Nogay songs in Qılcı’s Crimean Karaim mejuma
Journal Title: Almanach Karaimski - Year 2018, Vol 7, Issue 0
Abstract
The aim of this article is to present and discuss sixteen couplets called Nogay songs (so-called čyŋs) in a Crimean Karaim mejuma copied by Eliyahu b. Yosef Qılcı at the beginning of the 20th century. None of these songs are known from the collections edited so far, although songs of this genre were very popular amongall the peoples of the Crimea who spoke Turkic languages, especially the Crimean Tatars and Nogays. In the case of the Crimean Karaims, a total of hundred and five čyŋs were published by Ananiasz Zajączkowski and eleven by Włodzimierz Zajączkowski. However, despite the claim that čyŋs were a typical Crimean Tatar and Nogay genre, nobody provided any Nogay translations of these songs. The article endeavours to answer the question of whether Qılcı composed them himself or adapted Crimean Tatar songs he knew or copied from others into the Nogay language. The paper also investigates how successful Qılcı’s adaptation was. The couplets are provided with a translation into Polish.
Authors and Affiliations
Gulayhan Aqtay
Seraya Shapshal (1873–1961)
In this article the author provides a detailed biographical sketch of Seraya Shapshal (1873–1961), a well-known Karaite personality, scholar and public figure living in the first half of the 20th century. The author...
Karaims in Vilnius Through the Outbreak of World War I
This article explores the history of the Karaim community in Vilnius, from its beginnings up to the outbreak of World War I. A Karaim community was present in Vilnius in the 19th century, when the city came under Russian...
Nogay songs in Qılcı’s Crimean Karaim mejuma
The aim of this article is to present and discuss sixteen couplets called Nogay songs (so-called čyŋs) in a Crimean Karaim mejuma copied by Eliyahu b. Yosef Qılcı at the beginning of the 20th century. None of these songs...
Zachować dla przyszłości
This report provides information on the conservation work on Karaim manuscripts carried out by the author in 2018 and financed by the Ministry of Culture and National Heritage.