Resumen de The image of motherland in the novel by m.Yunys “candles burn only in candlestiks”
Gulfia R. Gainullina, Landysh R. Faezova, Gulnar V. Uldibaeva
This article presents the image of a small homeland in the novel “Candles Burn only in Candlesticks ...” by Tatar writer M. Yunys in the light of world literature. Real actions in the story take place in a savage war, where every moment is coupled with the horror of death. This is the first and cause-and-effect layer of the architectonics of the work. The subject of our study is the image of a home area which is placed in psychological devices, in particular, in dreams, in feverish delirium, in the streams of consciousness of the characters, in the title of the work, in intertextual insertions. In creating the image of a lesser motherland, the author extensively uses suggestiveness. The author puts the image of the Mother in the center of the picture of the birthplace. Unlike the character sketch of Mother in the novel «Большая грудь, широкий зад» / “Full Breast, Double Jugg” by Mo Yan, which is also a metaphor for a small motherland, the mothers in the story by Mirgaziyan Yunys are holy women, but not the Goddesses. Mo Yan’s mother, quite the contrary, is not holy, even sinful, but one senses that the author thinks the world of her like a Goddess. In the cult novel by Garcia Marquez “One Hundred Years of Solitude” the characters of mothers are the prototypes of Eve. Mirgaziyan Yunys’s small homeland is a sacred space, the prototype of paradise on earth, where man can attain happiness. At the point of contact of the ideal with the reality, there is a danger of losing the continuity of generations. As can be seen from the work, the author invariably writes through the spectacle of humanism. His work colors outside the lines of his native people’s fate and turns to universal values.
