Memory intertextuality in the poetry of Mammad Araz

Abstract

In contemporary poetry is addressed to Mammad Araz, one of our able poets, who is attached to national-historical past, customs, cultural and moral views of the nations. In most of articles about the poet, attachment of his creativity to the national roots and memory was touched upon, analyses were made from this aspect. Almost no studies have been conducted in theoretical approach to intertextuality, ethno-genological aspects of memory in the poet’s work.
References to frequently repeated names, objects, spatial signs, certain natural objects and manifestations in literary text are not conventional. These objects are active as paradigms of national culture. Dynamism they achieve and their repetition in cultural memory and repetition show deep traces of connection of cultural paradigm with tradition in concrete images. Araz, rock, stone, mountain, spring, sword, pen, etc. are used in the poet’s work. It is noticeable that each image, as a transfer from the substratum of culture to artistic thought, originates from individual-intuitive memory of the poet and is synthesized with phenomenal memory of national culture.
One of the points characterizing scientific novelty of the work is the analysis of images characterized as active memory components in the poetry of Mammad Araz from perspective of individual-subjective, collective, universal, nature, folklore and classical memory.
The article mainly focuses on folklore memory, which is important in all aspects of poet’s work. Interesting points are touched upon in terms of language, style, intonation shades, plot and compositional structure of this memory and new philosophical-associative improvisation of folklore.