Özet:

While contemporary Tatar literature science reflects social problems, author position in literary work, relationship between author and literary hero, lyric hero are considered as current issues. In particular, the lyric hero, who conveys the author's consciousness and thoughts in lyric works, is also used as a literary mask by the author. Unlike pennames (Mahlas), or nicknames, a certain distance is placed between the literary mask and the author, while the heroes who are known by their nicknames carry mostly the characteristics of the author. The ideas that the author wants to convey in prose and drama forms are expressed through the heroes of the works, namely, from behind the mask of the hero. In some cases the author wears a clear mask and does not remove the mask until the end of the work. In some cases, depending on the main idea of the work, the author can often change his/her mask. Some masked heroes may be nameless, namely typified, generalized. Mythological, folkloric, religious images can also be used as author’s literary masks. From a different perspective, the literary heroes, who move away from the author's thoughts in the literary work and wear masks to hide their true faces in the text, form a separate system. Although the author shows some of these heroes as acting independently of their own ideas, a certain purpose of the author is still hiding behind them. In our work, the author and masked hero relationship will be evaluated from different dimensions in the example works of Fevziye Beyremova's Maska (mask) and Bolın (meadow), and Zülfet Hekim’s "Bit" (Face).

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