MYTHOLOGICAL CONTINUUM IN FOLKLORE: SYMBOLISM OF TIME AND SPACE

Актуальні питання культурології. Випуск 24/2025 15 6. Həbibbəyli İ. Müasir ədəbi proses və nəzəri araşdırmalara baxış. Poetika.izm. № 1. 2024. S. 6-13. 7. Xəlilzadə F. Zəngəzur faciələrinin dolğun bədii salnaməsi. Unudulmaz ədibimiz Əyyub Abasovun «Zəngəzur» romanı yeni baxış müstəvisində. Elm. 2022, 15 iyul. S. 7. 8. Məhərrəmov, V. Erməniləri ciddi narahat edən əsər «Zəngəzur». Hərbi and. 2020, 19 iyun. S. 18. 9. Nərimanoğlu H. «Zəngəzur» romanı qanlı qırğınların bədii salnaməsidir. «Ədalət” qəzet». 2024, 20 dekabr. S. 13. 10. Nərimanoğlu H. Əyyub Abasov: Zəngəzur faciəsini yaşayan və yaşadan ədib. Bakı : «Mütərcim» nəşriyyatı, 2016. 96 s. 11. Уруд М. Из далекого прошлого до наших дней. Баку : «AVE Print», 2024. 500 с. УДК 821.512.162 РОМАН ЕЮБА АБАСОВА «ЗАНГУЗУР» : ХУДОЖНЄ ВИРАЖЕННЯ ІСТОРИЧНОЇ ПАМ’ЯТІ Нурана Асадуллаєва ФІРУДІН – доктор філософії (PhD), науковий секретар, Національний музей азербайджанської літератури ім. Нізамі Гянджаві Література Азербайджану з 1920 по 1960-ті роки являє собою етап, що суттєво відрізняється від попередніх періодів щодо динаміки літературної думки. Ця відмінність пов’язана, перш за все, з тим, що література перестала розвиватися як лише продовження творчості своїх попередників і, натомість, орієнтувалася в рамках нового соціально-політичного процесу. Після встановлення єдиного творчого методу, відомого як «соціалістичний реалізм», оспівування соціалістичних ідей поширилося в межах художньої творчості, і література почала служити безпосередньо інструментом радянської ідеологічної пропаганди. Протягом 1920-1930-х років ця траєкторія всебічно просувалася офіційним адміністративним апаратом і, меншою мірою, знову після 1950-х років. Після засудження М. Хрущовим культу Сталіна на ХХ з’їзді Комуністичної партії в 1956 році з’явилася основа для формування нових перспектив як у громадсько-політичному житті, так і в культурній сфері. Як і в інших сферах суспільно-політичного життя країни, певні послаблення також почалися в галузі художньої літератури. Ключові слова: азербайджанська література, роман, радянська ідеологія, Зангезур, Еюб Абасов. Стаття отримана 29.08.2025 Стаття прийнята 29.09.2025 Стаття опублікована 22. 12.2025 UDC 398.21:111.852 (479.24) MYTHOLOGICAL CONTINUUM IN FOLKLORE: SYMBOLISM OF TIME AND SPACE Aytən Jafarova JAFAR – PhD in Philology, Associate Professor, Head of the Department of Folklore Studies, Institute of Art, Language and Literature ANAS Nakhchivan Branch, https://orcid.org/0000-0002-9547-3155 https://doi.org/ електронна The system of symbolized images created by the ethnos stems from the thought that the original concepts of its creator – ancient man – are present in folklore texts. That is, the roots of folkloric images known today are rooted in a strong connection with ancient ideas. Whenever the origin, place, and approximate time of creation of these images remain obscure, it is enough to pay attention to ancient thoughts about them in the examples of the original folklore genre. Because it is precisely the original genres that are the natural objects where the original thoughts are conservatively preserved. And the space in these objects, as well as the factors related to time and their connection with the images in question, provide information about the originality and antiquity of the images. Or, on the contrary, often the very existence of the image in the text can confirm the primacy of the already required time and space. Thus, in both cases, the study of the unity of time and space in the folklore text occurs by observing the ethnopoetic landscape of the history of the people to whom the text belongs. The article conducts a study of the sacral position of both time and space in ethnic thought based on folklore samples collected from Nakhchivan. It is concluded that the basis of time and space in Nakhchivan folklore texts is formed by thoughts about time and space in ceremonies originating from ancient morphological views. Key words: folklore, time and space, indefinite time, Nakhchivan folklore samples, ancient times, mythical time. Introduction. Considering that time in folklore samples is often indeterminate, it becomes possible to interpret the notion of time by approaching each sample individually. Moreover, it should be noted that determining this time precisely is not always possible. This is because the sample that has survived to the present day has been influenced by the specific characteristics of the period in which it was created. Therefore, the identification of time in these texts often presents difficulties from a sacral perspective. © Aytən Jafarova JAFAR., 2025 Стаття поширюється на умовах ліцензії CC BY 4.0 Альманах наукового товариства «Афіна» кафедри культурології та музеєзнавства Рівненського державного гуманітарного університету 16 However, certain symbolic elements can help clarify the period of their origin. In some cases, the