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Oriental linguistic elements in Albanian. Baytajean creativity
We should not equalize antonymous words with the words bearing negative meanings.
Despite the fact that both phraseological antonyms and phraseological antonymy from the view of forming contradiction aredifferent, they have got some similar features as well.
In the meaning of phraseological antonym, quantity and quality are linked with the word combinations possessing the signs of place and time, but phraseological antonymy reflects the whole of differential signs of word and word combinations.
When a phraseological combination is created its opposite meanings are created as well. Opposite attitude among the phraseological combinations are created as a result of cognition, achieved by the way of confrontation of objects and events taking place in the substantial world.
Determination of antonyms as a semasiological phenomenon is linked with a number of principles each of which is explained in details and substantiated by examples in the article.
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4. Dobrovol'skij D., Piirainen E. Cognitive Theory of Metaphor and Idiom analysis. - M.: Jarikoslovye, - 2005, -735 p.
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DOI: http://dx.doi.org/10.20534/EJLL-17-1-35-37
Mustafi Muhamed, As. Prof. of Arabic language PhD in Philology, Faculty of Islamic Sciences
Skopje, Macedonia Email: [email protected]
Oriental linguistic elements in Albanian. Baytajean creativity
Abstract: The issue of Oriental linguistic elements in Albanian literature is considered as a very sensitive and complex period because it has been abandoned for ideological and political reasons. Such approach cannot pass easily because we all now start from a later point. The name of this period is known as " The period of Baytajes", and it implies the fact that this literary school was formally and substantially under the influence of oriental languages and thoughts. Oriental words are numerous and can be divided into Arabic, Ottoman and Persian, but mostly in Arabic because it was treated as a lingua franca of the artistic expressions of this group ofAlbanian literary creators that lasted for almost two decades until the literary Albanian renaissance.
Keywords: oriental elements, influence, Albanian literature.
Access to a detailed study of Baytaj ean literature in not at all easy to deal with this creativity, and much more general, and oriental elements in this creative language in with oriental elements of its language, because there are particular, would not be so easy because this kind of many confrontations with different components. study is going to face various challenges. Baytajean cre- According to the well known Albanian researcher
ativity is a very wide branch as a deep sea which incor- Hajdar Salihu, the period if this kind of Albanian litera-porates many diverse issues. So, based on this aspect, it is ture, has its roots to the beginning of XVIII century. "The
Section 1. Linguistics
earliest fact on this literature goes back to 1725, the year when the poem was written by Muci Zade: "Imzot, mos me lere pa kahve (Sir, do not leave me without coffee) and the closest end ot this periode goes to 1947, when Hysen Statovci wrote the poem "Nji e permenje n'gjuhen shqip" (A mention in Albanian language) and this confirms that this poetry was written continuously for two centuries" [4, P 13-14].
However, on the other hand, the first writings lead us to the early centuries. The first writing Baytaje poem, by some reserachers, has began in the fifteenth century, when the Albanian baktashain poet, philosopher and intellectual from Tetovo, Sersem Ali Dede, who died in 1569, started the first writings in Arabic script, [5, P 173-274] but this period has not yet been properly enlightened and many things have been left to desires. Everything is wrapped in a veil of mystery. It is only known that this author, influenced and inspired by Islamic mysticism, wrote many poems of this nature.
While, on the other hand, Jalal Veisel Guta, who lived until the mid-twentieth century and died in 1986 in Skopje, Hasan Beg, [3] has been rightfully considered as the last Baytajist [4, P 475].
The baytaje literary creators and those who disbursed in this area are numerous., but it still remains to researchers of the history of Albanian literature in the near future to access these works and creativity and come up with concrete data and scientifically proven historical facts. I wish this to happen as soon as possible!
In this work, I am approaching the other side of the Baytajean creativity, respectively concentrated on the oriental impact in this literature, ie poetry, because most of them, or rather, all those who have written in this spirit, were well known intellectuals and have learned in the different centers of the Islamic world, such as Istanbul, Cairo, Beirut, Damascus, Baghdad, Tehran etc., and most of them were various clerics, dervishes and mystics who spread their activities primary in mosques, tekkes and different madrasas. They acted everywhere they lived.
There is no doubt that the used oriental linguistic elements in this creativity are numerous. They wrote in Albanian language, but used Arabic alphabet in modified form in the same way as the Ottomans and Persian used it. Their poetic expression came out from numerous Turkish, Ottoman and Persian words. Sometimes the text of a poem comes out exactly as it was written in any Oriental language, whether Arab, Turkish, Ottoman or Persian.
But how big was the capacity of the influence of Oriental elements in the creativity of Baytajes?
We see that few Albanian scholars have been researching this specific topic, such as Hafiz Ali Korca, Tahir Dizdari, Ibrahim Hasnaj, Osman Myderrizi, Faik Luli, Islam Dizdari, Dimiter S. Shuteriqi, Shefik Osmani, Vexhi Buharaja, Shaban Sinani, Jorgo Bulo, Jani Thom-ai, Hasan Kaleshi, Jashar Rexhepagiqi, Ismail Ahmedi, Mahmud Hysa, Abdullah Hamiti, Feti Mahdiu, Mehdi Polisi, Nexhat Ibrahimi, Muhamed Pirraku etc.
The researcher Tahir Dizdari from Shkodra even compiled a dictionary where he summed voluminous Albanian Oriental words. He titled his vocabulary:
"Orientalizmat ne gjuhen shqipe (Orientalism in Albanian language)".
