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10MORAL AND AESTHETIC ORGANIZATION OF THE BASIC ELEMENTS OF THE CULTURE OF THE AZERBAIJANI EPIC "DEDE KORKUD"
Phd, head teacher, BABAYEVA MALAHAT RAMIZ GIZI ASPU, Department of Literatura https://orcid.org/0000-0002-3600-8499 UOT-5719.01
Summary
The article is dedicated to ethnographic meetings related to traditions and ceremonies in my book "Dade Gorgud". In the epic "Kitabi-Dada Gorgud", the author elaborated on the facts in his article titled "People's Household Ceremonies" and spoke about the national-spiritualfeatures of the ethnos in the creation of the epic. Many issues of ethnography (birth, wedding, mourning, adoption, etc.) have been explained here.
The epic "Dede Korkud" is a cup of wisdom overturned into eternity. A masterpiece of world culture, the epic "Dede Korkud" is inexhaustible in its significance. It has been created over many centuries. It accumulates a colossal supply of spiritual energy, contains a large amount of information about the man of past eras, about the genesis and prerequisites of civilization.
Key words: "Dede Korkud", epos, spiritual and moral elements, folklore, integrative
НРАВСТВЕННО-ЭСТЕТИЧЕСКАЯ ОРГАНИЗАЦИЯ ОСНОВНЫХ ЭЛЕМЕНТОВ КУЛЬТУРЫ АЗЕРБАЙДЖАНСКОГО ЭПОСА «ДЕДЕ КОРКУД»
дос, БАБАЕВА МАЛАХАТ РАМИЗ ГЫЗЫ
АГПУ, кафедра литерату
Резюме
Статья посвящена этнографическим встречам, связанным с традициями и обрядами в книге «Деде Горгуд». В эпосе «Китаби-Деде Горгуд» автор подробно остановился на фактах в своей статье «Народно-бытовые обряды» и рассказал о национально-духовных особенностях этноса в создании эпоса. Здесь разъяснялись многие вопросы этнографии (рождение, свадьба, траур, усыновление и т. д.).
Эпос «Деде Коркуд» — это чаша мудрости, опрокинутая в вечность. Шедевр мировой культуры, эпос «Деде Коркуд» неисчерпаем по своему значению. Он создавался на протяжении многих веков. Он аккумулирует колоссальный запас духовной энергии, содержит большой объем информации о человеке прошлых эпох, о генезисе и предпосылках цивилизации.
Ключевые слова: «Деде Коркуд», эпос, духовно-нравственные начала, фольклор, интегратив.
Of particular interest is the moral and aesthetic content of the epic, because the modern peoples of the Caucasus have retained at the level of archetypes many features of a person of an ancient era, which have not lost their functional significance. The study of such cultural texts contributes and will contribute to the mutual understanding of modern peoples and their rapprochement on the constructive basis of cooperation. It was an era of maximum activity, tension of social and individual life at the level of heroically beautiful and tragic.
The relevance of the study is determined by the fact that modern science is increasingly focused on synthetic methods that involve the use of human experience in three dimensions: past, future and present. Hence the increased interest of representatives of world science in the early stages of the development of mankind, its culture, the property of which is folklore.
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This epic, created by the creative genius of the peoples of Azerbaijan, is so inexhaustible in its content as a cultural value that its problems even now provide food for thought and arouse no less interest than at the time when intensive collection, systematization and comprehension of legends began.
Korkud scholars, historians have done a great job of collecting and publishing epic texts. But there is a hermeneutic law: culture lives by interpretation. The interpretation of cultural values fades away, and they are forgotten, and new interpretations are caused by other paradigms of thinking. This epic has been deeply and comprehensively studied in parts, but it must be studied from a synergistic position, synthesizing the classical methods of science. The epic "Dede Korkud" has not yet been considered from the point of view of the system of basic elements of culture in their integral functioning.
The epic "Dede Korkud" can be understood as a system of cultural values of the peoples of Azerbaijan.
The methodological basis of the study is the ideas associated with changes in the paradigm of thinking in the modern age, which dictate the need for new approaches in the interpretation of cultural values.