historical period – the time through which a sample has passed – may affect it to such an extent that the vitality of time diminishes, losing its activity and even becoming indeterminate. This varies depending on the sample. Active and Passive Time–Space in Texts. In folklore texts, time manifests itself as both active and passive. Temporal formulas such as «once upon a time», «in ancient times», «long ago», «in the past» etc., are active in their functional position, yet passive in essence. In reality, these time formulas once referred to a clearly defined period. For instance, we often encounter expressions in fairy tales such as «in the time of Shah Abbas» or «during the reign of Teymur Shah». These phrases indicate a specific historical period in the text. Gradually, however, such concrete temporal expressions have been replaced by more generalized formulas like «in ancient times», «once» or «in the past», thereby acquiring a passive character. Active time is more frequently observed in minor genres. It can be termed «active» because such temporal concepts are common across many folklore genres and are capable of broadly conveying the core purpose of the text. Temporal expressions such as «toward evening», «at dusk», «at twilight», «after the day’s end» represent ancient prohibitions rooted in collective memory. These time formulas reinforce the consequences that follow certain actions. Examples include: «At dusk, they would not give fire or flint from the hearth – it would diminish the household’s flame» [4; 66]. «Before nightfall, bread was not given from the house – one’s sustenance would be withdrawn from the heavens». «They would not cut nails at night». Such time formulas mark the principal temporal framework of deep-seated prohibitions in folk thought. In essence, this is mythic time, as it is regarded as the precise moment when mythic or demonic beings inflict harm or misfortune. In the above examples, the «heroes» of mythic time – the mythic-demonic beings – are not explicitly mentioned. Yet questions such as «What causes the fire to fade»? «What destroys sustenance»?, or «What harm may befall one who cuts nails at night»? become unnecessary. The ancient Turks performed various rites and rituals at specific times to avert the harm of malevolent spirits active at night or dusk. Even today, many of these practices are actively performed during seasonal and domestic ceremonies. In some examples, however, the «mythic–demonic masters» of time are clearly presented, along with the harm they may cause: «At twilight, one should not go outside bareheaded – the jinn may cast a spell on your head» [4; 67]. Here, in addition to time, space is also visible, as is the object that transforms both time and space into a prohibition and a myth. In such texts, mythic time simultaneously generates mythic space. Although the depicted setting is real, under the influence of mythologized time, it assumes a mythic character as well: «At twilight, one should not pass beneath a tree – an evil spirit may strike you». Thus, «beneath the tree» becomes a space associated with demonic beings due to the prohibition linked to twilight. Similarly, the «threshold» (outside space) in the earlier example acquires a mythic dimension as a result of its connection to the temporal concept of «twilight». Main Part. Time and Space in Legends and Tales Usually, the categories of time and space in legends and tales possess a mythological character. In the Nakhchivan legends and tales – for example, in such samples as «Bəlkə Mountain», «Aghoghlan Shrine», and «Oghlan-Gyz Mountain» – space acquires a mythic nature because of the events that occur within it. Yet, this mythological essence is not only a result of the event itself but also of the temporal dimension associated with the space. In the text «Oghlan-Gyz Mountain», the mountain differs from ordinary mountains in that it becomes a symbol of unfulfilled love. The sanctity attributed to the mountain originates from the motif underlying it. The event associated with the mountain – that is, with the space – determines its mythic quality, while time also plays a significant role. The mountain, symbolizing the eternal emblem of the tragic love of two young lovers, has been sacralized by the people. The sanctification of this unfulfilled love gave rise to the need to compare it with the mountain itself. In contrast, the legend «Aghoghlan Shrine» contains a weaker comparison of spatial elements but is particularly rich in temporal depictions. This abundance of temporal elements also indicates the strong foundation of spatial structure. For instance, in the legend about the «Aghoghlan» shrine, the events occur in «ancient times», Актуальні питання культурології. Випуск 24/2025 17 «when winter was raging», «when the flower-covered spring arrived», and also in «when the hunters came to the pure village to milk the deer», «when the news spread throughout the village that