines of a roofless beggar who told people She was the Goddess of compassion, and was not believed, until one day a woman asked her to show her how and the Beggar opened the door of her heart, where a golden Buddha (now stolen from the temple) was found by the people praying in Communion with all beings. This again reminds of the respect in this areas for every form of life, resembling the Hindu concept of Samadhi. 92 Whose family also took me in the months of October and November of 2018 at their beautiful Old Theatre Guest House. 90

Power, Rule and Social Order in a Society Without Fathers and Orphans I. Emma Borjigid Bohm only residual, of a pre-existent “totemic” culture,93 which reflects in the animals associations of their Gods; as well as still quite present animism. Both aspects show parallels with the Na both of the Sichuan and Yunnan side of Lugu Hu. I can but remember at this regard, how the Na last Shaman in fact, who has remained a dear friend since my first longer visits told me through her daughter who speaks Mandarin and has a mobile phone, to remember to burn something, to burn in the fire that belongs to her, “for the Fire will rise her to the Lands of the Ancestors and the spirits of her animals will take her home there and release both of us from the sorrow”. 94 Furthermore Gammu, the Great Mother of Na people is a Lioness, as it is the Holy Mountain of which her very body is believed to be made. There are further, several, fantastical legends Na people have shared with me, of tragic divine loves between Goddesses and Gods in which they would turn into animals or be in the company of animals, as well as tales of Cosmogenesis, such as that connected to the fish that continued re-growing alive and whole every time it would be eaten, not unlike the Dagda’s Cauldron of Celtic myth, from which no-one left unreplenished or hungry, and able to heal every wound, bringing even the dead back to life. 95 Here again, both the fish and the Cauldrons are a symbol of the Mother generative organs and of the woman’s capacity to nourish and heal with her power as described above ‘a loving potency’. Both the Na fish coming back to life after sustaining life through its own flesh, and the Celtic Cauldron96 is on the other hand also a reference to immortal Great Mother, as well as to the belief in transmigration and of the Ancestors and Ancestresses in particular returning to their original land in human form as keepers and revivers her sacred traditions, such as the Dabu themselves, that may well be considered a Na equivalent of the Celtic Goddesses or Ladies of the Land. This is to say in conclusion, that the spiritual and religious views upon questions of power and authority seen as loving care of service and sacrifice for the good of the community and the whole is to be seen as the historical root for the unusual respect for every form of life that the Na still today show towards life as something that can be honored only by sharing and inclusion.

Conclusions In a society with no underlying social reason for unhappiness, since the concept of exclusion/alienation is absent and the identity of belonging together reigns, social ‘order’ is a clear consequence and that ‘rule’ is simply what allows matrilineal tradition to endure and maintain the old ways, which have kept the harmony of such a special ethnic group through

See Castaldi and Bohm, Pagan Traces, chap.1 “The Internal and External Familiar Spirit” with regard to the transversal spread of “totemism”. 94 Wechat message, early December 2018. 95 Cf. Castaldi & Bohm, Pagan Traces, chap. 2 “Shape Shifting”. 96 Both my research projects will show stunning parallels between the proto-Celt and the Na, which points to a shared ancestral genetic connection to the Scythians and Proto-Scythian of the Silk Road, who descended also in this south western strands of the Silk Road that was the territory of today Yunnan. 93

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) the centuries. It is true however that as globalization takes over and traditional marriage is imposed to couples in order to be able to enroll children in public schools, Na society is gradually abandoning some of the most fundamental traditions revolving around the matrifocal families/matrilineal descent, and we assist to a slowly increasing number of romantic couples that are starting to live together taking over this structure. It is not possible for now to state if the family affections’ related balance ensuring social order so far will be left intact by the new ways, nor if such order will last after contemporary Dabus will pass away. In other words, it is impossible to know if their daughters will bring on the matrilineal tradition or abandon it, and what the latter possibility might cause on a psychological thus social level to the new generation. This surely part of a much more complex number of issues that cannot be discussed within the small scope of this paper.

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Power, Rule and Social Order in a Society Without Fathers and Orphans I. Emma Borjigid Bohm Rhys, John. Lectures on the Origin and Growth of Religion as Illustrated by Celtic Heathendom. Forgotten Books, accessed May 19, 2011, available at ForgottenBooks.com Rozwadowski Andrzej, “Did Shamans always play the drum| Tracking down prehistoric shamanism in Central Asia”. (Poznan ́, PL: Institute of Eastern Studies: Adam Mickiewicz University) 279, 280. Rozwadowski, Andrzej “Historic and Proto-Historic Shamanic Rock Art in Siberia: A View from the Altai”, January 2015, Based on the Research Project Dec.2011/01/B/Hs3/02140 “Prehistory of the Siberian Shamanism from the Perspective of Rock Art Symbolism and Dynamics of the Tradition” funded by the National Science Centre (Narodowe Centrum Nauki, Poland), 189. Accessed on October 7, 2017. www.researchgate.com Rozwadowski, Andrzej. ‘Rock Art in Central Asia: History, Recent Developments and New Directions’ in Rock Art Studies: News of The World Iv. (Oxbow Books). Published in January 2015. P.151. Accessed September 20, 2017. https://www.researchgate.Net/Publication/294721540 Schaefer, Carol. Foreword by Winona La Duke. Grandmothers Counsel the World. Boston: Trumpeter Books, 2006. & online version: Accessed on September 21, 2017. https://books.google.ro/books?id=CsYW23YkaSgC&pg=PT53&lpg=PT53&dq=dr um+womb+symbol&source=bl&ots=WJQLONDj3a&sig=JnWEJbF48duSY_FBz8 f9J1_Aq20&hl=en&sa=X&ved=0ahUKEwi2_aqmyo7XAhXCnpQKHf92D7QQ6 AEIPjAI# v=onepage&q=drum%20womb%20symbol&f=false Stein, Jean ed. 541 “Genes Peoples and Languages an Interview with Luca Cavalli- Sforza” by Benjamin Anastas. Proc. Natl. Acad. Sci. USA, Vol.94, pp.7719-7724, July 1997, Colloquium Paper. Tedoldi D., L’Albero della Musica, (Milano: Anima Ed.), 2006. Tonchia, Teresa. Al di là del tempo. Percorsi simbolici sull'eterno femminile. Milano: Associazione Culturale Mimesis, 2003. Toynbee, Arnold and Dorothea Grace Somervell. A Study Of History. (New York, Oxford: Oxford University Press, 1974) Vol. V:140 & Xi: Map 21b. Urban, Greg. Metaculture: How culture moves through the world. (Minneapolis, MN: University of Minnesota Press), 2001. Www.China.Org. Accessed On May 30, 2017 Wade, Nicholas. New York Times, March 15, 2010 /www.nytimes.com Weiner, James F. The Lost Drum: The Myth of Sexuality in Papua New Guinea and Beyond. Wisconsis: University of Wisconsis Press, 1995. Weiner, James F. The Lost Drum: The Myth of Sexuality in Papua New Guinea and Beyond. Wisconsin: University of Wisconsin Press, 1995. Wiora W. The Four Ages of Music. W.W. Norton, University of Michigan, 1965. Young, Ella. Wondrous Celtic Tales. Dublin: Maunsel & company, 1910. Zucca, Michela. Storia Delle Donne. (Milano: Edizioni Giuridiche Simone,2010) Zucca, Michela. Tatuaggi Della Dea, (Milano: Venxia 2016) 69

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages)

Kazakh Literature Bakhtygul Makhanbetova International literary agent, Almaty , Kazakhstan kzonlyenglish@gmail.com

Kazakh Literature Bakhtygul Makhanbetova

Kazakh Literature

Hello, I am Bakhtygul Makhanbetova, an international literary agent from Kazakhstan. Thank you very much for this chance to talk about Kazakh Literature and national values of the Kazakhs. This year, the 131-st studying period (1889-2020) of Abai researchers noted in Kazakhstan. The Kazakhs are very proud of Abai Kunanbayuly. Despite the fact that pandemic time has made big changes in the celebration program of the 175th anniversary of a well-known Kazakh poet, a great thinker, a composer, a philosopher, the founder of written Kazakh literature, and its first classic, we have been keeping on promoting Abai’s thoughts within the country and abroad. I consider, Abai is unique with his specific peculiarities as a coach and tutor of all humans and the ideas of the group of Abaeologists help us accept him more confidently. He deserves to distinguish him among the world celebrities found in one line. While surveying the long discovery thoughts on Abai’s works, I have found out huge revolutionary attempts to portrait him as a phenomenon. Obviously, there are many fruitful results of Abaeologists. I have been reading several new research books by one of the main Abaeologists, Mekemtas Myrzakhmet. The book I have chosen to tell you is full of awesome details that let you accept Abai easily with the right keys to his philosophy. It is great to take into consideration the facts from the research work of Professor Mekemtas Myrzakhmet “Doctrine of Abai “The Holistic Man”. Owing to the list of serious resources of his work, you make sure; the Kazakh people are the representatives of the Old Turkic culture. We are descendants of the Saks. From Herodotus’s saying, the world history tells us about the Skiffs’ monotheistic nature before the holy religions appear in the history. Therefore, the ancestors from the early history period believed in the Great Power. So said, there mentioned the old history of the Turkic humanistic portrait of a perfect man “Kamili insoni” based on six unique doctrines. First, it is connected with the name of Alp Er Tonga by Turkish or Afrosiyob by Persian (VII century BC) and his “Ahi or Generosity Doctrine”. Then comes Al –Farabi’s “Intellectual Man Doctrine” (X century) based on his “Kind city dwellers” (12 best features of a state ruler). Third, Zhusup Balasaguni’s “Generosity Doctrine” (XI century) based on “Qutadgu bilik” with four heroes’ dialogues (Fair, Wisdom, Wealth, and Kindness) that show us a model of having good features in one person. Fourth, Khoja Ahmet Yassawi’s “Divan -i Hikmet” – “Book of wisdom” (XII – XIII centuries) based on Laduni science as “Hael ilimi” that is open for a certain group of strong intellectual people as they are called “Sufis” to understand the importance of the spiritual treasure that lets you get closer to the Creator. Fifth, in the XIX – XX centuries appeared “Holistic man” Doctrine by Abai that opens unique features of a human like hot efforts, radiant mind, and warm heart that based on the main loves to God, Humanity, and Justice. Sixth, “Science of conscience” by Shakerim (the

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) beginning of XX century) proves that conscientiousness, justice, and kindness in a man form conscience. It is the food of the spirits. If you lead by radiant mind, your heart does not darken and harden. Cold minded people never think of the future of the world safety as they know well only destroying ways of the Humanity and the Earth. So said people of the Turkic nation must be born to follow the ideas beginning with Alp Er Tonga and ending with Shakerim’s. It is essential to tell the world about the importance of the six doctrines of the Turkic world that can be a perfect model of humanism in the world. The specific peculiarity of the existence of the Turkic nation based on strong doctrines followed systematically one by one. Mekemtas Myrzakhmet finds out, the more developed last two ones are the best doctrines perfectly suit the concept of "Great consciousness" discovered by quantum physicists in present days. It is important to say, Mukhtar Auezov is the first researcher of Abai. The writer’s novel – epic “The paths of Abai” translated into more than 130 languages, opened the world the features of a great Kazakh poet, and reformer, Abai Kunanbayuly. It is hopeful that a young prospective Abaeologist, Akniet Ozatuly started to research Abai in his work “Millenniums’ Abai”. It shows his extraordinary efforts to introduce the world of Abai from his own points of view. The most important researcher, who did a lot to open the treasures of Al-Farabi to the world, is Professor Akjan Al -Mashani. The biggest scientist, geologist and writer, Akjan Al Mashani contributed properly into the researching world as #1 Farabiologist. He is the author of the first historic novel “Al –Farabi”. He left a very valuable research work “AlFarabi and Abai”. In fiction, we can also name Anuar Alimjanov. He is a classical writer, the author of the novel” The return of a teacher” about Al-Farabi. Therefore, I am very happy to keep on stressing out further, great feelings from the poetry world of a popular Kazakh poet, Mukhtar Shakhanov. I would like to accent on the main idea of his poem about Four Mothers - “Every man has four mothers except the one who gives a birth to him. The homeland, your native place is your origin, and your glory. The mother tongue, your native language is the treasure you cannot sell. Native customs and traditions keep your generations safe and blessed. Your native history though it is full of pages of tragedy and bitter truth, helps to maintain the national code. If you are unable to care about the mother who gives you a birth, then you are unable to value four others.” Perfectly said, I hope, you will agree with the poet. However, the number of mankurts and kozkamans, people without four mothers, is being increased everywhere. It is a horrible fact. Because of the past policy of having one soviet nation in the USSR, more than 100 nations lost their national identity, spiritual values, national traditions, and stopped existence by the collapse of the empire. We know, some writers felt its consequences and they tried to warn the public even during the soviet period. The novel “Kuyshi” by Abish Kekilbayev, written in the sixties of the XX century, presented the history of the mankurts. Spiritual mankurts or kozkamans appeared in 72

Kazakh Literature Bakhtygul Makhanbetova the eighties in the novel “The stormy station” by Shyngyz Aitmatov showed us more developed mankurts. Academician Rakhmankul Berdybay defines; mankurts are people who have lost their roots, and kozkamans – enemies who intentionally attack on the independence of a nation. Professor Dandai Yskak features Abish's mankurts subjected to violence and torture by the hands of the enemy and they are not as horrible as another type of mankurts. If I mention a novel - myth by Oralkhan Bokei, it is the portrait of almost lost nation of the totalitarian system. He tells readers how the spiritual weakened humans try to cope with the meaningless lives and how the society members become less responsible and crueler during the period of globalization by the examples of bees in his work. Brilliant works connected with the national cultural values by Akseleu Seidimbek is a unique contribution into the Kazakh Culture Treasure. The Kazakh Mythologies properly identified in the research works of a great scientist Serikbol Kondybay and all his books keep specific Turkish distinctions and the detailed study of the cultural themes. The period of Kazakh history from the XV century to the middle of XIX century is full of tragic events. During the soviet period, the first Kazakh writer presented it strongly in the trilogy “The Nomads”. It was Ilyas Esenberlin. The steppe where Abai was born became the territory of nuclear weapon testing during the soviet period and that took hundreds of the Kazakh people’s lives. A well-known classical writer, Medeu Sarseke is a living witness describing all those horrible events in his documentary novel. The remarkable authors, Rakhymjan Otarbayev, Kajygaly Mukhanbetkaliyev, and Mukhtar Maghauin tried to open the eyes of the people to the true pages of the Kazakh History. They paid a big respect to the national heroes who sacrificed their lives for the sake of the nation in their works. The years of Independence in Kazakhstan made a group of intellectual people think hard about the future of the country. Professor Orazaly Sabden by studying Abai and other great figures suggests one essential idea that can change the situations in the whole world. He defines the steps of the programs in his book about Abai, future of Kazakhstan, and World Civilization and points to the solutions of the issues based on his own points of views. A young representative of Kazakh literature, critic and Alasheologist, Eldos Toktarbai is sure that mentor Abai through his mental world helps human to work out their own personality drawbacks. Eldos finds Literature, that it is not an instrument of upbringing. It is a part of culture, from which you need to get pleasure and recognition. In present days, the group of young Alasheologists’ efforts reiterate the directions of the most valuable contributors into the Kazakh culture of the beginning of the XX century like Alikhan 73

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) Bokeikhanov, Akhmet Baitursynov, Magzhan Zhumabayev, Mirjakyp Dulatov, Jusipbek Aimauitov, Smagul Saduaqasov, Mukhtar Auezov and other Alash leaders. Recently, Serik Aksunkaruly represented his famous poem “20 episodes of the XX century” with his absolutely bizarre editing as Abai had already predicted all pains the humans feel through the time and found at least himself inside the world of Abai. “The Question Mark”, a long poem consists of big nine parts, appeared during the first months of pandemic period by a talented poet, Galym Jailybai. “Mankind is facing the End Times! “, says the author. Man, who has risen to the heights of civilization and reached the limit of scientific and technological progress, who has lost his human nature found in the Four Books of Heaven, who has turned out as a social animal, is now wondering how he will answer these questions. A man’s life is full of achievements and successes, while he does make many mistakes and commit many sins in his life to cope with his deeds. Tynymbai Nurmaganbetov, Kuandyk Tumenbai, Turysbek Sauketai, Yerbolat Abiken presents natural portraits of the heroes in the works with a sarcasm and humor. You can see mostly inhuman behavior of the heroes as the society stays without any national ideology. Saule Doszhan visited the nuclear weapon tested region; talked to local people while preparing her books, based on realistic events happened in the last decades of the XX century and the years of the Independence of today’s Kazakhstan. She tells us about the life story of a brave woman who could overcome all her life difficulties as the victim of Semipalatinsk nuclear weapon tests, a survivor of the first Independent State period, and a winner of her fate in her duology “Tragedy and Fate” and “Unbroken Hope”. Very strong ideas based on the truth and sincere feelings in the works of talented writers, Aigul Kemelbayeva and Ayagul Mantai can make you think deeper about the meaning of life. Their fans are always sure about the purity of their works and believe in the big literary successes of their favorite authors. Torgyn Zholdasbekkyzy, a young writer, leads you to understand the importance of your life as a human. She describes her own struggles with her incurable disease. You will be pleased with her mastering how well she could create her disease as a live hero in her novel. One more idea around literary contests in the country is full of paradoxical pictures. Some contests held once and no ideas found after. The poetry contest dedicated to Abai’s 175th anniversary announced its winners list. One of the winners of this project, a popular writer, poet, and composer, Israil Saparbai shared his feelings about his nominated poems “The origins of Faith Flower” interconnected with Abai’s “Holistic man” doctrine (38th word) and stressed that it is hard work to get the philosophy of a savior of the humans. Ularbek Nurgalymuly, a talented poet and literary critic, is pleased with the presence of different literary contests in the country in present days, but he does not agree with the age limits of 74

Kazakh Literature Bakhtygul Makhanbetova participation into some literary events. Nevertheless, in general, the authors usually accepted by the readers, win their love and get their big interests to their books. From the history, we know that, great Abai introduced his own poetry and the masterpieces of the Russian and European authors through his melodies and translation even in the XIX century. Nowadays, we are proud of one promising young popstar; Dimash Qudaibergen has made the world learn the Kazakh language through his songs recently. Owing to the history of the influence by Soviet Russia, we distinguish the Kazakh society as Kazakh speaking and Russian speaking. Some Russian speaking/writing authors from Kazakhstan become popular in Europe and the USA, thanks to their extraordinary literary nature like Danyar Sugralinov, Aigerim Taji, Zira Naurzbayeva, Lilya Kalaus and Oral Arukenova. The freelance nomad travel writer, Madi Raimov is a popular author in the country. His second book of his Georgian travel stories is going to be published soon. A popular bilingual author, Bayangaly Alimjanov presents his works in Kazakh and Russian languages as he finds himself in prose for adults and children, poetry and playwriting, screenwriting and producing. One admiring thing, a former Russian speaking Kazakh, Kanat Tasybekov has prepared a unique program based on Situational Kazakh. Hundreds of people improve the speaking skills by attending his weekly language clubs. Some sad things if I mention, it may show a picture slightly in the country. I do not think keeping the position of the Kazakh translator is the solution of the governing structure and business. Another issue with the change of Cyrillic to Latin to form a new Kazakh Alphabet that has been lasting for 25 years of discussions. Only a few authors are pleased with the fact that their books published by the support of the government and sent to the libraries. Kazakh writers do not get royalties, at the same time buyers do not find their favorite books in the bookshops where dominated literature in Russian. The solution I can see here only to reform the mechanism that starts to work out those drawbacks. In conclusion, I would like to say that all we need to care about is to value our human features and behave like humans when our hearts beat thanks to God. Moreover, we need to respect everyone who can share their valuable thoughts through their books. God gifts you and your duty is to pass it to others, otherwise, it will hurt you inside. Any creation is a complicated process as if you give a birth to your child. It is an honor for me to share these thoughts here. Thank you for your attention!

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages)

Cultural Heritage Promotion Through Art Lidia Drozdova Art-manager and art-journalist lidadrozdova@mail.ru

Cultural Heritage Promotion Through Art Lidia Drozdova

Cultural Heritage Promotion Through Art Mr. Suat Irfan Gunsel - the Founder of the world's only Turkic-speaking countries Contemporary Art Museum, the director and the main sponsor of its construction. A native of Cyprus, a prominent businessman, a true patriot of his country, a generous owner of the grandiose project.

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) Central Museum layout The symposium, which has no equal in the world in terms of the scale and implementation, is now becoming known to the whole world. Here a museum is being built, which will have an area of 2000 square meters, beautiful in its architecture with a huge transparent dome crowned with flags of 14 Turkic-speaking countries.

The symposium is being held at the Middle East University in Levkosh. Mr. Suat Bay Gunsel is the founder and rector of this educational institution, where students from more than 120 countries of the world study. It is here that the workshops of artists and sculptors are located.

Cultural Heritage Promotion Through Art Lidia Drozdova The Construction of the Central Museum of Contemporary Art is still ongoing.

On the right is founder's main assistant, translator of the Cyprus Museum and Symposium, Nargiza Reyimova from Azerbaijan. All the artists at the symposium loved her.

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) Orazbek Esenbayev (famous artist - sculptor from Almaty, Kazakhstan) received the first and only Gold Medal at the Cypriot symposium.

The large painting by Orazbek Yesenbayev, 10 meters long, is painted with a pen.

Fragments of works, artist Yesenbaev Orazbek, artist from Almaty, Kazakhstan.

Cultural Heritage Promotion Through Art Lidia Drozdova

Artists quarantined during the Pandemic era at the Cypriot Symposium. Artists from Kazakhstan, Uzbekistan, Tajikistan, Russia, Kyrgyzstan, Ukraine, etc. were stuck in quarantine.

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) Kazakhstan artists paint their artworks in the studio. at the symposium, common creativity brought together artists from different countries.

The young talented artist Anatoly Drozdov from Kazakhstan, Almaty city, surprised all Cypriots with his modern paintings dedicated to women.

Cultural Heritage Promotion Through Art Lidia Drozdova Drozdov Anatoly received two awards: Silver Key and an Award named after Dogdurbek.

Botagoz Tolesh near her artwork, a talented artist from Nur-Sultan, Kazakhstan.

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) Painting "Kara Zhorga" oil on canvas 210x300, Author Nurbek Zhardemov, the artist from Uralsk, Kazakhstan.

Manarbek Davletyarov, artist from Atyrau, Kazakhstan.

Cultural Heritage Promotion Through Art Lidia Drozdova An artist from Kazakhstan, Nur-Sultan, Amanat Nazarkul near his 5-meter painting.

Painting "The Wolf", artist Abduakhat Muratbaev, from Shymkent, Kazakhstan.

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) Artwork "Turkish Hamam", oil on canvas 300x630. Author Lidiya Drozdova, from Almaty, Kazakhstan. The size of the painting is 3 meters high, length -6 meters. The picture was painted by her in 4 months. The composition contains 50 figures.

The creative process over the second painting ''Turkish Hammam'' author Lidiya Drozdova.

Cultural Heritage Promotion Through Art Lidia Drozdova Painter Lidiya Drozdova in the process of writing the fourth huge painting "Turkish Hamam".

A talented painter from Tashkent, Uzbekistan, Muradzhon Urmanov near his painting.

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) Sculptor from Almaty, Kazakhstan, Shokan Tolesh near his work.

Sculptor from Kyrgyzstan Kutman Rasulov. Artwork "Morning".

Cultural Heritage Promotion Through Art Lidia Drozdova A talented sculptor from Kyrgyzstan Naziridin Mamatnabi Uulu.

sculptor Naziridin Mamatnabi Uulu. Sculpture "Saxophonist".

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) An artwork by a sculptor from Kyrgyzstan Andabek Uulu Omurbek ('' A Girl Combing Her Hair '').

Creative work of a painter from Almaty, Kazakhstan Aydos Seydakul.

Cultural Heritage Promotion Through Art Lidia Drozdova Rakhat Saparalieva - a talented painter from Taraz, Kazakhstan.

Talented artists from Uzbekistan, Tashkent, Farrukh Akhmataliev and Mirvohid Mirsaidov.

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) One of the paintings of Farrukh Akhmataliev.

A painter from Bishkek, Kyrgyzstan, Almaz Sharshekeyev. Presentation of the Silver Key award from Suat Irfan Gunsel.

Artists from Kazakhstan in the workshop. Alexey Utkin, Anatoly Drozdov and Igor Gushchin.

Cultural Heritage Promotion Through Art Lidia Drozdova

Such a creative process was every day at the symposium. Artists painted their canvases from morning to evening. Artists Utkin Alexey and Drozdov Anatoly. (Kazakhstan)

ALECLA 2020 – The 3rd Annual Lecture on Exile in Comparative Literature and the Arts (IDIL 2022-2032 – International Decade of Indigenous Languages) Artists from different countries at the exhibition.

At the symposium, artists were united by a thirst for creativity and a love of art (artists: Yerlan Nazarkul, Lidiya Drozdova, Igor Gushchin, at the center, artists-professors from Cyprus K. Husnu Can Baser and Murad Allahverdiyev).

Cultural Heritage Promotion Through Art Lidia Drozdova All Kazakhstan artists are grateful to the brilliant leader of the Cypriot symposium, Mr. Suat Irfan Gunsel, for the gorgeous opportunity to create artworks in comfortable conditions. We are grateful for the vast experience of joint cooperation in a special energetic aura, which caused admiration and delight. 191 artists from Kazakhstan attended the symposium. And I am proud that the works of artists and sculptors of Kazakhstan were a great success!

FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages)

FECH 2020 – The 3 rd Festival of the Endangered Cultural Heritage

Azam Abidov, Tashkent, Uzbekistan .................................................................... 97 Bayangali Alimzhanov-Баянгали Алимжанов, Nur-Sultan, Kazakhstan ........... 102 Kökböri Mübarak Qïzatulı-Көкбөрі Мүбарак Қизатұлы, Almaty, Kazakhstan . 108 Lenar Shaekh-Ленар Шаех, Kazan, Tatarstan ................................................... 113 Munaydar Balmolda-Мұнайдар Балмолда, Oral, Kazakhstan ......................... 122 Sagyn Berkinalieva-Сагын Беркиналиева, Bishkek, Kyrgyzstan ....................... 127 Yusuke Miyake, Tokyo, Japan ............................................................................ 130 Yusuke Miyake & Daniela Varvara, Tokyo, Japan & Corbu, jud. Constanta, Romania ............................................................................................................. 133

Azam Abidov Tashkent, Uzbekistan

Azam Abidov Tashkent, Uzbekistan AZAM ABIDOV (Aazam Abidov, A’zam Obid), poet, translator, short short story writer, cultural adviser, was born on November 8, 1974 in Namangan, city of flowers, Uzbekistan. He trained in philology. He has several books of poetry and translation to his credit, including Tunes of Asia (English translation of contemporary Uzbek poetry), The Island of Anxiety (poems in Uzbek, English and Spanish), Dream of Lightsome Dawns, A Miracle Is On the Way and I Leave You in Complete Boredom. He also translated some ghazals and epic poem (‘Farhod and Shirin’) by Alisher Navoi, father of Uzbek poetry, into English. Azam also translated novels and short stories by famous Uzbek writers such as Erkin A’zam, Evril Turon and Salomat Vafo into English. Azam’s poems have been translated into more than 20 languages and published worldwide. He was a Creative Writing Fellow at the University of Iowa in the U.S. (2004) and a writer-in-residence at LCB in Berlin (2017). He attended poetry festivals, creative writing workshops and cultural events in over 20 countries. In collaboration with Uzbek poet Bahrom Ruzimuhammad, Azam compiled two international poetry anthologies, Fish and Snake and The Language of the Birds, involving hundreds of contemporary poets from around the world. He is also a World Poetry Movement’s coordinator of poetry events in Uzbekistan, and one of the founders of Maysara literary and cultural club at the Yudakov and Oybek House-Museums in Tashkent. In 2018, Azam launched the first-ever Writer/Artist Residency Program in Uzbekistan for foreign authors and artists (http://azamabidov.uz/?cat=29). Azam lives in Tashkent, Uzbekistan.

I wish I were gigantic (I dedicate this poem to all innocent people killed and living in conflict zones, including in Nagorno-Karabakh.) I wish I were gigantic, Those who launch a war Don’t tell me you are leading, You laugh, You watch, Ignore, You keep my soul bleeding. I wish I were gigantic, As big as Planet Earth, I ain’t romantic, I’m antique, 97

FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages) I’ve not sense of self-worth. I let you call me villain And stop my heavy breath. So choke me! Then I fill in With my body Planet Death! I wish I were gigantic, Comes after me Full Bliss, I leave the world sans panic, Sympathetic and in Peace! I wish I were gigantic!

Oh, my blossoming soul My strength is enough to shed tears from my eyes, I tie up chains to my hands, I always drink love And eat love-pricks with great pleasure. To our life that is mournful and brilliant Phoenix comes asking refuge We fly and to our wings The sky comes near and near. I don’t care of my body, Oh, my blossoming soul is the capital of my spirit. In the slum which is unseen and full of love A pregnant Happiness bears a child.

There is a bird I was told, that I’m a bird, All the seasons fit me. To know myself never I could, To fly around wings to be. However, do not sing for me, So much of eulogy, don’t arrange. There’s such a bird, you set it free, But it flies back to the cage. Please never say I’m like that bird! 98

Azam Abidov Tashkent, Uzbekistan

Gabriel, touch me gently… (Ghazal) Gabriel, touch me gently with your wings, Oh, my gracious - from the backstage - woe stings. Graves are either gardens of endless delight Or deep holes of the hell, where Evil flings. I want to be a spot in hairs of the camel, Like a leaf my life in windy weather swings. The task of time is killing of all lavish gifts, It never comes anew – life’s chimes – it never rings. Among the dead, be the most attractive, Aazam, As Solomon is the best of all earthy kings!

I am clay I am clay – Liquid and weak. I have neither tongue Nor mouth, to speak. Everyone likes To make some figure From me, To make a shape. I am clay – Liquid and weak. I always go Through palms. I leak… I leak…

FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages)

Too long We strive to go to rich countries send our husbands and wives they do hard work or sell themselves The other people in this country have luxurious weddings from the sent money and sing a song of happiness We all work for the government The tongue of the government is too long.

A bat and a man A bat could smile, Bear a child and breastfeed and also menstruate. The bat really wanted to laugh and weep like a human being. So the bat summoned a man In a market fair For a feast And have an affair. The bat treated the man With a piece of her flesh. And now The bat knows how to laugh and weep. Her laughing sounds Like a mourning Her weeping sounds Like a laughter And is heard and spread All over the world. The cursed friendship Sparkles in the sun.

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Azam Abidov Tashkent, Uzbekistan

Farewell to earth Where is your forehead, Mother Earth? My Facebook friend From Vietnam Is taking me to his Space Station He has built in his blissful childhood. With the same creation, The same flesh And even the same God We are not working enough To promote The Exchange of Love: My tears cannot extinguish Big fires in Australia, I cannot keep breathing anymore Because of dying humans, Animals and birds all over. My friend told me I will be the first poet In his station, So I can take some fellows to join From elsewhere, Including from Iraq, North Korea, Iran and U.S. To foster our poorest exchange And be able to cast The Shadow of Peace Over you – Mother Earth. You deserved all Wonderful things Existence could offer! But I don’t deserve you. So where is your forehead? I want to kiss and thank you, And say good-bye.

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FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages)

Bayangali Alimzhanov-Баянгали Алимжанов Nur-Sultan, Kazakhstan

Қазақтың баласымын Аңсаған адамдардың жарасымын Арнаған туған елге бар асылын, Қиялы көп болғанмен зияны жоқ Қазақтың мен де ақкөңіл баласымын! Кейде тоқ, кейде болдым жүдеу-жадау, Керек пе сөз көбейтіп бәрін санау? Апырмай, мен де осындай болсам дейтін Тұлға көп адамзатта қадау-қадау, Ешкімнің биігіне таласпаймын Өзімнің жолым жатыр тарау-тарау! Жалғанда жаманшылық қуыспаған Адамдар ақ пейілді туыс маған, Алла деп ақ сөйлегем домбыра алсам Жалтақтап және ешкімнен ығыспағам, Түсіме кіріп ұлы бабаларым Жолбарыс жон арқамнан уыстаған!

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Bayangali Alimzhanov-Баянгали Алимжанов Nur-Sultan, Kazakhstan Су кетпесін мөп-мөлдір бұлақтардан, От кетпесін тұтанған шырақтардан, Белдерің бүгілмесін еңсең түсіп Арқаңа тірлік артқан сұрақтардан, Ұзақ та мәнді болсын ғұмырларың Қазақтың өлеңіндей шумақталған! Мәңгілік жырлай берсін дала тынбай, Жырларын өсе берсін бала тыңдай, Көргенде жарқын жүзді адамдарды Аппақ нұр жүрегіме толатындай, Сол нұрды көбейсін деп дүниеге Себемін қарлығаштың қанатындай!