The general methodological basis of the study is the idea that in order to understand texts, it is necessary to proceed from the recognition of culture as an open, multi-level system. It is known that general aesthetic ideas are concretized in systemic and synergistic principles, therefore, the focus should be on a person in the context of socio-natural interaction, specific historical conditions for the development of society. The most important methodological setting research is the extraction of constructive, creative, positive content from the cultural texts of the past. In the study, the epic "Dede Korkud" is presented as a result of the development of the all-Caucasian culture. Thus, a comparative approach is being implemented, including the identification of the relationship between the general and the special from the ideological and artistic positions; new attitudes are used in the study of the history of national spiritual life, the requirements of a reassessment of the literary and cultural process are taken into account from the point of view of understanding the previous research experience. As a methodological principle of work, the use of a database on the problems of national originality of the artistic thinking of the people, the interpretation of folklore as the initial, basic matrix in the spiritual development of the nation is accepted. This idea was one of the main ones when considering the epic "Dede Korkud".
An epic work contains an infinite variety of series of events, destinies, details, circumstances, characters that have many significant features, properties that are in conflict and movement, close-ups and the smallest details.
In accordance with this, the study of the epic requires such methods of analysis that would allow one to take into account this diversity and reveal the unity and universal laws, to capture the ethereal, omnipresent, mysterious spirit of this artistic form.
Since there are hundreds of definitions of culture in science today and they are often contradictory, it becomes necessary to designate a conceptual position. One of the representative definitions of culture is its definition as a special way of organizing and developing human life activity, represented in the products of material and spiritual labor, in the system of social norms and institutions, in spiritual values, in the totality of people's relations to nature, to each other and to themselves.
The totality of these texts is a text-construct, which is an invariant of all types of culture of a certain type. And texts act as its realization in sign structures of various types. This text-construct can be called the text of culture. The text of culture is the most abstract model of reality. It can be defined as a picture of the world of a given culture, which confirms the legitimacy of separating the basic elements of culture into an independent system.
The basic elements of culture are primary elements, basic units that have a holistic meaning and function, in other words, they are monolithic. The basic elements of culture are those that lie at
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its foundation, constitute its foundation. The totality of these elements is the basic, socio-genetic fund of culture. In relation to a person, culture acts as an objective environment, created by generations, which he is forced to accept from the moment of his birth.
The basic elements of culture obey the law of hierarchy, which is determined by the time of appearance, formation of elements and functions in the system of culture, although it is impossible to establish a strict hierarchy due to the relativity of this law. On the basis of the foregoing, the following basic elements of culture can be distinguished: the culture of communication, needs, goal-setting, spatio-temporal orientation, labor, thinking, semiotic, linguistic, linguistic, axiological, psychological, religious, trance, philosophical, gaming, environmental, technical, body culture , bioenergy, moral, aesthetic, artistic, political and legal, economic culture. The hierarchy of these elements is relative and may have some variations.
The establishment of historical types and elements of culture allows us to present it as an organic, internally harmonious ideological and artistic structure, when it is necessary to explain the essence of a chronologically or ethnically distant era of artistic culture.
The basic elements of culture are its creative potential, which in its existence and functioning is subject to certain laws and principles, in particular, organizational ones related to synergetic principles.
As already noted, the epic can be considered as a multi-level, self-organizing system, an actually existing and potentially multivariant active, distributed, non-linear environment according to various scenarios of evolution. A nonlinear dynamic structure capable of maintaining self-similarity, self-repetition with an unlimited change in scale is called a fractal. The fractal structure has an initial order in the form of an algorithmic operation of iterative construction of its space-time configuration. A fractal is an infinitely self-similar figure. Its structure consists of parts that are similar to the whole. Everything in the world is divided to infinity into parts, approximately similar to the whole.
Fractality is a measure of irregularity. Fractals are either linear or non-linear. Linear fractals are defined by linear functions. They exhibit self-similarity. Any part is a reduced exact copy of the whole. Nonlinear fractals are defined by nonlinear functions. In them, the part is not exact, but a similar, deformed copy of the whole. The main property of fractals is self-similarity, which is a condition for the fulfillment of the law of unity in diversity. On the border between conflicts of opposing forces, self-organization of a higher order takes place, the structure of which is dynamic. Everything in a person is fractal: both in structure and in functioning.