this milk could cure tuberculosis», «in the darkness of night», «at daybreak» etc. Each of these time-related expressions carries specific functions in the mind of the narrator and the imagination of the listener. Phrases such as «In those ancient times, people lived very kindly; they knew no deceit or lies; they cherished one another dearly» also serve as indicators of the temporal element. These expressions reflect the features of the temporal concept «in those ancient times». Unlike many other folklore texts, where time formulas like «in ancient times», «in the past», «in bygone days» often carry negative connotations, in this case, they embody positive moral and ethical qualities. Although spatial elements appear less frequently compared to temporal ones, they are nonetheless observable in this text. Expressions such as «in the place where the present-day Sadarak village stands», «from Iran, Turan, Aladag, and Qaradag», and «in a land where no deer roamed the mountains, where partridges did not cackle on the cliffs» all indicate spatial components. The phrase «land of the jinn» – referring to «the place where the present-day Sadarak village stands» – denotes the geographical area of the Sadarak District of the Nakhchivan Autonomous Republic, which formerly held the status of a village within the Sharur District. The text was collected in 1982 from Heyran Nənə, a local resident who was over one hundred years old. She had heard the story from her grandfather, and according to him, the events occurred «in ancient times». During that period, high moral values prevailed in the mentioned place. The population consisted of only ten to fifteen families who lived in deep harmony and affection. These details indicate that the exceptional purity of the place stemmed from its unique temporal characteristics. The distinctiveness of the space also lies in its parallelism with the moral purity of the local people. This space is, in a sense, a sacred one, as the events occurring within it are extraordinary. The fact that speechless, voiceless animals lived peacefully among people, without fear or harm, reflects the narrator’s perception of ancient moral ideals as exemplary virtues. The purer the space, the purer the character of its inhabitants. The place is so pure that even animals live unafraid among humans. Pregnant deer gave birth near people, even with their assistance, and in return, provided milk freely to humans. All these details not only affirm the purity of the space but also render it intimate and beloved. All these pure elements constitute the homeland – the native space – of the people who are the heroes of the text. The transformation of this pure and native space is rooted in its relationship with time: as time passes, the fame and sound of the village spread to the surrounding areas. Consequently, over time, the moral purity of the space begins to deteriorate. The place loses its native purity, undergoes transformation under the adverse influence of time, and becomes alienated. Thus, the relationship between time and space also determines the transformation of space from native to foreign. In the text, time is expressed through various temporal adverbials such as «one day», «after a while», «now» etc., and functions as a genuine beginning that exerts a powerful negative influence upon space. One day they went there and saw that someone had stolen the stone. After a while, the juniper tree also caught fire and burned down. Now, in the place near the village of Sadarak called Aghoghlan, none of the once-famous beauties (that is, of the native – pure space – A.C.) have survived. Only a single spring remains – its waters fading and drying up – and in the memories of grandmothers and grandfathers there lives just one bayatı (folk quatrain): At the hearth of the mosque, A candle burns in the corner. May God grant your wish, In the embrace of Aghoghlan [1; 43] Time and Space in Bayatıs Bayatıs are lyrical folklore forms that sensitively and actively respond to the emotions of every stage – every time – of human life. In these examples, as in epic texts (and perhaps even more distinctly), the relationship between time and space is clearly expressed. The unity of time and space is a defining feature observable in the lyrical genre of bayatıs. However, in many examples, the concept of time often conceals the distinctiveness of space: When the fruit grows on this mountain, When quinces ripen into pomegranates, My mad heart will begin to speak – When you become my beloved [1; 261]. The temporal phrases «when the fruit grows» «when quinces ripen into pomegranates», and «when you become my beloved» obscure the uniqueness and significance of the main space – the mountain. Yet, upon closer attention, it becomes clear that everything begins precisely from space – from the mountain. The lyrical hero of the bayatı emphasizes the season of fruition in the gardens – the time of harvest and abundance – the ripening of quinces and pomegranates, that is, the autumn season. The essential moment, however, is the awakening of the Альманах наукового товариства «Афіна» кафедри культурології та музеєзнавства Рівненського державного гуманітарного університету 18 loving heart, which occurs at the most crucial time – after the beloved has responded to the lover’s affection. The event «my mad heart will begin to speak» happens after the moment of «when you become my beloved». Thus, the main point – the lover’s emotional outburst following the beloved’s response – is indirectly depicted as taking place during autumn through the imagery of the first two lines. When we examine the bayatıs collected from Nakhchivan, we observe that the motifs of sorrow and longing are most often compared to the autumn and winter seasons. For example: My dear, go begging, Beg for the rose in the garden. If you become a khan in a foreign land, Beg in your own homeland. Or: Cloud drifting in the sky, Cloud whose color fades. I have been parted from my people, You too drift away, O cloud. And another: I looked at sweet words, And fell upon barren plains. I sought kin and brothers, Yet remained longing for my homeland [1; 260]. All three texts revolve around the themes of homeland, exile, and separation. The spaces mentioned in the first bayatı – garden, foreign land, homeland – define the emotional geography of longing. Naturally, time here refers to the period during which the anonymous creator of the text was separated from his homeland. However, the specific moment, season, or time of year can be sensed only from the second line: «Beg for the rose in the garden» – which points to the time when the roses have withered, generally the autumn season. Likewise, in the third bayatı, the line «I fell upon barren plains» evokes the autumn season – the time of yearning and desolation. Therefore, we may conclude that both of these bayatıs take place in autumn. If we also interpret the verb «to fade» (saralmaq) in the second bayatı – «Cloud whose color fades» – as a core attribute of autumn, we can deduce that all three bayatıs are thematically and symbolically associated with the autumn season. We also observe moments in which the time of the text is psychological time. Indeed, the anonymous author’s reflections on the future and the psychological state oriented toward it express that the dominant temporality of the text is related to the future: I counted a hundred stars, A rosary of a hundred beads. I am so afraid of that day, That you may be offended and turn away [1; 262]. However, since it is known that the act described in the first line – counting stars – is possible only at night, it becomes clear that the future time in the text originates from the moment mentioned in the first line, that is, from «the night when counting stars is possible». Therefore, the sorrow and anxiety of the lyrical hero – the creator of the text –are revealed from the very first line. In other words, the temporal layers of the text-the night and the future «that day» – derive from the hero’s psychological state and inner emotion. Sacred Time in Seasonal Ritual Texts: The extraordinary characteristics of time in folklore texts also determine its sacred nature. The mythical depiction of time in these texts demonstrates that in mythological thought, time was considered sacred by ancient ancestors. The extraordinariness of time is still acknowledged today. In our seasonal rituals, we still have specific days distinguished by their sanctity – these are the special days known as the folk calendar. Rituals performed during certain periods of the year, selected by our ancestors, grant these moments the status of sacred time. Fearing the destructive power of winter upon livelihood and human survival, ancient people sought to prevent or mitigate this «danger» through various preemptive measures and rituals. Gradually, the cycles of winter – Böyük Çillə (the Great Chill), Kiçik Çillə (the Little Chill), and Boz Ay (the Gray Month) – became mythological time segments that attained sacrality through their respective rituals. Each period’s unique rites and ceremonies further sanctified its place in the mythic consciousness of the people. Thus, the symbolic depictions of time in the texts reflecting the concept of seasonal ceremonies gain the status of sacred time. In folk imagination, the period of Böyük Çillə is associated with benevolent spirits, Kiçik Çillə with malevolent ones, and Boz Ay is believed to combine both good and evil forces. This distinction reflects the Актуальні питання культурології. Випуск 24/2025 19 sacred attitude toward time in general. We can also observe this attitude in folklore texts that depict the dialogue between Böyük Çillə and Kiçik Çillə: Böyük Çillə and Kiçik Çillə meet on the road. Kiçik Çillə asks: – What did you do when you went? Böyük Çillə says: – I lit the tandirs, had the hearths built, opened the mouths of jars