Andrei Passar's Poetry in the Context of Realities and Problems of Nanai Social Realism

The article examines the poetic work of one of the prominent representatives of Nanai literature, Andrey Passar, in various problem-thematic contexts. It analyzes how autobiographical experiences are reflected in his poems, including the motives of misunderstanding between the poet and his father, a hunter ("Bear's Head"). Typical plots and motives for early written literatures are explored: the juxtaposition of old and new worlds (with the old world characterized as both ideologically alien and, at the same time, embodying childhood, parents, and the people); the theme of friendship among peoples, which can be presented both allegorically (the dialogue between Amur and Volga) and straightforwardly-declaratively ("Two Grandmothers," construction sites where representatives of different ethnicities work); the image of the poet as a new shaman, a social mouthpiece ("I am not a shaman – I am a singer and poet..."); the motive of technical domination over nature (flights to Mars, gliders, airplanes); criticism of bureaucrats as enemies of Soviet society. One of the central subjects of analysis in the article is the problem of artistic translation of Passar's poems from the Nanai language into Russian. Systemic distortions are identified: cultural filtration, purification from ethnically identifying layers of poetics, introduction of categories uncharacteristic for the Nanai worldview; replacement of the original mythologically accentuated semantics with artificial clichés. The study employs a complex of methods: historical-literary, comparative-contrastive, structural-semiotic, as well as elements of biographical methodology. The methodological foundation is based on works related to the literatures of the peoples of the North and studies on the theory of artistic translation. The scientific novelty lies in the fact that, for the first time in domestic literary studies, the poetry of Andrey Passar becomes the subject of a comprehensive monographic analysis (beyond brief references or general overviews). For the first time, translation distortions characteristic of the reception of Nanai poetry during the Soviet period are systematically identified and typologized. Conclusions: The work of Andrey Passar is typical of the early written literatures of the northern peoples and unique due to its stable rhymed structure, richness in ethnic symbolism, and confessional tone of late lyrics. Passar's legacy is essential for maintaining the textual volume of Nanai literature, developing its poetic language, and recording the vanishing traditional culture. The article contributes to a reassessment of canonical evaluations of "secondary" literatures and offers new approaches to the study of translation in the context of postcolonial and post-Soviet research.