Culture as an organism consists of many structural and functional links, the main of which are the basic elements of culture. They are linked into a single multi-level network at different stages of the systemic hierarchy of culture. The basis of the structural-systemic organization, functioning and management is a person as a fractal. The central link, the fractal of the Universe is the individual human consciousness. The interaction of a person and the cultural environment is carried out through the resonance of internal and external oscillatory processes. Thus, the marriage ceremonies of the Narts are timed to the rhythm of nature, seasonal rhythms. In the Ossetian epic, bals - military campaigns - had different durations: one-year, three-year, seven-year, which were associated with periods of growing up. An example would be the rhythmic resonance of a person and the cultural environment, their fluctuations. The Nart and Ossetian versions of the epic are characterized by a rhythmic repetition of festivities after the victory of an army or individual heroes over enemies. The period of incredible disasters of the people is accompanied by the decline of culture. The victory over the invaders rhythmically denotes the state of jubilation and joy of a person.
Grief and joy rhythmically synchronously reflects the state of decline and destruction of culture and its revival. Fractals are similar, but not identical. A fractal, without repeating the structure exactly, contains and reflects the whole like a hologram. The fractal approach is a consideration of the structure of the whole through branching of different scales.
So, the epic is a non-linear system. Nonlinearity is manifested in fractals. The internal comparisons of a fractal are an analogue of the general form, which acts as an analogue of its basis.
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All this leads to the appearance of a holographic fractal object, in which any selected area can be used to restore the picture, the object as a whole. From this it follows that the analysis of the epic as a nonlinear system is determined by the hologram, holography, holographic picture, in other words, the research method has features that stem from the effect of the hologram.
Epos is an integral, dynamic system located near the points of instability; characterized in the process of self-organization of information and in the event of the emergence of new order parameters (attractors) by a qualitative transformation, phase transitions that generate new signs, new symbols, representations of a dynamic system, united in the language network of intersubjective cooperation. Synergetic methods include, because of this, the reorientation of the intellectual, moral position of the researcher, depending on the dynamics of non-linear, interdisciplinary interaction. The synergetic method is subject to the tasks of searching for operating information in a non-local, dynamically distributed form. Consideration of the content of the epic from the point of view of the basic elements of culture gives a new meaning, reveals new meanings of the symbols of the epic "Dede Korkud", their ambiguity.
The basic elements of culture within the framework of this paradigm can be considered as an environment that is different in its substrate composition, but similar in behavior near the points of instability. So the goal-setting culture as a substantive composition has a goal, a method for achieving it, specific measures in choosing goals and methods, and decision-making.
The substratum of semiotic culture is the sign and its meaning, the operation of signs, the production of semiosis, and the interpretation of signs. Despite the substrate difference, these elements in their functioning turn out to be similar near the points of instability. If the point of instability in the culture of goal-setting is the absence of a specific measure in the choice of goals and methods of achievement, then in semiotic culture, a similar point of instability is a sign-word that changes its meaning so much that it ceases to adequately reflect reality and loses the function of discovering and asserting the truth.
The concept of "paradigm" was first formed in science. It meant a set of stable, generally valid norms, theories, methods, schemes of scientific activity, suggesting unity in the interpretation of the theory, in the organization of empirical research and interpretation of the data obtained. Then the concept of "paradigm" began to be actively used by linguists, philologists, culturologists.
The characteristic of the laser-holographic paradigm in relation to culture and methods of its research has primarily a metaphorical meaning. In a holographic image, a part accurately reproduces the whole, while the holographic effect, when applied to a cultural text, is conditional. If a hologram gives a three-dimensional image, then in relation to a written cultural text, this three-dimensionality is achieved by considering the object from the point of view of the past, present, and future. This is a volume-time image.
From this follows an important principle of laser-holographic thinking: recognition of the role of the observer in the process of cognition. The most ancient monuments of culture testify that he fixed his attention primarily on those aspects of reality that were vital for him for physical and spiritual self-affirmation. In art, he fixed the properties of objects and at the same time gave them an assessment, and through it a person, as an observer, is an integral part of the description of the object. This assessment amends the characteristics of the object, changes its parameters.
For a researcher who measures a micro-object, the measuring device is a horse that gives birth to a micro-object - a foal. And in this aspect, a person, as a subject of an aesthetic attitude, makes adjustments to the description of the object with the help of assessments. These assessments as a corrective moment are important for a person.
In reality, a person is looking for those factors that remind of his value or confirm him as a value, and if he does not find them, he experiences dissatisfaction. This is a kind of "instrumental" amendment in an aesthetic sense, which is similar to the synergistic, holographic principle.
