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15Litera
Правильная ссылка на статью:
Kirimov T.N. — Features ofthe Artistic Thinking ofMehmet Nuzhet // Litera. - 2020. - № 1. DOI: 10.25136/24098698.2020.1.32230 URL: https://nbpublish.com'Hbrary_read_article.php?id=32230
Features of the Artistic Thinking of Mehmet Nuzhet / Особенности художественного мышления Мехмета Нузхэта
Киримов Таир Нуридинович
кандидат филологических наук
старший преподаватель, кафедра крымскотатарской литературы и журналистики, Государственное бюджетное учреждение высшего образования Республики Крым «Крымский инженерно-
педагогический университет имени Февзи Якубова»
295015, Россия, республика Крым, г. Симферополь, пер. Учебный, 8
И tairkerimoff@gmail.com
Статья из рубрики "Литературоведение"
DOI:
10.25136/2409-8698.2020.1.32230
Дата направления статьи в редакцию:
20-02-2020
Аннотация.
Целью настоящей работы является выявление особенностей и истоков художественного мышления крымскотатарского писателя прошлого столетия М. Нузхэта. Методологическую и теоретическую основу исследования составили труды У. Ипчи, Э. Шемизаде, Дж. Бекирова, А. Алтанлы, И. Керимова, Ю. Кандымова и др. Названные авторы внесли неоспоримый вклад в развитие крымскотатарской литературы и литературоведения. Творческое наследие М. Нузхэта многогранно и своеобразно. Его поэтические, прозаические и переводческие произведения наполнены национальным колоритом. Действия и чувства центральных персонажей лирических произведений художника есть прямое отражение его психологического состояния. Собственно, в данной статье уделяется особенное внимание психологическому типу лирика. Посредством сравнительного, текстологического анализа анализируются опубликованные и оригинальные рукописные тексты произведений М. Нузхэта. Исследователь приходит к выводу, что писатель постоянно работает над изучением глубины чувств, эмоций и путей их выражения. Используя традиционные народные поэтические формы, жанры, образы он создает новые образцы влияния на читателя. Говоря о вечных антропологических темах перевоплощается в мудрого народного сказителя, проповедника. Для изображения житейской действительности переодевает маски то старого нищего, то уличного пьянчуги. Поэтические аллитерации и ассонансы
еще более оживляют образы поэта. В процессе декламации таких стихотворений читатель, впадая во власть автора, активно использует различные мимические эмоции, предусмотренные контекстом.
Ключевые слова: художественное, мышление, психологический, ти п , крымские, татары, классическая, литература, Мехмет, Нузхет
Introduction
The fate and creative heritage of M. Nuzhet always remain in the focus of attention of Crimean Tatar literary critics, linguists, biographers, and art historians. For example, in the writings of U. Ipchi, E. Shemizade, J. Bekirov, A. Altanly, Yu. Temirkaya, I. Kerimov, Yu. Kandymov, the cultural-historical, political processes in Crimea that affect the formation of the writer's personality are addressed; strategies for finding manuscripts lost after his
death are discussed [1-5]. In this way, in 2003, a collection of selected works by M. Nuzhet entitled "Qirimnm gol ayatindan" ("From the Life of the Crimean Steppe"), compiled by N. Seytyagyaev ^ was published. Recently the book of the memoirs of her daughter Nihal
about him "Babagigimni hatirlap" ("Remembering Daddy") edited by K. Salyadinov-^71 has come out. They are supplemented by a number of thematic articles and notes published in some domestic and foreign periodicals. Here readers can familiarize themselves with a block of interesting information about the life, writing and educational activities of the author. At the same time, in the pre-war national periodicals, like "Yeñi dünya" ("The New World"), "Kozaydin" ("The Good News"), "Yañi Qolpan" ("The New Venus"), "Millet" ("The Nation"), "ileri" ("Forward") can be found and little-known poems by Mehmet Nuzhet, signed by the
pseudonyms Tyuyrevich, Chelebizade Aidar Gazy [8, p- 251-252]. No less remarkable is the translation activity of the writer. In 1929 - 1930 he translated into the Crimean Tatar language the works by A. Chekhov - "Agafya", E. Byvalov - "Reggie", B. Zhitkov -"Carpenter", A. Mirskaya - "Courageous" p- 40, 41, 63, 97, 122, ^l.