I am a son of a Kazakh Devoted to the steppe people, I am Devoted to my native land, I am You may think I’m rather strange, But I’m a good son of the Kazakhs, I am! Oh yes, sometimes I will up and leave – Countless times, would you believe? Do you think that’s what I really want? So many life styles you can barely conceive! But I don’t care to be in an another’s head. No, I’ll go my own way, don’t be deceived! My kin maybe devil for all I know. But they’re friends to me; it gets me so! In Allah’s name, my dombra came Quivering soft and humming low, And my ancestors filled my nightly dreams And my tiger guard paced to and fro. Let water forever fill your springs! Let your hearth fires glow through everything! Never bend nor yield your path, Even when life is hard and leaves you nothing! Let your life be long and always worthy, Like the endless ballads, Kazakhs sing!

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FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages) Let the steppe song live forever on! Let your kids absorb it all day long, For when I see their faces glow, My heart brims like the sun switched on. And I’ll spread this joy to all the world Like a swallow flying on and on. Translation of „Қазақтың баласымын” by John Farndon

Досың жоқ па... Досым жоқ деп күйінеді көп пенде... Дос боларлық кісі құрып кеткен бе, Дос емес пе саған мына ұлы өмір Көшкен бұлттар, келген құстар көктемде?! Нағыз достық—ақ тілеуі елдің де, Қуат берер аңқылдауы желдің де, Андайың мен мұндайыңа қарамай Достық шығар көтеруі жердің де, Жұрттың бәрін жазғырғанша, ойлашы, Шын жүректен өзің дос боп көрдің бе?! Досым жоқ деп елге өкпелеп жылама, Доссыз болсаң, тек өзіңді кінәла, Өзің егер бере алмасаң елге нұр Жүрегіңе жұрттан шуақ сұрама!

Have you got a friend? A man complains he has no friend But is a lack of friendship really the end? Aren’t drifting clouds and spring birds quite enough? Can’t the great world of life be your friend? True friendship is a gift of the land. And though its uplifting winds aren’t yours to command Even so, despite everything, The earth is your friend – do you understand? So ask yourself, when it comes down to it, Have you ever truly offered your hand? 104

Bayangali Alimzhanov-Баянгали Алимжанов Nur-Sultan, Kazakhstan

So do not weep because you feel alone; If you’re by yourself, the fault is your own! If you cannot give your heart to the land, Then you’ll never see the love it has shown. Translation of „Досың жоқ па...” by John Farndon

Нет друга... Нет друга у нас, - ходим в горькой печали, Кто мог бы стать другом, что разом пропали? Великая жизнь, чем тебе не подруга, Облака кочевые, весной птицы с юга? Истинная дружба – благословление, Ветерка поддержка, сила, дуновенье… Несмотря на проступки, деяния, дела, Разве не дружба, что держит тебя земля? Других обвиняя, подумай сперва, Ты сам, смог, стать другом, душой ни кривя? Нет друга , не плач, и обид не держи, Нет друга, себя, только в этом вини. И если другим дать не можешь тепла, Душе не проси, у людей ты добра. Баянғали Әлімжанов. Досың жоқ па... Перевод с казахского Дина Ораз

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FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages)

Көшкен бұлт. Көңіл. Бұлтпен бірге көңіл көшіп барады Өмір өтіп, естелігі қалады, Аппақ қудай шалды көріп кім ойлар Көкке қарай қолын созған баланы. Еліктейтін Тарлан атты Тарғынға Бала кезде жатып алып шалғында, Ақша бұлттан қайдан келе жатсың деп, Сұраушы едік, не күтед деп алдыңда? Қара бұлттай нөсерлетіп төгуші ек, Бұйра бұлттай ұшып кете беруші ек, Бір құпия сыр бар ма екен осында Біз де кейде бұлт секілді көрінсек?! Шексіз аспан аялаған еркем деп Керуен бұлттар бүгін бар да ертең жоқ, Бұлтсыз аспан жұртсыз жердей көңілсіз Бұлт көшеді көктің жүзін көркемдеп, Бізден сәлем жеткізердей алысқа Асығардай жауап әкеп берсем деп!

Like wandering clouds Like wandering clouds, your soul drifts on, But so quickly all your past is gone! Where now’s that boy by the apple tree Who reached for the sky so far beyond? Like those brave riders from days gone by We in our childhood saddle lie. ‘Where are you going, and what’s ahead?’ We ask clouds that pass on through the sky. Sometimes we weep like falling rain; Our tears a drizzling mist again. But is therereally a secret truth That we behave as clouds, or is that vain?

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Bayangali Alimzhanov-Баянгали Алимжанов Nur-Sultan, Kazakhstan There’s sureness in the infinite blue, But the caravans of clouds scoot through. Acloudless sky is blank and sad – Clouds’ shapes paint the sky for you. As they float off over the horizon, They bear your greetings with them too. Translation of „Көшкен бұлт. Көңіл.” by John Farndon

Кочующиеся облака. Душа. Словно моя душа в небе плывут облака, Жизнь промелькнет, остаются воспоминания, Увидев седоволосого старика, Кто угадает в нем мальчика, Чьи велики были мечты и желания? Он подражал героям сказаний, В детстве на сенокосе, лежа, глядел в небо, Белые облака, откуда вы, какие земли покинув, Куда теперь вы плывете, в быль или в не быль? Бывало, что черные тучи лили потоки воды, Потом улетали, пушистые, белые… И люди, как облака, живем от мечты до мечты, Похожи ли на облака мы, хмурые, смелые? Баловни вы небес бескрайних, похожи на лебедей, Сегодня скопилось вас много, а завтра ни одного… Небо без облаков, словно земля без людей, Кочуют в небесах, огромный мир кочевой… Кочуют облака, украшая небо собой, Отвозят от нас приветы таким вот способом странным. Ответ будем долго ждать, объятые синевой, Торопятся облака к далеким народам и странам. Баянғали Әлімжанов. Көшкен бұлт. Көңіл. Перевел Орынбай Жанайдаров.

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FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages)

Kökböri Mübarak Qïzatulı-Көкбөрі Мүбарак Қизатұлы Almaty, Kazakhstan

Оспанды жоқтау Күңіренген қобыздың Дауысы боп шықтың, Оспаным! Иендегі жалғыздың, Намысы боп шықтың, Оспаным! Атылмаған жебенің Айтары боп тұрдың, Оспаным! Атылатын дененің Айбары боп тұрдың, Оспаным! Көкжиекке қаның шашырап, Көк туды бояп, Оспаным! Намысың елді асырап, Өткен күнді аяп, от жаным! Таулардың биік иығын, тұтастырып жатқан, Оспаным! Алтайдың бөрі мінезді киігін -ш қорғап кеттің оқтан, айтуда киік көз аспаным! 108

Kökböri Mübarak Qïzatulı-Көкбөрі Мүбарак Қизатұлы Almaty, Kazakhstan

Аюдай едің қара бір, Сақалыңды сәбиің қорған қып. Шанақ бейітті даланы, Оқ күмбірінде толғадың. Туған жеріңдегі тесікпен о дүниеге алмасып, Кетіп барасың, Оспаным! Айтылып жатыр жалғасып, Келесі ғасырыңдағы жоқтауым!

Көкжиек Ей, көкжиек, Көзіңді мөлдір жұлқыған бұлақ, Көз жасың кетті жылқыдай құлап. Қоп-қоңыр жас қой шіркін-ай мынау, Қозғалып қалды шырпыдай сұрақ. Қып-қызыл дала түлкідей құлап, Жарқ етті көктен күркірей шуақ. Саусағымды суға сұққылап қоям, Қара көз көлді кірпідей сынап. Қарала бүркіт ақ йық па еді, Қалбалаңдап жүр тарихқа еніп. Құзар шыңның ұшын мытады-ай келіп, Борбас шыңдарды зағиып көріп. Түсініп мұнда қара көз аспан, Құшағынан көлге шағаланы ашқан. Керегеге ілінген көбелек құсап, Толқынға малынып жағалауда аспан. Толқынның өзін жарым ба деймін, Шашалып сүйіп ауырды-ау ойым. Қара дөңдер бейне - аңырған қойым, Дөң үстінде көкшіл өлеңге қарап қақшиып тұрар - сағынған мойын.

Хан қызы Аш маған құшағыңды қызыл дүние, Аш маған құшағыңды ұзын дүние. 109

FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages) Аш маған құшағыңды бүрлі ала тас, Көзімнен тастал менің қоңыр ала жас! Аш маған құшағыңды үкілі орман, Анамның үкідей жас үні қалған. Аш маған құшағыңды қарлы қырат, Әкемнің ғашық жүзін албыратқан. Аш маған құшағыңды, өлең-жаным, Өзіңнен таттым күннің терең дәмін. Аштым ғой құшағымды саған дүние, Оны сезді, сезбеді ғалам мүлде. Ашшы сен құшағыңды жылы отаным, Саған сыйлап жібердім міне бәрін: Күздің барлық сыйладым жапырағын, Күйінген қоңыр әннің атырабын. Аш маған нұрлы тауым алақаның, Уысыңа сырлы үнімді оратамын. Мен деген - ат иісінен жаралған жан, Мендегі әппақ қарға оранған тән...! Тазамын, бүр балғынмын, үр жігітпін, Бұлақ суы қойныма үздігіп тұр. Ен маған үкілі орман, анам қайда, Жұмақтан жуықта ол жан оралмай ма? Ол жақтан ешбір рұқсат болмағаны- ай, Біздің жер жарамсыз ба, сонда қалай? Әкешім, құшағыңнан туған орман, Көз жасың мөлтілдейді жылғалардан... Мен сенің сезіміңді іздеп жүріп, Алакөлге, Нұраға, Сырға барғам. Таба алмадым одан да сезім бүрін, Күннің мен жерге тамған көзін білдім. Жошының бейітіне де қарағанмын, "Тұр, тұр! " деп Жошы жанды сабалар күн. Ол тұрмады, Бұл дүние - оған да беймаза екен, Бейітіндегі сәулеге ой сап өтеп. Алыста дірілдеген бозала шаң, Жалт-жұлт еткен сары бөкен... Оралар сең... Төбесінде қағжиып кербақай күн, Төбені әсем нұрмен торлағай тұр. Бәріне де рұқсат... Өзі білсін, Жамай берсе болды әйтеу сезім ішін. 110

Kökböri Mübarak Qïzatulı-Көкбөрі Мүбарак Қизатұлы Almaty, Kazakhstan Мен бүгін әкем айтқан тауға келдім, Таспасынан қамшының толғам өрдім. Сол бір тауға қараймын айырмай көз, Көне ғасыр ішінен табылмай ма ел...?! Мен іздеген сол ғасыр бұлаң қағып, Көкбөрідей текті ұлын құр алдады. Осыны ойлап түтігіп жылар жаным. Өшігем де боз тауға, жаным талып, Өзегімді барады сабыр қарып. Оқтай ұшам бедеу бұл арғымақпен, Дала бізді тұр еді ән қып әбден. Орал таудың етегін тұрғам түртіп, Сағымға артып жүктерін, жылдар жылжып... Башқұрт ханның қызы да кезікпеген, Ақ гүл ашып, дір қаққан өрікті өлең. Барлығына созылған осы саусақ, Хан қызы, жүрегіңді қосып аңсап. Башқұрт деген осы ел де Ескі бір ел... Ханының шерлі қызы бар деп естіген ем...! Теңін таппай бұралып сыбызғыдай, Орманша шулап талып үні қанбай...! "Сол қызды арғымаққа тік көтеріп, Әкетсем!" деген тілек түрткен еді... Орал тау, мен сілейдім іргеңе кеп, Бақайшығы таңба сап жүрген елік... Бұғы, бұта, бүлдірген алауласып, Осы таудан өткен ғой тамам ғашық... Алыстардан бір от кеп жылтыраған... Көз жасымды шөптермен сүртіп алам. Шып-шып атқан терімде жүрек бардай...! Әкемнің сонша нәзік жүректері, Кеудеме кеп дәл бүгін дір еткені -ай!

Бесігімдегі болашақ Патшасы ем анамның бесікте тербеген, Ежелгі ғасырлар ұйқысына өрлеген. Көреді алтын түс, ақ сәбидей ағарған айбалта, Қара түн қолаңшашын жайып тұрды көлденең. Ежелгі мұралар ілініп төрлерде, 111

FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages) Қабы тозған сапының қынабы сенделген... Анамыз сүт сауып, иісі оның - ерменнен, Қарагер тұяғын топырақ аршып, жер иісіне көмген жер! Бесігіме жетті көлеңкесі қарагер атының, Сәулесі кірді кеудеге ғалымның хатының. Батырлық мөрі боп басылды - атамның бармағы табы бұл!... Даладағы сәулесінің бәрін үйге шақырып, Сүт сапырды анамыз, өрмегін тоқыды... Үй сыртына кеп қос сауысқан бір нәрсе шоқыды... Ойланып көкжиек, қызарып сәби-күн... Бесікте неліктен сонда мен толқыдым?! Патшасы ем даланың ешкім де білмеген, Дананың түсіне әлі де кірмеген.... Сексеуіл бүртігін ұшырған желдерге, Алғысымды ұшырам бір бөлек! Е-е-ей, Ей, дала, қасаңдау... Жазықтық тұр арамда, Қарақат көз тұлпарға жұрқылдар ғаламдар, Анамның сіңлісі боз үйде таранған... Оянар бұл дала ескі бір өсиеттей, Жаңармас бұл дала сауытымды екпінім тесіп өтпей! Жабық тұр бұл дала ескі бір өсиеттей, Ескірді құр дала бесігімнен тұрмай, даланы кешіп өтпей! Ырғалар найзасы іргеде сүйелген, Батырлар дем алып керегеге тірелген, Бесіктен ұйтқыған қып-қызыл рухым үшін, Ақсарбас атап, ақ боз тілек тілерме? Қиналар паң дала бір кезде төмендеп, Бесігімді тербетіп анашым отыр тереңде. Әкемдей көк аспан, Қанды көз қара бұлт жүйткиді-ау, Бесікте қайсы жыр соған қаратты елеңдеп! Талпынар құс дала, тыншығам дауысқа, Әруақты болашақ шақырып алыстан. Даланың тұманын қақ жарып мен мінген ақбозат, Бесік жырындай бүлтілдеп бұлағы таныс тау, Мені ұзатып шығарып салады-ау!

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Lenar Shaekh-Ленар Шаех Kazan, Tatarstan

Lenar Shaekh-Ленар Шаех Kazan, Tatarstan Lenar Shaekh is a Tatar poet, children’s writer, translator, and publicist born in 1982 in the village of Taktalachuk of the Aktanysh District of the Republic of Tatarstan. He graduated from the Menzelinsk Pedagogical College, Department of Tatar Philology and History of Kazan State University, Post Graduate Programme. He is the Editor-in-chief of the Tatarstan Book House, member of Union of Writers of the Republic of Tatarstan, as well as of International Federation of Journalists (IFJ), and Eurasian Creative Guild (London). He is the winner of the Musa Jalil Republic’s Award, Abdulla Alish Literary Award, the Volga Region Literary Award “NEWBOOK. Volga2015”, Eurasian International Award. Academician of International Public Academy of Poetry of Omor Sultanov of the Republic of Kyrgyzstan. Candidate of Philological Sciences. Honoured Artist of the Republic of Tatarstan.

Я люблю!

Снегопад на дворе, снегопад, Я лечу, этой снежности рад, И с восторгом снежинки ловлю: Я люблю, я люблю, я люблю! Снегопад на душе, снегопад, Как жемчужно снежинки парят! Вместе с ними кружусь и пою: Я люблю, я люблю, я люблю! Снегопад - ах, какой снегопад, Я плыву по снегам наугад И, счастливый, из снега леплю: Я люблю, я люблю, я люблю! Перевод Галины Булатовой

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I warm the world with my love

Lamenting this cold captivity And not finding a sacred path, I spread my arms to the Sun for liberty – Or to a matchbox I have. Why then, on this hot summer day Does my heart feel cold – I’m shivering? Either love keeps away from me Or I have chosen the curvaceous wrong path. Oh world, present me with your warmth and light Pour them from the horn of abundance! I’m searching for warmth, but there’s nothing insight My head is dropping with weakness. Breaking a cold, cold glass – My best day isn’t yet lived through. I give away my warmth to the masses, To a world that cannot bestow it. It grows big in my soul – Take it – I’m ready to give it. Don’t fill your wallets with gold, Fill your soul with affection and light. Oh, humanity, There is a source in you Of those things the world is groaning for: Just live, my birchen leaf and gleefully Ignite these pieces of a longed-for heart.

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Lenar Shaekh-Ленар Шаех Kazan, Tatarstan

Одно тёплое слово… Тёплого слова просит душа: животворящего, счастьем манящего, солнцу подобного, тайной дразнящего. Тёплого слова просит душа: трепетно-нежного, в ласке безбрежного, ниве подобного и безмятежного. Тёплого слова просит душа: в небе добытого, часто забытого, птице подобного, к сердцу открытого. Тёплого слова просит душа: нужного, южного, неравнодушного, ветру подобного, сазу* послушного. Тёплого слова просит душа: неугомонного, светом пронзённого, чистой любовью заговорённого. Тёплого слова просит душа… Произнесёшь ли? Перевод Галины Булатовой

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Приведите ко мне вороного коня… (Тюркские мотивы) Приведите ко мне вороного коня… Из киргизской песни Приведите ко мне Вороного коня, Я вскочу на него, Плётка есть у меня. Я по землям отцов Пронесу свою грусть, Тёмным лесом пройду, По степи пронесусь. Проплыву я Идель, Агидель проплыву И к живому ключу Припаду наяву. Горизонт не объять – Здесь пернатую дичь И за тысячу вёрст Могут стрелы настичь. Разведу я костёр И вокруг погляжу. Белой юрте моей Стать дворцом прикажу. Зарумянится дичь На угольях костра, И Уральским горам Заиграет домбра: «Хочешь – вправо гляди, Хочешь – влево гляди, Всё равно этих вёрст Десять тыщ впереди. 116

Lenar Shaekh-Ленар Шаех Kazan, Tatarstan

День и ночь на коне По бескрайней стране Я скачу и скачу… По кусочкам собрать Эти земли хочу. От Уральских вершин До сибирской глуши – Вслед за солнцем лечу… И дорожная пыль Достигает души…» Колыхнётся луна, Заиграет курай. Я от дедов своих Унаследовал край. Через горы пройду И озёрную синь, Чтоб услышать кубыз Азиатских пустынь. И, с веками поспоря, Границы сотру, Разделённый пирог По ломтям соберу. Мы с татарскою кровью На свет рождены, Значит, тюркского племени Будем сыны. Приведите ко мне Вороного коня – Время тюрков моих, Слава тюрков моих Ожидают меня! Перевод Галины Булатовой

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Я мир любовью согреваю!... (Триптих) 1 В холодном сетуя плену И не найдя заветной тропки, То к солнцу руки я тяну, То вовсе к спичечной коробке. Но отчего же в летний зной Так зябко сердцу, что дрожу я? Любовь ли ходит стороной, Тропу ли выбрал я чужую? О мир, даруй тепло и свет, Пролей из рога изобилья! Ищу тепла – его всё нет. Склоняю голову в бессилье. 2 Разбить холодное стекло – Мой лучший день ещё не прожит! Я миру сам дарю тепло, Раз он дарить тепла не может! Оно растёт в моей душе – Берите – всё раздать готов я! Не златом полните кошель, А души – светом и любовью! О человек, в тебе исток Того, о чём весь мир томится. Живи, берёзовый листок, Пылай, души моей страница! 3 Лети, берёзовый листок, Навстречу тёплым летним зорям. Быть может, ляжешь ты у ног, С дождями или ветром споря.

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Lenar Shaekh-Ленар Шаех Kazan, Tatarstan Быть может, к солнцу приведёт Тебя твой провожатый робкий… А солнце, знаешь ли, живёт Совсем не в спичечной коробке. Ты не исчезнешь, мой листок… Я это чувствую… Я знаю… А чтобы ты согреться мог – Я мир любовью согреваю! Перевод Галины Булатовой

Моим татарам Не разделяйся, мой народ, Настал черёд смотреть вперёд, В единстве, целости твой путь, Не запятой, не точкой будь! Татарский ум и смелый шаг, Вам – восклицанья гордый знак! Весь мир моим татарам шлёт И уваженье, и почёт! Мы – это Болгар и Биляр! Повсюду славят нас, татар. Батыры, ханские сыны, Мы непокорностью сильны! Перевод Галины Булатовой

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Один из вас Взрослеют души и тела: Кто счастлив, кто умён. Я не держу на сердце зла – Я для добра рождён. Пусть где-то подличают, лгут И примеряют власть, Ну а ко мне не пристают Ни зависть и ни грязь. Не трачу я напрасных слов, Спокоен, деловит. А кто-то жизнь бранить готов На чём весь свет стоит. Лукавство мне не по плечу, И, кто бы ни грозил, Я лишь хорошего хочу, Надеюсь, хватит сил. …Так мне на пике бытия Подумалось сейчас: Я человек, татарин я, И я – один из вас! Перевод Галины Булатовой

Заблудились мгновенья в веках Заблудились мгновенья в веках, Будто время сродни ассорти. Если вскроется в зиму река, Ты промолвишь, дела не ахти. Если падает летом листва, Или снегом засыпало дверь, Ты подумаешь, как не права, 120

Lenar Shaekh-Ленар Шаех Kazan, Tatarstan Не логична природа теперь. Если осень придёт такова, Что случится цветенье ростка, Значит, золото нынче ковать Из свинцового можно бруска. Заблудились мгновенья в веках, Ты куда, человече, идёшь – Не туда ли, где ходит, легка, Под прикрытием истины ложь? * * * Здравствуй, солнце желанное, здравствуй, Покажи золотые бока! Самому не наскучило разве Целый месяц витать в облаках? Мы устали от долгой разлуки, От унынья свинцовых кликуш, – Столько серого цвета в округе, Столько серых измученных душ. Выйди совесть будить человечью, О всеобщем добре протруби. Говорю себе: солнцу навстречу, Не сгибаясь, иди и терпи… Здравствуй, солнце желанное, здравствуй, Вот и снова чисты небеса! От надежды, а может, от счастья На глазах проступает роса… Литературный перевод Галины Булатовой

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Munaydar Balmolda-Мұнайдар Балмолда Oral, Kazakhstan

Көкбөрі Мен – Көкбөрімін, Айлы аспанды ұлы мешіт санаған. Жұлдыздарды періштеге балаған. Отты күнді отты ғұнның көзі деп, Қараған! Мен – Көкбөрімін, Тұрақ тапқан даладан. Бірақ басы арылмаған жаладан. Сәл қалғысам, Тап бергісі-ақ келеді, Өңкей иттер қамаған. Мен – Көкбөрімін, Тек жеңісті қалаған. Тексіз иттер теңім емес қабаған.

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Munaydar Balmolda-Мұнайдар Балмолда Oral, Kazakhstan Ұлы майдан даласында ұран сап, Айқастан соң жарақатын жалаған. Мен – Көкбөрімін, Аспан асты, жер үстін Ұлы Рухпен күңіренткен айлы түн. Арқама сап алып келдім ел үшін, Көк Түріктің бақыты мен қайғысын. Мен шындасам – Құдіреттің еркімін, Жортып өткен жер түбін. Шамырқансам, Шар болаттай шарт сынам, Арыстан аз, Жолбарыстар жемтігім. Мен тұрғанда аюларға ұйқы жоқ, Аждаһаның сиқы жоқ. Түн көрпесін серпідім! Беріштей боп беркідім! Қайқы қылыш азуым бар, Кәрленсем, Талғап жатпан жем түрін! Тыңда мені, Мұз құрсанған дүние! Досқа – доспын, Өзің келіп тиіспе! Көз алартпа, Шекарамды иіске. Ал тиіссең, әгәрәки, үй ішке, Амал қайсы, Тәңір қуат – ұлыс іске, Жүгінемін, Жұлын үзер жүріске! Өңменіңді өртке қақтап қаримін, Жалтарып көр, Қиып түсем. Зұлыпқарындай Әзірет Әлидің! Сондықтан да Таны сен. Келеді өсіп Көк Түріктің қанымен, Арқасында белгісі бар сәбиім. Үмбеті боп, Расул Алла нәбидің. Жалғандағы жалғасым сол –

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FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages) Бар игім! Өмірімнің өрлігі мен ерлігін, Көңілімнің еркіндігін, кеңдігін, Әз Ұямның (Азиямның) тыныштығын, теңдігін, Намысымның белдігін, Соның басқан қадамынан танимын. Біз – Көкбөріміз, Біліп жүр! 2006 жыл.

Мен – бөріден тарағанмын «Дарвин маймылдан тараса, Мен – қасқырдан тарағанмын!» Бауыржан Момышұлы Сеземін, Бойымда көкбөрінің қаны бар қасарысқан, Әр қадамым қауіп-қатерге толы, Мені міз бақпай бақылап, Төңіректеп ажал ұшқан. Өзегім – өлең: Қобыз сарын қасқырдың ұлығаны. Бойымды балқытады Көк Бөрі Ашинаның жылы қаны. Ал анталаған көп дұшпанға керегі – Бөрілердің тұқымы тұздай құрығаны. Жоқ! Онысы бола қоймас! Мен – бөріден тарағанмын, Қорқау ит тағбаштар көк түрігімді жабылып талаған күн... Әлі есімде. Мың сан оқ тескен жарақатымды жалаған түн... Мен – Адам Атадан жаралып, Хауа Анадан нәр алып, Кейін, көп кейін, Ақиқаттан айналып аңызға, Нағыз маңызға. Көк Бөріден тарағанмын Десем, 124

Munaydar Balmolda-Мұнайдар Балмолда Oral, Kazakhstan Біреу сенер, біреу сенбес. Ей, мейілің. Тәңірім қылған мейірім: Жауырынымда көк қалыдай мөрі бар, Оны шақалақ шағымда көріп ал. Әйтпесе кеш, Оны бүгін мың қабат терімен жамағанмын. Солай, Басқа-басқа, Мен топырақтан жаралып, Мың өліп, мың тіріліп, Жаңарып, Бөріден тарағанмын!

Еркектер бөрі екенін ұмытпасын Жаратқан жаратып қойғанның бірінен де ықпадым, Қайтпас қайсарлығы бар менде Көкжал Бөрі һәм Шене Құртқаның! Ата тарихым куә, жоңғармен жүз жылдап жұлыстым, орыспен сонша жыл ұрыстым! Қытаймен де қырқыстым, құрыстым,қайтпадым, болмадым, елімді, жерімді қорғадым! Тәңіріме ұнаған осылай намысымды жыртқаным! Тірлігіме қызыға қарайды бұл күнде төрт тарап сырт маңым.

*** Мен – Бөрімін, Өлімім ар-иман, намыстан! Осыны ұқ, туысқан, қорықпаңдар мың сыбдыр қамыстан. Өзіне қаратқан Жаратқан Құдайым, Елімді тимасын Жан-Жүрек қағыстан! Бізді ешкім ала алмас, алыстан, Атыстан, шабыстан. Тек шоғал (шакал) боп іштен жау шықпасын, Сатпасын арлан мен құртқасын! Әр қазақ қандасым, Ар жолын таңдасын! Мысықтұқымдас барыс емес,

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FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages) Бөрі екенін ұмытпасын! Ешқашан ұмытпасын! Ұмытқандар Ас жеп, аяқ босатып, Жылы төсегінде ұйықтасын. Ерлер - Бөрілер, Ерлік іс үзілмей өрілер. Бөлтіріктерің де Бөрі бабасын ұмытпасын! Қызмет қыламын десе, Ұлтқа шын. Бөрідей мінезді шыңдаңдар, Жүректің рух үнін тыңдаңдар! Аждаһа, аюлар бізді тірідей жұтпасын! Жер бетінен құртпасын! Арқадан қағып, мақтауы жағып, Ұтпасын. Еркектер, Бөрі екенін ұмытпасын! 04.09.2019 жыл.

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Sagyn Berkinalieva-Сагын Беркиналиева Bishkek, Kyrgyzstan

Ыр окуюн, акындар ыр окуюн. Катуураак колунарды чапкылачы. Гул осуп чыгат менин журогумдон Ак ландыштар конулдун ханышасы. Бейишти жаратайын силер учун Ландыштар каптагыла дуйно жузун. Барпагай кополоктор бий бийлеп коз алдымда Мен бейиш коргондоймун ыр жазып жатканымда. Мен бакытка айланып кетпедимби Эй акындар, карагыла, суктангыла. Тан калгыла, кол чапкыла, сындагыла Силер мага эргууну жараткыла. Ырымды окуганда конул жибип, Эй адамдар, ооруудан айыккыла.

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FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages) Кур жалаанын устомдугу Курман кылат экообузду. Суук создор уу жыландай Сойлоп кирет кособузду. Кокурогум тируу бойдон Кара жерге коомп салган Коюнумдагы Муздак Адам Конул сенден сууп калган. Жозефина - сезимимсин, Энем жокто торкун болгон. Сен Кудайдан келген ондуу Ажырагыс эгизимсин. Жозефина сезимдерим, сен олбочу.

Ишенип, адамдардын создоруно Шылдынга калганымды сезбептирмин. Алданып, суук кара коздоруно Жомоктогу суйууну издептирмин. Эркектен ыссык мээрим коро албаган Же балким байкуш аял деп санадын. Калп эле жакшы коруп, сыйлачудай Аямыш этип мени не карадын. Азаптуу махабаттан акмак болуп, Акылдан ажырап мен далдырабайм. Сенсиз да кунум отот билип койгун, Экинчи эркелет деп, жалдырабайм. Мыкты акын болгонумда жалбырттаймын Кыргызга атак данкым бутун жарып. Согушта женилбеген албуутаймын Ишенем, жениш жакын келээрине.

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Sagyn Berkinalieva-Сагын Беркиналиева Bishkek, Kyrgyzstan Келбейт мага тируу элестер Калдым бугун жалгыз болмодо. Таштап кеткен мени ондонот Сизди бербей, Муздак дуйно. Мен озумду коруп, корбоймун Колумдагы калем мен эмес. Кыйгач опкон женил оромол Журогумдун жумшактыгын сез. Кармалып да, бирде кармалбай Кай тараптан согот жылуулук Кай тараптан Муздак жыландай Журогумо кирет сур булут. Сен зоокурсун тилип Жан дуйном Журогумду катуу канаткан. Мен каргышмын, октой сызылып, Сени коздой учуп бараткан.

Туйшук сизди менден уурдап, кызганып, А мен сизди сагынгандан ыр жазып. На мыстанып, эч бир жанга корунбой Ыйлап - сыктап журом сиз деп жыттанып. Аеоо менен карабаныз сиз мени Байкуш аял дебенизчи сурагам. Кудай болуп жашанызчы ырымда Тагдырыма бир жолуккан жакшы Адам. Кадырыныз билбей кээ бир адамдар. Жамандашаар балким сизди жанылып. А мен сизге, жалан жакшы ыр жазам Анткени сиз озгочосуз, жакшысыз. Кызыл суйуу укмуш сыйкыр деги сен. Кызгалдактар жайнап кетти конулго Кылыктанып, кызга айланып кеттим мен Эми мени жыттагыла, суйгуло. Кылыктанып, кызга айланып турам мен!