In synergetics, the description of events by an observer involves re-observation of the system and periodic adjustment of events with the goal of building an evolution tree, a spatio-temporal grid
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of observers who are in a communicative-dialogue relationship, passing the system to each other. This is not just an observer-chronicler, but "a reflective historical consciousness in an accompanying frame of reference" associated with the dynamics of time-space. As a result, the epistemological space is rediscovered as a specific communicative form of the existence of culture. Using the example of the evolution of Nart studies, we see how the epistemological space of the epic and its cultural content are being rediscovered.
The role of the observer in the process of research, consideration of the object is also found in the content of the epic. The epic arose in the period of non-literate culture. The stories were passed down orally by storytellers. And each storyteller was not a simple performer, but an interpreter. He gave his version of the story. And how the story was presented in the perception of the listeners depended on the general cultural level of the storyteller. The narrator-performer left an imprint on the text of the legend, focusing on what was of interest to him, and silent about the other. The performer acted as a researcher, which is typical of performing arts in general. Versions of the epic have a national connotation, which is also evidence of the great significance of the subject. It can be seen that the researchers of the epic, belonging to different nationalities, changed, transformed the object of study through its assessment.
The laser-holographic paradigm takes into account the role of not just an observer, a researcher, but a changing one. The changing anthropic observer gives the event - the act of observation a cultural-historical dimension, delocalizing events in historical or conceivable time due to reflection on previous experience and hermeneutic reading of the text. Changing in the process of reflection on the text, the anthropic observer, the subject of cognition, plunges into self-transcendence, comes to self-actualization and self-organization. It changes by reflecting over the text, and this change also corrects the characteristics of the object. [4-p. 43].
Laser-holographic and lens paradigms of thinking, classical and post-non-classical complement each other. Although today the synergetic paradigm is used at the latest, advanced frontiers of science, it is premature to absolutize its advantages and merits to the detriment of the classical one. For the classical principles in a removed form are contained in synergetic ones, since synergetics is a science not only about chaos, but also about the laws of the emergence of order in chaos, and order is in the center of attention of classical science.
Due to the complexity of these issues, those researchers who are trying to use synergetics to solve scientific problems may exaggerate its significance or, due to incorrect interpretation, confuse the issues even more, which causes legitimate criticism.
We do not pretend to evaluate synergetic approaches and the effectiveness of their application in domestic science as a whole, and for methodological purposes we use only one of the organizational principles that are classified as synergetic, as well as systemic, because synergetics studies systems in evolution and dynamics. [2-p. 156].
The core of the historical system is polymorphic, mosaic, latent. It does not appear in clear forms. Its structure is determined through the mentalities inherent in a particular historical system, as an expression of the worldview, world relations, ways of thinking, fixing the meaning of culture and the characteristics of social behavior.
Currently, there are concepts according to which the essentialist anthropology, which describes a person in terms of essences, substantial elements, principles, should be replaced by a new one - the anthropology of the boundary. The anthropology of the border proceeds from the fact that the nature of modern man is infinite, changeable, plastic, mobile.
A person has diverse manifestations, and they should be in the foreground of the attention of researchers. The characteristic kind of these manifestations is called "limiting manifestations", "the phenomenon of the border". The grounds and criteria for distinguishing these manifestations are vague and intuitive.
The boundary of man is the totality of his ultimate manifestations. In the boundary, a person is represented as complex, diverse, polyphonic. Here he is in a mobile element, and even the
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synergistic effects of the "butterfly wing", the most subtle and insignificant, can change the border. [5-p. 75].
The boundary has an ontological aspect, acts in the form of an ontological boundary, which determines the orientation of a person in being. Phenomena generated by the unconscious belong to the ontic frontier.
And, finally, there is a virtual border, which is associated with virtual phenomena characterized by a lack, the absence of defining features of empirical reality, a partial, non-embodied existence. And when the author considers these topics and their relationships, he uses concepts that are referred to as synergetics as a theory and science of organization, self-organization of systems.
But when the author begins to concretize the concept of the Border, he resorts to the categories of synergetics. This can be seen in the following statements: "The horizon of human existence is a heterogeneous, multidimensional, multidimensional reality." "The frontier as a whole, therefore, has a certain structure, a certain tonic; and the first great task of the anthropology of the frontier is to fully describe, reconstruction of this tonic" [3 - p. 42]. Thus, the boundary turns out to have a structure, a complex structure.
