The image of a woman in the works by R. Kharis

Abstract

   This article examines the variants of the artistic embodiment of female images in the work of the Tatar poet Renat Kharis and analyzes his poems created in different periods of his artistic career, assessing the extent of research on his poetry as a whole. The article concludes that this problem has not previously been the subject of a separate study, and the image of a woman in Renat Kharis’s work is differently embodied both in poetry and in his translation practices. Thus, we analyze a number of his poems (“The Artist” (1976), “Zuleikha” (1987), “Tukay’s Love Dreams” (2000), “Kadriya” (2006)), lyrical verses, poems dedicated to the image of the mother (“Flowers for My Mother”, “The Strongest Hand”, “Memories of My Mother”, etc.), and his translations. The research results show that the image of a woman in Renat Haris’s work is multifaceted: it is both a muse and a continuer of the human kind, an object of love and an image of a real Tatar woman. The poet provides a new interpretation of national female images-symbols and the image of the Mother (from the poet’s own mother to the personified image of the Mother-Earth, the Mother of a cosmic scale).