XXX Международный конгресс ИИСАА. 19–21 июня 2019 г. Т. 1

Литература стран Азии и Африки к 150-летию академика В. В. Бартольда (1869–1930). Ч. 1 357 modeled on S. S. Van Dine’s detective fiction), it was the latter subgenre in which he succeeded the most; what recognition he enjoys today he owes to his heterodox short stories, such as Akuma no deshi (1929, translated into English as The Devil’s Disciple by J. Keith Vincent, 2011), Kare ga koroshita ka (1929, translated into English as Did He Kill Them? also by J. Keith Vincent, 2011), Korosareta Ten’ichibō (1929, translated into English as The Execution of Ten’ichibō by Jeffrey Angles, 2005), Seigi (Justice, 1930) or Shisha no kenri (The Rights of the Dead, 1929). This paper analyzes the heterodox aspects of Hamao Shirō works. Firstly, it focuses on the author’s use of the so-called abnormal psychology ( hentaishinrigaku ) and abnormal sexuality ( hentaiseiyokugaku ), which was at first glance in line with the pre-war hegemonic discourse, presuming a connection between non-normative psychology and sexuality and crime, while covertly suggesting more sympathetic views towards for example female sexual agency or male homosexuality. Secondly, it analyzes Hamao’s explorations of the concepts of law and justice, and the relativity of truth itself. In some of his heterodox detective stories, the author has strayed as far from ‘whodunit’ that his writings have more in common with the brand of modernism practiced for example by Akutagawa Ryūnosuke in Rashōmon. This paper thus goes against the established tendency that sees only the strictly high-brow ( junbungaku ) literature as modernist while dismissing the so-called popular ( taishū bungaku ) literature as pure entertainment, and introduces a brand of ‘abnormal modernism’ present in the heterodox mystery fiction of Hamao Shirō. Zarine A. Dzhandosova (FAAS, St Petersburg University, St Petersburg) “The Light Shines”: on the creative work of the modern Tajik poetess Farzaneh Khojandi The role of poetry in the countries culturally influenced by Iran is very important, and Tajikistan is no exception. Any poet writing in the language that is historically connected to the Persian classical literature tradition, has to measure his works against those of the glorious ancestors. Among the most notable modern poets of the Tajiki- stan Republic, who continue the Persian literary traditions, are Gulrukhsor Safiyeva and Inoyat Khajieva, known under the takhallos (pseudonym) Farzaneh Khojandi. Both poetesses have been awarded the titles of the national poets of Tajikistan. Farzaneh considers Loiq Sher-Ali, who wrote the foreword to the first large publication of the young poetess, her poetry teacher. He wrote: “In the divine world of the Persian poetry, it is hard to make the name for oneself and earn fame. But, thankfully, I know that Farzaneh is aware of that.” (“Nowruz Flowers”, Dushanbe, 1987). The master put a goal in front of his mentee to write not for the “name”, but to conform to the “divine nature” of the classical Persian poetry. The book was