Discussion
The classic of Crimean Tatar literature M. Nuzhet worked fruitfully in various genres of poetry and prose. In his works subtle, soulful feelings come to life, clothed in elegant speech figures. The author creates images of memorable literary heroes, traces how their characters are manifested in very complex, often harsh living conditions. In the event that it is necessary to clarify certain national features, the worldviews of the people, he resorts to a psychological analysis of the relationship of people in a particular society.
Here, for example, at first glance, the seemingly simple, comic, the dramatic storyline by M. Nuzhet, "Selim Sohta" ("Student Selim"). He depicts mainly in gray, negative, sardonic tones a student of the madrasah - a bearded man in the prime of life. Various ridiculous adventures happen with Selim. These adventures are caused, first of all, by his dream to connect his fate with Momine, the gentle and good-natured daughter of a wealthy peasant. But only for many years, Selim, either because of inexplicable psychological difficulties, or because of his difficult economic situation, did not dare to reveal his feelings to the girl he liked. Once, when the news came to him about the engagement of the girl with Kurtmurat -the son of the rich man Adzhemet Kipchakly - the lovelorn swain could do nothing but put out the fire of love in his heart. However, after some time, the rumor about the death of Momine's husband in the Russian-Japanese war revived his lost hopes. This time, trying not to miss the wonderful opportunity to get close to his beloved, Selim does not pay much
attention to the fact that she has two small children. In the end, while preparing for marriage, a fateful letter comes unexpectedly to everyone from the war, which radically turns the life of the protagonist. It is noteworthy that M. Nuzhet, with the help of a letter, also changes the current of events in another story - "Bahtsiz horanta" ("Unfortunate Family"). No less interesting is the fact that the discerning reader, having reached the very dramatic intensity of the plot, can see in the seemingly unchanged appearance of the character, the features of a gentle, vulnerable person. Selim appears before us in a completely different role. At that moment, when the situation is extremely tense, the figure of the author becomes obvious in the narrative structure of the story. He takes responsibility to read the contents of the letter:
"Gece du§umde, kunduz esimde, ba§imnin taci, gonlumnin ilaci, derdimnin dermani, quvangimnin fermani, baggamnin gulu, dalimnin bulbuli, cerde izim, kokte yildizim... Momine hanima goq-goq selamlar idup, hatir-i §erifni istifsar iderim. Ve yine, kurpe qozularim Ay§emen Esmanin kozguklerinden opup, menim bu qavgadan sag-selamet uyge qaytup barmaqligim igun Tanriden gece-kunduz dua idup istemenizni irca etemen. (Men olsem de, qalsam da eger) bu ki§i sizge barganday bosa eger, menim bir qabat urbamni oga kiydiriniz, biz onunman bek yaqin dost bolganimizdan, birbirimizge resimlerimizni de beri§tik. Baqiy
selam, qara yazili Qurtmurat... " [6, p- 152].
("To this one who appears at night in a dream, and during the day in memories; the crown of power is above me; the firman of happiness, the healer of my heart, a nightingale on a branch, a rose in my garden, a footprint on the ground, a glimpse of a star in heaven. I greet from afar my Momine khanum and hasten to inquire about her health. Again kissing Ayshe and Esma, my little goats, like dewdrops, I ask you to pray to God for my safe return from the war. Whether I am dead or alive, dress the person who came from me in my clothes. We became close friends and exchanged a keepsake photographs. Respectfully, miserable Kurtmurat...").
The main text of the work under consideration and the above text of the letter are markedly different from each other in language and style. Through functional-style bundles of vocabulary, in particular, a peculiar combination of prose and poetry, the writer is looking for ways to convey high feelings. Moreover, this is not the only case of mixing genres in his work. It is enough to bethink a poetic story called "Feride apte" ("Aunt Feride") [6, p- 159-164!. The rhetorical gradations, expressive intonation repetitions used in the text of the letter suggest the great inspiration of the literary hero, as if we hear his rapid breathing and feel romantic dizziness from love for his wife. This stylistic figure, called polysindeton, helps the reader to imagine the character's feelings with particular brightness.
We find a similar reconstruction of an elevated love state in the author's lyrics, in particular, in a verse that reveals the tragic fate of the poet. This poem is close by the genre to crying (agit ), here the lyrical hero mourns the death of his beloved wife:
"Altindayim, elmazim, agqan gulum,
Benlik, barliq, bagimda bir bulbulim..." [6' p- 98].