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FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages)

Yusuke Miyake Tokyo, Japan

マンホールチルドレンルーマニアの少女らは明るいカタコトの日本語を話し時にはハイタッチをしてくれるしかし夜が来ると彼女らはマンホールの蓋を開け続々と地下へと降りてゆく一番最後の少女は私にウインクするとカチリとその蓋を内側から閉めて地下に消えたマンホールの蓋は黒々と脂ぎった光を浮かべ頭上に煌めくシリウスを拒絶した

Manhole children (poem) Romanian girls are cheerful they speak broken Japanese, sometimes do a high-five with me but when night comes they open the manhole cover then get down underground one after another the last girl wink at me, closes its lid from inside with a click, and disappear underground the manhole cover is glaring with black and greasy light it rejects Sirius shining overhead

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Yusuke Miyake Tokyo, Japan 地下道に棲む孤児シリウス知らぬなり (Haiku) Orphans living In the underpass Do not know Sirius 狼星に背を向け少女ら棲家なる地下へと続くマンホール開く (Tanka) Turnings their backs On Sirius, the girls open A manhole To the underpass Which is their home

昆虫料理愛好家

三宅勇介 (長歌) 蜂の子や蝗の佃煮食す事それはさほどに珍しくなきと言ふ事出来るとも兜虫やらクハガタや蟷螂・蜘蛛にゴキブリを食す人々居ると聞き居ても立ちても居られなく口の中には酸つぱさがじわりじわりと滲み出るさらに昆虫レストラン開くつもりの人が居るそれも一つのエコロジーこれも一つの前衛か脱帽のあまり平伏し頭を地面に着けしままおそるおそると複眼の上目遣ひでじつくりとその人の事見まほしかりけり (反歌) 翅の色いよいよ澄みて昆虫の料理愛好家を迎へたり (2009)

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FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages)

Insect food lovers (Cyouka)1 Eating larvas of bees or grasshoppers cooked in soy sauce is not so unusual in Japan but I hear that there are people who like to eat beetles, stag beetles, mantis, spiders, and even cockroaches so I am in agony also sourness gradually oozes out in my mouth furthermore, there are people who intend to open insect restaurants this may be also a part of ecology maybe it could be also an avant-garde act I take my hat off and prostrate to them with my forehead on the ground, I slowly look up at my compound eyes for observing them (Hanka)2 Insects welcome Insect food lovers With making their feathers clearer and more transparent (2009)

Traditional Japanese poem with verses of five and seven morae repeated at least three times, ending with a verse of seven. (5, 7, 5, 7, 5, 7… 7, 7). It is a fixed verse that was swallowed by Tanka and disappeared. Today no one tries to make this style. 2 Tanka appendage to a Cyouka

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Yusuke Miyake & Daniela Varvara Tokyo, Japan & Corbu, jud. Constanta, Romania

１俳句（HAIKU） Orhidee-n geamdin afară doar gerul răspunde cu flori Orchids in the windowfrom the outside only the frost respond with flowers 窓際の蘭外の霜だけが花に応える

（Daniela Varvara）２俳句（HAIKU）着膨れて門番われを威圧する In heavy warm clothing a gatekeeper intimidates me (Yusuke Miyake) ３短歌（TANKA） Nu unul, ci trei paznici la castel, deși regina-i moartă Oare numai pisica poate avea nouă vieți?

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FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages) Not one, but three guards at the castle though the queen is dead Can only the cat have nine lives? 一匹じゃなく三匹が死んでしまった女王の城を守っている猫だけが九つの命を持てる？

（ D）４詩（POEM）実は都会にも獣道はある私は出勤する時だいたいそこを通ることにしているその道はだいたい狭い人間はときとして屈まなければならないたまに近所の家から突き出た木の枝に頭をぶつけ目から果物で出来た星を落としたりする In fact, there are animal routes in the city I usually go there when I go to work the road is almost narrow humans sometimes have to bow down I occasionally hit my head against a tree branch protruding from a neighbor’s house and,I drop stars made of fruits from my eyes (Y) 5 詩（POEM） Și totuși alte nebănuite poteci cresc din sâmburii pașilor noștri grăbiți: urme de animal hăituit lăsăm după fiecare trecere, așa orbi cum suntem după fiecare apus același pământ ne va-nghiți trupul 134

Yusuke Miyake & Daniela Varvara Tokyo, Japan & Corbu, jud. Constanta, Romania dar nu același cer ne va primeni sufletul nu acum, nu aici, nu așa. And yet other unexpected paths are growing from the seeds of our hasty steps: we leave traces of hounded animal after each passage, as blind as we are after each sunset the same earth will swallow our body but not the same heaven will renew our soul – not now, not here, not so. 私たちの性急なステップの種からまだ予期しないほかの小道たちが育って行く私たちは通過するたびに猟犬の痕を残すまるで日が沈んでしまったら目が見えなくなるように同じ地球が私たちの体を飲み込むしかし同じ天国は私たちの魂を更新しない今でなく、ここでもなく、そのようにでもなく (D) 6 詩（POEM）日付け変更線を跨いで反復横跳びをしようそうすれば我々は永遠の命が得られる青い太平洋のうえに真っ赤なペンキで下手くそに線を引いたのは誰だ？

Straddling the International Date Line let’s make a side jump repeatedly then we will have eternal life who drew a line with red paint poorly on the blue Pacific Ocean? (Y)

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FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages) 7 俳句（HAIKU） Se intuneca: linia morții peste linia vieții It gets dark: the line of death across the line of life. 日が暮れて死亡線が交差する生命線と (D) 8 詩（POEM）「明日には体重が1kg減るだろう！」と体重計に乗りながら私はいつも叫ぶしかしこの予言はたいてい的中しないたぶん私には予言者のオーラがないからだそこで私は「予言者のオーラを身に着ける方法」をインターネットで検索したすると「毎晩チョコレートを食べる事」と解答が出てきたしたがって相変わらず私の予言は的中しない “I will lose 1kg tomorrow!” I always shout while riding on the weight scale but this prophecy usually doesn’t come true maybe because I don’t have a prophet aura so I searched on the internet for „How to wear the prophet aura” then, „Eat chocolate every night” the answer came out so my prediction is still not as accurate (Y)

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Yusuke Miyake & Daniela Varvara Tokyo, Japan & Corbu, jud. Constanta, Romania

9 俳句（HAIKU） Grămadă-n marketnu-nvățăm lecția nici pe timp de criză Crowded in the marketwe don’t learn our lesson either in times of crisis 市場の混雑危機の時でも我らは学ばない (D) 10 詩（POEM）座禅を組みながら瞑想にふけっていると心臓を中心として空虚が広がり大きな穴になってしまった私の肉は円状に穴を薄く縁取るのみたまに春の蝶が何も知らずにその穴を潜り抜けつかのま白熱化する While sitting in Zen meditation the emptiness spreads around my heart it has become a big hole my flesh only has a thin circular edge sometimes the spring buttefly which doesn’t know anything go through that hole and it will be incandescent (Y) 11 短歌（TANKA） În pandemie privim lumea de la geam: egalitate și lumina și umbra 137

FECH 2020 – The 3rd Festival of the Endangered Cultural Heritage (IDIL 2022-2032 – International Decade of Indigenous Languages) locuiesc deopotrivă. In the pandemic we look at the world from the window: equality. and light, and shadow live at the same time. パンデミックの中で私たちは窓から等しく世界を眺める光と影は同時にある (D) 12 短歌（TANKA）見る者のなき桜花往来のなき歩道の上散りゆきにけり Cherry blossoms that no one sees have fallen on the sidewalk where no one walks (Y)

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CLAFest 2020 – The 3 rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja" Here we document the contributions of the ICATAT panel "In memoriam Swietlana Czerwonnaja"1 from the online conference CLA-Fest in Constanta 2020. Здесь мы документируем вклад группы ICATAT «In memoriam Swietlana Czerwonnaja» с онлайн-конференции в Констанце 2020.

Mieste Hotopp-Riecke / Monika Górka - Introduction // The legacy of Swietlana hanım ................................................................................................................. 141 Mieste Hotopp-Riecke - With Yunus a literary farewell for Swietlana and Ali .. 148 Mieste Hotopp-Riecke/Ali Khamzin - The political relationship of the Russian and Soviet empires to oppressed peoples - ............................................................. 150 Ammar Awaniy, Magdeburg - The Rose of Jerichow ......................................... 152 Ammar Awaniy - Living.home.night. .................................................................. 155 İldar Kharissov - Advocate for the Turkic Peoples of Europe: In memory of Swietłana Czerwonnaja ...................................................................................... 157 Monika Górka / Dominik Napiwodzki - Thinkings. »Akkerman steppes« by Adam Mickiewicz .......................................................................................................... 161 Mieste Hotopp-Riecke - Zwei Gedichte. Eine Welt. Dzhemile Umerova ........... 165 Enver İbrahimov - Men anamnıñ bir qızı edim. A Crimean Tatar traditional folk song. ................................................................................................................... 174 Taner Murat - Ak-Kerman kîrî ............................................................................ 176

The work for this international panel was made possible by the support of the state association for cultural children and youth education in Saxony-Anhalt; Curator: Mieste Hotopp-Riecke; Project leader: Ammar Awaniy.

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja"

Nazar painting by Suzan Emine Kaube, DobrucaTatar artist from Pinneberg near Hamburg

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Mieste Hotopp-Riecke / Monika Górka Introduction // The legacy of Swietlana hanım

Mieste Hotopp-Riecke / Monika Górka Introduction // The legacy of Swietlana hanım Warm and touching farewell to Swietlana Czerwonnaja Academics and artists listened to Tatar Poems and Music from Japan, Iceland and Australia to Germany and Marocco. The Tatar translator, poet and philologist Taner Murat had once again invited artists and scientists to his hometown Constanta on the Black Sea. He and his colleagues from the Anticus Multicultural Association regularly organize scientific congresses on the one hand and cultural and art events on the other. Due to the corona pandemic, these formats came together this year: At the end of November, four events were held online in digital format. For the third time the following took place: Festival of Endangered Cultural Heritage (FECH), Annual Kurultai of the Endangered Cultural Heritage (AKECH), Annual Lecture on Exile in Comparative Literature and the Arts (ALECLA) and the Constanța Literature and Arts Festival (CLAFest). Ali Khamzin & S. Czerwonnaja 2007 ICATAT panel at International Orientalistic Congress, Freiburg, Germany

In this international framework, a panel was organized in memory of the recently deceased Swietłana Czerwonnaja: The members of the Institute for Caucasica, Tatarica and Turkestan Studies from Germany (ICATAT) presented a program that reflected one thing above all else: The lifelong close bond of Prof. Dr. Czerwonnaja with the history, art, science and languages of the Tatar peoples. Monika Górka and Dominik Napiwodzki represented the

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja" youngest generation of Swietlana hanım students from Poland. Monika Górka emphasized the importance of the life's work of Prof. Czerwonnaja in her introduction: „The Institute of Caucasica, Tatarica and Turkestan Studies brings together scholars and artists united by the common goal of exploring topics from the Tatar, Turkic and Caucasian worlds. Prof. Dr. Swietłana Czerwonnaja influenced the perception of these nations, their cultures, their way of understanding the world in all its diversity. Not so long ago she was still with us, she was inspiring our ways and work, gave support and was an agile, connecting networker who finally brought us all together that we are now all from different countries working together under the umbrella of ICATAT here in Magdeburg. Today we would like to dedicate these minutes to her memory with poetry, prose and music. In memory and honour to Swietłana hanım we use books and photos that she helped create.” Her last book review she wrote concerning the work »The Pasha of Magdeburg. The Orient in Middle Germany« published in Magdeburg 2019. Mieste Hotopp-Riecke, Ammar Awaniy and Dzhemile Umerova recited on this five-language book, published in Magdeburg (copies are available now in libraries of Tatarstan, Crimea and the Dobruja)2. The first thing the participants heard from Japan and Iceland, from Australia to Morocco, was a poem by the Crimean Tatar poet Yunus Qandım “Ana tilim” - “My mother tongue”. This Crimean Tatar poem first appeared in German translation by Mieste Hotopp-Riecke in 2016 in the book "The Tatars of the Crimea between Assimilation and Self-Assertion", for which Swietłana Czerwonnaja wrote the foreword. Then it was recited from an essay by Ali Khamzin, who was a close friend of Swietlana hanım and who also died in 2020. Mieste Hotopp-Riecke then recited in Kazan Tatar language “Uyna qızım” (Play, my daughter) by the Kazan Tatar poet Näbi Däuli, the Syrian writer Ammar Awaniy recited a poem by Mehmed Ali Pascha, who was born in Magdeburg: The Rose of Jerichow in German and Arabic, followed by his own prose-story, for the first time in English “A strange Dream”. Ildar Kharissov is a composer, pianist and Music-Turkologist at ICATAT. He played by Frédéric Chopin: “Mazurka”, by Röstäm Yakhin: “Summer” and his own composition “Prelude”. A slide show and the Swietłana memorial video from “CrimeanTatars.club” from Simferopol was played3. Monika Górka and Dominik Napiwodzki presented poems by Adam Mickiewicz in Polish and English: Stepy akermańskie / Akkerman steppes. The Crimean Tatar philologist Dzhemile Umerova then recited “Play my daughter” by Näbi Däüli and “Mother tongue” by Yunus Qandım in German. The final part was performed by the Crimean Tatar saxophonist Enver İbrahimov with the Crimean Tatar folk song “Men anamnın bir qızı edim” and the moving recitation of the Mickiewicz poem “Akkerman step” in Crimean Tatar language by the host and event organizer Taner Murat from Constanta.

See: https://paschamd.jimdo.com/das-buch/bibliotheken/ [21.3.2021]. See: https://crh.crimeantatars.club/history/portraits/qirimtatarlarnin-dostu-svetlana-cervonnaya-vefatetti [21.3.2021]. 3

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Mieste Hotopp-Riecke / Monika Górka Introduction // The legacy of Swietlana hanım S. Czerwonnaja in 2009 Germany, with Hotopp-Riecke and Ismail Kerimov at German Orientalistic Congress at University Bonn

The international academic-artistic get-together and the memory of Prof. Dr. Dr. h.c. Swietlana Czerwonnaja this way found such a moving, dignified farewell. Körüşkence ve saǧlıqnen kal Taner bey; elveda Swietłana hanım...

Swietlana Czerwonnaja'ya sıcak ve dokunaklı veda Akademisyenler ve sanatçılar, Japonya, İzlanda ve Avustralya'dan Almanya, Polonya hem Fas'a kadar Tatar Şiirlerini, Metin ve Müziklerini dinlediler. Tatarca tercüman, şair ve filolog Taner Murat, memleketi Karadeniz'deki Köstence'ye bir kez daha sanatçı ve bilim adamlarını davet etmişti. O ve Anticus Çokkültürlülük Derneği'nden meslektaşları her sene bir yandan düzenli olarak bilimsel kongreler, diğer yandan kültür ve sanat etkinlikleri düzenlemektedir. Korona salgını nedeniyle bu yıl bu formatlar bir araya geldi: 2020 senesinin Kasım ayın sonunda dijital formatta dört etkinlik çevrimiçi yapıldı. Üçüncü kez şunlar gerçekleşti: Nesli Tükenmekte Olan Kültürel Miras Festivali (FECH) Yıllık Nesli Tükenmekte Olan Kültürel Miras Kurultayı (AKECH) Karşılaştırmalı Edebiyat ve Sanatta Sürgün Üzerine Yıllık Konferans (ALECLA) ve Köstence Edebiyat ve Sanat Festivali ( CLAFest). Bu uluslararası çerçevede, yakın zamanda vefat eden Swietlana Czerwonnaja'nın anısına bir panel düzenlendi: Almanya'dan Kafkasya, Tatarika ve Türkistan Araştırmaları Enstitüsü (ICATAT) üyeleri, her şeyden önce bir şeyi yansıtan bir program sundular: Hayat boyu yakın bağ Prof. Dr. Czerwonnaja'nın Tatar halklarının tarihi, sanatı, bilimi ve dilleri ile. 143

CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja" Monika Górka ve Dominik Napiwodzki, Polonya'dan Swietlana hanım öğrencilerinin en genç kuşağını temsil etti. Monika Górka, girişinde Prof. Czerwonnaja'nın yaşam çalışmalarının önemini vurguladı: „Kafkasya, Tatarika ve Türkistan Araştırmaları Enstitüsü, Tatar, Türk ve Kafkasya konularını ele alma ortak hedefi ile bağlantılı bilim adamlarını ve sanatçıları bir araya getiriyor, dünyalar keşfeder. Prof. Dr. Swietłana Czerwonnaja, bu ulusların algısını, kültürlerini ve dünyayı tüm çeşitliliği içinde anlama biçimlerini etkiledi. Çok kısa zaman önce hala bizimle birlikteydi, yollarımıza ve çalışmalarımıza ilham veriyordu, destek veriyordu ve sonunda hepimizi bir araya getiren çevik, birbirine bağlanan bir ağcıydı, şimdi hepimiz farklı ülkelerden ICATAT çatısı altında birlikte Magdeburg´da çalışıyoruz. Bugün bu dakikaları şiir, düzyazı ve müzikle onun anısına ithaf ediyoruz. Hafızasında, yaratılmasına yardım ettiği kitapları ve fotoğrafları kullanıyoruz.” Son kitap eleştirisi, "Magdeburglu Pașa. Orta Almanya'da Şark" adlı eseriyle ilgiliydi. Mieste Hotopp-Riecke, Ammar Awaniy ve Cemile Umerqızı, Magdeburg'da basılan bu beş dilli kitapta okudular (kopyalar artık Tataristan, Kırım ve Dobruca'daki kütüphanelerine yolundadır). Katılımcıların Avustralya'dan Fas'a Japonya ve İzlanda'dan duydukları ilk şey Kırım Tatar şairi Yunus Kandım'ın “Ana tilim” – (“Anadilim”) adlı şiiriydi. Bu Kırım Tatar şiiri ilk kez 2016 yılında Mieste Hotopp-Riecke tarafından Almanca çevirisinde, Swietłana Czerwonnaja'nın önsözünü yazdığı "Asimilasyon ve Kendini İddia Etme Arasında Kırım Tatarları" kitabında yayınlandı. Ardından Swietlana Hanım'ın yakın arkadaşı olan ve bu yıl da ölen Ali Hamzin'in yazdığı bir denemeden okundu. Mieste Hotopp-Riecke daha sonra Kazan Tatar şairi Näbi Däuli'nin Kazan Tatar dilinde “Uyna qızım” (Oyna, kızım), SuriyeliMagdeburglu yazar Ammar Awaniy, Magdeburg'da doğan Mehmed Ali Pașa'nın şiirini okudu: Almanca ve Arapça olarak “Jerichow´deki Gül”, ardından kendi düzyazısı, ilk kez İngilizce “Garip Bir Rüya”. Ildar Kharissov, besteci, piyanist ve ICATAT'ta MüzikTürkologdur. Frédéric Chopin tarafından canlandırıldı: "Mazurka", Röstäm Yakhin'in: "Yaz" ve kendi bestesi "Prelúde". Simferopol'den “CrimeanTatars.club” dan bir Swietlana anma videosu hem de bir slayt gösterisi gösterildi. Monika Górka ve Dominik Napiwodzki, Adam Mickiewicz'in Lehçe ve İngilizce şiirlerini sundular: Stepy akkermańskie / Akkerman stepleri. Kırım Tatar filoloğu Cemile Umerkızı, daha sonra Näbi Däüli'nin “Oyna Kızım” ve Yunus Kandım'ın “Ana dilini” Almanca olarak okudu. Sonuç, Kırım Tatar saksofoncusu Enver İbrahimoğlı'nın Kırım Tatar halk şarkısı “Men anamnın bir qızı idim” ve ev sahibi ve organizatör Köstence'den Taner Murat'ın Kırım Tatarcasında Mickiewicz şiiri “Akkerman bozkırı”nın dokunaklı okunmasıyla oluştu. Uluslararası akademik-sanatsal buluşmalar ve Swetlana Czerwonnaja'nın anısı duygusal açıdan değerli, ağırbaşlı bir veda buldu. Körüşkence ve saǧlıqnen kal Taner bey; elveda Swietlana hanım...

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Mieste Hotopp-Riecke / Monika Górka Introduction // The legacy of Swietlana hanım M. Hotopp-Riecke with Gulfiyä Däüli and his grandson Savva in Magdeburg

Bewegender Abschied von Swietlana Czerwonnaja Akademiker*innen und Künstler*innen von Tokiyo bis Island, von Australien bis Marokko lauschten tatarischen Klängen Der tatarische Übersetzer, Poet und Philologe Taner Murat hatte wieder einmal eingeladen in seine Heimatstadt Constanta am Schwarzen Meer. Er und seine Kolleg*innen von der Anticus Multicultural Association organisieren in regelmäßigen Abständen wissenschaftliche Kongresse einerseits sowie Kultur- und Kunst-Events andererseits. Bedingt durch die Corona-Pandemie flossen diese Formate in diesem Jahr zusammen: Ende November wurden vier Events im Digital-Format online durchgeführt. Zum dritten Mal fanden statt: Festival of Endangered Cultural Heritage - FECH Annual Kurultai of the Endangered Cultural Heritage – AKECH Annual Lecture on Exile in Comparative Literature and the Arts – ALECLA Constanța Literature and Arts Festival - CLAFest In diesem internationalen Rahmen fand ein Panel in Gedenken an die kürzlich verstorbene Swietlana Czerwonnaja statt: Die Mitglieder des Instituts für Caucasica-, Tatarica- und Turkestan-Studien aus Deutschland (ICATAT) präsentierten ein Programm, dass vor allem eines widerspiegelte: Die lebenslange Verbundenheit von Prof. Dr. Czerwonnaja mit der Geschichte, Kunst, Wissenschaft und Sprachen der tatarischen Völker. Monika Górka und Dominik Napiwodzki vertraten die jüngste Generation der Schüler*innen von Swietlana hanım aus Polen. Monika Górka betonte die Bedeutung des Lebenswerkes von Prof. Czerwonnaja in ihrer Einelitung: „Das Institut für Caucasica-, Tatarica- und Turkestan-Studien vereint Wissenschaftler und Künstler, die mit dem gemeinsamen Ziel verbunden sind, Themen der tatarischen, türkischen und kaukasischen Welt zu erforschen. Prof. Dr. Swietłana Czerwonnaja beeinflusste die Wahrnehmung dieser Nationen, ihre Kulturen, ihre Art, die Welt zu verstehen in all ihrer Vielfalt. Vor nicht allzu langer Zeit war sie noch mit 145

CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja" uns, sie war unsere Wege und Arbeit inspiriert, gab Unterstützung und war eine agile, verbindende Netzwerkerin, die schließlich uns alle zusammenführte, dass wir jetzt alle aus verschiedenen Ländern unter dem Dach des ICATAT zusammenarbeiten. Heute möchten wir mit Poesie, Prosa und Musik diese Minuten ihrer Erinnerung widmen. In ihrem Andenken benutzen wir dafür hier Bücher und Fotos, an deren Entstehen sie mitgewirkt hat. Ihre letzte Buch-Rezension galt dem Werk ’Der Pascha von Magdeburg. Der Orient in Mitteldeutschlan’ ” Aus diesem fünfsprachigen Buch rezitierten Mieste Hotopp-Riecke, Ammar Awaniy und Dzhemile Umerova. Als Erstes hörten die Teilnehmer*innen zwischen Japan und Island, von Australien bis Marokko ein Gedicht des krimtatarischen Dichters Yunus Qandım „Ana tilim” – „Meine Muttersprache”. Dieses krimtatarische Gedicht erschien in deutscher Übersetzung von Mieste Hotopp-Riecke erstmals 2016 in dem Buch "Die Tataren der Krim zwischen Assimilation und Selbstbehauptung", für das Swietłana Czerwonnaja das Vorwort schrieb. Danach wurde aus einem Essay von Ali Khamzin rezitiert, der ein enger Freund von Swietlana hanim war und ebenfalls in diesem Jahr verstarb. Mieste Hotopp-Riecke rezitierte dann auf wolga-tatarisch „Uyna qızım” (Spiele, meine Tochter”) des kazan-tatarischen Poeten Näbi Däuli, der syrische Schriftsteller Ammar Awaniy trug ein Gedicht des in Magdeburg geborenen Mehmed Ali Pascha vor: Die Rose von Jerichow in deutscher und arabischer Sprache, gefolgt von eigener Prosa, erstmals auf englisch “A strange Dream”. Ildar Kharissov ist Komponist, Pianist und Musik-Turkologe am ICATAT. Er spielte von Frédéric Chopin: “Mazurka”, von Röstäm Yakhin: „Sommer” und seine eigene Komposition “Prélude”. Es wurde eine Dia-Show und das Swietłana-Gedenk-Video von “CrimeanTatars.club” aus Aqmescit, Krim, abgespielt. Monika Górka und Dominik Napiwodzki präsentierten Gedichte von Adam Mickiewicz auf polnisch und Englisch: Stepy akermańskie / Akkerman steppes. Die krimtatarische Philologin Dzhemile Umerova rezitierte dann “Spiele meine Tochter” von Näbi Däüli und “Muttersprache” von Yunus Qandım auf deutsch. Den Abschluss bildete das krimtatarische Volkslied “Men anamnın bir qızı edim” des krimtatarischen Saxophonisten Enver İbragimov und die bewegende Rezitation des Mickiewicz-Poems “Akkerman step” in krimtatarischer Sprache durch den Gastgeber und Organisator Taner Murat aus Constanta. Die international akademisch-künstlerische Zusammenkunft sowie das Gedenken an Prof. Dr. Dr. h.c. Swietlana Czerwonnaja fand so einen bewegenden würdigen Abschied. Körüșkence ve saǧlıqnen kal Taner bey; elveda Swietlana hanım…

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Mieste Hotopp-Riecke / Monika Górka Introduction // The legacy of Swietlana hanım ICATAT-Panel at DAVO-Congress Berlin 2011 with I. Kharissov, S. Czerwonnaja, S. Theilig

S. Czerwonnaja at CrimeanTatar-German Dialog in European Academy 2011 Berlin

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja"

Mieste Hotopp-Riecke4 With Yunus a literary farewell for Swietlana and Ali With a poem by Yunus Qandım, I said goodbye to two dear friends at the CLA-Festival Constanta, who on the one hand had an immense influence on my academic network, on my emotional connection with the Crimean Tatar culture and history and, above all, with the Tatar friends in the Crimea. On the other hand, they were role models for me, signposts for straightforwardness even when political or ideological adversity was against a project, against an opinion or against the mainstream of the surroundings. This is also symbolized, for example, in the poem "My mother tongue" by Yunus Qandım. A work that is precise and concise, emotional and stirring, admonishing and melancholic at the same time. It goes against the zeitgeist of indifference5, loss and de-solidarization. It gives you courage, it stands for self-assertion, empowerment and pride. All these things, all these attitudes that I associate with Swietłana Czerwonnaja and Ali Khamzin. The poet and academic Yunus Qandım spoke Ukrainian, Russian, Uzbek and Crimean Tatar as well as Belarusian, Karakalpak, Turkmen, Azerbaijani and Turkey-Turkish language. He was born 1959 in Aqqurğan near Tashkent and died far too early at the age of 45 on March 20, 2005. I met this outstanding Crimean Tatar poet6 in Crimea in 2004 when I was as guest student at KIPU Aqmescit for a semester for field research for my master's thesis. My guest father and house mentor at KIPU7 was Prof. Dr. Ismail Kerim. He and his entire kafedra-collectiv welcomed me wholeheartedly. Already in 1998 and 2000 during research stays in Yalta and Aqmescit and on the occasion of Mustafa Cemilev's 60th birthday in 2003 I got to know Crimean Tatar academics and artists. The first meetings and also the trip to the 60th birthday of Mustafa aga were arranged by my Magister mother Barbara Kellner-

Director of ICATAT (Institute for Caucasica-, Tatarica- and Turkestan-Studies Germany, founded 2004 in Berlin, now situated at the River Elbe in Magdeburg (www.icatat.de). 5 Zeitgeist is a German terminus and means in this case - also in the English language - the intellectual fashion or dominant school of thought of a certain period (disambiguation); not the concept from eighteenth- to nineteenth-century German philosophy, meaning "spirit of the age" refering to an invisible agent or force dominating the characteristics of a given epoch in world history; now usually associated with Georg W.F. Hegel, contrasting with his use of Volksgeist "national spirit" and Weltgeist "world-spirit". 6 Qandım was co-editor of the literary magazine Yıldız and co-organizer of Crimean-wide national Crimean Tatar school music and poetry competitions. Yunus hoca was a member of the Union of Writers of the USSR since 1989 and of the Union of Writers and Journalists of Ukraine since 1993. In 2000 he received the title of "Honored Artist of Ukraine". From his obituary: “Onıñ aydın simasi iç bir vaqıt qalblerimizden silinmez. Elvida, qalemdeş dostumız! Yatqan yeriñ puf olsun, Allahniñ rahmetinde ol. “[His intellectual personality cannot be erased from our hearts. Farewell our friend, companion of pen. May the earth of your burial be blessed, be in the grace of God]. 7 The so called Tatar University in Aqmescit/Simferopol; Crimean State Engineering and Pedagogical University, today as "Крымский инженерно-педагогический университет имени Февзи Якубова", named and formerly - since 1993 - lead by rector Prof. Dr. Fevzy Yakubov.

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Mieste Hotopp-Riecke With Yunus a literary farewell for Swietlana and Ali Heinkele and her friend Swietłana Czerwonnaja, who also came to the Crimea in 2003 and introduced me to Alexander Lavut and Ernest Kudusov. The poem by Yunus Qandım has become an integral part of ICATAT's cultural and scientific events in Germany. The foreword for my book, in which I published the German translation of the poem, was written by Swietłana Czerwonnaja. There she wrote, among other things: „The Crimean Tatars can postulate a special position for themselves in several ways: As the most Western-speaking Turkic-speaking Muslim ethnic group in the USSR and thus one of the oldest Muslim peoples in Europe. Another peculiarity of the Crimean Tatars is their unique network of initiative groups, the based on the centuries-old Qurultay system of the Turkic peoples, restored in 1991 through decades of struggle to return home.” Yunus Qandım supported this struggle as a poet and lecturer, Swietłana hanım with academic energy and Ali Khamzin with diligent network work and friendly communication. Ana tilim / Yunus Qandım (Crimean Tatar8) Aна тилим, меним тилим My mother tongue, my language, Меним чокърагъым. My source. Меним гулюм, меним илим, My rose, my science, Меним байрагъым. My flag, Меним далым, меним сырым, My branch, my secret, Aна тилим. My mother tongue. Меним козюм, меним тамрым. My eyes, my balance Aна тилим My mother tongue. Шырыл-шырыл акъар сенинъ Gurgling gently from your Татлы сёзлеринъ, Sweet words source, Манъа къанат такъар сенинъ Give me wings Your Серин еллеринъ. Fresh breath. Меним тюшюм, меним дагъым, My thinking, my mountains, Aна тилим My mother tongue. Меним геджем, меним багъым, My nights, my vines Aна тилим My mother tongue, Ана тилим Алла берген My Black, my white, Къарам, беязым, Given to me by Allah. Къаранлыкъта ёл костерген In the dark the way you show Чолпан йылдызым. My morning star Aна тилим My mother tongue.

English translation by M. Hotopp-Riecke. Regarding Yunus Qandım see further in Hotopp-Riecke, Mieste: Die Tataren der Krim zwischen Assimilation und Selbstbehauptung. Der Aufbau des krimtatarischen Bildungswesens nach Deportation und Heimkehr (1990-2005). Stuttgart: ibidem, 2016, S. 3, 140-141, 157. 8

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja"

Mieste Hotopp-Riecke/Ali Khamzin9 The political relationship of the Russian and Soviet empires to oppressed peoples The Crimean Tatars - struggle for the self-preservation of a European Turkic people This is the headline of one of the few articles by Ali Khamzin that published in German. He was a vehement admonisher of the threat of Russian annexation of the Crimea and often fought losing out for more attention for the concerns of the Crimea and the Crimean Tatars. On the one hand, he busily organized in cooperation with us meetings with various politicians in Germany and the Crimea, in the German Bundestag, with German NGOs and parliamentary groups. On the other hand, he appeared alongside Swietłana Czerwonnaja at several academic meetings to present the Crimean Tatar analysis of current political developments. Here a documentation of short quotations from above mentioned article: „The history of many peoples of post-Soviet territory, especially smaller oppressed peoples suffering from the dangerous process of assimilation, is the result of their submission and affiliation to two defunct empires: The Tsarist Empire and later Soviet Communist Russia. These empires, which are located on the territory of what is now the Commonwealth of Independent States, disintegrated in the 20th century: the Russian tsarist empire collapsed in 1917, the Soviet Union disintegrated in 1991. As indicative of their political pace and in contrast to other existing great powers, the extremely harsh and systematic politics of violent and enforced assimilation and the Russification of oppressed peoples after they were territorially conquered can be called. Tsarist Russia realized this as part of its colonial policy, while under the roof of the Soviet Union the criminal communist regime idea arose to build a new “socialist nation and society” embedded in a mendacious “international friendship”. From this damaging policy of approximation comes the will of the Russian as well as the Soviet empire to turn the oppressed peoples into a kind of humane "biomass" that produces new people - Russian-speaking people. This in turn guaranteed the exclusion of any national uprising for freedom and independence on the part of the oppressed. [...] These facts, that the Crimean Tatar people were not only subject to two Russian empires, but also served them afterwards, remain without attention to this day. This is indicative of a policy of assimilation by the Russian and Soviet empires, since they were alien to the principles

This text I performed in German and English at the CLAfest Constanta in memoriam Ali Khamzin, full text is to find in ICATAT book series issue No. 1: Hotopp-Riecke, Mieste / Theilig, Stephan (Eds.): Fremde, Nähe, Heimat. 200 Jahre Napoleon-Kriege: deutsch-tatarische Interkulturkontakte, Konflikte und Translationen. Berlin: Bussines, 2014 (Series Studia Turcologica), S. 173-182.

