{"id":20302,"date":"2024-09-29T15:36:12","date_gmt":"2024-09-29T11:36:12","guid":{"rendered":"https:\/\/kultur.az\/?p=20302"},"modified":"2024-09-29T15:36:12","modified_gmt":"2024-09-29T11:36:12","slug":"bir-t%c9%99f%c9%99kkurun-epik-bioqrafiyasi-yaxud-akademik-nizami-c%c9%99f%c9%99rovun-65-yasina-lirik-yubiley-notlari-rust%c9%99m-kamal","status":"publish","type":"post","link":"https:\/\/kultur.az\/?p=20302","title":{"rendered":"Bir t\u0259f\u0259kk\u00fcr\u00fcn epik bioqrafiyas\u0131, yaxud akademik Nizami C\u0259f\u0259rovun 65 ya\u015f\u0131na lirik yubiley notlar\u0131 – R\u00fcst\u0259m KAMAL"},"content":{"rendered":"
\n
\"Bir<\/div>\n<\/header>\n

R\u00fcst\u0259m KAMAL<\/a><\/p>\n

\n
\n
\n
\n

Az\u0259rbaycanda el\u0259 \u015f\u0259xsiyy\u0259tl\u0259r var ki, onlar\u0131n ya\u015f\u0131 t\u0259qvim il\u0259 deyil, da\u015f\u0131d\u0131qlar\u0131 arxetipl\u0259 m\u00fc\u0259yy\u0259n edilir.<\/p>\n

M\u0259n t\u0259xmin\u0259n 30 ildir ki, akademik Nizami C\u0259f\u0259rovu “M\u00fcdrik Qoca” arxetipinin da\u015f\u0131y\u0131c\u0131s\u0131 kimi tan\u0131y\u0131ram. M\u00fcdriklik, A\u011fsaqqall\u0131q, S\u0259birlilik bu arxetipin t\u0259zah\u00fcr formalar\u0131d\u0131r.<\/p>\n

80-ci ill\u0259rin sonlar\u0131nda q\u00fcrb\u0259t eld\u0259 universiteti bitirib V\u0259t\u0259n\u0259 g\u0259lmi\u015fdim. “\u018fd\u0259biyyat v\u0259 inc\u0259s\u0259n\u0259t” q\u0259zetind\u0259 daim onun m\u0259qal\u0259l\u0259rini oxuyurdum.<\/p>\n

X\u0259yal\u0131mda onun bioqrafiyas\u0131n\u0131 da uydurmu\u015fdum. H\u0259tta Z\u0259limxan k\u0259ndinin topoqrafiyas\u0131n\u0131 canland\u0131rm\u0131\u015fd\u0131m…<\/p>\n

\u0130lk ciddi tan\u0131\u015fl\u0131\u011f\u0131m “F\u00fczulid\u0259n Vaqif\u0259” kitab\u0131 il\u0259 oldu. N.C\u0259f\u0259rovun bu\u00a0 ya\u015f\u0131l \u00fczl\u00fc, g\u00f6y\u00e7\u0259k kitab\u0131 \u0259d\u0259bi cami\u0259d\u0259 s\u00f6z\u00fcn yax\u015f\u0131 m\u0259nas\u0131nda s\u0259s-k\u00fcy qald\u0131rm\u0131\u015fd\u0131. \u018fd\u0259biyyat \u0130nstitutunda m\u00fczakir\u0259si yad\u0131mdad\u0131r. O, Az\u0259rbaycan \u0130ntibah\u0131n\u0131 XVIII \u0259srl\u0259, Vaqifl\u0259 ba\u011flay\u0131rd\u0131. Onun d\u0259rin q\u0259na\u0259tin\u0259 g\u00f6r\u0259, Az\u0259rbaycan \u0130ntibah\u0131n\u0131n obraz\u0131 milli mifoloji t\u0259f\u0259kk\u00fcr\u0259 qay\u0131d\u0131\u015fla m\u00fcmk\u00fcnd\u00fcr. XI-XII \u0259srl\u0259r m\u0259d\u0259niyy\u0259tind\u0259 v\u0259 \u0130ntibah\u0131nda is\u0259 bu hadis\u0259 m\u00fc\u015fahid\u0259 olunmur…<\/p>\n