This dictionary has recently come out in printed version. It is interesting to note that he selected quite scientifically the oriental originated words and marked their Arabic, Turkish, Persian source. After the selection, he explained the way they have been used in Albanian language across ethnic Albanian territories. This dictionary, perhaps is not directly connected with Baytajes, and for this we are more than aware, but it cannot deny the impact of Baytajean poetry in compiling this dictionary.
On the other hand, the academic Jashar Rexhepagiq, when he mentions the influence of Oriental elements in Albanian, he comes out with concrete data: "Let us take for example the distinguished Albanian linguist and orientalist Tahir Dizdari, who worked 30 years (19411971) and completed his voluminous titled dictionary" "Orientalizmat ne gjuhen shqipe" (Orientalism in Albanian language). In the dictionary, Dizdari confirmed 1732 Albanian words of Turkish origin, 1460 with 505 words of Arabic origin and Persian origin. Also singled out 72 Arab-Persian compounds, 43 Arab-Turkish and 24 Turkish-Persian 24" [1, P. 111].
We also see a numerous factual material of oriental linguistic borrowings in Albanian language in the lexicographical works of the Albanian lexicographs: Shemimi Shkodra "Fjalori shqip-turqisht" (Albanian-Turkish Dictionary", Daut Borigi "Fjalori turqisht-shqip" (Turkish-English Dictionary), Hafiz Ali Ulqinaku "Fjalor shqip-turqisht" (Albanian-Turkish Dictionary), Mustafa Merlika Kruja "Fjalorth shqip-turqisht-frengjisht-ital-isht", (Glossary English-Turkish-French-Italian), Sotir Kolea "Fjalor i orientalizmave te shqipes" (The Dictionary of Albanian Orientalism), Shefqet Gavo^i "Fjalor shqip-arabisht-anglisht — frengjisht", (Dictionary English — Arabic — English — French), Nijazi Sulca "Fjalor turqisht-shqip", (Turkish-EnglishDictionary), Rian Disci "Fjalor shqip-turqisht-anglisht" (Albanian-English-Turk-
Author gender specificity of the description of the nonverbal expression of anger and fear of men and women.
ish dictionary), Ismail Muçej "Fjalor arabisht-shqip" (Arabic-English Dictionary), Nexhip Alpan "Fjalor turqisht shqip" (Turkish English Dictionary), and obviouslythe master piece of Tahir Dizdari "Fjalori i orientalizmave në gjuhën shqipe" (The Dictionary of Orientalism in Albanian language) [2, P. 31].
The oriental linguistic elements were present since its inception and it is completely understandable, considering the intellectual formation of authors who wrote with Arabic alphabet, Ibrahim Frakulla finished his studies in the capital of the Ottoman Empire, Istanbul, Muhammad Kyçyku-Cami was graduated by the oldest Al-Azhar University in Cairo. So, their intellectual formation was at the center where Oriental languages and literature flourished, and it was normal that the Albanian poets could not possibly remain immune from this, ie by linguistic and literary influence.
The same applies to those who had not the oppor-
tunity to study in the metropolis of the world of Islam, but received the lessons from the primary madrasas and tekkes in the cities such as Prizren, Gjakova, Skopje, Tetovo, Debar, Bitola Shkodra, Elbasan, Berat, Gjirokastra, Janina. They finished relevant institution, not only were prepared without problems speaking Arabic, Turkish, Ottoman and Persian, but immediately approached the writing in these languages, which indicates that they have exceptional intellectual abilities.
Islamic mysticism also helped penetrating the oriental elements in this period ofAlbanian literature through the various Sufi orders in Albanian areas and played an extremely important role in building the intellectual, literary and artistic Albanian centers. The population got in touch with different oriental eminent writers from the East, such as Hafiz, Sadi, Attar, Rudaki, Yunus Emre, Rumi, Haci Bektas Veli etc.
References:
1. Jashar Rexhepagiç, Islamsko-persijska kultura i uticaj persijskog jezika u nas, - Beograd, - 1996. - fq. 111.
2. Jup Kastrati, Për historinë e marrëdhënieve gjuhësore shqiptaro-persiane, revista Perla, - Nr.1, - 1999, - Tiranë, -fq.31.
3. Mulla Vesel Xheladin Gutës, Perëndia më frymëzoi, i Mulla Vesel Xheladin Gutës, Shkup.
4. Hajdar Salihi, Poezia e bejtexhinjve, Prishtinë, - 1987. - fq. 13-14.
5. Baba Rexhepi, Misticizma islame dhe Bektashizma", Kryegjyshata Botërore Bektashiane, - Tiranë, - 1995, - fq. 173-174.
DOI: http://dx.doi.org/10.20534/EJLL-17-1-37-40
Surkova Elena Viktorovna, candidate of philology, associate professor of the department of linguistics and intercultural communication of Volgograd State Technical University, Volgograd E-mail: [email protected]
Author gender specificity of the description of the nonverbal expression of anger and fear of men and women in the russian and german textes of popular literature
Abstract: The article shows main gender specificity of the description of the nonverbal expression of anger and fear of men and women in Russian and German popular literature from the point of author gender. It is proved, that specificity ofpopular literature breaks gender communicative stereotypes of anger and fear expression.
Keywords: nonverbal behavior, gender communicative stereotype, gender of author, description of anger and fear.