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Mieste Hotopp-Riecke/Ali Khamzin The political relationship of the Russian and Soviet empires to oppressed peoples customary in the history of other world empires, where enslaved peoples were given minimal opportunities, at least within the framework of puppet regimes, to preserve their religion, language and national culture.” At the end of this text, Ali Khamzin proposes that an international conference should be held in Berlin to address the fate and condition of the world of Turkic peoples and peoples who have suffered the consequences of the state anti-human actions of three Russian empires the Tsarist, the Soviet and the more recent. „Such a conference will, on the one hand, draw attention to this historical problem, but also highly topical in its implications, and, on the other hand, arouse respect among many representatives of the Turkic peoples for those who defended the political interests of these nations. Because they are all representatives of the great Turkish world, in whose history there were also glorious sides of courage, heroism, loyalty to alliances and wise state politics, this part of the Turkish world survived in the XX. Century the scaled genocide, deportation and repression primarily connected with the history of the Russian empires, which brought the representatives of this world irreplaceable, irretrievable losses.” As scientists and artists, we stay on the path of Swietłana hanım and Ali ağa at the side of those who fight for their rights to their mother tongue, self-determination and freedom. In deep sadness and gratitude for the fellows and colleagues of the ICATAT, Dr. Mieste Hotopp-Riecke, Winter 2020. Calligraphy by ICATAT-fellow Iman Shaaban, Magdeburg

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja"

Ammar Awaniy10, Magdeburg The Rose of Jerichow When I reached Germany 5 years ago, I was longing for a different life, away from the ruins of my lost past. I wanted to discover my internal peace and find a way to express myself freely. In Magdeburg, I fell in love with every little detail of my new reality. I embraced the ancient walls of the cathedral of Saints Maurice & Catherine and shared my secrets and my fears with the river Elbe. We talked and talked until we cried our loneliness away. I met new friends on the Elbe, friends of the word and the book, friends of the stage and of traveling. I became a member of the Writers' Association in Magdeburg and a fellow for international literature projects at ICATAT. It was through this fateful coincidence that I went on my first and so far only trip as a fresh citoyen of Magdeburg abroad to Dobruja in Romania, where I was able to take part in an Anticus literary conference in 2018. We got to know writers and artists, Tatars, Armenians, Germans, hospitable, open, intelligent people, Dobrujans. Thank you very much to Taner Murat for the invitation that time and the invitation for the second time now, unfortunately only virtual. In my text here, I tried to portray a different reality of my fortunate status in Germany. After a night I could never forget, I came home to my small apartment, having presented my first book to a large audience. I felt the euphoria of touching the red cover earlier that evening, the voices of friends congratulating me. But right there in that small space, alone in my room, I suddenly felt the sadness that hit me like a shock wave. I was forced to flee from the dark shadows of fear that surrounded me to a much better place, my dreams. I dreamed of my mother, of how she was always able to transform any room into a heavenly island of dreams. How my father's voice echoed in my consciousness to remind me of the past. The past before the war. And just like everything in life, every happy moment would come to an end. In my case, it was this extraordinary dream that ended at the very moment I needed it most to continue. "So close yet so far," I said to myself, longing for my parents' embrace. In the other part of my reading at CLA-Fest Constanta, I aimed to shed light on one of the most inspiring projects I have ever worked on as a writer and translator, the book "The Pasha of Magdeburg". I recited a poem written by the Pasha himself, "Mehmed Ali Pascha" Ludwig Carl Friedrich Detroit. A poem in which he expresses through its words an everlasting love for his beloved woman.

ICATAT adjunct for interculture and literature, writer, actor. Born in 1993 in Homs, Syria. After attending school and graduating from high school from 2010 to 2015, studied automation control and computer technology at Al-Baath University in Homs. After his escape, he is living in Magdeburg since the end of 2015, quickly learned the German language, writes and reads stories and novellas, and also works for the Saxony-Anhalt state association for cultural education for children and young people. S.a.: www.ammar-awaniy.de

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Ammar Awaniy, Magdeburg The Rose of Jerichow He wrote it down in Ottoman language, but then a team of researchers led by Dr. Mieste Hotopp-Riecke came across the poem after more than a hundred fifty years and decided to translate it into multiple languages, one of which was Arabic, my mother tongue. His fascinating story of how he left his hometown of Magdeburg to become one of the leading icons of the Ottoman Empire is a great introduction to the kind of stories to be expected in this book. Stories of migration, success, failure and hope accompany all the protagonists of this anthology. Finally, I should point out that the book was the product of hard work that took 5 years to blossom this incredible achievement. Many authors, translators and a motivated team of young people worked together and paved the way for a beautiful message of love that knows no borders. S. Czerwonnaja with Fuat Pepinov and Ali Khamzin at Symposium „Art and Culture in the Islamic World,” Cracow, October 2009

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja"

Mehmed Ali Pasha11: The Rose of Jerichow (German)

‫وردة يرغشو‬

„Die Rose von Jerichow”

‫محبوبتي ماذا لو هذا الفؤاد ُكسر‬ ‫القلب لم يَعد يَعتصر‬ ‫وعليكي‬ ُ ‫وشجر السرو حو َل قبري‬ ُ ّ ‫أبَى إال‬ ‫أن يُزهر‬ ‫سأرق ُد في مكاني وحيدا ً وانتظر‬ ً‫سويةً أرضا ً واحدة‬ ّ َ ‫أن نتشارك‬ ‫وننَصهر‬ ‫ع ّل الرو َح تُرد لعظامي الميت ِة‬ ‫وع ّل السما َء تُمطر‬ ُ‫ومع ُك ِل نَسمة أم ٍل ت َزورني تِلكَ الرائحة‬ ‫وفي كياني ت َنغمر‬ ‫ورما ُد هذا الجس ِد‬ ‫ب يَستعر‬ ِ ‫من تح‬ ِ ‫ت الترا‬ ‫وأغنيةُ حبُنا األخيرة لألببدي ِة أو َما َبع َدها‬ ‫ت َستمر‬

Geliebte, wenn einst gebrochen mein Herz Nicht mehr für dich kann schlagen Und dunkle Zypressen epheuumrankt Über meinem Grabe ragen, So will ich liegen und warten, bis Man auch Dich in die Erde wird legen, Doch dann soll mein vermodert Gebein Tief unten noch einmal sich regen. Und so oft von Deinem Grabe der Wind Wird ein wenig Erde mir bringen, Soll von meines Herzens Asche herauf Ganz leise ein Klagelied klingen.

‫محمد علي باشا‬ ‫ عمار عواني‬:‫ترجمة‬

A Magdeburg orphan boy of Huguenot origin escapes from his hometown and makes his career in Constantinople: Ludwig Carl Friedrich Detroit converts to Islam after his escape to the Ottoman Empire, he adoptes the name Mehmed Ali as the adopted son of the later Ottoman Foreign Minister. He is raised to a Pasha after successful trials as a General in the Russian-Ottoman Crimean Wars. As Mehmed Ali Pasha, he then heads to the Ottoman delegation in the Berlin Congress in 1878. He visits his native city of Magdeburg one last time and allegedly leaves there parts of the treasure of the legendary Sultan Saladin. In the same year he was murdered by rebellious Albanians. One of his grandchildren is Nazım Hikmet Ran, the national poet of Turkey. Todays Albanian folk songs sing about the Pasha from Magdeburg. See for more: Hotopp-Riecke (ed.): Der Pascha von Magdeburg. Der Orient in Mitteldeutschland. (with Co-Authors Ammar Awaniy, Nele Heyse, Stephan Theilig, Mady Host, Mandy Ganske-Zapf a.o.), ICATAT Series Nr. 7, Magdeburg: Ost-Nordost-Verlag / Icatat-Verlag, 2019, 324 p. as well as www.pascha-magdeburg.de

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Ammar Awaniy Living.home.night.

Ammar Awaniy Living.home.night. Yesterday I fell asleep late, too late... Yes, but I was asleep! What else can I do besides sleeping? I hate to go there, to disappear in an invisible world that forces me to fight my loneliness every day, while the walls of my room know how to strangle me without feeling. Only dark and dusky visions live in this dream world, in which our old songs are sung relentlessly. Just as they should not be sung, without sensitive rhythm, without tact, but most importantly - without any love! But yesterday it was different.... I don't know what had changed, what was new or what was the reason for it. Maybe because I drank a glass of my cheap wine before I went to sleep? To this day I drink in shame, without company... Mostly on my own. Strange, isn't it? I mean, even though I'm all alone in my little room, I swallow it in shame, because I think I feel that my faithful mother somehow knows. I am far away from her here and yet I am ashamed of my drinking here!! In my new dream, the songs this time were more beautiful, calmer and more familiar. They were more human in a way than before. Why not? My father's voice gave them a divine touch that they had not had before, as if from an uncertain top. He sang it as if he was reciting a Koran verse or a Christian psalm. In this humble room I did not see my father, but I heard his singing, which echoed graciously from the white walls. Then she came, my mother. The place around me began to become somehow brighter and brighter, like a path to salvation. The air was cool, wonderfully cool and refreshing, filled with the scent of an extraordinary mixture of jasmine and mint. She smiled when she saw me. Her usual soothing smile with bright eyes that sparkled like a magical sky filled with shining stars, like a merciful sun. She sat down next to me, said nothing. How beautiful is sometimes the silence that sanctifies the simplest paths in search of salvation. I learned from myself how my mother made the atmosphere of the room more pleasant, how she made the shadows of the tree branches coming from outside, painted by the sun on a wall in the room, become pleasantly soft. I laid my head on her thighs, just like I used to do in my childhood. She gently combed my hair while smiling and singing a sweet song of the legendary Fairuz.

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja" And me? In her hands, I was the strongest man in the world... And yet at the same time the weakest! I began to cry like a little child longing for its unborn dream. I said: " Mom...Mom...I have found God! He showed himself to me at last. So far he was always hiding from me - the whole time. Or it wasn't a God, but still something magnificent. That must be you. Because father had always advised me not to trust legends, dream images and fairy tales. She laughed. My father's voice began to gradually fade. The diffuse brightness was dimmed bit by bit, like a planet inexorably embraced by the ocean. I finally woke up! Some pictures remained, stuck - still, in my head. A strange fragrance resonated, still, in me. I could smell it - like back then. Was it summer jasmine? Or was it perhaps mint?! The daughter of poet Näbi Däüli with Ammar Awaniy in village Calvörde

156

İldar Kharissov Advocate for the Turkic Peoples of Europe: In memory of Swietłana Czerwonnaja

İldar Kharissov12 Advocate for the Turkic Peoples of Europe: In memory of Swietłana Czerwonnaja I knew the name of Swietłana Czerwonnaja long before we met personally. In the 1980s - I was a student at that time and lived in Tatarstan - the colorful volume "Fine Arts in Soviet Tatarstan" by S. Czerwonnaja could not be overlooked in bookshops. This book was also stored at home in my parents’ book collection. The title sounds officially, but one should keep in mind that the book was published in Moscow in 1983; Its publication alone showed the respect for Tatar artists in the capital of a vast country, the formerly USSR. Artists from many other “autonomous” republics of the Soviet Union could only dream of such a successful - to put it in today's language - PR campaign. Swietłana Czerwonnaja did this for the Tatar culture, which she loved and respected all her life. Our personal acquaintance came about in 1994 at the Institute for Turkology at the Freie Universität Berlin. Thanks to the friendly relationship with Professor Barbara Kellner-Heinkele - the head of the institute at the time - Swietłana Czerwonnaja carried out several projects in collaboration with the institute, which dealt with the history and culture of the Islamic - especially Turkic-speaking - peoples of Europe. The Institute for Turkology published, among other things, the monograph “The World of the Turkic Peoples between the Crimea and the North Caucasus” by Swietłana Czerwonnaja (Berlin, 2000). When we first met, Czerwonnaja suggested a joint project to me: an investigation of parallels between Quran recitations and Tatar šamail (Islamic calligraphic-iconic “graphics”, images without a picture). Unfortunately, this idea was never realized, but later we often met in joint projects that had to do with the Crimean and Volga Tatars and those inspired by or conducted at the Berlin Institute for Turkology, the SÜRGÜN project group, the Society for EASTERN EUROPE ADVANCEMENT or the Institute for Caucasica-, Tatarica- and Turkestan Studies (ICATAT). After Swietłana Czerwonnaja moved from Moscow to Toruń (Poland), she approached Germany and German-Islamic (art) history not only geographically, but also thematically. We met for the last time in the year of her 80th birthday in Magdeburg - at the conference "Muslims in Central Germany yesterday and today", which the ICATAT organized as part of the program „Fremde. Nähe. Heimat” (September 2016). As always, dear Swietłana was elegant, astute, resolute in her judgments and shone through erudition. She proudly presented the anthology "The Tatars of the Grand Duchy of Lithuania in History, Language, and Culture", which was published in 2013 in Toruń. Her heart has beaten unmistakably for the concerns of the Turkic peoples of Europe, for researching their history and culture as well as their rights in the present and future. 12

Composer, Music-Turkologist, Head of the Music Department at Institute for Caucasica-, Tataricaand Turkestan-Studies (ICATAT), President of the Society for EASTERN-EUROPEADVANCEMENT e. V.

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja" In memory of Swietłana Czerwonnaja, I played three piano pieces on November 29, 2021 at the panel meeting as part of the Constanța Literature and Arts Festival: The Mazurka op. 63/2 by Fryderyk Chopin (1810-1849), Summer by Röstäm Yaxin (1921-1993)13 and my own composition Prélude. All this music that sprang from the cultural soil of Poland and Tatarstan, which was so expensive for Swietłana Czerwonnaja.

Anwältin der Turkvölker Europas: In Gedenken an Swietłana Czerwonnaja Der Name von Swietłana Czerwonnaja war mir bekannt lange bevor wir uns persönlich kennenlernten. In den 1980er Jahren – ich war damals Schüler und lebte in Tatarstan – war in den Buchläden der bunte Band „Bildende Kunst im sowjetischen Tatarstan” von S. Czerwonnaja nicht zu übersehen. Auch bei uns zu Hause war dieses Buch vorhanden. Der Titel klingt offiziös, man sollte jedoch bedenken, dass das Buch 1983 in Moskau erschien; allein schon seine Veröffentlichung zeugte von der Achtung vor tatarischen Künstlern in der Hauptstadt eines riesigen Landes. Künstler vieler anderen „autonomen” Republiken der Sowjetunion konnten von einer derart gelungenen – um in heutiger Sprache zu sagen – PRAktion nur träumen. Swietłana Czerwonnaja tat dies für die tatarische Kultur, die sie ihr Leben lang liebte und achtete. Unsere persönliche Bekanntschaft kam 1994 im Institut für Turkologie der Freien Universität Berlin zustande. Dank der freundschaftlichen Beziehung zu Professorin Barbara Kellner-Heinkele – der damaligen Leiterin des Instituts – realisierte Swietłana Czerwonnaja in Zusammenarbeit mit dem Institut mehrere Projekte, die die Geschichte und Kultur der islamischen – vor allem turksprachigen – Völker Europas zum Thema hatten. Das Institut für Turkologie veröffentlichte unter anderem die Monographie „Die Welt der Turkvölker zwischen der Krim und dem Nordkaukasus” von Swietłana Czerwonnaja (Berlin, 2000). Bereits bei unserer ersten Begegnung schlug Czerwonnaja mir ein gemeinsames Projekt vor: eine Untersuchung von Parallelen zwischen Koranrezitationen und tatarischen šamail (islamische kalligraphisch-ikonische „Grafiken”, Bilder ohne Bild). Diese Idee wurde leider nicht realisiert, später trafen wir uns jedoch oft in gemeinsamen Projekten, die mit den Krim- und Wolga-Tataren zu tun hatten und die vom Berliner Institut für Turkologie, der Projektgruppe SÜRGÜN, der Gesellschaft für OSTEUROPA-FÖRDERUNG oder dem Institut für Caucasica-, Tatarica- und Turkestan-Studien (ICATAT) ins Leben gerufen waren. Nachdem Swietłana Czerwonnaja aus Moskau nach Toruń (Polen) übergesiedelt war, näherte sie sich nicht nur geografisch, sondern auch thematisch Deutschland und deutsch-

Röstäm Yaxin (full name in Volga-Tatar language: Яхин Рөстәм Мөхәммәтхаҗи улы (Russian: Яхин Рустем Мухамет-Хазеевич, romanized: Jáhin Rustém Muhamét-Hazéjevič; 1921 – 1993) was a Tatar composer and pianist. People's Artist of the USSR (1986). Major works: orchestra with piano concerto (1950–1952), ballet Fidai (1987), fortepiano and viola concertos, more than 300 songs and romances. Yaxin is also author of Hymn of the Republic of Tatarstan. Röstäm Yaxin was a laureate of the Ğabdulla Tuqay Tatar ASSR State Prize in 1959. 13

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İldar Kharissov Advocate for the Turkic Peoples of Europe: In memory of Swietłana Czerwonnaja islamischer (Kunst-)Geschichte. Zum letzten Mal haben wir uns im Jahr ihres 80. Geburtstages im Magdeburg getroffen – auf der Konferenz „Muslime in Mitteldeutschland gestern und heute”, die das ICATAT im Rahmen des Programms „Fremde. Nähe. Heimat” (September 2016) veranstaltete. Die liebe Swietłana war, wie immer, elegant, scharfsinnig, entschieden in ihren Urteilen und glänzte durch Erudition. Sie präsentierte mit Stolz den Sammelband „The Tatars of the Grand Duchy of Lithuania in History, Language, and Culture”, der 2013 in Toruń erschien. Ihr Herz schlug unverkennbar für die Belange der Turkvölker Europas, für die Erforschung deren Geschichte und Kultur sowie deren Rechte in Gegenwart und Zukunft. Im Gedächtnis an Swietłana Czerwonnaja spielte ich am 29.11.2021 auf der Panelsitzung im Rahmen des Constanța Literatur and the Arts Festival drei Klavierstücke: Die Mazurka op. 63/2 von Fryderyk Chopin (1810-1849), Sommer von Röstäm Yaxin (1921-1993) und mein eigenes Werk Prélude. All dies Musik, die dem Swietłana Czerwonnaja so teuren kulturellen Boden Polens und Tatarstans entspross.

Адвокат тюркского мира Европы: памяти Светланы Червонной Ильдар Харисов, Берлин14 Имя Светланы Червонной было мне известно задолго до нашего личного знакомства. В 1980-е годы – я был тогда школьником и жил в Татарстане – в книжных магазинах обращала на себя внимание яркая обложка монографии С. Червонной «Изобразительное искусство Советской Татарии». Была эта книга и у нас дома. Название книги может показаться официозным, но важно учитывать, что она выша в 1983 году в Москве и само ее издание свидетельствовало о признании успеха татарских художников в столице огромного государства. Художники многих других «автономных» республик Советского союза могли только мечтать о таком удачном, как бы сейчас сказали, PR-ходе. Светлана Червонная сделала это для культуры татарского народа, к которой она всю свою жизнь испытывала любовь и уважение. Познакомились же мы в Берлине в 1994 году в Институте тюркологии Свободного университета Берлина. Благодаря дружеским отношениям с тогдашним руководителем института профессором Барбарой Келльнер-Хайнкеле Светлана Червонная реализовала немало совместных с институтом проектов, связанных с историей и культурой мусульманских – преимущественно тюркских – народов Европы. Берлинским институтом тюркологии было издано и исследование Светланы Червонной «Тюркский мир юго-восточной Европы: Крым – Северный Кавказ» (Берлин, 2000).

Композитор, музыковед-тюрколог, руководитель отдела музыки института ICATAT, президент Общества содействия Восточной Европе. 14

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja" Уже при первой нашей встрече Светлана Михайловна предложила мне сделать совместный проект: показать перекличку художественных средств в татарских шамаилях (мусульманская «картина», выполненная средствами каллиграфии) и коранической речитации. Увы, этой идее не довелось осуществиться, но в дальнейшем нам не раз доводилось пересекаться в общих проектах, связанных с крымскими и волжскими татарами – проектах, которые организовывали берлинский Институт тюркологии, сообщество «SÜRGÜN», Общество содействия Восточной Европе, институт ICATAT... Переехав из Москвы в Торунь (Польша), Светлана Червонная стала географически еще ближе к Германии. В последний раз мы виделись в год ее 80-десятилетия в Магдебурге на конференции «Мусульмане в Средней Германии вчера и сегодня», организованной институтом ICATAT в рамках программы «Чужое. Близкое. Родное» (сентябрь 2016 г.): Светлана Михайловна была, как всегда, элегантна, остроумна, решительна в суждениях и блистала эрудицией. С гордостью она демонстрировала сборник статей «Татары Великого княжества Литовского в истории, языке и культуре», изданный в Торуне в 2013 г. Видно было, что сердце ее горячо бьется за дело тюркских этносов Европы, за изучение их истории и культуры и за их права в настоящем и будущем. В память о Светлане Червонной я исполнил на панельном заседании 29.11.2021 в рамках фестиваля „Constanța Literatur and the Arts Festival” фортепианные пьесы представителей двух дорогих для Светланы Михайловны культур: Mазурку op. 63/2 Фредерика Шопена (1810-1849), Лето волжско-татарского композитора Рустема Яхина (1921-1993) и свою Прелюдию. Czerwonnaja 2011 with Ildar Kharissov, ICATAT-secretary at German Parliament

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Monika Górka / Dominik Napiwodzki Thinkings. »Akkerman steppes« by Adam Mickiewicz

Monika Górka / Dominik Napiwodzki15 Thinkings. »Akkerman steppes« by Adam Mickiewicz In Polish literature, the meaning of steppes was associated with wild nature, mystery, fascination of the unknown, the steppes were a gateway to the other, Tatar and Turkish, oriental world) but the steppe was also a place of isolation, overwhelming loneliness and a feeling of loss. All of that can be found in “The Akkerman Steppes”16 by Adam Mickiewicz. This poem opens the "Crimean Sonnets", itself not being their part, because it was written earlier than the cycle of poems, being a collection of impressions from the stay in Crimea. This poem, created by a Polish poet, became a beloved poem of other nations (Lithuanians, Belarusians). It also became a poem of the Ukrainians as well as the Crimean Tatars themselves. The poem united these nations in a feeling of love for nature, freedom, beauty and at the same time in a feeling of loss for something elusive. Why did we choose this poem? We chose it in honour two of our friends, who passed away in 2020, and who loved Crimea as much as we did. Our friends, Ali Khamzin and prof. Swietłana Czerwonnaja, they, like the Akkerman Steppes, were the links between west and east, with their actions and their lives they connected the Crimea and the Crimean Tatars

Monika Górka and Dominik Napiwodzki are ICATAT fellows since 2019. They are former students of Professor Swietłana Czerwonnaja at Nicolaus Copernicus Universtiy in Torun, Poland. They are Cultural Anthropologists and Ethnologists. Since 2011 they have been active in the field of research, with publications in various scientific anthropological journals. Monika Gorka's main interests are indigenous cultures, history of colonization in the Russian East and the Americas. Dominik Napiwodzki is additionally a pianist. His anthropological interests are Islamic nations of the former Soviet Union areas, urban anthropology and corporate anthropology. They are living in Germany since 2015. 16 Akkerman is a fortress and city in Odessa Oblast in southwest Ukraine and is now called BilhorodDnistrowskyj (Ukrainian Білгород-Дністровський; Romanian Cetatea Albă; Turkish Akkerman; German Weißenburg). The city has 50,000 inhabitants (2015) and belonged to the historical region of Bessarabia. In the sixth century BC the colony of Tyras of the ionian city of Milet was founded on the site of today's city of Akkerman. In the 15th century, as well as between 1918 and 1940 and from 1941 to 1944, the city bore the official Romanian name Cetatea Albă. From 1503 to 1918 and from 1940 to 1941 the city was called Akkerman (Аккерман). Ak means "light / white" in Tatar and other Turcic languages and kerman means "rock". Historically the city was also known as: in Greek Asprokastron or Maurokastron and Latin Mauro-, Moncastrum, in Hungarian it is called Dnyeszterfehérvár ("White City on the Dniester"). Destroyed during the Migration Period (better known as the Barbarian Invasions), the city was later rebuilt by the Eastern Slavs as Belgorod ("White City"), but destroyed again by Cumans and Tatars. Genoese rebuilt it in 1261 under the name Maurocastro. Then the Moldovan Prince Stefan the Great expanded the fortress into an important military base, which was conquered by Sultan Bayezid II. velī in 1484. Some inhabitants were deported to Constantinople. In 1812, like all of Bessarabia, Akkerman became permanently part of Russia through the Treaty of Bucharest. In 1918 the city was Romanian, occupied by the Soviet Union in 1940, and Romanian occupied 1941–1944 after the German invasion of the Soviet Union; 1944 through the advance of the Red Army Soviet again and as Belgorod (Russian) again part of the Ukrainian Soviet Republic of the USSR until 1991. After the dissolution of the Soviet Union and the declaration of independence of Ukraine, the city remained as Bilhorod part of Odessa Oblast and thus Ukrainian territory.

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja" with the Western world, being members of both worlds. This poem is a beautiful reflection for us about the void in our hearts caused by the departure of these two people from this world and, at the same time, how much they taught us about the beauty of Crimea, about Crimean Tatar culture. With their lives they have borne witness to how beautifully "Orient" and "Occident" can be combined, if one is open to the other and wants to learn from each other. The Akkerman Steppe by Adam Mickiewicz, translated by Edna W. Underwood17 Across sea-meadows measureless I go, ⁠My wagon sinking under grass so tall The flowery petals in foam on me fall, ⁠And blossom-isles float by I do not know. No pathway can the deepening twilight show; ⁠I seek the beckoning stars which sailors call, And watch the clouds. What lies there brightening all? ⁠The Dniester's, the steppe-ocean's evening glow! The silence! I can hear far flight of cranes— ⁠So far the eyes of eagle could not reach— And bees and blossoms speaking each to each; ⁠The serpent slipping adown grassy lanes; From my far home if word could come to me! ⁠Yet none will come. On, o'er the meadow-sea! For us, the “The Akkerman Steppes” is more than just a beautiful poem. For us, it is a personal link - between those from the Baltic and those from the Black Sea. Our friends, whom we visited in Crimea, and those who have reached to Poland and the European Union, live and create here, enriching Polish and European culture with their own one.

Myśli. »Stepy akermańskie« Adama Mickiewicza W literaturze polskiej stepy były związane znaczeniowo z dziką przyrodą, tajemnicą fascynacją nieznanym (stepy były bramą do innego, tatarskiego i tureckiego, orientalnego świata) ale też step był miejscem odosobnienia, dojmującej samotności i uczucia straty. To wszystko znaleźć można w „Stepach akermańskich” Adama Mickiewicza. Wiersz ten

Edna Worthley Underwood (January 1873 – June 14, 1961) was an American author, poet, and translator. See: https://www.lib.k-state.edu/depts/sc_rev/findaids/pc1993-05.php [21.3.2021]. See further at University Poznan unser: http://lo8.poznan.pl/fotki/file/Konkurs%20Recytatorski%202015/Mickiewicz%20w%20j%C4%99zyk ach%20obcych-1.pdf [21.3.2021]. 17

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Monika Górka / Dominik Napiwodzki Thinkings. »Akkerman steppes« by Adam Mickiewicz otwiera „Sonety krymskie”, sam nie będąc ich częścią, gdyż powstał wcześniej niż cykl będący zbiorem wrażeń z pobytu na Krymie. Należy wspomnieć, że wiersz ten, stworzony przez polskiego poetę stał się również umiłowanym wierszem innych narodów, takich jak Litwini czy Białorusini. Stał się on także poematem Ukraińców jak i Tatarów Krymskich. Połączył te narody w uczuciu miłości do przyrody, piękna, wolności, a zarazem w uczuciu straty za czymś nieuchwytnym. Monika Gorka and Dominik Napiwodzki with Sw. Czerwonnaja

Dlaczego wybraliśmy ten wiersz? Wybraliśmy go aby uczcić dwóch naszych przyjaciół, którzy odeszli w 2020 roku, a którzy tak samo jak my umiłowali Krym. Byli to Ali Hamzin i profesor Swietłana Czerwonnaja. Oni, tak jak Stepy akermańskie łączące zachód ze wschodem, swoimi działaniami i swoim życiem łączyli Krym i Tatarów Krymskich ze światem Zachodu, będąc jednocześnie członkami obydwu tych światów. Wiersz ten stanowi dla nas piękne odbicie tego jaką pustkę w naszych sercach sprawiło odejście tych dwojga ludzi z tego świata a zarazem jak dużo nauczyli nas oni o pięknie Krymu, o kulturze krymskotatarskiej. Swoim życiem dali świadectwo jak pięknie można łączyć „orient” i „okcydentalizm”, gdy jeden człowiek otwarty jest na drugiego i chcemy się uczyć od siebie nawzajem.

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja" Adam Mickiewicz Stepy akermańskie Wpłynąłem na suchego przestwór oceanu, Wóz nurza się w zieloność i jak łódka brodzi, Śród fali łąk szumiących, śród kwiatów powodzi, Omijam koralowe ostrowy burzanu. Już mrok zapada, nigdzie drogi ni kurhanu; Patrzę w niebo, gwiazd szukam przewodniczek łodzi; Tam z dala błyszczy obłok? tam jutrzenka wschodzi? To błyszczy Dniestr, to weszła lampa Akermanu. Stójmy! — Jak cicho! — Słyszę ciągnące żurawie, Których by nie dościgły źrenice sokoła; Słyszę, kędy się motyl kołysa na trawie, Kędy wąż śliską piersią dotyka się zioła. W takiéj ciszy — tak ucho natężam ciekawie, Że słyszałbym głos z Litwy. — Jedźmy, nikt nie woła! Dla nas „Stepy akermańskie” to coś więcej niż sam, niezwykle piękny wiersz. Są dla nas osobistym łącznikiem – tych znad Bałtyku z tymi znad Morza Czarnego. Naszych przyjaciół, których odwiedzaliśmy na Krymie, i tych którzy docierali i dalej docierają do Polski i Unii Europejskiej, tutaj żyją i tworzą wzbogacając polską i europejską kulturę swoją własną. İCATAT meslektaşlar Monika Górka, Dominik Napiwodzki, Dr. Mieste Hotopp-Riecke, Cemile Umerova

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Mieste Hotopp-Riecke Zwei Gedichte. Eine Welt. Dzhemile Umerova

Mieste Hotopp-Riecke Zwei Gedichte. Eine Welt. Dzhemile Umerova18 Die studierte Philologin und Verwaltungswissenschaftlerin Dzhemile Umerova arbeitete für die UNDP (United Nations Development Programm) bereits in Aqmescit, Winnitzya und Kharkiv. Doch schon seit 2009 stand sie in Kontakt mit dem ICATAT, dessen Mitglied sie heute ist. Dzhemile Umerova and her Team 2019 (Hotopp-Riecke, Ammar Awaniy, Ramazan Eskin)

Das Institut für Caucasica-, Tatarica- und Turkestan-Studien (ICATAT) existiert seit 2004 und wurde von einer internationalen Gruppe bestehend aus Studenten und Akademikern gegründet. Wie der Name des Instituts verrät, werden vor allem Themen bearbeitet, die mit der Geschichte, Sprache und Kultur der Tataren sowie der Völker Mittelasiens und des Kaukasus verbunden sind. Unter den Gründungsmitgliedern waren damals Dozenten und Studenten unterschiedlicher Herkunft: Krimtatarische, usbekische, türkische, griechische, kurdische, polnische und deutsche Engagierte konzipierten die ersten Projekte an der Freien Universität Berlin. Dort am Institut für Turkologie wurde auch das erste große Projekt geplant: Die erste krimtatarische Kulturwoche in Berlin mit Filmen, Konzerten, einer wissenschaftlichen Konferenz, Lesungen und Exkursionen. Als Gäste kamen damals in die deutsche Hauptstadt unter anderem der Jazz-Gitarrist Enver Izmailov und die KlassikMusiker*innen Maya Kadirova und Nazim Amedov aus Jalta sowie etliche Akademiker*innen (Ismail Kerimov, Şevket Yunusov, Ablyaziz Veli u.v.a.m.). Es folgten

This text is a revised and expanded version and has already been published as a short version by Mieste Hotopp-Riecke in: Bekirova, Zera (Ed./Red.): NENKECAN, Crimean Tatar popular scientific women's journal for literature and education, No. 29, winter 2020, Aqmescit/Crimea, pp. 44-48.

