Gayaz Ishaki and his inmates in Chistopol prison (based on the materials of the story "Zindan")

Identificator

EDN: JUSFER ; УДК: 821.512.145ʺ19ʺ

Authors

Akhmetova Milyausha Ansarovna, PhD in Philological Sciences, senior researcher of the Research laboratory of multifactorial humanitarian analysis and cognitive philology, Federal Research Center "Kazan Scientific Center of the Russian Academy of Sciences". Russia, Kazan. ORCID: 0000-0002-1051-5169. E-mail: ama201289@yandex.ru

Journal

HERALD OF HUMANITARIAN EDUCATION №4 (40), 2025

Section

PHILOLOGICAL SCIENCES

Pages

106-112

Abstract

The relevance of this study is determined in the context of the study of national literature, history and cultural identity, where works of art and historical sources are considered particularly important as carriers of collective memory and ethnic identity. The work is an important source for understanding not only the historical, literary and socio-political processes of the region, but also the spiritual state of the country's society in the context of revolutionary changes. The purpose of the article is to reveal the images of heroes whose fates are reflected in the early autobiographical story of the classic of Tatar literature Gayaz Iskhaki "Zindan." The subject of study is the documentary story "Zindan," which recreates pictures of the socio-political life of the country, the Kazan governorate and its province. With a careful study of the story "Zindan" in order to see and understand the features of the socio-political life of that time, we were convinced that the micro-world of a provincial city reflects the pictures characterizing the whole country. The contribution of the master of the pen to the formation of a new worldview of contemporaries is revealed over time. More than 100 years later, the reader gets the opportunity to carefully look into the past, so that, having learned those lessons, live more comfortably in modern reality. The experience of your country is fundamental, no foreign models take root on other national soil, and this experience must be carefully studied in order to better understand yourself. The creative heritage of G. Ishaki is currently being comprehensively studied, and this article is an attempt through his early work to see the prospects for his further creative path. The field of application of new knowledge obtained through painstaking work can be used both by researchers of Tatar literature of the twentieth century, and by university teachers, graduate students and students studying the heritage of G. Iskhaki. More than 100 years later, the reader gets the opportunity to carefully look into the past, so that, having learned those lessons, live more comfortably in modern reality. The experience of your country is fundamental, no foreign models take root on other national soil, and this experience must be carefully studied in order to better understand ourselves. The creative heritage of G. Ishaki is currently being comprehensively studied, and this article is an attempt through his early work to see the prospects for his further creative path. The new knowledge in this field obtained through painstaking work can be used both by researchers of Tatar literature of the twentieth century, and by university teachers, graduate students and students studying the heritage of G. Iskhaki.

Keywords

Chistopol Chistopol prison 1906–1907 Gayaz Iskhaki Garif Badamshin Najib Amirkhanov

Recieved

02.06.2025

Published

19.02.2026

References

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