Abstract: This article gives a brief overview of the life and creative heritage of the figure of Crimean Tatar literature and enlightenment of the early XX century Yahya-Naji Bayburtlu (1876-1943). The author introduces into the scientific discourse the poorly studied biographical and bibliographic archival materials, which include the prewar literary and historiographical texts transliterated from the Arabic script to the Roman script. The article also employs the reminiscences of the relatives and contemporaries of Y. N. Baiburtlu that have been published in modern national press and give a better perspective of the creative path and environment of Y. N. Baiburtlu: the newspaper article of the writer's daughter Niyara Baiburtlu, autobiographical texts of the prominent Crimean Tatar publicistic writer Shamil Alyadinov. The methodological framework is comprised of the biographical, comparative-typological, and meta-critical analysis. The theoretical framework is based on the works of Arslan Krichinsky, Cemil Kermenchikli, Ismail Kerimov, Dmitry Ursu, Natalia Yablonovskaya, Mukhiddin Khairuddinov, Enisa Abibullayeva. Therefore, the overview of the life and literary-enlightenment activity of Y. N. Baiburtlu reveals his creative personality, outlines the prospects for the aspectual research of his biography as a writer and playwright, translator of literary works, public figure, and enlightener of his time. The author believes that the examination of the versatile literary-pedagogical heritage may significantly enrich the scientific representations of the traditions, factors of development and formation of the Crimean Tatar literary elite of the prewar period in Crimea.

Abstract: This article examines the little-known facts of life and artistic legacy of the reputable Crimean Tatar poet-populist of the early XX century Hasan Chergeyev. In order to reveal the semantic and linguo-stylistic peculiarities of his works, namely the poems “Heed What The Dead Man Says!” (“Eşit, mevta ne sevleyur!”, 1909) and“Fate” (“Taqdir”, 1917), the author carries out a comparative typological, semiotic and textological analysis of the original texts. The strategic approaches in poet’s depiction of the authentic, and dramatic episodes from the life of people and the clergy are conceptualized. The article reveals phenomenon of the impact of idea, theme and plot upon the structure of H. Chergeyev’s poems. Due to lateral thinking and selected methods of representation of life material, his poetic works transform into living canvases. They reflect the depth of internal emotional experiences of the title characters, reveal the natural flavor of the national language, and demonstrate the energy and power of his poetic instrument. At the same time, the article outlines the prospects for studying journalistic activities in Crimean Tatar Soviet periodical press of prewar and wartime.

Abstract: This work examines the little-known facts from the life and creative heritage of one of most reputable Crimean Tatar populist poets of the XX century Hasan Chergeyev. For revealing the semantic and linguiso-stylistic peculiarities of his works, namely of the poems “Listen to What the Dead Man Says!” (“Eşit, mevta ne sevleyur!”, 1909) and “Fate” (“Taqdir”, 1917), the author carries out comparative typological, semiotic and textological analysis of the original texts. The strategic approaches towards depicting the authentic, dramatic episodes from life of the people and the clergy employed by the poet are analyzed. The phenomenon of the impact of the idea, theme and storyline upon the structure of his poems is revealed. Lateral thinking, specially selected methods for representation of life material turn the lyrist's poetic works into living canvases. They reflect the depth of inner emotional experiences of the title characters, reveal the natural flavor of ethnic language, and demonstrate the energy, power of his style. At the same time, the article outlines the prospects for studying publicistic activity during the prewar and wartime within the Crimean Tatar Soviet periodicals.

Abstract:  
The goal of this article consists in determination of peculiarities and origins of artistic thinking of the Crimean Tatar writer of the XX century M. Nuzhet. Methodological and theoretical basis of the research is comprised of the works of U. Ipchi, E. Shemizade, J. Bekirov, A. Altanly, I. Kerimov, Y. Kandymov, and others. The aforementioned authors made an indisputable contribution to the development of Crimean Tatar literature and literary criticism. The creative heritage of M. Nuzhet is versatile and peculiar. His poetic, prosaic and translation works are fused with national spirit. The actions and feelings of the central characters of the artist’s lyrical works directly reflect his psychological state. Special attention is given to the psychological type of the lyricist. Comparative and textual analysis allow viewing the published and original manuscripts of M. Nuzhet. It is established that the writer systematically worked on studying feelings, emotions and ways of their expression. Using the traditional folk poetic forms, genres and images, he creates new patterns for affecting the audience. Speaking of the eternal anthropological topics, he transforms into a wise folk storyteller and preacher. For depicting the everyday reality, the writer assumes the masks of an old beggar or street drunkard. The poetic alliterations and assonances enliven the poet’s images even more. In the process of declamation of such poems, the audience actively uses various mimic emotions anticipated by the context.