and crocks. Kiçik Çillə says: – Let me go now and see what I will do! I will pull the old women out of the tandir, drive them from the stove, empty the jars and crocks, and leave them upside down. Böyük Çillə replies: – You won’t succeed! Spring is ahead, Your time is short [2; 56]. The time represented here – the stages of winter, namely Böyük Çillə and Kiçik Çillə – is differentiated by character. This differentiation reflects the people’s attitude toward these periods. In general, because of the harsh and barren nature of the season, people called winter «the black winter» (qara qış), and they also distinguished its internal stages. These temporal segments, defined by their specific characteristics, acquired the status of auspicious or inauspicious times. Ancient people did not attribute these qualities randomly or intuitively, but gradually and consciously, based on long-term and profound observation. Symbols of Dying and Reviving Time during the Last Tuesday (Axır Çərşənbə): In the worldview of the ethnos, which firmly believes in the constant progression of time, there also exists the notion that time dies and is later revived. In the rituals and ceremonies held to ensure the resurrection of the «dead» time, people do not abandon the dying nature; they do not see it as lost or gone. On the contrary, in every ritual act, they express hope for the coming, revived time. From this perspective, the rituals performed before Nowruz, which reflect the desire for the complete revival of nature, are particularly significant: «On Tuesday night, waters stop, all trees lower their heads and sleep, and in the morning they rise again». In this example, the moment when water – one of the essential elements of human existence – stops flowing symbolizes dying time. «On the last night of the year, when the trees bow down, the water stands still. When the horse neighs, whatever you wish for turns to gold». Here, the cause of dying time is the halting of flowing water after the trees bow down. Yet, the revival of time is also symbolized in this same narrative: «When the horse neighs, whatever you wish for turns to gold» – this marks the longing for the coming, living time. «When the year turns, the water changes. They bring new water home and sprinkle it around the yard, on those sleeping, so that there may be light». This belief embodies the unity of dying and reviving time. «When the year changes, the willows bend their heads to the water, and then straighten up again» [2; 143]. Here, too, both temporal meanings can be observed: the bowing of the willows’ heads signifies the sacredness of the moment when the year turns, while the act of straightening symbolizes the revived time. Symbols of Time in Fairy Tales. When examining the concept of time in fairy-tale texts collected from the Nakhchivan region, it becomes evident that these narratives predominantly reflect the characteristics of primordial time formulas. The traditional opening formula – «Once there was, once there was not, there was no one but God» – is commonly found in these tales. In the fairy tale «The Greedy Man» [5; 188], when we consider the relationship between time and space, the narrator identifies Khorasan as the general setting of events, while the main scene unfolds by the sea. The seashore is presented as a mythical space, for the sea – the dwelling place of the water fairy caught in a poor fisherman’s net – is depicted as a realm of the supernatural. The sea or ocean, where the water fairy lives, becomes the source of the fisherman’s longing. The mythic aspects of the setting are affirmed through the presence of the water fairy. The mythological nature of the space – the sea – is defined by the existence of mythic beings such as talking fish or water maidens. However, the time of the narrative remains indeterminate. Yet, the religious blessings and invocations that the narrator places at the beginning and end of the text suggest that the process of the tale’s formation and evolution belongs to a relatively recent historical period. In many cases, time can be determined according to the natural characteristics of the setting. In this Альманах наукового товариства «Афіна» кафедри культурології та музеєзнавства Рівненського державного гуманітарного університету 20 particular narrative, however, there are no spatial conditions that clarify temporal boundaries. Considering the similarities between this tale and those of other nations, it appears to share the same plot as the Russian poet’s tale «The Tale of the Fisherman and the Golden Fish». Hence, the indeterminate nature of time in the narrative becomes apparent. The only traceable temporal reference, though indirect, lies in the narrator’s formula: «as my mother used to say» – a phrase used both at the beginning and the end of the tale – thus linking the story to the time of the narrator’s mother’s life. In the next tale, «The Water Fairy» [1; 92], the relationship between time