INTERNATIONAL JOURNAL OF LANGUAGE AND AWARENESS

NAPOLEON'S PARADOX AND THE RUSSIAN IDEA OF LAW IN DOSTOEVSKY'S CRIME AND PUNISHMENT. THE IRRATIONAL / THE RATIONAL

Ulzhan BAITURINA, Irina MOKLETSOVA, Veronika RAZUMOVSKAYA — Mon, 04 Nov 2024 00:00:00 +0300

The paper presents an experience of a phenomenological study of the irrational/rational in the theory of law in Dostoyevsky's novel «Crime and Punishment». The object of analysis in the paper is the anthropocentricity of Dostoevsky's novel "Crime and Punishment". It straddles the boundary between the irrational and the rational, encompassing the philosophical and sociological aspects of law. The correlation between the irrational and the rational - as a correlation between the philosophical and the sociological in the hero's theory of law in the novel - has not become a subject of study in terms of Raskolnikov's resentful consciousness. The promising nature of the theme is also due to the possibility of studying the Russian paradox, revealed in the hero's Bonapartism as a Russian idea of law. An analysis of law as the central question of the writer's philosophical and artistic outlook and worldview needs to distinguish between the ontological and the sociological. In addition, Dostoevsky's philosophical views, religious and moral convictions and philosophical anthropology determined the basic principles of the metaphysics of the individual and his legal consciousness. The different sides of the irrational and the rational are focused around Napoleon's paradox, deployed in the Russian idea of law. The paper is devoted to a description of Raskolnikov's Bonapartism as the source of the Russian idea of law. The paper differentiates between the irrational and the rational in legal theory. As an irrational nature, resentment consciousness and the relationship of freedom/conscience and individual morality to it are explored. The hero's delusion, his 'powerlessness' in the ontological and religious sense, is analysed as value concepts of resentment consciousness. The article categorises the characters according to the characteristics of resentment consciousness and on the basis of the dichotomy "mean person" / "mean" value consciousness. The dual treatment of crime and punishment, in its ethical and criminal nature, is examined as the source of two types of conceptualization of death, from a physical and metaphysical perspective. The confrontation of the ethical in the phenomenology of crime has become a justification for the hero and levels the criminal meaning of the crime. There is a strong sense of the priority given to repentance and the absence of repentance as major concepts in Orthodox axiology.

The significance of the problem under consideration lies in the study of the specifics of the formation of the philosophical and religious concept of Russian reality and the Russian idea in the works of Dostoevsky as a feature of his philosophical and artistic method. The novelty of the work lies in the use of a phenomenological approach to describe the ontological and sociological aspects of legal theory, in correlation with the category of consciousness.

MULTICULTURALISM AND ITS INFLUENCE ON THE AZERBAIJANI LITERARY PROCESS

Naida Jamal Mamedkhanova — Mon, 04 Nov 2024 00:00:00 +0300

The article examines the influence of multiculturalism on the literary process of Azerbaijan. It is noted that multiculturalism and the protection of national identity are important and relevant in modern times. The ability of modern Azerbaijan to
maintain balance at all levels in this area is a unique experience and deserves to be thoroughly studied. This research contributes to understanding the phenomenon of Azerbaijan, its unique experience – the preservation of national identity in the era of globalization. The article considers the creativity of a number of Azerbaijani writers. In their works, these writers interpret multiculturalism in their own way. Literature on the multicultural problem today does not consist of a single movement, direction, or even groups of authors. The authors do not have a formed aesthetics, but we can talk about the emergence of some aesthetic constants, a system of artistic techniques that can be considered in the direction of multiculturalism. Multiculturalism is an organic part of the history of mankind, covering various spheres of society. The parallel existence of cultures on the basis of equality presupposes both ethno-national and confessional relations in society. The influence of multiculturalism is equally felt not only in the XXI century, but also during the period of relative stability and social crises in the development of societies.

İSA MUĞANNA’NIN ROMAN YARATICILIĞINDA YENİ EDEBİ ESTETİK VE FELSEFİ DÜŞÜNCE MOTİFLERİ

İrade Musayeva — Mon, 04 Nov 2024 00:00:00 +0300

İsa Muğanna sadece Azerbaycan romanında değil, genel olarak Azerbaycan edebiyatında edebi-bediî, felsefi-estetik ölçütleri değiştirdi. “İdeal” romanı XX. yüzyılın 80’li yıllarında beklenmeyen edebi gerçeklik gibi sadece bediî tefekkürde değil, bilimsel ve sosyo-politik düşüncede de farklı ton yarattı. Asıl mesele bu idi. Yeni bakış açısı belirlendi. Edebiyatın imgeleri değişti, olaylar daha büyük planda işlendi. Günlük yaşam manzaraları, mahalli çerçevedeki “millilik” arka plana geçti. Milli, tarihi, beşerî konular çok uzak zamanlardan başladı. Zamanın sorunları zamanında geniş okur kitlesine takdim edildi. Fakat bu takdimatta sorunun, trajedinin, tarihi yaraların yaşı asırları, bin yılları geçti. İ. Stalin tarafından baş planı hazırlanan yabancılaştırma ve hafızasızlaştırma stratejisi bir kalemde yok edildi. İ. Muğanna’nın eserleri ile 1950’li yıllarda ilk defa olarak Azerbaycan edebiyatında sadece Stalin imgesi değil, aynı şekilde Stalinizm ifşa edilmiştir.

TO THE TRANSLATION OF THE SONNET “STEPY AKERMANSKIE” BY ADAM MITSKEVICH INTO THE AZERBAIJANI LANGUAGE

Rafiq Novruzov, G.F. Novruzova — Mon, 04 Nov 2024 00:00:00 +0300

This article is devoted to the analysis of the poem “Akkerman Steppes” by the famous Polish poet Adam Mickiewicz into the Azerbaijani language. It is known that this poem is the first of the cycle “Crimean Sonnets”, published in 1826 in Moscow. “Crimean Sonnets” were a kind of beginning of romantic poetry in Polish literature, which was a challenge against the rules of classicism. For the first time, a new lyrical hero bursts into Polish poetry, full of a world of spiritual experiences, sometimes in conflict with life circumstances and the environment. Naturally, this lyrical hero embodies the poet’s own experiences and reflects his spiritual aspirations. The inner world of the lyrical hero was determined by the poet’s impressions of his trip to Crimea. At the same time, it was precisely the ideological function of the lyrical hero that served as the poet’s appeal to the oriental style. Mickiewicz, through depicting the greatness of nature, magnificent landscapes, through the prism of a European, but with an internal acceptance of Eastern understanding, creates his own poetic cosmogony. You can approach the analysis of the poet’s texts in different ways, but to deny their oriental stylization, in our opinion, will not be correct.

All of the above once again confirms the difficulty of transmitting these poetic works into a foreign language. First of all, it can be expressed in the loss of the system of images while maintaining the form of the poem. Sometimes, while maintaining the lexical-semantic content, you can lose the form of a poetic text. In the analysis of Mitskevich's poem into the Azerbaijani language, an attempt is made to reveal the correspondence of the phonetic, graphic and linguistic features of the poetic text. Considering the multi-level structure of the poetic text, which includes different lengths of lines, attention is drawn to the conveyance of the aesthetic and emotional mood of the poet. The latter is expressed by elements of phonetic form, the ratio of rhymes, alliteration, assonance, repetitions of sounds, etc. It would seem that oriental stylistics allows us to somewhat simplify the translation technique. However, the analysis shows that this apparent ease is negated by the poet’s aesthetic attitudes, which must be taken into account when translating.