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja" etliche Jahre mit dutzenden Konferenzen, Ausstellungen und Soiréen. Unter anderem waren dort zu Gast die Töchter der großen unvergessenen wolga-tatarischen Poeten Näbi Däüli und Musa Dschalil, Frau Gulfiya Däüli (russ.: Dawletschina) und Tschulpan Salilowa. Sehr bewegende persönlich-emotionale Momente stellen immer die Rezitationen von Gedichten dar, die die Väter für die Töchter dichteten. Dazu passend gesellt sich stets die hymnische Ehrung an die krimtatarische Sprache von Yunus Qandım. Dzhemile hanım begleitet diese Aktivitäten des ICATAT nun schon über 10 Jahre und ist Mitgründerin der Initiative QIRIMLI, einem Netzwerk junger krimtatarischer Migrant*innen in Deutschland. Zusammen mit weiteren Freiwilligen organisiert sie dort zum Beispiel Aktionen zum Tag der krimtatarischen Flagge, zum Tag der Deportation am 18. Mai oder Kinder- und Jugend-Events. Als Fach-Beraterin arbeitet sie bei „Arbeit und Leben”, einer Institution des deutschen Gewerkschaftsbundes für die rechtliche Beratung von Migrant*innen zum deutschen Arbeitsmarkt. Die ersten Jahre in Deutschland war sie Mitarbeiterin der Landesvereinigung kulturelle Kinder- und Jugendbildung Sachsen-Anhalt. In dieser Funktion organisierte sie zum Beispiel die krimtatarische Übersetzung der Geschichte „Anna Hood” (https://www.anna-hood.de/das-buch/alle-texte/krimtatarisch/) und die Präsentation krimtatarischer Musik zusammen mit ihrem Mann, dem Saxofonisten Enver İbragimov. Sie betreute und unterstützte Ausstellungen und Vortragsabende im Rahmen des „Deutsch-Krimtatarischen Dialogs”, wo interessante Qırımlı als Gäste des ICATAT nach Deutschland kamen (z.B. Elvira Sarıkhalil & Band, Liliya Muslimova, Elvina Seytbullayeva, Cemil Karikov & Zeyneb Yahyaheva). Vor drei Jahren begann Dzhemile hanım mit der Katalogisierung der vielen hundert MedienEinheiten in der ZWEIHEIMISCH-Bibliothek des ICATAT, wo neben wissenschaftlicher krimtatarischer Literatur hunderte krimtatarische Schallplatten, CDs, Zeitschriften (Qasevet, Günsel, Armançıq, Qırım, Avdet, Yañı Dunya, Tasil, Uygunlıq, Areket u.v.a.m.) nun auch sämtliche Ausgaben von Nenkecan zu finden sind. Ein großer Dank gilt an dieser Stelle unserer lieben Kevser apte, ohne die diese größte krimtatarische Spezialsammlung Deutschlands nicht zustande gekommen wäre. Doch das ICATAT sammelt nicht nur Bücher für die eigene ZWEIHEIMISCH-Bibliothek, sondern hier werden auch Bücher produziert. Sehr erfolgreich war das letzte Buch, an dem auch Cemile hanım mitgearbeitet hat: „Der Pascha von Magdeburg”, unter anderem mit Illustrationen vom krimtatarischen Künstler Rustem Skybyn. Zu den krimtatarischen Autorinnen, Protagonistinnen und Übersetzerinnen der ICATAT-Bücher gehören seit einem Dutzend Jahren die Philologinnen Aliye Yasyba und Dzhemile Umerova, porträtiert und thematisiert werden z.B. im ICATAT-Buch „Beyond the Tartaros” die Malerin und Dichterin Suzan Emine Kaube (Pinneberg), die Pianistin Alyana Pirola (Heidelberg) oder die Rechtsanwältin İlknur Şenol-Baysu, die 2009 für den Weltkongress der Krimtataren kandidierte. Starke Frauen wie die Sängerin Jamala, die Thologinnen Zeyneb Bayrova und Zenife Veli wurden der deutschen Leserschaft vorgestellt.

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Mieste Hotopp-Riecke Zwei Gedichte. Eine Welt. Dzhemile Umerova Zurzeit arbeitet Dzhemile Umerova zusammen mit Monika Górka, Dominik Napiwodzki und Mieste Hotopp-Riecke an einem Sammelband im Andenken an Swietłana Czerwonnaja, die im November 2020 verstorben ist. In den nächsten Monaten möchte Cemile vor allem eine Idee weiter vorantreiben: Film- und Märchenworkshops für Kinder und Jugendliche zusammen mit der Initiative „Bizim Balalar” zum Thema „Hıdır Dede”. Dazu sollen die Filmemacher*innen Elzara İslyamova, Dlyaver Dvadzhiev und Lilya Budzhurova nach Deutschland eingeladen werden und deutsche Jugendliche besuchen krimtatarische Künstler*innen in Kiew. Es wird an einem Projekt „Alman Qırım Tatar Kitab Köprüsü (Deutsch-Krimtatarische Bücher-Brücke” mit Zaporozhye und Lviv gearbeitet und es warten noch hunderte krimtatarische Exponate im Museum Europäischer Kulturen in Berlin. Und seit vielen Jahren dürfen bei all diesen Aktivitäten zwei Gedichte nicht fehlen: Spiele meine Tochter und Meine Muttersprache. Es gibt viel zu tun!

Cemile Umerova hakkında: İki şiir. Bir dünya. Filoloji ve idare bölümlerinden mezun olan Cemile Umerova, Aqmescit, Winnitzya ve Kharkiv'deki UNDP (Birleşmiş Milletler Kalkınma Programı) için görev yaptı. Ancak 2009'dan beri şu anda üyesi olduğu ICATAT ile temas halindeydi. Kafkasya, Tatarika ve Türkistan Araştırmaları Enstitüsü (ICATAT) 2004 yılından beri varlığını sürdürmektedir ve uluslararası bir öğrenci ve akademisyen grubu tarafından kurulmuştur. Enstitünün adından da anlaşılacağı gibi, işlenen ana konular Tatarların tarihi, dili ve kültürü ile Orta Asya ve Kafkasya halklarıdır. O zamanın kurucu üyeleri arasında farklı kökenlerden öğretim görevlileri ve talebiler vardı: Kırım Tatar, Özbek, Türk, Yunan, Kürt, Hindistanlı, Polonyalı ve Alman gönüllüler, Berlin Hür Üniversitesi'ndeki ilk projeleri tasarladılar. Türkoloji Araştırmaları Enstitüsü'nde ilk büyük proje de planlandı: Berlin'de filmler, konserler, bilimsel konferans, okumalar ve gezilerle ilk Kırım Tatar kültür haftası. O dönemde 2005 Alman başkentine gelen konuklar caz gitaristi Enver İzmailov ile Yalta'dan klasik müzisyenler Maya Kadirova ve Nazim Amedov'un yanı sıra bir dizi akademisyen (İsmail Kerimov, Şevket Yunusov, Ablyaziz Veli ve diğerleri) idi. Bunu birkaç yıl düzinelerce konferans, sergi, Kırım'a çalışma gezileri, konserler, okumalar izledi ve bunların hepsi 2014'ten beri sadece dijital olarak mümkün oldu. Diğer faaliyetlerin yanı sıra unutulmaz Idil-Tatar şair Näbi Däüli´nin ve Musa Dschalil´in kızları Bayan Gulfiya Däüli (Rusça: Davletçina) ve Çulpan Zalilova misafir oldu. Babaların kızları için yazdığı şiir okumaları her zaman çok dokunaklı kişisel ve duygusal anlardırmış. Yunus Kandım'ın Kırım Tatar diline ilahi haracı hep bununla aynı akşamlarda ilişkilendirilir.

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja" Dzhemile Umerova while recitating Näbi Däüli poem 2020

Cemile hanım, 10 yılı aşkın süredir ICATAT'ın faaliyetlerine eşlik ediyor ve Almanya'daki genç Kırım Tatar göçmenlerinden oluşan bir ağ-inisyatifi olan QIRIMLI girişiminin kurucularından biridir. Diğer gönüllülerle birlikte, örneğin Kırım Tatar Bayrağı Günü, 18 Mayıs Matem Günü etkinlikleri veya çocuklar ve gençler için etkinlikler düzenler. Uzman bir danışman olarak, Alman sendika federasyonunun göçmenlere Alman işgücü piyasasında hukuki danışmanlık sağlayan bir kurumu olan "Arbeit und Leben" de çalışıyor. Almanya'da ilk yıllarında, Saksonya-Anhalt eyaletinn çocuklar ve gençlik medeniy eğitim teşkilatında (lkj) çalıştı. Bu rolde, örneğin, "Anna Hood" hikayesinin Kırım Tatarca tercümesini (https://www.anna-hood.de/das-buch/alle-texte/krimtatarisch/) ve kocası saksafoncu Enver İbragimov ile birlikte Kırım Tatar müziğinin sunumunu organize etti. İlginç Qırımlı'nın ICATAT'ın misafirler olarak Almanya'ya geldiği "Alman-Kırım Tatar Diyaloğu" kapsamında sergi ve konferans akşamlarını yönetti ve destekledi (örn. Elvira Sarıkhalil & Band, Liliya Muslimova, Elvina Seytbullayeva, Cemil Karikov ve Zeyneb Yahyaheva Magdeburg ve Berlin`e geldiler). Üç yıl evvelde Cemile hanım, ICATAT'ın ZWEIHEIMISCH (alm.: ikiz yerli) kütüphanesinde yüzlerce medya birimini kataloglamaya başladı; burada bilimsel Kırım Tatar debiyatın yanı sıra yüzlerce Kırım Tatar plağı, CD, dergi (Qasevet, Günsel, Armançıq, Qırım, Avdet, Yañı Dunya, Tasil, Uygunlıq, Areket ve çok daha fazlası) artık Nenkecan'ın tüm sayıları da burada bulunur. Sevgili Kevser aptemiz Reşidova'ya mında çok teşekkür 168

Mieste Hotopp-Riecke Zwei Gedichte. Eine Welt. Dzhemile Umerova etmemiz gerek. Kevser aptemizin yorulmak bilmeyen çalışması olmasaydı, Almanya'daki bu en büyük Kırım Tatar özel koleksiyonu ortaya çıkmazdı. Ancak ICATAT sadece kendi ZWEIHEIMISCH kütüphanesi için kitap toplamakla kalmaz, aynı zamanda burada kitaplar da yazılır hem üretilir. Cemile hanım'ın da üzerinde çalıştığı son kitap oldukça başarılıydı: Rüstem Skybyn'in illüstrasyonlarıyla birlikte “Magdeburg Paşası” beş dilli kalın bir kitaptır. ICATAT kitaplarının yazarları, kahramanları ve çevirmenleri bir düzine yıldır Aliye Yasyba ve Cemile Umerova'dır. Ama tabii ki Ukraynalı, Arap, Fars, Türk, Kürt ve Idil-Tatar kökenli kadınları (örneğin Venera VagizovaGerassimov) da ICATAT'ta faaliyetlidir. Örneğin ICATAT'ın "Beyond the Tartaros" kitabı Dobrucalı ressam ve şair Suzan Emine Kaube'yi (Pinneberg) resmetmektedir; piyanist Alyana Pirola (Heidelberg) ya da 2009 Dünya Kırım Tatarları Kongresi için yarışan avukat İlknur Şenol-Baysu. Şarkıcı Jamala, psikoterapist Zeyneb Bayrova veya ilahiyatçı Zenife Veli gibi güçlü kadınlar Alman okurlarının beğenisine sunuluyor. Cemile Umerova şu anda Monika Górka, Dominik Napiwodski ve Mieste Hotopp-Riecke ile Kasım 2020'de vefat eden Swietłana Czerwonnaja'nın anısına bir antoloji üzerinde çalışıyor. Önümüzdeki birkaç ay içinde Cemile, özellikle bir fikri öne çıkarmak istiyor: “Hıdır Dede” konulu “Bizim Balalar” girişimi ile çocuklara ve gençlere yönelik film ve masal atölyeleri düzenlemek. Bu amaçla film yapımcıları Elzara Islyamova, Dlyaver Dvadzhiev ve Lilya Budzhurova Almanya'ya davet edilecek ve genç Almanlar Kiev'de Kırım Tatar sanatçılarını ziyaret edecek. Zaporozhye ve Lviv ile “Alman QırımTatar Kitap Köprüsü” projesi üzerinde çalışıyoruz ve Berlin'deki Avrupa Kültürleri Müzesi'nde hala bekleyen yüzlerce Kırım Tatar eksponat var. Her faaliytinde mutlakka iki şiir eksik kalmaz: Oyna kızım hem Ana dilim. Yapacak çok şey var!

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja"

Näbi Däüli19 (German) Уйна, кызым!

Spiele meine Tochter Du bist klein, meine Tochter, sehr klein. Deinen vierten Frühling spielst du auf der Erde. Spielst du im Gras, Weinst du vor Angst, dass du deine Namensschwester siehst.

Син кечкенә, кызым, бик кечкенә, Дүртенче яз җирдә уйныйсың. Кереп китсәң үлән арасына, Адаштым дип куркып елыйсың. Чәчүргечең әллә алсугамы, Күбәләкләр оча тирәңдә. Нинди матур чәчәк үскән диеп, Кем сокланмас сине күргәндә.

Rosafarbene Schleife in deinen Zöpfen, Schmetterlinge fliegen rings um dich her. Was für eine schöne Blume wuchs da, Wer dich sieht, ist begeistert. Spiel, meine Tochter, tolle herum, springe, meine Tochter, Lauf mit dem rollenden Ball, So ist auch die Erde, wie dein Ball, Rollt im All.

Уйна, кызым, шаяр, сикер, кызым, Йөгерә-йөгерә тубың тәгәрәт. Җир дә шулай, синең тубың кебек, Зур галәмдә бара тәгәрәп. Җир тәгәри, без дә көн итәбез, Шушы җирдә безнең гомерләр. Киләчәкнең барлык язмышлары Баш иярг ә сиңа килерләр.

Die Erde rollt, und unser Tag vergeht, auf diesem Boden ist so unser Lebensweg. Alle Schicksale der Zukunft Vor Dir mit gebeugtem Kopf. Spiel, meine Tochter, tolle herum, springe, meine Tochter, Das Leben ist noch so jung. Doch trügt das Gefühl, nicht den Ball trägst Du nun, Nein, die Erdkugel in deinen Händen!

Уйна, кызым, шаяр, сикер, кызым, Тормышыңның әле яшь чагы. Туп түгел лә синең кулларыңда, Кулларыңда синең – җир шары! 1961

With full name in Tatar language: Нәбиулла Хәсән улы Дәүләтшин (Миндубаев) / Näbiulla Häsän ulı Däülätşin (1.6.1910-18.5.1989). Translation from Tatar to German: Venera VagizovaGerassimov. 19

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Mieste Hotopp-Riecke Zwei Gedichte. Eine Welt. Dzhemile Umerova Нäби Даули foto by Kamil Bakirov

Näbi Däüli with wife and daughter Gulfiyä

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja"

»Muttersprache« by Yunus Qandım (German20) Meine Muttersprache, meine Sprache, Meine Quelle. Meine Rose, meine Wissenschaft, Meine Flagge, mein Ast, mein Geheimnis, Meine Muttersprache. Meine Augen, mein Ausgleich, Meine Muttersprache. Leis gurgelnd Deiner süßen Worte Quell. Verleiht mir Flügel, Dein frischer Hauch. Mein Denken, meine Berge, Meine Muttersprache. Meine Nächte, meine Reben, Meine Muttersprache, Mein mir von Allah gegebenes Schwarzes, mein Weißes, mein Morgenstern In der Dunkelheit den Weg Du weist Meine Muttersprache.

Translation: Mieste Hotopp-Riecke, see Fn. 8.

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Mieste Hotopp-Riecke Zwei Gedichte. Eine Welt. Dzhemile Umerova Yunus Qandım with William Owens Roberts 2001 in Constanta by AVDET

Yunus Qandım by AVDET

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja"

Enver İbrahimov21 Men anamnıñ bir qızı edim. A Crimean Tatar traditional folk song. Enver İbrahimov counts “Men anamnıñ bir qızı edim” (I was my mother's daughter) among his favorite melodies. This song reminds him of a wonderful time in his childhood when his grandparents still lived there and his grandmother often sang this song. It is about a young woman who is her mother's only daughter and who is about to get married to found her own family. This is a folk song and its melody expresses the somewhat sad feelings of the young woman who will now have to leave her parents' home. Enver İbragimov got to know the song at weddings and birthdays, only in Uzbekistan and, after the family moved in 1989, back to the Crimea, where tens of thousands of Crimean Tatars who had been deported to Central Asia by the Stalin regime in 1944 were resettled. „When I was 11 years old boy, I learned Crimean Tatar melodies at the music school in Bahçisaray and then played this song at concerts and competitions. When I am playing it here, in Germany, it means for me the nostalgic memory of Crimean Tatar weddings, because most of the time I played this song there and of course about my home on the Black Sea...” says Enver bey. As a variation, the word "qız" (daughter) is changed from time to time at weddings to "oğlı" - son, otherwise the song is now played in the traditionally format heard by the grandparents. Naziya Nagimova Oil on canvas Sicak Yel

Enver Ibragimov a Crimean Tatar musician, who plays mostly Jazz and Folk music worldwide. He is also a teacher for Saxophone, Clarinet and Flute. Born in Namangan, Uzbekistan, but currently is living in Germany.

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Enver İbrahimov Men anamnıñ bir qızı edim. A Crimean Tatar traditional folk song. Enver İbragimov still plays this song most of the time at weddings (although not so often in exile) and concerts in the context of Crimean Tatar culture in Crimea are currently not on the agenda. In Germany he plays it at events such as vernissages, conferences and soirées organized by the ICATAT institute. Su anasi by young Tatar artist Dzhuliya Gerasimov, Magdeburg

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival ICATAT panel "In memoriam Swietlana Czerwonnaja"

Taner Murat Ak-Kerman kîrî As an emotional farewell to the audience of the conference-festival series from Constanta / Köstence, the organizer Taner Murat recited once again the ballad „Akkerman Steppe” by Adam Mickiewicz. But now in the mother tongue of Taner bey, the Tatar language from Dobruja.

Ak-Kerman kîrî Boylayman hesapsîz deñíz-derya togay, Boylî yeşíllíkke at-arabam batar, Ústím kópík-kópík, tajyapragî ğawar, Ada-ada şeşek her yagîmda ğalday. Oy belletmez yawaş derenleşken keşe, Ğol kóstergen yîldîz karayman yokardan. Ne bar eken şonda, ğatîp balkîldagan? Bozkîr deriyasî, Turla suwî geşe! Súkút-dawuşsîzlîk! Uşkan turna sesí, Şîbîn man şeşegíñ hoş múzakeresí Búrkút kózí barmaz uzaklîktan óter; Ğîlan tayîp otlîk arasîndan geşer; Algaydîm bír kaber uzak kalgan ğurttan! Almazsîñ, ğúre-ber deñízdiy otlaktan!

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CLAFest 2020 – The 3 rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni

Alexandru Birou, Liga Scriitorilor Dobrogeni ......................................................... 178 Traian Brătianu, Cenaclul Literar „Mihail Sadoveanu” .......................................... 182 Mihaela Cojocaru, Societatea de Haiku Constanța ................................................ 185 Nicolae Dumitru, Cenaclul Literar „Mihail Sadoveanu” ......................................... 189 Arșaluis Sarchisian Gurău, Uniunea Armenilor din România (Filiala Constanța) ... 191 Emel Emin, Constanța, Romania ............................................................................ 198 Izolat la domiciuliu cu pictorul Iaia Ferodin din Mangalia, de Arșura.................... 200 Constantin Iordan, Clubul Umoriștilor Constănțeni............................................... 202 Vasilica Mitrea, Liga Scriitorilor Dobrogeni............................................................ 208 Dan Norea, Clubul Umoriștilor Constănțeni .......................................................... 210 Ion M. Ruse, Clubul Umoriștilor Constănțeni ........................................................ 212 Tănase Serea, Cenaclul Literar „Mihail Sadoveanu” .............................................. 215

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni

Alexandru Birou Liga Scriitorilor Dobrogeni Mă protejez împotriva COVID-19 conform recomandărilor făcute de autorități. Folosesc mijloacele de informare în mod conștient și cu scop: - nu intru în contact direct cu soția; - evit atingerea clanțelor, mânerelor, butoanelor de la aragaz și mașina de spălat; - dezinfectez zilnic telefoanele și telecomenzile; - păstrez față de ea o distanță de 1,5- 2 metri; - servesc masa în schimbul 2; - beau cafeaua separat; - mă spăl pe mâini regulat. Păstrăm distanța Cu soția, să nu vă miraţi, Am făcut o alianță Suntem foarte-apropiaţi, Stăm la 2 metri distanţă. Am ales izolarea, nu mă văd cu cei dragi. Dragostea la distanţă Stau și-ascult în locuință O binecunoscută romanță Izolarea-i cu putinţă, Nu şi amorul la distanţă!... Nu aș putea spune că în perioada aceasta mi-am pierdut prietenii. Dimpotrivă, mi-am făcut alții. Sfaturi în criză Oricât am fost prins de nevoi, Am respectat un sfat străvechi: „Să-ţi faci mereu prieteni noi Şi să nu-i uiţi pe-aceia vechi!” Cu ajutorul telefoniei video mențin contactul social cu familia și cu cercul de prieteni. Legătura oferă sprijin.

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Alexandru Birou Liga Scriitorilor Dobrogeni Cu telefonul Aștept să se strângă toți Și apoi să dea ei tonul, Pe copii și pe nepoți, Îi sărut cu telefonul. Coronavirusul m-a învățat să-mi planific ziua cât se poate de exact. Planificarea activităților previne pierderea controlului și starea de neajutorare. Cu ajutorul planificării, am evitat sentimentul de victimă neajutorată a unei situații, în favoarea celui de a o influența în mod activ. Din păcate multe au fost doar în mintea mea. După plan La mine-s toate cum am spus După plan de n-ai idee Și pot să respect ce mi-am propus Mai ceva ca o femeie! Pandemia aceasta m-a făcut să-mi reevaluez resursele interioare de care dispun să pot depăși situațiile de criză. Săritură A început cu orez apoi cu paste, Întreb și eu ciocănind pe taste Oare nimeni nu-l obligă Să sară peste mămăligă. Pe plan personal mi-am reevaluat și mi-am folosit toate experiențele pozitive pe care le-am acumulat în viață, toate problemele pe care le-am depășit și le-am rezolvat, tot talentul și părțile tari pe care le am, tot ce aparține abilităților și înclinațiilor personale etc. Pe plan național m-am convins încă o dată că poporul român nu va dispărea niciodată, are un umor adorabil, s-a adaptat la virus cum niciun alt popor nu a făcut-o. Pe plan extern, deși economia mondială pare să fi încetinit din această cauză, există și un beneficiar neașteptat al acestei contracții economice și industriale – planeta. Numărul de zile cu o calitate bună a aerului a crescut cu 21,5% în februarie, prin comparație cu aceeași perioadă în 2019, conform ministerului chinez pentru ecologie și mediu. Acum, stau și mă gândesc, oare ce să ne fi scăpat, oare n-am greșit undeva? Nu cumva, scrutând în permanență universul, în căutarea altor lumi posibile, am neglijat minunata grădină verde, care ne-a fost dată? Nu cumva, în goana noastră spre ceea ce credem că înseamnă progres, am uitat ce înseamnă dragostea de oameni și adevăratele noastre necesități? Nu cumva, privind mereu înainte, am uitat să privim și în sus, spre EL și înăuntru, spre NOI? În lume, s-au petrecut și până acum necazuri cumplite; nu cumva ne-am 179

CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni crezut intangibili, neîntâmplându-se în preajma noastră? Oare globalizarea politică, economică, culturală, nu ar fi trebuit să plece de la componenta cea mai importantă – globalizarea iubirii față de oameni? Alimentele și medicamentele de care am nevoie le obțin singur, nu am nevoie de niciun ajutor. Clor nu se găsește. Cel mai bun dezinfectant N-am găsit la Penny clor, Să dezinfectăm și-n dormitor; Și mi-am zis, ca tot omul: Cel mai bun dezinfectant e... romul! Încerc să fac și sport: mișcare, alergări ușoare, în sufragerie cu geamul deschis, gimnastică, abdomene, deja am făcut două. Mă vizitează porumbei care vin în fiecare dimineață la fereastră și mă salută, iar eu le dau firimituri de pâine. Mașina din parcare Când la geam aterizează Și-mi cerșește de mâncare E clar că mă avertizează Că mi-o spurcă în parcare. Devreme ce trebuie să stau în casă, activitățile mele preferate sunt: - Creație: poezii, epigrame, ascult muzică și citesc. - Testarea unor noi rețete de mâncare. - Odihnă, cât de multă. Benefic pentru cultură Dac-o fi să bântuiască Covidu-acesta muritor, Orice român vrea să trăiască Să devină... scriitor! În această perioadă, cel mai fericit moment a fost atunci când am aflat că nu va fi sfârșitul lumii și nevasta stropea cu vodcă prin casă. Nu-mi mai înţeleg deloc nevasta Până la pandemia asta Cu aiazmă, stropea nevasta Acum văd că nu-i mai pasă:

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Alexandru Birou Liga Scriitorilor Dobrogeni Cu palincă a stropit întreaga casă! De-a lungul vieții, nu a existat niciun eveniment mondial care să fi avut un impact asupra mea. Un nou război Vorbeam mai ieri de-un nou război, Dar astăzi, cum te duci, pe unde treci Auzi de-un virus de la nişte lilieci, Scăpat de sub control de câţiva boi. Este vremea să ne gândim la părinții, prietenii, bunicii, la toți cei pe care îi putem infecta în mod neintenționat - iar ei trebuie să se gândească la noi. Acesta este motivul pentru care suntem în locul în care suntem acum. Limitați interacțiunile sociale în afara casei, spălați-vă pe mâini, iar această criză se va termina mai devreme și cu mai puține pierderi de vieți omenești. Prevenție Feriţi-vă de virus, bată-l vina, Că pare-a fi, într-adevăr, nasol: Purtați mască cum spune medicina Și-aveți în voi rezerve de alcool. Aș dori ca peste ani cititorii și prietenii să spună despre mine: „Încă unul care a învins virusul”. Epitaf În viața lui n-a fost să fie O astfel de veselie, Să scrie cu atâta rodnicie Despre o banală pandemie.

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Traian Brătianu Cenaclul Literar „Mihail Sadoveanu”

Arșura: Cum vă protejați împotriva Coronavirusului? Traian Brătianu: Simplu, stând în casă şi evitând să ies afară. A.: În ce mod a influențat COVID-19 viața dvs.? T.B.: M-a oprit de la multe evenimente la care trebuia să particip, apoi, a trebuit să mă reinventez în activităţile gospodăreşti cărora până acum nu le-am acordat prea multă importanţă, mai ales celor gastronomice. A.: Ce fel de experiență reprezintă Coronavirusul? Bună sau rea? T.B.: Amândouă. Bună pentru că ne-a obligat să ne reanalizăm modul de comportare şi apropierea de semeni. Și rea pentru că ne-a îndepărtat de viaţa noastră normală şi ne-a obligat să-i iubim pe cei dragi de la distanţă. A.: Care sunt cele mai importante lecții pe care le-ați învățat de la COVID-19? T.B.: Trebuie să fim mai apropiaţi şi să nu uităm niciodată că suntem fiinţe sociale. A.: Vă puteți obține singur alimentele și medicamentele sau aveți nevoie de ajutor? T.B.: Mă descurc singur, dar mi-ar face plăcere să mă ajute cineva fie doar cu o vorbă bună. Asta se întâmplă doar din partea celor apropiaţi.

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Traian Brătianu Cenaclul Literar „Mihail Sadoveanu” A.: Această nouă experiență a fost dureroasă pentru dvs.? T.B.: Desigur, atâta vreme cât mulţi semeni au avut de suferit. Experienţele de acest gen sper să întărească pe fiecare dintre noi. A.: La ce activități fizice sau sportive mai participați în perioada aceasta? T.B.: Particip la un „maraton” de nu ştiu câţi km pe care îi parcurg zilnic din balcon până în dormitor şi din apartament până la cutia poştală de la parter. Aşa că aştept cu încredere Jocurile Olimpice din Japonia. A.: Cine vă vizitează? T.B.: În primul rând eul meu şi gândurile bune, iar pe calea undelor – cei care-şi mai aduc aminte de mine. A.: Care este alegerea atunci când trebuie să hotărâți cu privire la a vă vedea cu cei dragi? Optați pentru o simplă distanțare socială sau pentru izolare? T.B.: Deocamdată am optat pentru izolare fizică. Şi vreau să vă spun că nu mă plictisesc deloc cu mine. Aştept însă relaxarea, ca să-i văd de aproape pe cei dragi, pe colegii mei de la Cenaclul „Mihail Sadoveanu”, de la C.U.C. şi nu în ultimul rând pe... Şuraleu. A.: V-ați pierdut prietenii? T.B.: Pe cei adevăraţi nu. Pe ceilalţi îi mai aştept. A.: Ce activitate preferați să faceți în perioada aceasta în care trebuie să stați în casă? T.B.: Mă ocup mai mult de scris şi de citit. Uneori cu mai mult spor, alteori cu o anumită lentoare. De curând am terminat de scris o carte şi acum lucrez la o alta. Ca să nu-mi ies din mână, mai compun câte o epigramă. Iată una inspirată din realitatea cotidiană: Un tango, apoi un vals Cu Corona am dansat, Dar tot singur am rămas. Ea cu altul a plecat. Când mă plictisesc privesc pe geamul de la balcon oamenii care trec pe bulevardul Tomis sporindu-mi cheful de viaţă. A.: Care dintre noile tehnologii vă este cea mai utilă în noul mod de viață? T.B.: Radioul, telefonul şi indirect internetul. A.: Care a fost cel mai fericit moment din această perioadă? T.B.: Când mi-am luat temperatura şi am văzut că este în parametri normali! A.: Ce evenimente mondiale au avut cel mai mare impact asupra vieții dvs.? T.B.: Faptul că pandemia a regresat în China, ţară pe care am vizita-o şi despre care am scris cartea „NI HAO, CHINA!”. Şi apoi mă şochează necazul prin care trec fraţii noştri latini de la care am împrumutat şi numele de Traian.

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni A.: Există un lucru pe care ați fi vrut să ni-l comunicați, dar nu ați făcut-o niciodată? T.B.: Nu regret nimic din tot ceea ce am făcut până acum şi, dacă ar fi să o iau de la început, aş alege acelaşi drum. Şi încă ceva: pe mine m-a salvat zodia. Fiind Geamăn, am avut întotdeauna o soluţie se rezervă. A.: Peste ani, cum ați dori să își amintească de dvs. cititorii și prietenii? T.B.: Ca un om care a iubit oamenii şi a încercat să le fie întotdeauna de ajutor prin activitatea desfăşurată în presă şi învăţământ unde, sper, am obţinut note bune.

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Mihaela Cojocaru Societatea de Haiku Constanța

Arșura: Cum vă protejați împotriva Coronavirusului? Mihaela Cojocaru: Împotriva Coronavirusului mă protejez conform normelor legislative în vigoare, cu respectarea măsurilor de protecție și distanțare pentru prevenirea şi combaterea efectelor pandemiei de COVID-19. Port mască facială și mănuși, folosesc substanțe dezinfectante, mă deplasez la magazine doar când este neapărat nevoie și încerc, pe cât posibil, să nu intru în contact cu prea multe persoane. A.: În ce mod a influențat COVID-19 viața dvs.? M.C.: Pandemia a avut o influență nefastă asupra tuturor oamenilor de pe glob și inclusiv asuprea mea. A intervenit o modificare totală de program cotidian și pe termen lung. Nu am mai putut să-mi desfășor activitățile zilnice. Am întâmpinat mari dificultăți cu îngrijirea unui membru al familiei care este în vârstă și cu care nu locuim împreună. A.: Ce fel de experiență reprezintă Coronavirusul? Bună sau rea? M.C.: Cred că a fost și o experiență rea, dar care ne-a deschis ochii și care ne va fi de folos, ca să zic așa. O experiență dureroasă. Am văzut ce trebuie să facem și de cele mai multe ori nu facem, pentru a ne păstra sănătoși și în siguranță. A trebuit să ne schimbăm modul de viață. A fost și este încă, o experiență care ne-a marcat pe viață.