("I went down [to the grave], my diamond, an open rose,
I am you, my life, the nightingale in the rose garden...").
These first lines of the poem "The Sorrow of My Broken Heart", in which the picture of the last farewell to the beloved is recreated, are imbued with sorrowful feelings, full of deep
dramatic effect. We see how, under the prayer of the mullah "Bismillahi ve ala milletiResulillah" ("In the name of Allah, before the co-religionists of the Prophet we bury you"), the husband descends into the grave and, stretching his arms up, at the same time holds the body of the deceased with affectionate trembling, trying not to drop it. The sad words that a husband speaks to his wife for the last time are extremely touching and soulful. This is the original couplet, which for some reason is absent in the publications of E. Shemizade, biographer M. Nuzhet, we find in the new edition of the author's selected works, prepared on the basis of manuscripts. The poem under consideration is included in the poetic cycle "Qirimnin gol ayatindan" ("From the life of the steppe Crimea"). The continuation of the poem is no less emotional and alarming:
"Tabut tartup teninni topraq tutti,
C a§ caninni cutuq cer calmap cutti.
Ugtin artiq, elimden olum aldi,
Q iriq qalbim qararup, qarap qaldi.
K oz kormegen kegede, konul kirli,
T u§unceler, tasalar turli-turli.
M ezarina mingenler miyavqu§lar,
T ek, tik tenge tuyula tik tavu§lar... " [6, p- 98].
("Tearing the burdens [out of hands], the earth grabbed you,
The grave swallowed and chewed on a young soul.
You flew away, pulled you out of my hands death
My broken heart, darkened with grief, went mad.
My heart is darker than a hopeless night
All kinds of thoughts, sorrows torment me.
Only owls sit on your grave
Occasionally they only hear their (terrible) cry...").
Expressive sound recording is very noticeable in the original text. This helps more clearly represent the experiences of the lyrical hero. It is as if we see his dry, blue lips, from which bursts of immense sadness, impulses of anger and despair break out. Alliterations, assonances are consistent with the person's state, the reader feels a shudder of the body, exclamations, screams, stuck in a throat, but coming from the very depths of the soul:
"Talpinaman tentirep, ten tarliqta, M irildanup, monsirep mezarliqta. Q abirinni qarmalap qaltirayman, C anga cetti cangizliq, dep cilayman" [6, p- 98]. ("I'm shuddering, trying to break out of body captivity,
Wandering around the cemetery in moaning and sorrow.
I tremble when I see your grave
Tired of loneliness, I do not hide tears").
Eloquent phonetic repetitions used by the poet Dzhemil Kermenchikli against the background of anaphora contribute to such expressiveness, emotional intensity. In his poem filled with revolutionary pathos, "Sevin, ey, §anli millet!" ("Cheer, hey, glorious people!"), are depicted people who want to immediately get even with traitors.
"Biraq! Biraz damarinda dola§an qan qurusun.
Biraq! Biraz zindanlarda kemikleri gurusun.
Biraq! Biraz surgunlerde bizim kibi yurusun.
Biraq! Biraz kozlerinde hasret qani burusun " J10! ("Come on! Let the blood spoil a little and in their veins. Give it up! Let their bones in the dungeons rot a little. Give it up! Let a little, like us, wander around a foreign land. Give it up! Let a little and sadness be reflected in their eyes").
In these pathetic lines, an impressionable reader can hear the terrible roar of a pack of furious wolves, ready to pounce on their victim.
Both authors are united by deep feelings for the fate of the people they represent and whose traditions are developped in their oeuvre. It is no accident that genres, forms, dramatic and anecdotal episodes in M. Nuzhet's work are drawn from folk life. These are the five-letter, similar in form to the national songs, couplets - "igki qurbani" ("Victim of the potion"), "Batir cigit" ("Bold dzhigit"), "Qarilgag" ("Swallow"), and parables that are largely close to a folk tale - "Tilenci qart" ("The Old Pauper"), "Kirpi ve turna" ("The Hedgehog and the Crane"), "Onmaz bike" ("The Muddy Mistress"). Such are also the fables in which the outdated moral principles are ridiculed - "Qi§ta neler anilir?" ("What is remembered in winter"), "Haq rahmet eylesin!" ("May rest in peace!"), "Vaaz" ("Sermon"). Here are typical poetic lines:
"Bir zamanda bek aytuvli bir baynin Olgan buyuk taqdirinen Hudaynin, Dar-dunyada mal degenden bir qizi, Lakin soqur eken onun bir kozu. Hoca, mektep, oquv, yazi kormegen,
Bay olgan son, oquyim dep, yurmegen..." [6, p- 39]. ("Once upon a very famous money-bag, By God's great will
The only daughter in this cramped light That's just in one eye she was blind. She did not know about school or literacy, For, being rich, did not see the need for it ...").
