Cultural Rights of Citizens in the Legal Foundations of Modern Russian Poetry
Main Article Content
One of the remarkable highlights of the country's constitution is the attention to people's rights and public and social freedoms; For this reason, a chapter of the constitution is dedicated to the rights of the nation. Knowing the human being requires knowing the purpose of the human being and meeting his needs in the realm of nature, beyond the nature of his own self and other human beings. The foundation of culture is man's attitude towards himself, his surroundings, and the world, based on which he forms his values, tendencies, and then his actions. Human cultural rights is another issue that has been taken into consideration by researchers after examining several similar concepts, and it is the basis and goal of all legal laws. In addition, the cultural right of citizens is a set of duties and rights that correspond to the truth of humans and society. The article defines the features of modern transcultural poetry based on the works of contemporary Russian–speaking poets – Ravil Bukharaev, Rosa Kozhevnikova and Lilia Gazizova. The aim of the work is to identify the functions of cultural codes in the works of Russian-speaking authors. It is established that R. Bukharaev makes extensive use of native culture codes from many areas of conceptualization of reality – national-historical, topological, literary-artistic, religious, involving them in the process of overcoming their alienness to the world of their native culture ("The Bug and the Toad (a Wreath for the Coat of Arms)", "Alms of the native language (a Wreath of Humid Smoke)", "In-between rivers", "Kyrlay – Kyrlyk", etc.). Lyrics of R. Kozhevnikova reveal the aesthetic function of the codes of native culture, in particular the importance of the theme of small homeland ("Delta, Delta!..","Karagasham"). Lyrics of L. Gazizova is associated with a moralizing code that helps to recreate the spiritual world of the native Tatar culture, which acts as an identification of the Russian-speaking author ("Tatar Lilac", "Autumn", "Sad fairy tales"). Analysis of L. Gazizova poetry collections showed that one of the markers of the transcultural type of consciousness is the word "Tatar", which is often used by the author, and it also represents the features of the hybrid identity of the Russian poetess in its own way. It is concluded that cultural codes indicate that the self-identification of lyrical subjects in Russian-language poetry is carried out not only "at the borders" between different traditions, but also "inside" a homogeneous culture.