and space is more explicitly and harmoniously expressed. In this legendary narrative, historical place determines historical time. While in many folklore texts either time or space remains obscure and difficult to define, the text under discussion reveals a clear unity of both. Despite its mythological core – since the main image and motif are mythic – the harmony of space and time prevails over the mythic element: «The Aras River flows between Iran and us. In ancient times, we used to go to the other side. One day some young men went there for a walk. When crossing the Aras, they saw three girls sitting on a rock in the middle of the river. The girls were naked, but their long hair covered their bodies. As the young men approached, the girls threw themselves into the river. The youths saw that from the waist down they were fish. It turned out that the girls were water fairies» [1; 92]. The space is clear: Iran, the Aras River, and most importantly, «Iran and us», that is, the territories of Nakhchivan. The time is revealed in the sentence «In ancient times, we used to go to the other side», which reflects the period when relations between Southern and Northern Azerbaijan were open, i.e., before the Soviet era. Thus, the main time of the narrative corresponds to the period when crossing the Aras River from the north to the south was possible. The presence of the mythological image – the water fairy – adds a mythical dimension to this otherwise real and historical time. In general, from the perspective of historical time and space, the text corresponds to the pre-Soviet era. A similar reflection of the period when movement between the southern and northern territories was still possible appears in another tale collected in Nakhchivan – «Bring It When You Spin» [1; 143]. In this tale, a woman faces her husband’s unreasonable demand to spin forty tons of cotton. Seeking a way out, she recalls her parents who live across the Aras River. She tells her husband that she will gain the strength to spin the cotton only after seeing them. While crossing the Aras – supposedly «spinning the spindle» as she goes – she is freed from this torment by the real spatial element of the tale: the Aras River itself. The Aras River in this story is a real historical space, and the time of the narrative coincides with that period of history – when communication between the two sides of the river still existed. Yet it is also a time of limited economic development, as evidenced by the line: «In those days, when crossing the Aras, you had to strip and wade through the water». This statement confirms that the time belongs to an era when using boats was economically impossible. By emphasizing the primitive economic conditions – the necessity to cross the Aras without boats – the narrator conveys both the unity of time and space and an insight into the socio-economic situation of that historical period. In ancient Turkic thought, the concept of time follows a cyclical pattern, corresponding to natural stages; the phases of human life and destiny mirror natural processes. Even in the Orkhon-Yenisey inscriptions, one can observe a distinction between historical and metaphysical, real and ideal time. The present, in its entirety, is seen as conditional – a fleeting moment between two ideal epochs: the past and the future. In this perception of time, the past and future hold real weight, while the present is transient. The past serves as a model for the future; the future is imagined as a magnificent repetition of the past. Since the past is considered the primordial source of renewal and power, the severance of its link with the future becomes a historical tragedy – thus bringing the issue of memory to the fore. Memory connects the past and the future, preserves the remembrance of ancestors, safeguards primal strength and origins, and links the present to the future. In Turkic historical consciousness, primordial time becomes sacred, the past is idealized, and as a result, memory becomes one of the principal moral measures of both individual and collective identity. Historical movement is perceived clearly, and the elevation of memory to a supreme value rests upon spiritual freedom: the individual bears moral responsibility for preserving historical memory and temporal continuity. The ancient times and history are spiritually lived and internalized as components of the human soul; the collective destiny is expressed through personal fate, and the concept of fate itself becomes aestheticized, attaining the status of an absolute symbol [3; 204]. Conclusion. The place and function of time and space in folklore texts are closely related to the events depicted within them. Depending on whether these events occur in chaos or cosmos, the nature of time and space becomes evident. In the Nakhchivan folklore texts analyzed, we observed that time and space derive their characteristics from the events themselves. These texts