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni A.: Care sunt cele mai importante lecții pe care le-ați învățat de la COVID-19? M.C.: Pandemia generată de COVID-19 ne-a arătat că avem multe de învățat în domeniul prevenirii bolilor, al protejării organismului nostru, dar și al protejării celor din jurul nostru. Am învățat cum trebuie să procedăm, pe viitor, pentru a ne păstra sănătoși și în siguranță. Am văzut că este bine să fim pregătiți mereu pentru situații de urgență, să ne întărim fizic și psihic, să ne aprovizionăm cu medicamente și alimente, să fim gata să-i ajutăm pe semenii aflați în nevoie. Lipsa noastră de pregătire pentru astfel de situații a dus la panică, frică, suferință, boală și chiar la moartea celor de lângă noi. A.: Vă puteți obține singură alimentele și medicamentele sau aveți nevoie de ajutor? M.C.: În această perioadă dificilă am putut totuși să îmi procur alimentele și medicamentele și materialele necesare protecției contra COVID-19, pentru mine și familia mea. A.: Această nouă experiență a fost dureroasă pentru dvs.? M.C.: Această experiență a fost foarte dureroasă pentru mine, pentru familia mea, pentru toată lumea. Ne-am supus restricțiilor de circulație, justificate de altfel, ne-am supus normelor necesare păstrării sănătății familiei și a celor din jurul nostru. Cel mai mult a contat faptul că nu o puteam vizita zi de zi, ca înainte, pe mama, care este în vârstă și are nevoie de ajutorul nostru permanent. A.: La ce activități fizice sau sportive mai participați în perioada aceasta? M.C.: În această perioada nu particip la activități fizice sau sportive. Înainte mergeam mai mult pe jos, ca un exercițiu zilnic, dar acum mă deplasez doar cât este strict necesar. A.: Cine vă vizitează? M.C.: Vizitele în această perioadă sunt suspendate. Aleg comunicarea la distanță, prin mijloacele tehnice la îndemână, cu rudele, prietenii și cunoștințele. A.: Care este alegerea atunci când trebuie să hotărâți cu privire la a vă vedea cu cei dragi? M.C.: Când este vorba de a mă vedea cu cei dragi, optez pentru o simplă distanțare socială, întrucât obligațiile familiale și filiale nu-mi permit să mă izolez total. A.: V-ați pierdut prietenii? M.C.: Aceasta este o întrebare dureroasă Din păcate, da. Am pierdut o prietenă dragă, de care eram legată prin natura activității mele cultural-literare. Motivul pierderii ei nu a fost direct pandemia, dar cine știe ce influențe a avut panica și frica în sufletul unui om de o anumită vârstă și care a trebuit să stea mai mult izolat, comunicând doar telefonic. A.: Ce activitate preferați să faceți în perioada aceasta în care trebuie să stați în casă? M.C.: În această perioadă mă ocup de treburile casnice și de susținerea și ajutarea membrilor familiei, iar în momentele de răgaz scriu. Pe tema pandemiei, spre aducere aminte a situației grea prin care trece întreg mapamondul. Din când în când pictez.

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Mihaela Cojocaru Societatea de Haiku Constanța A.: Care dintre noile tehnologii vă este cea mai utilă în noul mod de viață? M.C.: În general sunt adepta tehnologiei moderne, îmi place să folosesc aparatele care ne înlesnesc munca și ne-o fac mai atractivă și ușoară și ne oferă și multe posibilități de comunicare și cunoaștere a lumii înconjurătoare. De peste douăzeci de ani eu și calculatorul, mai nou laptopul, suntem nedespărțiți. Fie că l-am folosit la serviciu, fie acasă, el este un prieten de nădejde. Am povestit despre această prietenie în „Calculatorul un nou orizont” publicată și pe Youtube. A.: Care a fost cel mai fericit moment din această perioadă? M.C.: Momente fericite, în această perioadă, nu prea am avut. Nici nu aveam cum, când este atâta durere în lume. Doar diploma obținută la concursul internațional de haiku organizat de Societatea de Haiku Constanța a reușit să mai aline gândurile triste generate de pandemie. A.: Ce evenimente mondiale au avut cel mai mare impact asupra vieții dvs.? M.C.: Este chiar această pandemie. A.: Există un lucru pe care ați fi vrut să ni-l comunicați, dar nu ați făcut-o niciodată? M.C.: Consider că nu există niciun lucru pe care aș fi vrut să-l comunic și nu am făcut-o. Parcurgând cu ochii minții, încă o dată, perioada de pandemie nu pot decât să sper că vom învăța din această lecție și că vom avea grijă ca această situație tragică să nu se mai repete. A.: Peste ani, cum ați dori să își amintească de dvs. cititorii și prietenii? M.C.: În primul rând îmi doresc să am o activitate bogată, frumoasă și folositoare pentru cititori și prieteni și pentru iubitorii de cultură, literature și artă. Sper să-și aducă aminte de mine ca despre un om care a iubit frumusețile naturii înconjurătoare și le-a zugrăvit fie cu condeiul, fie cu penelul pe pânză. 26.08.2020, Constanța

Haiku zarzăr înflorind nevăzut de nimeni – pandemie pe glob blossoming apricot tree unseen by anyone – pandemic on the globe

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni teama de covid–19 – mă imunizez zi de zi cu virușii din laptop fear of covid-19 I immunize every day with laptop viruses carantină – pe străzile pustii nici tremurul frunzei quarantine on the deserted streets nor the trembling of the leaf (traducerea în limba engleză și foto de Tiberiu Tizu)

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Nicolae Dumitru Cenaclul Literar „Mihail Sadoveanu”

Arșura: Cum vă protejați împotriva Coronavirusului? Nicolae Dumitru: Prin autoizolare, distanţare socială şi respectarea strictă a măsurilor de protecţie individuală: mănuşi şi măşti chirurgicale, ochelari, capul acoperit, decontaminare cu alcool şi spălare cu apă şi săpun. A.: În ce mod a influențat COVID-19 viața dvs.? N.D.: Mi-a furat în mod samavolnic şi ireversibil din puţinul timp, în special din timpul social, care mi-a mai rămas de trăit. A.: Ce fel de experiență reprezintă Coronavirusul? Bună sau rea? N.D.: Mizerabilă! A.: Care sunt cele mai importante lecții pe care le-ați învățat de la COVID-19? N.D.: Niciuna! A.: Vă puteți obține singur alimentele și medicamentele sau aveți nevoie de ajutor? N.D.: Deocamdată, da! A.: Această nouă experiență a fost dureroasă pentru dvs.? N.D.: Mai mult frustrantă!

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni A.: La ce activități fizice sau sportive mai participați în perioada aceasta? N.D.: Coborât şi urcat scările din bloc (trei etaje) când duc gunoiul sau fac cumpărături strict necesare (pâine, lactate, legume proaspete) A.: Cine vă vizitează? N.D.: Nimeni! A.: Care este alegerea atunci când trebuie să hotărâți cu privire la a vă vedea cu cei dragi? Optați pentru o simplă distanțare socială sau pentru izolare? N.D.: Izolarea! A.: V-ați pierdut prietenii? N.D.: Sincer? Nu poţi să pierzi ceea ce nu ai! A.: Ce activitate preferați să faceți în perioada aceasta în care trebuie să stați în casă? N.D.: Curăţenia da Paşte! A.: Care dintre noile tehnologii vă este cea mai utilă în noul mod de viață? N.D.: Smartphone (WhatsApp şi BCR-GEORGE) A.: Care a fost cel mai fericit moment din această perioadă? N.D.: Bunavestire (25 Martie), ziua de naştere a soţiei mele! A.: Ce evenimente mondiale au avut cel mai mare impact asupra vieții dvs.? N.D.: 1. Instaurarea regimului bolşevico-stalinist în România; 2. Căderea dictaturii ceauşiste; 3. Aderarea României la Uniunea Europeană. A.: Există un lucru pe care ați fi vrut să ni-l comunicați, dar nu ați făcut-o niciodată? N.D.: Sunt profund îngrijorat şi regret profund că am ajuns să trăiesc asemenea vremuri apocaliptice! Sunt profund dezamăgit de inimaginabila (pentru mine) degradare a umanităţii! A.: Peste ani, cum ați dori să își amintească de dvs. cititorii și prietenii? N.D.: Ca de un OM adevărat! Şi eu vă mulţumesc! 08.04.2020

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Arșaluis Sarchisian Gurău Uniunea Armenilor din România (Filiala Constanța)

Catrene din vremea pandemiei 1. Țara care nu există Trebuie să fie undeva o țară, Unde visurile toate ți se împlinesc. În zadar o caut – pentru-a câta oară? Că pe nicio hartă nu pot s-o găsesc. 2. Nedumerire Mă gândesc adesea, Doamne, cum ne scrii în Carte soarta Și de ce, câteodată, așa crunt ne pedepsești? Nu ne-ajunge că ne-așteaptă-n capătul vieții moartea? Cum Îți ții Cuvântul, Doamne, că spuneai că ne iubești? 3. O întrebare... Ce ne facem, oameni buni? Virușii stau să ne-omoare Umblă brambura pe stradă; ni se bagă-n pat, în nas, Joacă hora pe trahee, tropăie-n calculatoare, Să ne dăm învinși cu toții? doar atât ne-a mai rămas?

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni 4. și… un răspuns N-am fi bănuit vreodată că-un dușman atât de mic, Cât un fir de praf, cât punctul, cât o boabă de nimic, O să ne sfideze-obraznic și-o să treacă la atac, Dar nu știe teroristul că o să-i venim de hac. 5. Știrile de la TV Prin ecranul de TV, băieți dragi, fete frumoase, Noi vă așteptam cu drag, în case să ne intrați, Fiindcă ne-ncântați cu vorba și cu zâmbetele voastre, Însă, vai, de la o vreme, numai vești proaste ne dați. 6. Ochii tăi Ochii tăi magnetici, de-un albastru dens Iar mi se arată, iar mă urmăresc. Îi visez de-o vreme, noaptea, tot mai des, Și îi văd aevea chiar când mă trezesc. 7. Fugit ireparabile tempus Ce paradox mai e și viața! și câte contradicții are. . . În tinerețe-i minunată, da-ți risipești Timpul prea mult, Iar când realizezi, în fine, valoarea ei cât e de mare, Ai cere clipei să se-oprească, da-i prea târziu: a și trecut. 8. Legea compensației A fost o vreme când vorbeai cu ochii doar; era de-ajuns, Căci din tăcerea-ți misterioasă am învățat ce e femeia. Acum ți-e limpede rostirea, nu ai enigme de ascuns, Dar, ce păcat, că din privire, de tot ți-a dispărut scânteia! 9. Primăvară târzie La fereastra dinspre mare, iarăși teiul a-nflorit, Flori albastre de cicoare printre dale-au răsărit, Briza-mprăștie în zare aerul înmiresmat, Îndulcit cu poezie și c-un dor demult uitat. 10. Primăvara sufletului Din nou revine primăvara în sufletul meu obosit. Perfid mă-nvăluie visarea; el iar se lasă ispitit.

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Arșaluis Sarchisian Gurău Uniunea Armenilor din România (Filiala Constanța) De aventura tinereții și de chinuitorul dor, Nicicând n-o să mă satur, Doamne? Chiar n-o să-mi treacă până mor? 11. Timpul relativ Cum mătăniile-n rozariu, pe-ața vieții le resfiri, Mi-au trecut în goană anii: bob cu bob și fir cu fir, Câte unu, câte unu, dar de-o vreme... Ce dezastru! Nu pricep cum s-a-ntâmplat că trec patru câte patru. 12. Simplu Îți amintești? Cu nerăbdare cum alergam să ne-ntâlnim, Aveam atâtea să ne spunem, nimicuri să ne povestim Cu uitătura ta albastră cât mă priveai de drăgăstos, Apoi tăceam, dar împreună tăcând așa... era frumos!... 13. Dorul (după Omar Khayam) Pojar năprasnic, dorul, în inimă-mi căzuse; Zadarnicei sperațe i-am spus că te pierduse Și am tăcut, păstrându-mi doar gândurile-ascunse Să nu scap vreo scânteie din inimă pe buze.

Povestiri din vremea pandemiei Cine ne schimbă viața (antiodă) (Înainte de pandemie…) Afurisita de coronă Ne schimbă viața radical. Să mergi la magazin ori piață Era cândva ceva banal. Nu te gândeai să-ți schimbi rimelul, Să-ți aranjezi părul altfel; Îți luai traista ori căruțul Și o-ntindeai la târguieli. Mai căscai gura la vitrine, Mai adăstai la o tarabă, Apoi, cu straițele pline O luai spre casă fără grabă. 193

CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni Dacă-ntâlneai vreo cunoștință, Vă salutați politicos, Poate, chiar conversați oleacă. Era plăcut, era frumos. (și… după) Acum ni s-a schimbat viața: Îți iei mănuși, îți pui măscuță, Îți completezi și declarația Și o pornești pe potecuță. Nu-ți legeni traista cum ți-e voia, - că nu e timp, nu e legal – Ca să nu dai în paranoia, Te încadrezi în „interval”. N-ai cui să-i spui un „Bună ziua!” Fiindcă nu-l ghicești, de fel, Că-i vezi doar ochii și coafura: El o fi oare? N-o fi el? Mie-mi convine ordonanța, „Chestia cu masca”-n mod expres, Căci dată fiind ambianța, Mulți mă privesc cu interes. Cum nici la rând, prioritate Nu mi s-a dat, după „lozinci”, Am tras concluzia rațională Că nu arăt de șaiăjcinci. Întâmplări cu poliția (Un fel de pamflet) Inspirație după imaginile difuzate de televiziune (B1, România TV, etc.) Țârrr! la unu unu doi! Telefonul sună iar; C-un glas clar, sprințar, vioi O vecină – emisar – Ne anunță indignată:

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Arșaluis Sarchisian Gurău Uniunea Armenilor din România (Filiala Constanța) „E chindie-n cartier! Zgomot, fum până la cer! Zău, nu se mai poate, fată!” *** (La postul de poliție) „În vreme de pandemie I-a găsit să -și facă chefu ‘ Lasă că v-arăt îndată Cine e aici(a) șefu ‘ Iute, două echipaje! Vedem noi a cui e vina, Ca să-i învățăm odată Ordinea și disciplina!” *** (În comunitatea chefliilor) „Haoleu, săriți, băieți, Puneți mâna pe topoare, Coase, furci, bâte, lopeți! Vin sticleții să ne-omoare! Uneltele din dotare Folosiți-le cu spor! Spargeți geamul; dați cu tifla! Haoleu!... A fost ușor! *** Hm! mașina de poliție De ce nu a ripostat? A făcut stânga-mprejur, A întors și a plecat... - Șefu’, nu facem nimic? Că-i ultraj, atac armat; Agresivi, nebuni și șui, Zbiară toți ca apucații. - Mă, cu ăștia nu te pui, Lasă-i dracu’, prindem alții. ***

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni Pe trotuar, mai lângă gard, În brațe cu un copil, Un tătic pe bulevard Se strecoară cam tiptil. -Cât e ceasu’, plutonier? Nu cumva s-a făcut zece? - Zece și-un minut e, șefu’ - Mișcă-te, că dă să plece, Să se facă nevăzut. Trage la bordură iute. - Vezi ce-nseamnă un minut? – Hai, coboară, prinde-l, du-te! *** - Bună seara, cetățene, Ce bântui la ora asta? Ce? n-ai auzit de reguli? Cum respecți tu ordonanța? -Îmi cer scuze, ofițer, Mi-e copilul agitat. L-am ținut prea mult în casă. Poate, aerul curat Un pic să–l mai liniștească. N-am la mine niciun act, N-am mănuși, nu am nici mască, Dar am un minut exact Să ajung la mine-acasă. . . Văd!... Nu ai nimic la tine. Cetățene, nu e bine! De la mine, ca să știi: Ai amendă zece mii! La farmacie „Bună ziua, domnișoară, e deschisă farmacia? Vă întreb, fiindcă-n cartier, toți au tras de azi, oblonul, Au pus lacătul pe ușă, să nu intre pandemia Și s-au izolat în casă, obligați să tragă chiulul. Să se conformeze lumea ordinelor sanitare, Se silește, căci Covidul e parșiv, ci-că nu doare, Dar ți se strecoară-n sânge, să te-atace mai cu spor Și aminte să-ți aducă că ești om, deci muritor. 196

Arșaluis Sarchisian Gurău Uniunea Armenilor din România (Filiala Constanța)

Dar, pe scurt: aveți măscuțe? că n-am găsit nicăieri, Ameții umblând degeaba toată ziua, chiar și ieri. Ai??? Oameni suntem, desigur, ne-nțelegem amândoi: Ia la tata o „atenție”, cum e datina la noi.” „Nu-i nevoie. Am mănuși și măscuțe fel de fel, Cu elastic, cu fundiță, cu șiret, cu năsturel, Pe alese, pe profesii: de zugrav ori de șofer, De artist, de șef de scară, de tâmplar, chiar de miner. Am și pentru domnul care a intrat acum pe ușă, Cu papion, cu pălărie și privire jucăușă” „Aaa!” Îl știu. Ce faci amice? Nu te-am mai văzut de-un an. Dânsul are „măști” destule; dânsul e... politician.”

Haiku în vremea pandemiei niciun avion pe bolta prohibită doar păsările nimeni pe stradă blocuri tăcute pustii – oraș fantomă bărci trase la mal sălcii se pleacă plângând motoarele tac toamnă târzie vântul destramă încet cuiburi uitate castru roman – iarbă nouă răsărind printre ruine

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Emel Emin Constanța, Romania

Arșura: Cum vă protejați împotriva Coronavirusului? Emel Emin: Stau acasă. La ieșire port mască, ochelari ptr protecție și mănuși. La întoarcere, în fața ușii am un prosop dat cu clor, șterg mânerul, mă spăl cu săpun. Tot cu săpun spăl și legumele și fructele. A.: În ce mod a influențat COVID-19 viața dvs.? E.E.: M-a izolat de societate, de frumusețea naturii, de viața culturală. A.: Ce fel de experiență reprezintă Coronavirusul? Bună sau rea? E.E.: A dovedit că înarmarea este un lucru de prisos și rușinos. Că trebuie să folosim energia noastră pentru viață, nu pentru înarmare, ucidere, distrugere. A.: Care sunt cele mai importante lecții pe care le-ați învățat de la COVID-19? E.E.: Să ne dăm seama ce este important în viață. A.: Vă puteți obține singură alimentele și medicamentele sau aveți nevoie de ajutor? E.E.: Mulțumesc, deocamdată singură. Copiii mei dragi mă întreabă zilnic dacă am nevoie de ceva.

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Emel Emin Constanța, Romania A.: Această nouă experiență a fost dureroasă pentru dvs.? E.E.: Am fost nevoită să îmi schimb imediat modul de viață. A.: La ce activități fizice sau sportive mai participați în perioada aceasta? E.E.: Mă ocup cu menajul, citesc, scriu, mă uit la televizor, pe youtube, fac puțină gimnastică. A.: Cine vă vizitează? E.E.: Nimeni. Trăim vremuri care nu sunt tocmai potrivite pentru vizite. A.: Care este alegerea atunci când trebuie să hotărâți cu privire la a vă vedea cu cei dragi? Optați pentru o simplă distanțare socială sau pentru izolare? E.E.: Telefonul și e-mailul. A.: V-ați pierdut prietenii? E.E.: Nu știu, deocamdată este devreme să ne dăm seama. A.: Ce activitate preferați să faceți în perioada aceasta în care trebuie să stați în casă? E.E.: Tot timpul este ceva de făcut. Timp și sănătate să avem. A.: Care dintre noile tehnologii vă este cea mai utilă în noul mod de viață? E.E.: Televiziunea, telefonul și computerul. A.: Care a fost cel mai fericit moment din această perioadă? E.E.: Momentele fericite sunt atunci când aflu că unele personae au putut fi salvate. A.: Ce evenimente mondiale au avut cel mai mare impact asupra vieții dvs.? E.E.: Mă

întristez atunci când aflu numărul celor decedați. Mă doare. Și ei au avut dreptul la viață. Am mare respect fată de cadrele medicale. Au dovedit că sunt oameni adevărați. Nu au muncit pentru niciun fel de glorie, ci petru a salva viețile altora. Nu pot să mă gândesc la ei fără lacrimi. Ei ne-au arătat ce înseamnă mărinimia. A.: Există un lucru pe care ați fi vrut să ni-l comunicați, dar nu ați făcut-o niciodată? E.E.:

Da, există multe lucruri, însă doresc să le păstrez în continuare pentru mine. Nu se poate spune orice. A.: Peste ani, cum ați dori să își amintească de dvs. cititorii și prietenii? E.E.: Nu știu dacă merit să ocup loc în amintirea cuiva sau într-o carte.

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Izolat la domiciuliu cu pictorul Iaia Ferodin din Mangalia de Arșura

Uneori, laptopul meu se cam încinge. Îl palpez ușor cu mâna stângă și îi iau cu discreție temperatura. Totul este în regulă. Să vedem ce mai face lumea. Apăs pe iconița indigo ce poartă un fel de săbiuță albă. Din când în când, pictorul Ferodin Iaia din Mangalia postează peisaje recente. Splendide uleiuri pe pânză realizate recent, chiar anul acesta, hoinărind prin Dobrogea: „În zori. Mangalia, Portul turistic”, „Pescăria Balcic. Iarnă blândă”, „Cazinoul Constanța”, „Stradă în Balcic”, „Peisaj din Balcic”. Iată și un portret, „Fetița cu păpușa”. Este tot de anul acesta. Disting în tablou linia subtilă și dulce a cutei ochilor și bănuiesc că este nepoțica. Comentariul postării îmi clarifică: „Ultimul portret al Aliei by Ferodin Iaia sau cum ne mai putem folosi timpul frumos prin casă.” Apoi o postare inedită: „Execut la comandă curele de ceas handmade, piele de vițel cusută manual. Pentru ceasuri care merita toata atenția. Detalii și comenzi în privat.” Îi trimit un mesaj: 200

Izolat la domiciuliu cu pictorul Iaia Ferodin din Mangalia de Arșura - Se pare că nu ați renunțat la vechea dvs. pasiune. Mai colecționați ceasuri? - Să renunț? Dimpotrivă, aș zice că în perioada aceasta mă dedic ceasurilor mele mai mult ca oricând. Le întrețin, le șterg, le lustruiesc, le rearanjez, le fotografiez și postez imaginile pe internet. E unul din modurile cele mai plăcute de a trece prin această perioadă. Eu mă apăr de Coronavirus stând acasă, în autoizolare la domiciliu. Așa am descoperit că pot dedica mai mult timp pasiunilor mele. Izolarea are și alte consecințe pozitive. Eu m-am surprins gândind, meditând ceva mai mult. Am avut ocazia de a conștientiza că sunt un norocos. Am toate cele necesare traiului și am devenit recunoscător faptului că mă pot descurca de unul singur. Mă pot aproviziona fără ajutorul cuiva și nu am nevoie de medicamente. Mai greu este pentru alții. Cred că acum am mai multă compasiune pentru semenii mei. Pentru bătrâni, bolnavi, pentru cei nevoiași. - Desfășurați ceva activități fizice? - Activități fizice? Zero! - Mergeți în vizite? Vă vizitează cineva? - V-am spus, am optat pentru izolare. În perioada aceasta nu mă văd decât cu un cerc restrâns de persoane. Nu merg nicăieri. De vizitat, nu ne vizitează nimeni, în afară de cumnata mea. Cu ceilalți, cu rudele și cu prietenii, vorbim la telefon. Așa că, după ce îmi îngrijesc ceasurile, îmi petrec cea mai mare parte din timp în atelier. Prefer să pictez. Mă rup de realitate. Uit de COVID-19, de orice eveniment și nu mă mai interesează nimic din jurul meu. Rămân doar eu cu lucrările mele. Peste ani… ele vor vorbi despre mine. Sper! - Îmi trimiteți și mie o poză recentă să văd cum mai arătați? - Desigur, vă atașez mai jos imediat. - Vă mulțumesc și vă doresc multă sănătate, maestre! - La revedere, Arșura! Caut iconița paginii de știri. Dau un clic și privesc pe fereastră. Caisul de lângă blocul nostru a scuturat floarea și are deja frunza cât moneda de cincizeci de bani. Dinspre el vine un gângurit delicat de turturea.

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Constantin Iordan Clubul Umoriștilor Constănțeni

Constantin Iordan s-a născut pe 17 ian. 1941 în Constanța. Este un profesor de matematică septuagenar, familist. Soția sa, Ioana este profesor de de filosofie. Au doi copii. Ana-Maria este consilier economic în Norvegia și are la rândul ei un fiu- Filip Andrei. Inocențiu este ofițer inginer-maritim în România. Şi, pentru că tot e „en vogue”, şi cu manifestări pro sau contra, a avut şi un căţel botezat ERF! L-a plimbat, l-a hrănit şi l-a iubit. Nu l-a tERFelit! L-a veșnicit într-o carte. Față de cei ce nu suportă câinii, i-a fost pERFect egal ce atitudine şi „pERFormanţe” au. Din mapa profesională reținem că a fost profesor de matematică și inspector de specialitate. A realizat cu elevii de la Șc. Gen.2 Ovidiu (1967) primii roboți electronici din România, cercul trigonometric-didactic și alte... A realizat o riglă pentru împărțirea polinoamelor. Este membru al Societății de Științe Matematice. Este colaborator și Redactor la Revista de Matematică și Informatică RMI-Constanța. A publicat 17 + 2 (colectiv) cărți de matematică pentru elevi și o serie de volume de literature. Este membru al Uniunii Epigramiștilor din România, al Clubului Umoriștilor Constănțeni „Prăvălia cu umor” și al Cenaclului Literar „Mihail Sadoveanu”. Colaborează cu epigrame și poezie satirică la diverse ziare reviste și antologii. Are ca hobby-uri: electronica aplicată, pescuitul sportiv și fotografia.

Arșura: Cum vă protejați împotriva Coronavirusului? Constantin Iordan: Respect întocmai recomandările ordonanței de urgență. A.: În ce mod a influențat COVID-19 viața dvs.? C.I.: Influența a fost minoră pentru că „disciplina” matematică s-a impus. 202

Constantin Iordan Clubul Umoriștilor Constănțeni A.: Ce fel de experiență reprezintă Coronavirusul? Bună sau rea? C.I.: Experiența „Coronavirus” este foarte bună și „bine-venită”. Cred că era necesară! A.: Care sunt cele mai importante lecții pe care le-ați învățat de la COVID-19? C.I.: Prefer lecția „ordine-disciplină” apoi „umanismul-necondiționat”. A.: Vă puteți obține singur alimentele și medicamentele sau aveți nevoie de ajutor? C.I.: Da, singur merg pentru alimente, iar pentru medicamente nu este cazul. A.: Această nouă experiență a fost dureroasă pentru dvs.? C.I.: Această experiență nu m-a afectat. A.: La ce activități fizice sau sportive mai participați în perioada aceasta? C.I.: M-am „autoizolat” și am „kilometrat” în apartament circa 2 km/zi. A.: Cine vă vizitează? C.I.: Nimeni; am convenit să stăm fiecare „acasă”. A.: Care este alegerea atunci când trebuie să hotărâți cu privire la a vă vedea cu cei dragi? Optați pentru o simplă distanțare socială sau pentru izolare? C.I.: Am convenit „să stămacasă” cât este necesar. A.: V-ați pierdut prietenii? C.I.: Nu am pierdut prieteni, chiar am câștigat foarte mulți. A.: Ce activitate preferați să faceți în perioada aceasta în care trebuie să stați în casă? C.I.: În această perioadă scriu: Matematică pentru elevi, poezie satirică pentru o nouă carte, poezie satirică pentru o antologie. A.: Care dintre noile tehnologii vă este cea mai utilă în noul mod de viață? C.I.: De mare ajutor: laptop, internet, yahoo. A.: Care a fost cel mai fericit moment din această perioadă? C.I.: Momente fericite? Apariția în edituri, antologii, în reviste, pe Facebook. A.: Ce evenimente mondiale au avut cel mai mare impact asupra vieții dvs.? C.I.: Solidaritatea umană prin donații, transporturi, detașări de cadre medicale. A.: Există un lucru pe care ați fi vrut să ni-l comunicați, dar nu ați făcut-o niciodată? C.I.: Da, să fac mult bine, dar să par un „nimeni”. A.: Peste ani, cum ați dori să își amintească de dvs. cititorii și prietenii? C.I.: De domnul diriginte-omul. „Pune copilul cu burta pe carte că ăsta nu ia plicul!”.

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni Un virus se ia la trântă cu o planetă Azi, „coronavirus” un ucigaș de soi A-mprăștiat pe „terra” un total război. Microsferic, costeliv Și flămând și agresiv Nu știe de-i zi sau noapte, Ce-i aproape sau departe, Nu știe ce-i o comoară, Ci doar mușcă și omoară. Nu cântă sub clar de lună, Frați în gașcă nu adună, Chef nu face, nu se-mbată, Nu știe s-o facă lată. N-are simțuri, scop, idee Nu-i bărbat și nici femeie. Paralel cu-urât, frumos, Stânga-dreapta, sus sau jos, Cu hău-cosmic: iadul raiul, Foamea-ospățul, zilnic-traiul, Făr-strămoși, fără eroi, Nu știe ce-i viața-n doi. Nu are ciocan să sfarme, Nu e fabricant de arme, Nu vorbește, nici nu cântă; Când și când se ia la trântă Nu cu „țâncul” zis Atomul Ci cu o planetă: „OMUL”. Omul și virusul „Citește-l și dă-l mai departe, Hrănește-l și du-l hăt departe”. De-l citești parte cu parte Științific, cu temei Și-l hrănești, „-du-l mai departe Că pățești tot ce nu vrei!”. Ăsta virus ne omoară Mai ca „răul” din povești; De nu-l face-vom să moară „Nu te lasă să trăiești”.

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Constantin Iordan Clubul Umoriștilor Constănțeni

...Îndată ce s-a prins de tine E semn că-ți ține de urât Și ca-n proverbe carpatine Cu tine moare el, de gât. ...Domnul nu i-a dat poruncă: -În grădina lui să pască! Nici Adam nu i-a dat muncă În mulțimea virușească. Dar, ajuns în OMUL-casă El, „mai-lup” o „super-coasă” A pus pe „uscat și apă” Legea: „cine poate, scapă”. Ucigașul microscopic „Nimenea” în lanțul trofic, Nici creștin și nici ateu, Necreat de Dumnezeu, Cu „căsuța” în ființă, Preferând o „neputință” E din când în când vorace; Din războaie face „pace”. ...Ocolit de acest virus Voi înscrie pe-un papirus: Îmbulzeală-n „bou-vagon”, La ghișee, pe peron, La pomeni „a ' la Becali” Sau concertele lui „Valy”, Întrebându-mă ca „prostu”: Cine-n lume-și are rostu? ...Unde-s vremurile cele, „Colectiv”, „piețe-rebele”, Nictalopii, internetul, „Jos-guvernul!”, cabaretul? Unde-s „nunțile de aur”, 205

CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni Cozi la „Caritas-tezaur”, Îmbulzeli pe stadioane Și „vedete-silicoane”? Unde-s mânăstiri în paște, Cozi la „pupăciuni” de moaște Când și Papa având rostu Ceru-a zice „Tatăl Nostru”? ...-Ce-o urma? O decimare Fără bombe nucleare, Cu averea la „tarabă” Rumegată fără grabă; Viu cu viii supuși sorții, Mortul orișicum cu morții. Hora noastră românească, „Roata-roată” strămoșească Va rămâne „povestire” Într-o carte de citire Și cu multă-nțelepciune Merge-vom la-ngropăciune „Triolet” păzit cu „parul”: Mortul, popa și groparul. ...S-or închide stadioane, Parcuri, piste și balcoane, Nu vom mai vedea gunoaie Ci doar melcii după ploaie, Iară slujbele pascale Sau cele duminicale, Le-o sluji televizorul On-line pentru tot poporul Și ne-om prinde iar la joc Numai ăla de noroc Și-n clipe de circumstanță Vom păstra echidistanță, Ne-om întoarce-n vechea vatră Iar la „epoca de piatră”! ...Adio, sărutări, îmbrățișare, „Palmele-poc!” în salutare,

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Constantin Iordan Clubul Umoriștilor Constănțeni Adio, nuntă și botez, Mâncați fasole și orez! ...Că, sigur vine o schimbare Și în „mușchi” și-n comportare, Ca un soi de primenire Pentru-o nouă Omenire. Dar asta nu e totul zis: Flash &Flash Iată: „noua guvernare” „Muncitoare”-n „izolare” Umblă „cu mănuși” și „mască”. Să nu ne îmbolnăvească. „Muncesc” ziulica-ntreagă, Trag cu ochiu-n lumea largă Dând cu-ntârziere mare „Ordonanțe – militare”. Versus Codovid/USA-CHINA Fiecare președinte/personal război Mister „Donald” vrea să ouă „Slutele-mandate” două Cât blestemu-i din „cimpoi” Țipă: -Hei, Eu n-am Război? Codovid-ul bată-l vina, Din Arad la Bucovina Joacă-joacă tropa-tropa Și la noi și-n Europa. Dar, având în mușchi elanul Zăbăuc trecu oceanul Spre „raiul-american” Blestem Litle-Boy-„Japan”! ...Omule, în circumstanță Nu trăi cu „aroganță” Că nu-ți poți clădi o stare Cu-„ordonanțe militare”!

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni

Vasilica Mitrea Liga Scriitorilor Dobrogeni

Arșura: Cum vă protejați împotriva Coronavirusului? Vailica Mitrea: În primul rând, stând în casă. Nu ies fără mască și mănuși. A.: În ce mod a influențat COVID-19 viața dvs.? V.M.: Bineînțeles că în rău! Am fost nevoită să anulez foarte multe întâlniri, să abandonez proiecte. A.: Ce fel de experiență reprezintă Coronavirusul? Bună sau rea? V.M.: Experiența nu are cum să fie bună. Pe viitor va trebui să prețuim sănătatea și libertatea. A.: Care sunt cele mai importante lecții pe care le-ați învățat de la COVID-19? V.M.: Să prețuim sănătatea, să ținem mai mult legătura cu rudele și prietenii, să spunem „prezent” celor ce ne solicită ajutorul.

