Sayat Nova (1712?-1795?), the 'singer' par excellence of the Transcaucasian peoples, and ashuq ('lover'), follows the hard path of Love of the ashuqs towards the Beloved (or towards the Lord, God, in a sufi, mystical approach). Being based in Tbilisi/Tiflis, siege of the court of the Georgian rulers, he composes in three languages (Armenian, Azerbaijani, Georgian). However, in his trilingual collection (defter) of songs, we could hear and feel only one discourse (mantiq), a 'logic' used and applied by the ashuq/gusan. The evidence of a continuity, in a unique environment (muhit), between Sayat Nova, the medieval Armenian tradition, the Muslim sufi poets and the Christian masters, is clear. Sayat Nova organizes and recomposes a common way of expression between not so different traditions. In a sense, this could be considered as an extension, in a larger muhit, of the resonances of the forms of that mantiq (language, discourse), once 'medieval' and later, at the time of Sayat Nova,more and more fresh and, naturally, intercultural.

I COLORI DI UNA VISIONE: OSSERVAZIONI SUI VERSI IN TURCO AZERBAIGIANO DI SAYAT NOVA

GIAMPIERO BELLINGERI
2018

Abstract

Sayat Nova (1712?-1795?), the 'singer' par excellence of the Transcaucasian peoples, and ashuq ('lover'), follows the hard path of Love of the ashuqs towards the Beloved (or towards the Lord, God, in a sufi, mystical approach). Being based in Tbilisi/Tiflis, siege of the court of the Georgian rulers, he composes in three languages (Armenian, Azerbaijani, Georgian). However, in his trilingual collection (defter) of songs, we could hear and feel only one discourse (mantiq), a 'logic' used and applied by the ashuq/gusan. The evidence of a continuity, in a unique environment (muhit), between Sayat Nova, the medieval Armenian tradition, the Muslim sufi poets and the Christian masters, is clear. Sayat Nova organizes and recomposes a common way of expression between not so different traditions. In a sense, this could be considered as an extension, in a larger muhit, of the resonances of the forms of that mantiq (language, discourse), once 'medieval' and later, at the time of Sayat Nova,more and more fresh and, naturally, intercultural.
IDENTITY AND MULTICULTURALISM: METHODOLOGY, TENDENCIES AND PERSPECTIVES
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10278/3712520
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