reveal moments when time is active or passive, when space is real or unreal, and when the intertwining of time and space either preserves or transforms certain features. Актуальні питання культурології. Випуск 24/2025 21 In general, the time-space continuum in folklore originates from ancient mythological thought. In the surviving folklore examples of today, this continuum still endures in many cases, while in others it has been partially influenced by the forces of modernity. References 1. Anthology of Azerbaijani Folklore (Nakhchivan Examples), Vol. 2, Book XXIII. Baku : Elm və Təhsil, 2012, 332 p. 2. Azerbaijani Mythological Texts. Baku : Elm, 1988, 196 p. 3. Hacılı, A. The Poetics of Bayati: Structure, Semantics, Pragmatics. Baku : Elm, 2019, 242 p. 4. Sharur Folklore Examples, Book I. Baku : Elm və Təhsil, 2016, 348 p. 5. Sharur Folklore Examples, Book II (Samples Collected from the Residents of Havush Village). Baku : Elm və Təhsil, 2023, 304 p. УДК: 398.21:111.852 МІФОЛОГІЧНИЙ КОНТИНУУМ У ФОЛЬКЛОРІ : СИМВОЛІКА ЧАСУ ТА ПРОСТОРУ Айтан Джафарова ДЖАФАР – доктор філософії (PhD), доцент, завідувач кафедри фольклористики, Інститут мистецтва, мови та літератури, Нахичванська філія Національної академії наук Азербайджана, Баку Система символізованих образів, створених етносом, випливає з думки, що первісні концепції його творця – давньої людини – присутні у фольклорних текстах. Тобто, коріння фольклорних образів, відомих сьогодні, корениться в міцному зв’язку з давніми уявленнями. Щоразу, коли походження, місце та приблизний час створення цих образів залишаються неясними, достатньо звернути увагу на давні думки про них на прикладах оригінального фольклорного жанру. Бо саме оригінальні жанри є тими природними об’єктами, де консервативно зберігаються первісні думки. А простір у цих об’єктах, а також фактори, пов’язані з часом та їх зв’язок із розглянутими образами, дають інформацію про оригінальність та давність образів. Або, навпаки, часто сама наявність образу в тексті може підтвердити первинність вже необхідного часу та простору. Таким чином, в обох випадках дослідження єдності часу та простору у фольклорному тексті відбувається шляхом спостереження за етнопоетичним ландшафтом історії народу, якому належить текст. Проводиться дослідження сакрального положення як часу, так і простору в етнічній думці на основі фольклорних зразків, зібраних з Нахчивану. Зроблено висновок, що основу часу та простору в нахчиванських фольклорних текстах формують думки про час і простір в обрядах, що походять від давніх морфологічних поглядів. Ключові слова: фольклор, час і простір, невизначений час, нахчивансько-фольклорні зразки, давні часи, міфічний час. Стаття отримана 1.11.2025 Стаття прийнята 21.11.2025 Стаття опублікована 26. 12.2025 УДК 82.09:2-277.4(479.24) SUFISM AND MYSTICISM IN MEDIEVAL CLASSICAL POETRY : AS CARRIERS OF IDEOLOGICAL, ARTISTIC, AND LITERARY-AESTHETIC VALUE Narmin Rzayeva KEREM – Doctoral Student, Researcher at the Institute of Literature named after Nizami Ganjavi, Azerbaijan National Academy of Sciences. https://orcid.org/0009-0001-5826-3829 doi isa.habibbe[email protected] Medieval Eastern literature represents one of the deepest artistic and philosophical systems depicting the spiritual world of humankind, the contrast between existence and non-existence, and the moral elevation toward divine truth. At the core of this system lies Sufism and its poetic manifestation – Sufi (mystical) poetry – which for centuries has defined the ideological and aesthetic direction of Eastern thought, particularly that of Azerbaijani classical poetry. Sufism emerges not only as a religiousmystical doctrine but also as a worldview and an aesthetic school guiding the human being toward spiritual perfection. This article explores the role of Sufism and mystical thought in medieval classical poetry as carriers of ideological, artistic, and literary-aesthetic value. It demonstrates that although research on these concepts was restricted during the Soviet ideological period, the philosophical study of Sufism and mysticism in literary scholarship has expanded considerably in the post-independence era. The article draws on the works of Russian and Turkish orientalists, as well as Azerbaijani scholars such as Azade Rustamova, Rahim Aliyev, and Khuraman Hummetova, to examine the religious and artistic-philosophical foundations of Sufism. Furthermore, it emphasizes Sufism’s close connection with the Qur’an, Hadiths, and other religious motifs, as well as its expression in poetry through allegorical imagery and symbolic representations. In conclusion, Sufi literature is evaluated not merely as a form of religious ideology but as an embodiment of universal values, divine love, spiritual perfection, and the aesthetic expression of humanism. Key words: Sufism, Mysticism, Medieval Poetry, Classical Azerbaijani Literature, Azade Rustamova. © Narmin Rzayeva KEREM., 2025 Стаття поширюється на умовах ліцензії CC BY 4.0