These are lines from the poem "Soqur kozden saadet" ("Happiness from a blind eye"). Here you can see the continuation of the plot of the matchmaking with the intrigues of that very student (sokhta) Selim. Starting his poem in the style of a fairy tale, the poet tells about the careless life of an illiterate girl. Here he shows compassion for the ignorant (because of poverty) peasants, expresses contempt for the rich, who ignore school. Thus, the poet compares the illiteracy of the "old maid" with an unsightly blind eye. Ugly blindness (ignorance) attracts only Sefer, the unlucky, carefree student of madrassah, who dreams nevertheless of a bright future.
This moment in the life of M. Nuzhet, as a master of creating anecdotal stories, successfully uses the following poetic narrative:
"Kiyev etip ketirgenler Seferni,
Seadetke tez qavu§qan bu «erni».
Qapaganlar aq§am qiznin evine,
Kirgen kiyev, pek sevine-sevine.
izin almay, qizin sorap ozunden,
Pek yurekten ope soqur kozunden.
- Vay! Sav soyun opseniz, ev! - degen qiz.
Sohta degen: «Bu menimgun bir yildiz!
Olmagaydi eger senin bu kozun,
Aram edin hep bir maga sen ozun..." [6, p- 39]. ("Behold, they brought the bridegroom Sefer, "Husband", who quickly achieved happiness. Locked in the evening in a room with his fiancee Enters the bridegroom with excessive joy. Without the permission of the girl The blind eye wholeheartedly kisses.
"Isn't it better for you to kiss a healthy eye?" she was indignant.
In response, the student: "It just shone for me!
If it weren't for your eye,
You really would be disgusting to me...").
In the last lines of the poem, the eccentricity and sharpness of the poet's thought attracts special attention. It can be assumed that against the background of the contrast of aesthetic and ethical values, the regrettable "prose of life" is clearly manifested.
As noted, the poet shows great interest in the feelings and forms of expression. So, for the purpose of familiarizing himself with the forms of ignorance, he listens to the drooping, sadly shrinking his head in the shoulders of the impoverished old shepherd. He puts his shoulder under the farmer, who had too much to drink wine, and despaired of the everyday hopelessness, so that he does not stare at night in the winter cold. Because of this, he spars with a thick-bellied and a thick-necked hypocrite mullah.
These features of the author's oeuvre are subtly felt by the contemporary painter Zarema Trasinova, a skilled master of book graphics. Her works vividly feature many typecasts described in such works of the writer as "Nogaynin adagi" ("Promises of the Nogay"), "§airnin uyqusi" ("The Poet's Dream"), "Aman, §u aqaylar!" ("Let's go, men!"), "Bastiriqqa" ("In the Prison"), "Tilenci qart" ("The Pauper Old Man"), "Ö§ek" ("Defamation"), "Bahtsiz horanta" ("Disadvantaged Family"). Her illustrations help us take a fresh look at the slanderer Fatima, the unfortunate Safije, the two-faced Menseit. They help to relive the sorrow for the vain life of a poor shepherd, to hear how the poet's heartbeat in the prison cell goes astray.
The poet, trying to comprehend reality in a variety of ways, resorts to various narrative strategies. In order to lend more realism, he can speak through the mouth of his hero, act as a witness to important events. Such an original approach helps M. Nuzhet not to appear in the society of readers as an annoying moralist. As an example one can cite a poem published in the Crimean Tatar newspaper Millet from 1917 to 1918: "Öküng" ("Repentance"), "Bir sarho§nin agzindan" ("Confession of a drunkard"), "Bir tatarnin figani" ("Wailing of the Tatar") and others. In instructive verses, the poet, as it were, takes over the sins and troubles of the people and, with bitter tears of repentance, tries to attract to the narrator the special attention of those around him.