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Vasilica Mitrea Liga Scriitorilor Dobrogeni A.: Vă puteți obține singură alimentele și medicamentele sau aveți nevoie de ajutor? V.M.: Mă descurc singură. De altfel, niciodată nu mi-a plăcut să depind de cineva, nu numai acum. A.: Această nouă experiență a fost dureroasă pentru dvs.? V.M.: Nu am mai trecut prin astfel de momente. Da, este o experiență dureroasă. A.: La ce activități fizice sau sportive mai participați în perioada aceasta? V.M.: Doar câteva exerciții fizice de dezmorțire, în casă. Și ies doar atunci când am de făcut cumpărături absolut necesare. A.: Cine vă vizitează? V.M.: Nimeni. Am înțeles că trebuie să ne protejăm și pe noi, și pe alții. A.: Care este alegerea atunci când trebuie să hotărâți cu privire la a vă vedea cu cei dragi? V.M.: Nu m-am gândit să mă văd cu prietenii mei. Vorbesc uneori pe „cameră” sau la telefon. A.: V-ați pierdut prietenii? V.M.: Dacă mi-au fost prieteni, sunt și acum. Cine m-a părăsit, înseamnă că nu mi-a fost niciodată prieten. A.: Ce activitate preferați să faceți în perioada aceasta în care trebuie să stați în casă? V.M.: Fac curat, gătesc și, bineînțeles, scriu. A.: Care dintre noile tehnologii vă este cea mai utilă în noul mod de viață? V.M.: Laptopul și televizorul. A.: Care a fost cel mai fericit moment din această perioadă? V.M.: Moment fericit? Când ai restricții de a te întâlni cu familia și prietenii, nu cred că pot să mă laud cu vreun moment fericit. A.: Ce evenimente mondiale au avut cel mai mare impact asupra vieții dvs.? V.M.: Cum această epidemie sau pandemie are loc pe tot mapamondul, mă impresionează cifrele de îmbolnăviri și decedați. Nimeni nu se mai gândește la economie... Cu atât mai puțin, în țara noastră. A.: Există un lucru pe care ați fi vrut să ni-l comunicați, dar nu ați făcut-o niciodată? V.M.: Da. Vreau să spun că îmi prețuiesc și îmi iubesc prietenii. A.: Peste ani, cum ați dori să își amintească de dvs. cititorii și prietenii? V.M.: Orice scriitor își dorește cât mai mulți cititori. Mi-aș dori ca aceștia să își amintească din lucrările mele măcar un titlu sau o frază pe care au reținut-o. Aș dori ca prietenii să poată spune au putut conta pe mine atunci când mi-au cerut ajutorul!

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni

Dan Norea Clubul Umoriștilor Constănțeni

Arșura: Cum vă protejați împotriva Coronavirusului? Dan Norea: Stau în casă, într-o autoizolare strictă, cu soția și nepoții. A.: În ce mod a influențat COVID-19 viața dvs.? D.N.: Mi-a dat-o peste cap. Cel mai rău îmi pare că au fost anulate întâlnirile din cenaclurile literare din Constanța și festivalurile umoristice din țară. A.: Ce fel de experiență reprezintă Coronavirusul? Bună sau rea? D.N.: Asta e o întrebare retorică. Bună n-are cum să fie. A.: Care sunt cele mai importante lecții pe care le-ați învățat de la COVID-19? D.N.: Totdeauna se poate mai rău. A.: Vă puteți obține singur alimentele și medicamentele sau aveți nevoie de ajutor? D.N.: De aprovizionare se ocupă copiii noștri.

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Dan Norea Clubul Umoriștilor Constănțeni A.: Această nouă experiență a fost dureroasă pentru dvs.? D.N.: Evident. Pentru cine n-a fost? A.: La ce activități fizice sau sportive mai participați în perioada aceasta? D.N.: Mai săpăm un pic în grădină. A.: Cine vă vizitează? D.N.: Nimeni. Copiii vin și ne dau sacoșele cu alimente peste gard. A.: Care este alegerea atunci când trebuie să hotărâți cu privire la a vă vedea cu cei dragi? Optați pentru o simplă distanțare socială sau pentru izolare? D.N.: Izolare totală. A.: V-ați pierdut prietenii? D.N.: Da, dar nu din cauza COVID-ului. Săptămâna trecută, un prieten a murit de cancer. A.: Ce activitate preferați să faceți în perioada aceasta în care trebuie să stați în casă? D.N.: Pregătesc un nou volum de proză. Și mai multe lecturi decât de obicei. A.: Care dintre noile tehnologii vă este cea mai utilă în noul mod de viață? D.N.: Laptop-ul și internetul. A.: Care a fost cel mai fericit moment din această perioadă? D.N.: De fericire nu poate fi vorba. Doar ceva mai multă liniște. A.: Ce evenimente mondiale au avut cel mai mare impact asupra vieții dvs.? D.N.: Tragediile din Italia, Spania, Franța... A.: Există un lucru pe care ați fi vrut să ni-l comunicați, dar nu ați făcut-o niciodată? D.N.: Cel mai important lucru, necuprins în întrebările precedente, este criza economică de peste câteva luni. Va fi una dură, cu care generația noastră încă n-a avut de-a face. Criza va face mult mai multe victime decât COVID-ul propriu zis. A.: Peste ani, cum ați dori să își amintească de dvs. cititorii și prietenii? D.N.: Bine ar fi să își amintească. Dacă da, o vor face cu drag, că rău n-am făcut niciodată nimănui.

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni

Ion M. Ruse Clubul Umoriștilor Constănțeni

Arșura: Cum vă protejați împotriva Coronavirusului? Ion M. Ruse: Prin autoizolare, distanțare socială și dezinfectare conform indicațiilor specialiștilor. A.: În ce mod a influențat COVID-19 viața dvs.? I.M.R.: Afectând tabieturile și rutina zilnică. A.: Ce fel de experiență reprezintă Coronavirusul? Bună sau rea? I.M.R.: Cea mai rea experiență din viața mea! Omul, prin natura lui, este o ființă gregară. Îndepărtarea de semeni, nu numai de rude, este cel mai greu de suportat. A.: Care sunt cele mai importante lecții pe care le-ați învățat de la COVID-19? I.M.R.: La vârsta mea, sunt puține lecții de învățat. Dacă ai absentat la lecțiile vieții, e greu să recuperezi după 70 de ani. Totuși, am învățat că putem fi mai OAMENI, decât suntem.

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Ion M. Ruse Clubul Umoriștilor Constănțeni A.: Vă puteți obține singur alimentele și medicamentele sau aveți nevoie de ajutor? I.M.R.: Îmi pot obține, singur, medicamentele și alimentele necesare. A.: Această nouă experiență a fost dureroasă pentru dvs.? I.M.R.: Teribil de dureroasă, pe plan afectiv. A.: La ce activități fizice sau sportive mai participați în perioada aceasta? I.M.R.: Fiind la curte, am un mare avantaj față de cei de la bloc. Pot ieși zilnic din casă, pot lucra în grădină, etc. A.: Cine vă vizitează? I.M.R.: Nimeni! Poarta este încuiată pentru oricine. A.: Care este alegerea atunci când trebuie să hotărâți cu privire la a vă vedea cu cei dragi? Optați pentru o simplă distanțare socială sau pentru izolare? I.M.R.: Cu cei dragi, am optat să mă văd online! A.: V-ați pierdut prietenii? I.M.R.: Prietenii adevărați nu ai cum să-i pierzi! Poate, doar pe cei „așaziși prieteni” pe care nu îi mai împrumuți. A.: Ce activitate preferați să faceți în perioada aceasta în care trebuie să stați în casă? I.M.R.: Scrisul, cititul și lucrul în grădină. A.: Care dintre noile tehnologii vă este cea mai utilă în noul mod de viață? I.M.R.: Fără discuție, computerul și internetul -fereastra spre lume. A.: Care a fost cel mai fericit moment din această perioadă? I.M.R.: De fapt, momentele! Când mă sună copii și nepoții din București. A.: Ce evenimente mondiale au avut cel mai mare impact asupra vieții dvs.? I.M.R.: Ar fi multe acestea, dar, în mod deosebit, crearea Uniunii Europene și actualmente, solidaritatea, în lupta cu acest teribil Covid-19. A.: Există un lucru pe care ați fi vrut să ni-l comunicați, dar nu ați făcut-o niciodată? I.M.R.: Nu știu dacă faptul că, mi-s dragi oamenii, indiferent de etnie, religie, cultură, vârstă, sex se încadrează aici. A.: Peste ani, cum ați dori să își amintească de dvs. cititorii și prietenii? I.M.R.: Ca de nea Ion epigramistul, cu inima atât de mare, încât, are loc în ea, toată umanitatea.

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni Tehnică de ultimă oră (Vecina -varianta 18) Acum când virusul letal Teribil a-ngrozit planetă M-aș duce la vecina-n deal Dar nu-mi pornește izoleta! Cu sau fără mască Savanții inventa-vor oare, Din pânză, plastic sau hârtie, O mască protectoare, care, Să ne ferească de prostie? Eu în izolare Autoizolare-adevărată: Cu mască, ochelari, combinezon, Chiar și oglinda, draga, e mirată Că nu-l mai recunoaște pe Ion! În rând cu lumea Strigă la bade-un individ: - La noi în sat, au mulți Covid! - Păi, am și eu câțiva, -n căldare, Dar n-am nici unul de vânzare! 07.04.2020

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Tănase Serea Cenaclul Literar „Mihail Sadoveanu”

Arșura: Cum vă protejați împotriva Coronavirusului? Tănase Serea: Stau în casă. Ies doar în cartier la cumpărături. Când ies din casă port mască și mănuși. Când vin de afară mă spăl bine cu săpun pe mâini și apoi mă clatesc și cu spirt. A.: În ce mod a influențat COVID-19 viața dvs.? T.S.: Într-un mod negativ, dezastruos aș putea spune. A.: Ce fel de experiență reprezintă Coronavirusul? Bună sau rea? T.S.: O experiență dezastruoasă. A.: Care sunt cele mai importante lecții pe care le-ați învățat de la COVID-19? T.S.: Să fiu corect, să respect indicațiile viabile, să fiu un cetățean model. A.: Vă puteți obține singur alimentele și medicamentele sau aveți nevoie de ajutor? T.S.: Îmi procur singur alimentele. A.: Această nouă experiență a fost dureroasă pentru dvs.? T.S.: A fost si rămâne o experiență dureroasă.

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CLAFest 2020 – The 3rd Constanta Literature and the Arts Festival Supliment literar COVID-19: Arșura de vorbă cu scriitorii constănțeni A.: La ce activități fizice sau sportive mai participați în perioada aceasta? T.S.: Mă mișc când ies la cumpărături, iar acasă dansez când e o melodie bună la radio. A.: Cine vă vizitează? T.S.: Nu mă vizitează nimeni și nici eu pe alții. A.: Care este alegerea atunci când trebuie să hotărâți cu privire la a vă vedea cu cei dragi? Optați pentru o simplă distanțare socială sau pentru izolare? T.S.: Prefer izolarea, e sigură si avem tehnologie prin care comunicăm si ne și putem vedea. A.: V-ați pierdut prietenii? T.S.: Nu. Curios, distanța ne-a apropiat. A.: Ce activitate preferați să faceți în perioada aceasta în care trebuie să stați în casă? T.S.: Ascult radioul, mă uit la TV, citesc, scriu, comunic prin telefon. A.: Care dintre noile tehnologii vă este cea mai utilă în noul mod de viață? T.S.: Fără îndoială telefonul mobil. A.: Care a fost cel mai fericit moment din această perioadă? T.S.: Am reușit să finalizez o carte de versuri. A.: Ce evenimente mondiale au avut cel mai mare impact asupra vieții dvs.? T.S.: Tragediile din Italia și Spania și de la noi bineînțeles. A.: Există un lucru pe care ați fi vrut să ni-l comunicați, dar nu ați făcut-o niciodată? T.S.: Nu am ce să comunic ceva în mod special. Ce am de spus o zic în versuri. A.: Peste ani, cum ați dori să își amintească de dvs. cititorii și prietenii? T.S.: Ca un om simplu,iubitor de oameni și frumos.

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Index

INDEX Aazam, 97, 99 Aba, 44 Abaeologists, 71 Abai, 71, 72, 73, 74, 75 Abduakhat, 85 Abdulla, 113 Abendroth, 45, 47, 55 Abidov, 9, 97 Abiken, 74 Abish, 72 Ablyaziz, 165, 167 Abramitic, 56 Abrams, 67 Abu, 44 Academician, 73, 113 Academics, 141 Academy, 7, 17, 66, 113, 147 Achaean, 48 Acqua, 39 Adam, 68, 69, 142, 144, 146, 161, 162, 164, 176, 205 Adama Mickiewicza, 162 Adams, 8 Adolphe, 36 Africa, 50 Afrosiyob, 71 Age, 50

Ahi, 71 Ahmet, 71 Aigerim, 75 Aigul, 74 Aimauitov, 74 Aitmatov, 73 Ake, 54, 61 AKECH, 7, 141, 143, 145 Akhmataliev, 91, 92 Akhmet, 74 Akjan, 72 Ak-Kerman kîrî, 176 Akkerman steppes, 142, 146, 161 Akniet, 72 Akseleu, 73 Aksunkaruly, 74 Aktanysh, 113 Alain, 50, 66 Alan, 4, 7, 8, 12 Alash, 74 Alasheologist, 73 Albanian, 154 Alberto, 68 Alchemy, 53 Alcyone, 31, 33, 35 Aldo, 40 ALECLA, 1, 3, 4, 7, 11, 141, 143, 145 Alexander, 149 Alexandru, 178

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Alexey, 92, 93 Al-Farabi, 72 Ali, 141, 142, 144, 146, 148, 149, 150, 151, 152, 153, 154, 161, 163 Alikhan, 73 Alimakyn, 9 Alimjanov, 9, 72, 75 Alimzhanov, 102 Alish, 113 Alisher, 97 Aliye, 166, 169 Allahverdiyev, 94 Alman, 167, 168, 169 Almanca, 144 Almanya, 143, 144, 168, 169 Almasqyzy, 9 Almaty, 70, 80, 82, 86, 88, 90, 108 Almaz, 92 Alp, 71 Alphabet, 75 Altar, 61 Alyana, 166, 169 Ama, 44 Amanat, 85 Amedov, 165, 167

Index America, 8 American, 47, 54, 61 Amirova, 9 Ammar, 10, 142, 144, 146, 152, 154, 155, 156, 165 Amore, 36, 40 Ana-Maria, 202 Anatolia, 50 Anatoly, 82, 83, 92, 93 Ancestress, 44, 59 Ancient, 28, 45, 51 Andabek, 90 Anderson, 7 Andreea, 10 Andrei, 202 Andreoli, 31, 33, 34, 36, 37, 40 Andrzej, 67, 68, 69 Angeles, 67, 68 Angelo, 34 Anglo, 43, 47 Anglo XE "Anglo" italic, 43 Anglo XE "Anglo" Mediterrane an, 47 Anglo-Norman, 47 Animatrice, 36 Annamaria, 36, 40

Annual, 1, 3, 4, 7, 11, 141, 145 Anticus, 3, 4, 141, 143, 145, 152 Antongini, 31 Anxiety, 97 apateira, 43, 48 Aqmescit, 146, 148, 165, 167 Aqqurğan, 148 Arabic, 142, 153 Arap, 169 Arapça, 144 Araştırmaları, 143, 144, 167 Arcachon, 37 Areket, 166, 168 Armançıq, 166, 168 Arnold, 69 Arșaluis, 191 Arșura, 177, 182, 185, 189, 198, 200, 201, 202, 208, 210, 212, 215 Art, 7, 9, 17, 28, 67, 68, 69, 76, 77, 79, 94, 145, 153 artist, 9, 24, 27, 34, 80, 82, 83, 84,

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85, 140, 175, 197 artwork, 83, 90 Arukenova, 75 Aryan, 50, 53 Asian, 47, 48, 56, 57 Assisi, 31, 34, 38, 41 Association, 3, 141, 145, 152 Atyrau, 84 Auezov, 72, 74 August, 39, 61 Australia, 4, 7, 8, 9, 12, 101, 141, 142 Australien, 145, 146 Australoid, 50 Author, 57, 84, 86 Autumn, 19, 27 Avdet, 166, 168 Awaniy, 10, 142, 144, 146, 152, 154, 155, 156, 165 award, 92 Ayagul, 74 Aydos, 90 Azam, 9, 97 Azerbaijan, 79 Aна тилим, 149 Bacchantes, 53 Bahrom, 97 Bai, 45, 60, 61, 63, 64 Bailian she, 21 Baitursynov, 74

Index Bakhtygul, 4, 8, 9, 70, 71 Bakirov, 171 Balasaguni, 71 Bałtyku, 164 Baluchistan, 50 Barbara, 67, 148, 157, 158 Bardi, 37 Bari, 40, 66 Barné, 66 Baser, 94 Basque, 50 Bayangali, 102 Bayangaly, 9, 75 Bayrova, 166, 169 BC, 46, 50, 71, 161 Behan, 67 Běijīng, 28 Beizong hua, 24 Belarusian, 148 Benjamin, 68, 69 Berdybay, 73 Berkinalieva, 4, 127 Berkinaliyeva, 9 Berlin, 10, 97, 147, 148, 150, 151, 154, 157, 158, 165, 167, 168, 169 Bermond, 36 Białorusini, 163 biblioteca, 40 Bibliothek, 166 Bifa ji, 24

Bilingual, 7 bilingualism, 7 Bing, 21, 22 Bishkek, 92, 127 Bizim Balalar, 167, 169 Black Sea, 141, 162, 174 Blood, 7 Bogdan, 40 Bohemian, 47 Bohm, 7, 42, 49, 50, 51, 52, 53, 59, 65, 66 Bokei, 73 Bonn, 143 Book, 68, 71, 113 Book of wisdom, 71 Borjigid, 7, 42, 66 Botagoz, 83 Brătianu, 182 Bridge, 61 British, 59, 67 Brook, 21, 29 Bruni, 7 Bucharest, 7, 8, 9, 10, 161 Bucur, 10 Buddha, 61, 64 Buddhism, 20, 21, 23, 51, 54, 56, 60 Buddhist, 18, 20, 21, 52 Budzhurova, 167, 169 Bundestag, 150 Buonocore, 7 Caduceus, 53 Calame, 66

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Callaghan, 12 Calligraphy, 151 Calvörde, 156 Can, 94, 104, 134 Candidate, 113 Cantelmo, 33, 37 Canticle, 33, 35, 38 canvas, 84, 86, 174 Canzone, 36, 39 Canzoni, 36, 37 Capponcina, 37 Carefree wandering, 18 Carl, 152, 154 Carla, 40 Carlo, 41, 67 Castaldi, 49, 50, 51, 52, 53, 59, 65, 66 Catalan, 49 Çatalhöyük, 50 Cătălina, 10 Caterina, 33 Catherine, 152 Caucasian, 142 Caucasica, 141, 142, 145, 148, 157, 158, 165 Cauldron, 65 Cavalli-Sforza, 47, 66, 68 Cecchi, 37 Celano, 36, 38, 41 Celtic, 51, 53, 65, 67, 69

Index Cemil, 166, 168 Cemile, 144, 166, 167, 168, 169 Cemilev, 148 Chair, 7, 8 Chan, 20, 23 Chang Ju, 18 Chanzong, 20 Charles, 8, 30, 67 Chavin, 38 Chén Chuánxí, 28 Chiantera, 40 Chile, 9, 10 China, 7, 17, 20, 23, 26, 27, 44, 51, 52, 53, 57, 58, 63, 69, 184 Chinese, 7, 17, 18, 20, 21, 22, 24, 26, 27, 28, 47, 56, 57, 58, 60, 61, 63 Ching, 54 Chopin, 10, 142, 144, 146, 158, 159 Chopson, 9, 10 Christine, 45, 58, 60 Chu, 19, 20 Chu Ci, 20 Chuang Tzu, 28 Chunqiu shidai, 18 Cimini, 37, 40

city, 71, 82, 97, 134, 154, 161 civilization, 26, 46, 48, 50, 74 CLAFest, 7, 10, 139, 141, 143, 145, 177 Clan, 43, 61, 62 Clare, 33 Clarinet, 174 Clarity, 31, 33 classic, 18, 71 Claude, 66 Claudio, 40 Closing, 8 Clottes, 66 Cohn, 66 Cojocaru, 185 Çokkültürlülük, 143 Colin, 68 College, 8, 68, 113 Command, 49 Commission, 49 Communicatio n, 8 Communist, 150 community, 7, 15, 63, 65 Comparative, 1, 3, 4, 7, 11, 141, 145 composer, 9, 71, 74, 142, 158 Confucian, 18, 20, 21 Confucius, 18

220

Congress, 141, 143, 147, 154 Constanta, 1, 3, 4, 133, 139, 141, 142, 145, 146, 148, 150, 152, 173, 176, 177 Constanța, 3, 4, 10, 141, 145, 158, 159, 160, 185, 187, 191, 198, 200, 202, 210 constănțeni, 177 Constantin, 202 Contemplation , 31 Contemplazion e, 36, 38, 41 Contemporary, 77, 79 Conti, 34, 40 Copernicus, 161 Corbu, 133 CoronaPandemie, 145 Corsano, 40 Corssen, 49 Cosmogenesis, 60, 65 Council, 57 Course, 8 COVID-19, 7, 8, 13, 15, 16,

Index 177, 178, 182, 185, 186, 189, 198, 201, 202, 203, 208, 210, 212, 213, 215 Cow Goddess, 51 Cracow, 153 creative, 86, 93, 97 Creator, 71 Cretan, 48, 50, 54 Crete, 48, 51 Crimea, 142, 148, 149, 150, 157, 161, 162, 165, 174, 175 Crimean, 10, 142, 148, 149, 150, 154, 157, 161, 165, 174, 175 Crimean Sonnets, 161 CrimeanTatar, 147 Crisis, 8 Critical, 8 Crowe, 8 Çulpan, 167 cultural, 8, 18, 20, 21, 26, 27, 45, 46, 48, 50, 54, 61, 73, 97, 141, 149, 152, 158, 186

culture, 18, 19, 20, 21, 22, 24, 25, 26, 27, 44, 46, 47, 50, 51, 54, 55, 59, 60, 63, 65, 69, 71, 73, 148, 151, 157, 162, 175 Cyouka, 132 Cypriot, 80, 81, 95 Cyprus, 77, 79, 94 Cyrillic, 75 Czech, 8 Czerwonnaja, 10, 139, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 153, 157, 158, 159, 160, 161, 163, 167, 169 Daba, 44, 59, 60, 61 D-aba, 44 Dabu, 43, 44, 54, 55, 59, 60, 61, 62, 65 D-abu, 44 Dagda, 65 Dale, 66 Dali, 57 Daloushui, 54 Daluoshui, 52, 54 Dama, 54, 61 Dan, 210

221

Dandai, 73 Danica, 7 Daniela, 10, 133 Daniélou, 50, 66 Dannunzian, 31 Dantesque, 36 Dantism, 36 Danyar, 75 Dao, 21, 22 Daoist, 18, 20, 21 Dardanelli, 39 Darkness, 30, 31 Darwin, 67 Däuli, 142, 144, 146 Davide, 68 Davies-Kimball, 67 Davletçina, 167 Davletyarov, 84 DAVO, 147 Dawletschina, 166 Dawns, 97 Dea, 69 deaf, 8 Deaf, 8 deity, 51, 54, 61 delou, 47 Demick, 67 Dèng Chǔyún, 28 Department, 66, 68, 113, 157 Derneği, 143 Deserto, 34

Index Detroit, 152, 154 Deutsch, 166, 167 Deutschland, 145, 158, 166, 167 Development, 45, 165 Devo, 8 Devrim, 8 Dialog, 147 Dimash, 9, 75 Dimini, 51 Dina, 9 Dipartimento, 40 Distinct, 8 Distinguishing, 8 District, 113 Division, 8 Dlyaver, 167, 169 Dniester, 161, 162 Dniestr, 164 Do ba, 58 Dobruca, 144 Dobrucalı, 169 Dobruja, 142, 152, 176 Doctrine, 71 Dogdurbek, 83 Dombra, 9 Dominik, 10, 141, 142, 144, 145, 146, 161, 163, 167, 169 Donald, 207 Donato, 8, 30

Dongba, 57, 58, 59, 60 Donne, 68, 69 Dorcas, 8 Dorothea, 69 Doszhan, 9, 74 Dravidians, 50 Drozdov, 82, 83, 92, 93 Drozdova, 9, 76, 86, 87, 94 Dschalil, 166, 167 Duanjiadeng, 64 Duchesse, 36 Duchy, 157, 159 Duisenaly, 9 Dulatov, 74 Dumbrill, 8 Dumitru, 189 Duse, 34 Dvadzhiev, 167, 169 Dwelling, 26 Dzhemile, 10, 142, 146, 165, 166, 167, 168 earth, 8, 43, 53, 60, 101, 104, 135, 148 Eastern, 51, 52, 68, 69, 161 Edebiyat, 143 Edna, 162 Education, 8 Egyptian, 53, 67 Eisinger, 66 Elbe, 148, 152

222

Eldos, 73 Elegie romane, 36 Elena, 36 Eleonora, 34 ELICOS, 8 Ella, 53, 69 Elsadig, 9 Elvina, 166, 168 Elvira, 166, 168 Elzara, 167, 169 Emel, 198 Emin, 198 Emine, 140, 166, 169 Emma, 7, 42 Empire, 55, 150, 153, 154 Endangered, 7, 9, 12, 13, 96, 141, 145 England, 8, 53 English, 9, 13, 14, 15, 47, 49, 56, 61, 64, 97, 142, 148, 149, 150 Enstitüsü, 143, 144, 167 Enver, 10, 142, 144, 146, 165, 166, 167, 168, 174, 175 epic poem, 97 Erkin, 97 Ernest, 149 Esenbayev, 80 Esenberlin, 73

Index Essay, 18, 24, 146 Establishing, 8 Eteocretans, 50 Etruscans, 50 EU, 8 Eurasian, 113 Europäischer, 167 Europas, 158, 159 Europe, 50, 51, 52, 53, 54, 59, 66, 75, 149, 157 European, 47, 49, 52, 53, 57, 60, 66, 68, 75, 147, 150, 162 Europejskiej, 164 Evril, 97 Exile, 1, 3, 4, 7, 11, 141, 145 Experiences, 7 Fabio, 68 Faculty, 30 Fair, 71 Fan, 57 Fan Kuan, 24, 29 Fan XE "Fan" Ye, 57 Farhod and Shirin, 97 Farndon, 103, 104, 107 Farrukh, 91, 92 Fars, 169 Fas, 143, 144 Fate, 74 Father, 43

Fathers, 42, 43, 57 Favilla, 32 Faville, 32, 33, 34, 36 FECH, 7, 9, 96, 141, 143, 145 Federation, 113 Fellow, 97 Ferodin, 200 Festival, 9, 10, 96, 139, 141, 145, 148, 158, 159, 160, 177 Festivali, 143 Filip, 202 filolog, 143 Filoloji, 167 Filosofia, 40 Fiume, 31, 39 Five dynasties, 24 Floods, 19 Florence, 37 Flute, 174 Focu, 39 folk, 53, 142, 154, 174 Foscarina, 34 Founder, 77 Four Books of Heaven, 74 Four Mothers, 72 France, 33, 34, 36, 38, 39, 41, 66 Francesca, 45, 52 Francesco, 33, 34, 38, 39, 41, 66

223

Francia, 36 Francis, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40 Franciscan, 8, 30, 31, 32, 33, 34, 35, 36, 37, 39 Franciscanism, 31, 33 Frate, 34, 39 Frédéric, 10, 142, 144, 146 Freehand, 28 Freeman, 45, 52, 56, 57 Freiburg, 141 Freie, 157 Freien, 158, 165 French, 16, 31, 32, 34, 36, 37, 47, 49, 64 Friday, 7, 9 Friedrich, 152, 154 Fu Chun Mountains, 26 Fuat, 153 Fuchunshan ju tu, 26 Gabriele, 8, 30, 31, 33, 38, 40, 41 Gagliastro, 8, 30 Galym, 74 Gammu, 48, 49, 50, 51, 56, 61, 65

Index Ganske-Zapf, 154 Gardone, 33 Gaston, 37 Gelsomina, 66 Generosity, 71 Generosity Doctrine, 71 Genesis, 38 Genoa, 37 Genoese, 37, 161 Georges, 49 Georgian, 50, 75 Gerasimov, 175 German, 59, 142, 143, 147, 148, 149, 150, 152, 154, 157, 160, 161, 170, 172 Germany, 10, 53, 141, 142, 143, 148, 149, 150, 152, 157, 161, 174, 175 Giacomo, 7, 17 Gimbutas, 52, 54, 67, 68 Gimbutas XE "Gimbutas" ., 54 Ginzburg, 67 Giotto, 37 Giver, 51 GMT, 7, 8, 9, 10

God, 50, 53, 56, 61, 62 Goddess, 43, 48, 50, 51, 52, 53, 57, 64, 67 Gold, 80 Gongwang, 26 Good, 54, 59 Gorka, 161, 163 Górka, 10, 141, 142, 144, 145, 146, 161, 167, 169 Grace, 69 Grammatical, 7, 12, 13, 15 Grand, 44, 67, 157, 159 Grandmother, 43, 44, 55, 59, 60, 62 Graves, 67, 99 Great consciousne ss, 72 Great Mother, 65 Great Power, 71 Greece, 48, 50, 51, 53, 54, 62, 67 Greek, 8, 30, 46, 47, 48, 49, 51, 53, 161 Greg, 69 Grotto, 64 Guanche, 50 Guanyin, 64 Guild, 113

224

Gül, 144 Gulfiya, 166, 167 Gulfiyä, 145, 171 Gunsel, 77, 78, 92, 95 Guo, 18, 24, 25, 27 Guo Xi, 18, 24, 25, 27 Gurău, 191 Gushchin, 92, 94 Hael ilimi, 71 haiku, 187 Hamam, 86, 87 Hamburg, 7, 140 Hamilton, 8 Han, 20, 54, 55, 56, 62, 63 Hangzhou, 17 Hanka, 132 Harry, 67 Hayat, 143 Hè Yún, 28 Hearth, 43 Heidelberg, 166, 169 Helen, 66 Hello, 71 Hérelle, 34, 37, 40 heritage, 4, 8, 13, 15, 16, 50 Hermes, 53 Hermit, 27, 28 Hermits, 26 Herodotus, 71 Herstory, 7 Heyse, 154

Index Hıdır Dede, 167, 169 Hikmet, 71, 154 Hilary, 8 Himalayan, 44 Hindistanlı, 167 Hinduism, 56 Hinduistic, 52 History, 28, 45, 48, 67, 69, 73, 113, 157, 159 Ho, 31, 38 Holistic Man, 71 Holy Land, 39 Holy Mountain, 65 Homeland, 32 Honey, 7 Honoured, 113 Hope, 74 Hoskin, 8 Host, 154 Hotel, 8 Hotopp-Riecke, 10, 141, 142, 143, 144, 145, 146, 148, 149, 150, 151, 153, 154, 165, 167, 169, 172 Houhan shu, 57 House, 43, 64, 97, 113 HouseMuseums, 97 Houssine, 9

Howard, 16 Hu, 63, 65 Hua, 18, 21, 24, 44, 57 Hua shanshui xu, 18, 21 Huang, 26 Huang Gongwang, 26 Huanghe shan, 26 Hui Yuan, 21, 22 Humanity, 71 Hundred, 18 Hür, 167 Husnu, 94 Hutton, 45, 67 Huxi, 21 Huxi sanxiao, 21 Iaia, 200 Ian, 16 Ibragimov, 174 İbragimov, 146, 166, 168, 174, 175 Ibrahimoğlı, 10 İbrahimov, 142, 174 ICATAT, 10, 139, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 154, 157, 158, 159, 160, 161, 165, 166, 167,

225

168, 169, 175 İCATAT, 164 Iceland, 8, 141, 142 Idil-Tatar, 167, 169 Idoli, 32 IFJ, 113 Igor, 92, 94 Il Fuoco, 34 Ilaria, 7 Ildar, 10, 142, 144, 146, 160 İlknur, 166, 169 Ilyas, 73 Iman, 151 India, 9, 10, 50, 51, 52, 53, 56 Indian, 50, 51 Indigenous, 8, 47 Indo, 47, 57, 68 Indo XE "Indo" -European, 47, 57, 68 İngilizce, 144 Institut, 145, 158, 165 Institute, 8, 30, 68, 69, 141, 142, 148, 157 Intellectual Man Doctrine, 71 International, 8, 9, 70, 113, 135, 141 Io, 31 Ioana, 202