When the constitution of the ontological boundary is considered, then the ontological transformation of a person, the desire to change the horizon of being, the ontological status is derived from the fundamental structure of human existence, from the mortality of a person, from the initial nature of his relationship with death ... "These relations form a vast, branched economy, the core of which - the primary negative reaction of the consciousness and the organism, the whole human being to its own destruction: a deep, organic and involuntary impulse of repulsion, rejection of death as one's own absolute non-existence, the end of destruction, the total annihilation of the subjective world. This initial impulse of human nature, the first impulse of the rejection of death, as we will call it, unfolds in many manifestations and forms .... and it is obvious from the very definition that what it is aimed at - its desired object and the fulfillment of its aspiration - is getting rid of the described perspective, or "overcoming death" [1-p. 45].
And although the author says that this desired does not take on a definite shape and does not belong to the number of described contents of the subjective world, the first impulse of rejection of death is not defined, but a person's relationship to death has a branched economy, they have a core -a negative reaction.
A person's strategy, oriented towards the ontological boundary, has a universal structure and looks like a "holistic practice of oneself, which has a stepwise character"; "the multitude of all the energies of a person here are successively transformed, going through a series of steps, a kind of ladder ascending to the Border" [1 - p. 50].
In the concept of the topical Border, the topics of the unconscious are conveyed by metaphors of the vertical hierarchy of levels of consciousness. The levels of consciousness are divided into higher and lower. In this concept, the boundaries of a topic have traditional system-organizational principles: core, structure, device.
There is a hierarchy of levels of consciousness. The upper levels actualize all the others and the mind builds this strategy - the coordinating and controlling center. In the phenomena of the unconscious, external energy creates a cyclic process, which is described metaphorically as an orbit in the field of the force center.
Confirmation of the significance of synergetic principles for the anthropology of the Border is found not only in operating with the concepts - core, structure, organization, but also in the need to reach the concept of fractal as one of the main concepts of synergetics, which is characterized by a nonlinear dependence of the structure of the boundaries of objects on the initial conditions of their existence, competition near the boundaries areas for the possession of the border space, where the transition of chaos to order, as mentioned above.
The structures of the boundaries of individual elements of culture as fractals sometimes turned out to be relatively independent of the initial conditions of existence. Borders between moral and
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aesthetic culture characterized by great mobility in relation to the initial conditions of their existence and gravitated more to one or the other fractal.
On the analysis of this concept, we see that the organizational principles operate within the subject essential and new anthropology of the Border. The use of the conceptual apparatus of organizational principles, even in those concepts of human science that claim to overcome traditional ideas, suggests that it is impossible to completely exclude the ideas of the organizational approach from the social sciences, despite all the vicissitudes of development.
Thus, the synergetic approach is associated with the rejection of one, albeit fundamental, method of description. The need for many levels of description, the lack of superiority of one level over others is the main principle of synergetics.
General philosophical methodological foundations for the study of the epic - considering it from the point of view of the foundations of culture as a system of worldview universals, categories of culture: life meanings, which are contained in the interpretation of a person, his goal-setting activity, space and time, moral and aesthetic values; unity of classical and systemic and synergetic research methods. As a methodological prerequisite, the idea of the unity of ethics and aesthetics is put forward, which characterizes their new level, content and place in the system of scientific knowledge. The methodological basis in the philological sense is expressed here in the orientation towards the hermeneutic reading of the epic as a text, which is the primary given of all humanitarian and philological thinking.
REFERENCES
1. Rossi E., Il "Kitab-i Dede Gorgut", Trans. and annotation. con facsimile, Citta del Vaticano,
1952.
2. Kitabi-Dada Gorgud, compiled by Kilisli Teacher Rifat. Istanbul, 1916.
3. Orkhan Shaig Gokyay - 1938, Hamid Arasli - 1939
4. 12 stories of "Grandpa Gorgud" by Walter Rubens and 25 stories of "Tepagoz", Helsinki,
1944
5. Bertels V. Turkish epic and the Caucasus" article (1930) A.Y. Yakubovski,
Articles by Z. I. Yampolski, A. G. Tumanski, I. S. Braginski, K. A. Inostransev and V. M. Zhirmunski.
6. Gafarli R., Rzasoy S. The third manuscript of "Kiitabi-Dada Gorgud" or "Kitabi-Turkmen lisani" Oghuznama". - "Grandpa Gorgud". Scientific-literary collection. Baku, "Science and Education" publishing house, 2019/2, p. 3-39.
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