The poem "Agladim" ("Broken into tears") is written in the following manner:
"Alem-i islami ba§tan ba§a seyran iderken,
Ey-vah! Sürü-sürü mazlumlari körüp agladim!
Saireler marifette cihani hayran iderken,
Közleri bagli müslümanlari körüp agladim.
Emlaki gasp idilmi§, huquqi payimal olmu§,
Haqsiz giynenmi§ masüm canlari körüp agladim!
Mesut aileler §err adüve dugar olup,
Suv kibi tökülmi§ al qanlari körüp agladim!
Vucutlar berbat olmu§, qalmami§ hayattan eser,
Qehreleri solmu§ insanlari körüp agladim!
Nedir dostluq, nedir dü§manliq bilen pek az qalmi§,
Kör nefsine qurban olanlari körüp agladim!
Qarda§inin muthi§ derdine dermanlar arayup, Hucumlara maruz qalanlari korup agladim! Bu hali felaket i§timalden ibret almayan,
insan §eklindeki hayvanlari korup agladim!" J-11!. ("Wandering around the Muslim world for a long time, Oh woe! Watching the crowds of the oppressed, I cried! When everyone admired the achievements of the universe, Looking at the Muslims blindfolded, I cried!
They were deprived of property, their will and honor were downtrodden,
Looking at these repressed innocent souls, I cried!
Oh those happy families in the hands of a sworn enemy
Watching their blood spill over the river, I cried!
Exhausted bodies that show no signs of life
Looking at the faded faces of these people, I cried!
Oh, those who have ceased to distinguish friends from enemies,
Looking at these victims of blind desires and vanities, I cried!
Oh, those who are looking for an elixir from a fellow's terrible ailments,
Looking at how they are being attacked, I cried!
Oh, those who have not learned to draw the moral from infinite disasters, Looking at you, creatures in the form of a man, I cried!").
Unfortunately, these poetic lines have not lost their relevance and value even today. The state of Muslims has changed little since the days of the author's life and activities. In order to attract the attention of fellow believers to the global ideological crisis, the poet resorts to the sacramental of lamentation, deploration. Thus, referring to the people around him, he talks about the values of faith and morality, warns of the perniciousness of ignorance and lowly desires. Probably, the poet learned a similar psychological strategy for influencing people in classes on theological rhetoric in madrassas. It is known that Mehmet Nuzhet took classes at the famous religious educational institutions in Crimea and Kazan.
Conclusion
The short life of the author (1988-1934) is filled with tragic events. The early death of the mother, the death of the first wife with the child, and at the same time the persecution by the Soviet authorities for his loyalty to the national idea, formed a poet-fighter, philosopher. The multifaceted creative heritage of Mehmet Nuzhet is a significant phenomenon of classical Crimean Tatar literature of the first half of the twentieth century. In the author's imaginative writing, one can feel the sharpness and originality of the poetic thought. In an effort to diversify the true reality of being, he resorts to various literary
strategies. In order to attract the reader's attention to the problems associated with the search for the national and cultural identity of the people, the poet uses stylistic and semantic figures, as well as literary and epistolary genres - crying, tale, anecdote, letter. At the same time, the language of poetry by M. Nuzhet completely coincidentally combines several functional styles of speech, such as journalistic, sublime, and folk. Through his works, characters, images, the writer seeks to convince, enlighten the readers, arouse in them high feelings. Actually, all the work of the writer is built on feelings. Previously, researchers paid little attention to this. Today, applying the psychological and semiotic approaches to the study of literary texts by the classic, it was possible to examine in more detail the moral and ethical face of M. Nuzhet. To understand deeper his philosophy of life.