Index Ion, 212, 213, 214 Iordan, 202 Iran, 101 Iraq, 101 Ireland, 62 Irfan, 77, 92, 95 Iryna, 7 Islamic, 153, 157, 161 Island, 97, 145, 146 Islyamova, 169 İslyamova, 167 Ismail, 143, 148, 165 İsmail, 167 Israil, 74 Italian, 36, 37, 46, 47, 48, 49, 53 Italiani, 32 Italianistica, 40 Italy, 48, 53, 54 İzlanda, 143, 144 Izmailov, 165 İzmailov, 167 Jacopone, 34 Jailybai, 74 Jakeline, 9 Jalil, 113 Jalta, 165 Jamala, 166, 169 James, 69 Jane, 67 January, 47, 48, 66, 67, 69 Japan, 9, 10, 130, 132, 133, 141,

142, 146, 207 Japanese, 130, 132 Japonya, 143, 144 Jazz, 165, 174 Jean, 69 Jeannine, 67 Jerichow, 142, 144, 146, 152, 154 Jiāng Lìyà, 27 Jie Yong, 18 Jing, 57 Jing Hao, 24 Jingsha, 57 Joanna, 8 Joel, 9, 10 John, 14, 53, 67, 69, 103, 104, 107 journalist, 9, 76 Jurewicz, 67 Jusipbek, 74 Justice, 71 Kadirova, 165, 167 Kafkasya, 143, 144, 167 Kajygaly, 73 Kalaus, 75 Kamil, 171 Kamili insoni, 71 Kanat, 75 Kandım, 144, 167 Kara, 84 Karadeniz, 143 Karakalpak, 148 Karikov, 166, 168

226

Kasım, 143, 169 Kathryn, 8 Kaube, 140, 166, 169 Kaukasus, 165 Kazakh, 8, 70, 71, 72, 73, 75, 103 Kazakhstan, 9, 70, 71, 73, 74, 75, 80, 81, 82, 83, 84, 85, 86, 88, 90, 91, 92, 93, 95, 102, 108, 122 Kazan, 113, 142, 144 keju, 25 Kekilbayev, 72 KellnerHeinkele, 149, 157, 158 Kemelbayeva, 74 Kerim, 148 Kerimov, 143, 165, 167 Kevin, 9, 10 Kevser, 166, 168 keyou, 25 Khamzin, 141, 142, 146, 148, 149, 150, 151, 153, 161 Kharissov, 10, 142, 144, 146, 147, 157, 160

Index Kharkiv, 165, 167 Khodos, 7 Khoja, 71 Kiew, 167 King, 36, 48 Kings, 62 KIPU, 148 Kırım, 144, 167, 168, 169 Koen, 68 Kokbori, 9 Kökböri, 108 Kondybay, 73 Konferans, 143 Kongresse, 145 Köstence, 143, 144, 176 Kotor, 39 Krim, 146, 149, 158 Krimtataren, 166 Krimtatarische n, 166 Krishna, 9, 10 Krym, 163 Krymie, 163, 164 Krymskich, 163 Kuandyk, 74 Kudusov, 149 Kultur, 145, 158, 159, 165 Kültürel, 143 Kulturen, 145, 167 Kunanbayuly, 71, 72 Kundalini, 52 Kürt, 167, 169 Kurultai, 7, 141, 145

Kurultayı, 143 Kutman, 88 Kuyshi, 72 La sera fiesolana, 35 La spica, 35 Labei, 44, 45 Ladies, 65 Laduni, 71 Lady, 50, 51, 53 landscape, 18, 22, 26, 27, 34, 35, 38 language, 7, 8, 9, 13, 14, 15, 16, 44, 45, 47, 50, 57, 62, 67, 72, 75, 142, 148, 151, 152, 153, 157, 158, 170, 176 Laozi, 21 Lasnik, 14, 16 Latin, 8, 30, 34, 47, 49, 75, 161 Laudato, 35 Lavut, 149 Law, 49 Lazaro, 39 LCB, 97 Leben, 158, 166, 168, 170 Lecture, 1, 3, 4, 7, 11, 141, 145 Lecturer, 4, 7, 8 Legge, 19, 20, 28 Lehçe, 144

227

Lenar, 9, 113 Leonardi, 35, 41 Leserschaft, 166 Lettere, 40 Lewis-Williams, 66, 68 Li Jing, 57 Libert, 4, 7, 8, 12 Libro, 34 Libyan, 36 Lidiya, 9, 86, 87, 94 Lightsome, 97 Lijiang, 45, 58, 61, 64 Liliya, 166, 168 Lin, 25, 28 linguistic, 8, 14, 45, 46, 50, 56, 61, 62 Linquan gaozhi, 18, 24, 25 Literar, 182, 189, 202, 215 literary, 8, 9, 31, 32, 33, 70, 71, 74, 75, 97, 148, 152 Literatur, 159, 160, 166 Literature, 1, 3, 4, 7, 8, 10, 11, 70, 71, 73, 141, 145, 158 Lithuania, 157, 159 Lithuanian, 47

Index Lithuanians, 161 Litwini, 163 Liu, 45 Lodge, 8 Lolo-Burme, 45 Lolo-Burme XE "LoloBurme" se, 45 London, 8, 66, 67, 68, 113 Los, 67, 68 Lottes, 66 Lotus, 21 Louis, 36, 39 Lu, 58 lu bu, 58 Lu Xiujing, 21 Lubu, 59 Luca, 47, 66, 68, 69 Luce, 36 Luciani, 68 Ludwig, 152, 154 Lugu, 45, 52, 54, 55, 57, 61, 63, 65 Lugu XE "Lugu" Hu, 63, 65 Lugu XE "Lugu" Lake, 52, 54, 55, 61 Luigi, 47, 66, 68 Lunhua, 18 Luoshui, 63 Luoushi, 62, 63 Lushan, 21 Lviv, 167, 169 Ly, 8 Lyric, 28

Mabinogion, 53 MacKenzie, 15, 16 Madi, 75 Mady, 154 Maenads, 52 Magdeburg, 10, 142, 144, 145, 146, 148, 151, 152, 153, 154, 157, 159, 166, 168, 169, 175 Magdeburglu, 144 Magdolna, 4, 7, 8 Maghauin, 73 Magzhan, 74 Makhanbetova , 4, 8, 9, 70, 71 Malaysia, 8 Mamatnabi, 89 Manarbek, 84 Manas, 9 Mandarin, 61, 63, 64, 65 Mandate, 49 Mandy, 154 Mangalia, 200 Manifesto, 68 Mann, 8, 166 Mantai, 74 Marat, 9 March, 52, 54, 56, 61, 62, 69, 148 Mare, 40 Margaret, 8

228

Maria, 4, 7, 8, 40, 68 Marija, 67, 68 Mario, 40, 68 Mariotti, 32, 41 Maripil, 9, 10 Marocco, 141 Marokko, 145, 146 Marshall, 9, 10 Mary, 14 Massimilla, 33 Mathieu, 45, 57, 58, 60 Matriarchal, 46, 47, 55 Maxfield, 68 May, 37, 52, 53, 54, 69, 148 Maya, 165, 167 Mayor, 62 Mazurka, 142, 144, 146, 158, 159 Medal, 80 Medievali, 34 Mediterranean , 48, 50 Meeting, 7, 8, 9, 10 Mehmed, 142, 144, 146, 152, 154 Meine Muttersprac he, 146, 167, 172 Mekemtas, 71 Melzi, 68 memoriam, 10, 139, 150 Menfi, 36

Index Menggu, 44 Menggu XE "Menggu" zu, 44 Mengshan, 8 Menozzi, 68 Menzelinsk, 113 Meridiani, 41 Merope, 36, 39 Methodology, 8 Metin, 143 Miao, 45 Michela, 69 Mickiewicz, 68, 69, 142, 144, 146, 161, 162, 164, 176 Middle, 47, 48, 52, 54, 78, 142 Middle Eas, 48, 52, 54 Middle East, 48, 52, 54, 78 Middle English, 47 Mieste, 10, 141, 142, 144, 146, 148, 149, 150, 151, 153, 165, 167, 169, 172 Mihaela, 185 Mihail, 182, 183, 189, 202, 215 Milan, 34 Minoan, 51 Minotaur, 51

Miranda, 53, 67 Miras, 143 Mirjakyp, 74 Mirsaidov, 91 Mirvohid, 91 Mitglieder, 145 Mitrea, 208 Mittelasiens, 165 Mitteldeutschl and, 154, 159 Miyake, 9, 10, 130, 133 Mocenigo, 39 modern, 47, 52, 53, 58, 82 Mona, 67 Mondadori, 40, 41, 59 Mongol, 59 Mongolian, 26 Monika, 10, 141, 142, 144, 145, 146, 161, 163, 167, 169 Monopoli, 40 Moon, 45, 67 Mora, 68 Morena, 68 Morning, 88 Moro, 40 Morocco, 9, 142 Morza Czarnego, 164 Moscow, 157 Moskau, 158 Moso, 7, 45, 54, 55, 61

229

Mo-so, 43 Mo-so, 57 Mo-so, 62 Mo-so, 63 Mósuō Ren, 44 Mother, 43, 44, 52, 60, 63, 65, 101, 142 Mother Earth, 101 Mother Lake, 63 Mount, 21, 24 Mount Lu, 21 Mountain, 7, 17, 18, 21, 23, 24, 28, 50, 51, 61 Mubarak, 9 Mukhanbetkali yev, 73 Mukhtar, 72, 73, 74 multicultural, 7 Munaidar, 9 Munaydar, 122 Murad, 94 Muradzhon, 87 Murat, 4, 7, 9, 141, 142, 143, 144, 145, 146, 152, 176 Muratbaev, 85 Musa, 113, 166, 167 Museum, 51, 58, 67, 77, 78, 79, 167 Music, 66, 68, 69, 141, 142, 157 Muslime, 159

Index Muslimova, 166, 168 Mustafa, 148 Muttersprache , 146, 172 Myrzakhmet, 71 Mythologies, 73 Mазурку, 160 Na, 43, 44, 45, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 158, 165 Na XE "Na" Gammu, 48, 49, 50 Na/Naru, 44 Näbi, 142, 144, 146, 156, 166, 167, 168, 170, 171 Nagimova, 174 NagornoKarabakh, 97 Namangan, 97, 174 Nana, 56 Nana XE "Nana" Sessé, 56 Nanzong hua, 23 Napiwodski, 10, 169 Nargiza, 79 Naru, 44

national, 9, 32, 44, 71, 72, 73, 74, 148, 150, 151, 154 Nations, 165 Natura, 34 nature, 7, 8, 18, 19, 20, 21, 22, 23, 24, 25, 27, 34, 35, 60, 63, 71, 74, 75, 161 Naurzbayeva, 75 Navoi, 9, 97 Naxi, 44, 45, 52, 57, 58, 59, 63 Naxisu-zhi, 44 Nazarkul, 85, 94 Nazim, 165, 167 Naziridin, 89 Naziya, 174 Neanderthal, 50 Negri, 68 Nele, 154 Nenkecan, 166, 168 Neo-Latin, 47 Neolithic, 50, 67 Nesli, 143 Nevio, 40 New, 8, 23, 28, 45, 50, 53, 57, 67, 68, 69 Newcastle, 4, 7, 8, 12

230

Ni Zan, 26 Nicholas, 13, 16, 69 Nicolae, 189 Ninlang, 45 nomad, 75 Nord, 58 Nordkaukasus, 158 Norea, 210 Norman, 66 Normative, 49 North, 24, 44, 47, 101, 157 North Korea, 101 Northern, 54, 67 Norvegia, 202 Norzu, 45, 63 Notturno, 37, 38 Novati, 34 November, 1, 3, 4, 7, 8, 9, 10, 33, 61, 64, 97, 141, 145, 158, 167 nü guo, 57 Nurbek, 84 Nurgalymuly, 74 Nuritdinov, 9 Nurmaganbeto v, 74 Nur-Sultan, 83, 85, 102 Oana, 10 Obid, 97 Occident, 162 Ocean, 135 October, 31, 39, 61, 64,

Index 66, 67, 68, 69, 153 Olan, 143 OMDA, 9 Omnia, 32 Omor, 113 Omurbek, 90 Opening, 7 Opera, 32 Oral, 75, 122 Oralkhan, 73 Orazaly, 73 Orazbek, 80 Ordine, 37 Orient, 142, 146, 154, 162 Orientalistic, 141, 143 Orphans, 42, 43, 131 Orta, 144, 167 Oslo, 4, 7, 8 Osvald, 28 Otarbayev, 73 Ottoman, 153, 154 Ovidiu, 202 Owens, 173 Oybek, 97 Ozatuly, 72 Özbek, 167 Pace, 40 Pacific, 8, 135 Padre, 33 Pagan Traces, 49, 50, 51, 52, 53, 54, 59, 65, 66 painted, 80, 86, 93, 155 painter, 18, 22, 23, 24, 26, 87, 90, 91, 92

painting, 7, 18, 20, 21, 22, 23, 24, 26, 27, 32, 80, 85, 86, 87, 140 Pandemic, 81 panel, 139, 141, 143, 158 Paolino, 40 Paolo, 68 Paris, 37, 44 Parliament, 160 Parola, 31 Pașa, 144 Pascha, 142, 146, 152, 154, 166 Pasha, 142, 152, 154 Patriarchal, 46 Patriarchy, 46 Pedagogical, 113, 148 Pelasgians, 50 Pepinov, 153 Perciò, 31 Perizat, 9 Persian, 71 Peuhl, 50 Philological, 113 philologist, 141, 142 philology, 34, 97 Pianistin, 166 Piazza, 68 Pinneberg, 140, 166, 169 Pintea, 10 Pio, 33

231

Pirola, 166, 169 Pisani, 34, 38, 40, 41 poem, 32, 59, 72, 74, 97, 130, 132, 142, 148, 149, 152, 153, 161, 162, 168 poet, 20, 23, 26, 31, 35, 36, 38, 40, 71, 72, 74, 97, 101, 113, 141, 142, 148, 149, 154, 156, 161, 162 poetry, 22, 24, 34, 37, 53, 72, 74, 75, 97, 142, 148 Poland, 67, 69, 142, 157, 158, 161, 162 Polen, 145, 158 Polignano, 40 Polish, 142, 161, 162 Polonya, 143, 144 Polonyalı, 167 Polski, 164 pomo fa, 24 Portuguese, 49 Porziuncola, 33, 34 Potnia, 43, 53 Pòtnia, 48, 50, 51, 54 Poverello, 31 Povertà, 35

Index Power, 7, 42, 43, 47, 50, 55 Prague, 8, 30 Pregnant, 61 Prelude, 142 pre-Qin, 18 Press, 3, 4, 28, 45, 53, 66, 67, 68, 69 Professor, 45, 48, 60 program, 71, 75, 141, 143, 157, 185 Programm, 145, 165 Programme, 113 Promotion, 76, 77 Proto, 50, 65, 67, 69 Proto XE "Proto" Australoid XE "Australoid" s, 50 Proto-Sesklo, 51 Pu, 19, 58 Public, 113 Pula, 39 Pumi, 45, 63 Purity, 31 Putra, 8 Qandim, 173 Qandım, 142, 146, 148, 149, 166, 172, 173 Qasevet, 166, 168

Qiang, 45, 59 Qin, 20 qinglü shanshui, 23 Qırım, 166, 167, 168 Qırımlı, 166, 168 qiyun shengdong, 22 Qïzatulı, 108 Qu Yuan, 20 Qudaibergen, 75 Queen, 53 Queens, 57, 62 Quran, 157 Qurultay, 149 Qutadgu bilik, 71 Raimov, 75 Rakhat, 91 Rakhmankul, 73 Rakhymjan, 73 Ram, 9, 10 Ramazan, 165 Ran, 154 Rapport, 8 Rasulov, 88 Razza, 68 Reading, 10 Real, 7, 12, 13 Reclusive, 7, 17, 18, 20 Reclusive culture, 7, 18, 20 Rediscovered, 30, 31 Reed, 4, 12 Region, 113 Reliquie, 32

232

Reminiscence, 31 ren, 22, 44 Rendella, 40 Renfrew, 68 Republic, 8, 113, 158, 161 Republiken, 158 Residency, 97 Reşidova, 168 Revitalisation, 8 Reyimova, 79 Rhys, 53, 69 Rodney, 8 Roehampton, 8 Romance, 16, 34 România, 190, 191, 194, 202 Romanian, 49, 130, 161 Rome, 31, 37 Ronald, 45, 67 Rose, 45, 142, 146, 152, 154, 172 Röstäm, 10, 142, 144, 146, 158, 159 Rozwadowski, 67, 68, 69 Rule, 7, 42, 43, 49, 55, 57 Rusça, 167 Ruse, 212 Rushton, 8 Russia, 75, 81, 150, 161

Index Russian, 75, 148, 150, 151, 154, 158, 161 Russo, 68 Rustem, 166 Ruzimuhamma d, 97 Sabden, 73 Sacred, 49 Sadama, 55, 61 Sadoveanu, 182, 183, 189, 202, 215 Saduaqasov, 74 Sagyn, 4, 9, 127 Saint, 31, 33, 36, 39, 41, 59 Saks, 71 Salilowa, 166 Salomat, 97 San, 34, 37, 39, 40 San Damiano, 38 Sanat, 143 Sanatta, 143 Sängerin, 166 Sanskrit, 47, 49, 50, 56 Santi, 32 Santo, 35 Saparalieva, 91 Saparbai, 74 Sarah, 8 Sarchisian, 191 Sarıkhalil, 166, 168 Şark, 144 Saturday, 8, 9 Sauketai, 74

Saule, 9, 74 Savva, 145 Saxophone, 174 saxophonist, 142 Schaefer, 69 School, 8, 18, 23, 66 Sciamane, 68 Science, 8, 67, 69, 71 Science of conscience, 71 scientists, 141, 151 Scienze, 40 scrivo, 32 sculptor, 80, 89, 90 Sculpture, 89 Secret, 7 Seidimbek, 73 self-cultivation, 18, 19 Semipalatinsk, 74 Senese, 33 Senior, 4, 7, 8 Şenol-Baysu, 166, 169 September, 49, 56, 61, 66, 68, 69, 157, 159 Sera fiesolana, 37 Serea, 215 Serik, 74 Serikbol, 73 Sesklo, 51 Sessé, 56 Settignano, 37

233

Şevket, 165, 167 Seydakul, 90 Seytbullayeva, 166, 168 Shaaban, 151 Shaekh, 113 Shakerim, 71 Shakhanov, 72 shaman, 58, 64 Shaman, 64, 65 Shan Juan, 19 Sharshekeyev, 92 Shaxi, 64 Shayehov, 9 shengren, 22 Shibaoshan, 64 Shinami, 52 Shivaism, 50 Shivaistic, 50 Shokan, 88 shu, 47, 57 Shymkent, 85 Shyngyz, 73 Sicak, 174 Sichuan, 44, 51, 52, 54, 57, 62, 65 şiir, 144, 167, 169 Silver, 83, 92 Simferopol, 142, 144, 148 Singer, 9, 10 Singh, 9, 10 Sino-Tibet, 45 Sino-Tibet XE "Sino-Tibet" an, 45 Sirius, 130, 131 Skiffs, 71 Skybyn, 166, 169

Index Slavic, 7 Sleeping, 61 Smagul, 74 Sobin, 13, 14, 16 Social, 7, 42, 43 Society, 7, 42, 43, 57, 68, 157 Somervell, 69 Sommer, 146, 159 Sonety krymskie, 163 song, 9, 33, 100, 103, 142, 155, 174, 175 Sora, 39 Soussi, 9 South, 7, 23, 44, 50 Southern, 50 Southwest, 57 Soviet, 75, 150, 151, 157, 161 Sowjetunion, 158 Spanish, 49, 97 Specialist, 8 Spirit, 28, 43, 62, 65 Sprache, 146, 158, 165, 172 Springs, 18 Starcevo, 51 State, 32, 57, 74, 113, 148, 158 Stefano, 57, 58

Stein, 69 Stepach akermańskic h, 162 Stephan, 150, 154 steppe, 73, 103, 161, 162 Stepy akermańskie , 142, 146, 162, 163, 164 Steve, 8 Stone, 50, 68 Studi, 34, 40 Studies, 8, 16, 30, 47, 68, 69, 141, 142, 148, 157 Stupa, 61 Sturt, 8 Su anasi, 175 Suat, 77, 78, 92, 95 Sudan, 9 Sugralinov, 75 Sui, 20, 23, 57 Sui-Tang, 23 Sultanov, 113 Summer, 142, 158 Sun, 33, 35, 38, 67, 114 Sunday, 10 Sürgün, 143 Suriyeli, 144 Suzan, 140, 166, 169 Swietlana, 10, 139, 141, 142, 143,

234

144, 145, 146, 148 Swietłana, 141, 142, 143, 144, 145, 146, 148, 149, 150, 151, 157, 158, 159, 161, 163, 167, 169 Sydney, 9 symposium, 78, 79, 80, 82, 93, 94, 95 Syria, 10, 152 Syrian, 142 Taccuini, 31, 33, 39, 40, 41 Taccuino, 34, 35, 38, 39 Taihang, 24 Taihang shan, 24 Taihua shan, 24 Taiping, 26 Taji, 75 Tajikistan, 81 Taktalachuk, 113 Tănase, 215 Taner, 4, 7, 9, 141, 142, 143, 144, 145, 146, 152, 176 Tang, 23, 24, 57 Tantra, 52 Tao Yuanming, 21

Index Taoist, 18 Taraz, 91 Tashkent, 87, 91, 97, 148 Tasil, 166, 168 Tasybekov, 75 Tatar, 7, 8, 10, 113, 141, 142, 143, 144, 148, 149, 150, 157, 158, 161, 162, 165, 167, 168, 169, 170, 174, 175, 176 Tatár, 4, 7, 8 Tatarca, 143, 168 Tataren, 146, 149, 158, 165 Tatarica, 141, 142, 145, 148, 157, 158, 165 Tatarika, 143, 144, 167 Tatarów, 163 Tatarstan, 9, 113, 142, 157, 158 Taw, 8 Teaching, 8 Technical, 8 Tedoldi, 69 Temple, 45, 64 Ten Kingdoms, 24 Teresa, 40, 69 Terra, 33, 66, 68 Theilig, 147, 150, 154

Therapist, 8 Thomas, 36 Thrace, 50, 51 Thyrsis, 52 tianren heyi, 21 Tiberiu, 188 Tibetan, 45, 51, 57, 60 Tiger, 21, 29 Timba, 62 Timba XE "Timba" jackà, 62 Tizu, 188 Todi, 34 Tokiyo, 145 Toktarbai, 73 Tokyo, 130, 133 Tolesh, 83, 88 Tommaso, 41 Tonga, 71 Torchio, 36, 41 Torgyn, 74 Toruń, 157, 158 Toynbee, 69 Traditional, 7, 132 Tragedy, 74 Traian, 182, 184 Trakya, 8 Transition, 8 translation, 9, 23, 61, 64, 75, 97, 142, 149 translator, 9, 34, 61, 75, 79, 97, 113, 141, 152, 162

235

travel, 18, 19, 75 Treasure, 73 Trismegistus, 53 Troy, 9 Tsarist, 150, 151 Tschulpan, 166 Tükenmekte, 143 Tumenbai, 74 Türk, 144, 167, 169 Türkçesi, 8 Turkestan, 141, 142, 145, 148, 157, 158, 165 Turkey, 148, 154 Turkic, 71, 77, 78, 142, 149, 150, 151, 157 Turkish, 36, 37, 71, 73, 86, 87, 148, 151, 161 Türkistan, 143, 144, 167 Turkmen, 148 Turkologe, 146 Turkologie, 158, 165 Turkologist, 142, 157 Turkology, 157 Turkvölker, 158, 159 Turla, 176 Turon, 97 Turysbek, 74 Tynymbai, 74 U.S., 97, 101

Index UK, 8 Ukraińców, 163 Ukraine, 81, 148, 161 Ukrainian, 148, 161 Ukraynalı, 169 Ularbek, 74 Ulivo, 36, 37 Umanistici, 40 Umerova, 10, 142, 146, 164, 165, 166, 167, 168, 169 Umerqızı, 144 Underwood, 162 UNDP, 165, 167 Unii, 164 Union, 113, 148, 150, 157, 161, 162 Universität, 157, 158, 165 Üniversitesi, 167 Universiti, 8 University, 4, 7, 8, 12, 28, 30, 40, 42, 45, 49, 53, 66, 67, 68, 69, 78, 97, 113, 143, 148, 152, 162 Uralsk, 84 Urban, 69 Urmanov, 87

US, 9 USA, 10, 66, 69, 75, 207 USSR, 72, 148, 149, 157, 158, 161 Utkin, 92, 93 Uulu, 89, 90 Uygunlıq, 166, 168 Uyna qızım, 142, 144, 146 Uzbek, 97, 148 Uzbekistan, 9, 81, 87, 91, 97, 174 Vafo, 97 VagizovaGerassimov, 169, 170 Valentina, 10 Valeria, 7 Valerie, 40 Varvara, 10, 133 Vasilica, 208 Vate, 31, 34, 37 Veli, 165, 166, 167, 169 Venera, 169, 170 Vento, 39 Vergine, 33 Vietnam, 61, 101 Vinca, 51 Vincenzo, 40 Violeta, 10 Viruses, 7, 12, 13, 14 Vittoriale, 32, 33

236

Vivo, 32 Volga, 113, 157, 158 Vulva, 64 Wade, 69 Walking Marriage, 56 Wang, 23, 24, 26, 61 Wang Meng, 26 Wang Wei, 23, 24 War, 36 Warfare, 7 Warring, 18, 20 Water, 7, 17, 18, 21, 23, 24, 28 Water Painting, 17, 18, 21, 23, 24, 28 Way, 21, 22, 97 Wealth, 71 Wei-Jin, 20, 26, 27 Weiner, 69 Weltkongress, 166 Wen, 8 Wenjiang, 57 wenren hua, 23, 24, 26 West, 55, 63 Western, 43, 44, 45, 51, 54, 149, 162 White, 21, 67, 161 William, 173 Williams, 68 Winnitzya, 165, 167

Index Winter, 151 Wiora, 69 Wisdom, 71 Witches, 53, 67 Wolf, 85 Wolfgang, 8 Wolga, 158 Women, 7, 67 World, 7, 48, 68, 69, 73, 97, 153, 157 writer, 4, 9, 72, 73, 74, 75, 97, 113, 142, 152 Writing, 97 Wu Zhen, 26 Wuyunxin, 64 Xi, 24, 25, 69 Xiamen, 7, 42, 68 xiang wai zhi xiang, 22 xianzhe, 22 xiaoyao you, 19 Xie He, 22 Xin, 20 Xinjiang, 63 Xu, 8, 19 Xú Fùguān, 28 Xu You, 19 Xuanxue, 20 Xuhua, 23 Yahyaheva, 166, 168 Yakhin, 142, 144, 146 Yalta, 148, 167 Yangtze, 45 Yañı Dunya, 166, 168 Yassawi, 71 Yasyba, 166, 169

Yaxin, 10, 158, 159 Yel, 174 Yerbolat, 74 Yerlan, 94 Yesenbaev, 80 Yesenbayev, 80 Yi, 45, 54, 63 Yijing, 20 Yıllık, 143 Yimin, 26 yinshi wenhua, 18 Yonging, 44, 59 Yongning, 44, 45, 57 Young, 53, 69 Yskak, 73 Yu, 45, 142, 144, 146, 148, 149, 166, 167, 172 Yú Jiànhuá, 28 Yuan, 57 Yuan dynasty, 26, 27 Yuan era, 26 yuan sijia, 26 Yuanming, 22 Yudakov, 97 Yulan, 26 Yunan, 167 Yunnan, 44, 54, 57, 62, 63, 64, 65 Yunus, 142, 144, 146, 148, 149, 166, 167, 172 YunusKandym, 173 Yunusov, 165, 167

237

yurta, 52, 59 Yusuke, 9, 10, 130, 133 Yutang, 25, 28 Zaghawa, 9 Zalilova, 167 Zambalà, 43, 61 Zamblera, 57, 58 Zanetti, 32, 40 Zaporozhye, 167, 169 Zen, 20, 137 Zenife, 166, 169 Zeus, 48 Zeyneb, 166, 168, 169 Zhang, 45 Zhanguo, 18 Zhardemov, 84 zhi, 22 zhilue, 57 Zholdasbekkyz y, 74 Zhongnan, 24 Zhoongnan shan, 24 Zhorga, 84 Zhuangzi, 18, 19, 22, 23 Zhumabayev, 74 Zhusup, 71 Zhuzi baijia, 18 Zira, 75 Zong, 18, 21, 22, 25, 27 Zong Bing, 18, 21, 22, 25, 27 Zoom, 7, 8, 9, 10 Zou, 56

Index Zou XE "Zou" Hun, 56 Zucca, 69 Zuvalinyenga, 8 Адвокат, 159 Алимжанов, 102 Балмолда, 122 Барбарой, 159 Баянгали, 102 Баянғали, 105, 107 Беркиналиева , 127 Берлин, 159 Берлине, 159 Булатовой, 113, 115, 117, 119, 120, 121 Галины, 113, 115, 117, 119, 120, 121 Германии, 160 Даули, 171 Европы, 159, 160 Әлімжанов, 105, 107

Жанайдаров, 107 Ильдар, 159 Институте, 159 Кавказ, 159 КелльнерХайнкеле, 159 Көкбөрі, 108, 122 Крым, 159 Қазақтың, 102, 103 Қизатұлы, 108 Ленар, 113 Михайловны, 160 Москве, 159 Мүбарак, 108 Мұнайдар, 122 Нäби, 171 Орынбай, 107 Польша, 160 Прелюдию, 160 Рустема, 160 Сагын, 127 Светлана, 159, 160

238

Светланы, 159, 160 Свободного, 159 Северный, 159 Советского, 159 Советской, 159 Татарии, 159 Татары, 160 Торунь, 160 тюркологии, 159, 160 Тюркский, 159 тюркского, 117, 159 Фредерика, 160 Харисов, 159 Червонная, 159, 160 Червонной, 159, 160 Шаех, 113 Шопена, 160 Яхин, 158

The 3rd Annual Lecture on Exile in Comparative Literature and the Arts - ALECLA 2020

Articles inside

INDEX

Tănase Serea Cenaclul Literar „Mihail Sadoveanu

Ion M. Ruse Clubul Umoriștilor Constănțeni

Nicolae Dumitru Cenaclul Literar „Mihail Sadoveanu

Dan Norea Clubul Umoriștilor Constănțeni

Constantin Iordan Clubul Umoriștilor Constănțeni

Vasilica Mitrea Liga Scriitorilor Dobrogeni

Izolat la domiciuliu cu pictorul Iaia Ferodin din Mangalia de Arșura

Emel Emin Constanța, Romania

Mihaela Cojocaru Societatea de Haiku Constanța

Traian Brătianu, Cenaclul Literar „Mihail Sadoveanu

Alexandru Birou, Liga Scriitorilor Dobrogeni

Taner Murat Ak Kerman kîrî

song

Mieste Hotopp Riecke Zwei Gedichte. Eine Welt. Dzhemile Umerova

Mickiewicz

İldar Kharissov Advocate for the Turkic Peoples of Europe: In memory of Swietłana Czerwonnaja

Ammar Awaniy, Magdeburg The Rose of Jerichow

Ammar Awaniy Living.home.night

Mieste Hotopp Riecke, With Yunus a literary farewell for Swietlana and Ali

Soviet empires to oppressed peoples

Kökböri Mübarak Qïzatulı Көкбөрі Мүбарак Қизатұлы, Almaty, Kazakhstan

hanım

Lenar Shaekh Ленар Шаех, Kazan, Tatarstan

Sagyn Berkinalieva Сагын Беркиналиева, Bishkek, Kyrgyzstan

In memoriam Swietlana Czerwonnaja

Munaydar Balmolda Мұнайдар Балмолда, Oral, Kazakhstan

Power, Rule and Social Order in a Society Without Fathers and Orphans I. Emma Borjigid Bohm, Xiamen University, Xiamen

Kazakh Literature Bakhtygul Makhanbetova, International literary agent, Almaty, Kazakhstan

Azam Abidov, Tashkent, Uzbekistan

Bayangali Alimzhanov Баянгали Алимжанов, Nur Sultan, Kazakhstan

Rediscovered Darkness: The Franciscan ideal in Gabriele d’Annunzio’s “nocturnal” prose University, Prague

Reclusive Culture in Chinese Mountain and Water Painting Giacomo Bruni, China Academy of Art, Hangzhou, China

Program 2020: ALECLA, AKECH, FECH, CLAFest

Grammatical Viruses and Real Ones: Implications for Endangered Languages Alan Reed Libert, University of Newcastle, Callaghan, Australia