Библиография
1. Bekirov Dzh. Nesillerden nesillerge miras [Legacy: from generation to generation]. Akmesdzhit: Lemeshko K.A., 2012. 160 p. (In Crimean Tatar)
2. Ipchi U. Men de shashtym, apakaj [And I was surprised, my wife] // Jeni djun'ja. 1925. Okt. 29. (In Crimean Tatar)
3. Kerimov I. XIX as. sonu ve XX as. bashynda kyrymtatar bedij sjozjunin evrimi [The evolution of the Crimean Tatar artistic word of the late XIXth - early XXth century]. Akmesdzhit: Kyrymdevokuvpedneshir, 1998. 184 p. (In Crimean Tatar)
4. Kandym Ju. Juku joktyr koz'lerde [No sleep in eyes]. Simferopol': Tarpan, 2009. 192 p. (In Crimean Tatar)
5. Shemizade E. Edebij ve tenkidij makaleler [Literary and critical articles]. Simferopol': Dolja, 2000. 248 p. (In Crimean Tatar)
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7. Hajredinova N. Babachygymny hatyrlap [Remembering Daddy] / az.: K. Saljadinov. Simferopol': Kyrymdevokuvpedneshir, 2015. 120 p. (In Crimean Tatar)
8. Kyrymtatar tili, edebijaty, fol'klory, tasili, tarihi, medenieti ve tehnik ilimleri ile bagly bibliografik kos'tergich (1618-1944) [Bibliographic index on the Crimean Tatar language, literature, folklore, education, history, culture and technical sciences (1618 -1944)] / az. I. Kerimov. Simferopol': OAO "Simferopol'skaja gorodskaja tipografija", 2009. 324 p. (In Crimean Tatar)
9. Sektor rukopisej GBUK RK Respublikanskoj krymskotatarskoj biblioteki im. I. Gasprinskogo. Fond M. Nuzeta [Sector of manuscripts in SBCI of RK Republican Crimean Tatar library named after I. Gasprinsky. Fund of M. Nuzhet]. D. 1. Pp. 156-157. (In Crimean Tatar)
10. Kermengikli C. Sevin, ey §anli millet! [Cheer, hey, glorious people!] // Terdzhiman. 1917. March 16. (In Crimean Tatar)
11. Chelebizade Mehmet Nuzhet. Agladym! [Broken into tears!] // Millet. 1917. September 4. (In Crimean Tatar)
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Рецензия на статью
Предмет исследования представленной статьи - художественный мир сочинений
классика крымскотатарской литературы Мемета Нузета. Актуальность работы обусловлена тенденцией к расширению сведений о национальной литературе и ее исследованием с позиций академического литературоведения. В работе автор статьи опирается на методы историко-культурного и сравнительно-исторического анализа. В статье актуализируется внимание к изучению творчества Мемета Нузета как в соответствии с его значимой ролью в крымскотатарской культуре, так и в связи с изданием в XXI веке его сочинений и воспоминаний о нем. Отмечая представленность творчества М. Нузета в разных жанрах поэзии и прозы, автор статьи обращается к рассмотрению ряда сочинений писателя. С позиций тонкого соединения разных стилей (через введение эпизода письма) разбирается рассказ «Студент Селим». Лирическое претворение национального жанра плача разбирается на примере стихотворения «Печаль моего разбитого сердца». Внимание уделяется как воплощаемым эмоциональным и психологическим характеристикам, так и применяемым приемам аллитерации. Также автор статьи рассматривает воплощение в творчестве М. Нузета темы социального неравенства и нравственного несовершенства общества (например, стихотворение «Agladim»). В выводах автор обобщает некоторые особенности художественного мира сочинений Мемета Нузета: связь с национальными истоками, стилистический и жанровый синтез, морально-этическая направленность творчества. По мнению рецензента, в статью могут быть внесены некоторые коррективы. Если название статьи будет представлено на русском, то рекомендуется ввести более привычную на русском языке транскрипцию имени и фамилии поэта - Мемет Нузет. В заключительном разделе работы представлена опечатка в датировке жизни М. Нузета: 1988-1934, вместо 1888-1934. В статье упоминается, что М. Нузет учился в известных духовных учебных заведениях Крыма и Казани, желательно указать конкретные наименования этих заведений. В выводах автор статьи упоминает опоры на психологический и семиотический методы исследования; но, на взгляд рецензента, по отношению к данной работе вводить упоминание этих методов не стоит. Также не совсем удачным с позиций английской стилистики видится завершение статьи: «Today, applying the psychological and semiotic approaches to the study of literary texts by the classic, it was possible to examine in more detail the moral and ethical face of M. Nuzhet. To understand deeper his philosophy of life». В целом статья представляет интерес для профессиональной читательской аудитории. Библиография соответствует содержанию (представлены как современные исследования, так и ретропериодика). После внесения необходимых корректировок статья может быть рекомендована к публикации.