Akademik Nizami C\u0259f\u0259rov \u00e7a\u011fda\u015f Az\u0259rbaycan humanitar fikrinin \u0259n g\u00fccl\u00fc q\u0259l\u0259m v\u0259 s\u00f6z sahibl\u0259rind\u0259n biridir. N.C\u0259f\u0259rovun filoloji (kulturoloji) yarad\u0131c\u0131l\u0131\u011f\u0131 \u00f6z d\u0259rinliyi, \u00f6z\u00fcn\u0259m\u0259xsus daxili sistemliliyi il\u0259, m\u0259ntiqi v\u0259 b\u00fct\u00f6vl\u00fcy\u00fc il\u0259 f\u0259rql\u0259nir. T\u0259biidir ki, bu b\u00f6y\u00fck alimin yarad\u0131c\u0131l\u0131q stixiyas\u0131 yaln\u0131z “universitet diskursu” il\u0259 m\u0259hdudla\u015fm\u0131r.<\/p>\n

Az\u0259rbaycan\u00e7\u0131l\u0131q ideologiyas\u0131, Az\u0259rbaycan m\u0259d\u0259niyy\u0259tinin etnik obraz\u0131n\u0131n b\u0259rpas\u0131 onun yarad\u0131c\u0131l\u0131q strategiyas\u0131d\u0131r. Bu b\u0259lk\u0259 d\u0259 Nizami C\u0259f\u0259rovun bir etnokulturoloji layih\u0259sidir ki, \u00f6z\u00fcn\u00fcn n\u0259z\u0259ri anlamlar\u0131, \u00fcslub formullar\u0131, estetik kateqoriyalar\u0131 m\u0259ntiqi c\u0259h\u0259td\u0259n \u0259sasland\u0131r\u0131l\u0131r.<\/p>\n

N.C\u0259f\u0259rovun sistem\u015f\u00fcnasl\u0131\u011f\u0131nda sosial-m\u0259d\u0259ni, \u0259d\u0259bi-tarixi v\u0259 geosiyasi diffeninsialla\u015fma b\u0259rpa prinsipl\u0259rind\u0259n biridir. Tarixi differensasiya v\u0259 t\u0259\u015f\u0259kk\u00fcl-formala\u015fma prosesl\u0259ri tarixi prosesin iki q\u00fctb\u00fc, iki halqas\u0131d\u0131r. Onun \u0259d\u0259biyyat tarixin\u0259 differensial v\u0259 sistemli yana\u015fmas\u0131 klassikl\u0259rin yarad\u0131c\u0131l\u0131q tipologiyas\u0131n\u0131n m\u0259n\u015f\u0259yini v\u0259 poetikas\u0131n\u0131 anlamaq bax\u0131m\u0131ndan g\u0259r\u0259kli v\u0259 maraql\u0131d\u0131r.<\/p>\n

O, ara\u015fd\u0131rmalar\u0131nda Az\u0259rbaycan etnokulturoloji sisteminin co\u011frafi, tarixi lokalla\u015fma\u00a0 h\u00fcdudlar\u0131n\u0131 m\u00fc\u0259yy\u0259nl\u0259\u015fdirir, o\u011fuz t\u00fcrkl\u0259rinin yay\u0131lma areallar\u0131n\u0131\u00a0 konkretl\u0259\u015fdirir.<\/p>\n

Akademik N.C\u0259f\u0259rov m\u00fck\u0259mm\u0259l tarixi t\u0259f\u0259kk\u00fcr\u0259 v\u0259 g\u00fccl\u00fc etnoco\u011frafi intuisiyaya malikdir. Dem\u0259k olar ki, onun b\u00fct\u00fcn \u0259d\u0259bi-n\u0259z\u0259ri t\u0259hlill\u0259ri\u00a0 etnoco\u011frafi, yaxud etnotarixi t\u0259m\u0259ll\u0259r \u00fcz\u0259rind\u0259 qurulur.<\/p>\n

Nizami m\u00fc\u0259llim bir insan (v\u0259 v\u0259t\u0259nda\u015f kimi!) tarixi ger\u00e7\u0259kliy\u0259 n\u0259 q\u0259d\u0259r praqmatik yana\u015fsa da, tarixin fenomologiyas\u0131na daha \u00e7ox inan\u0131r, ona daha \u00e7ox ba\u011fl\u0131d\u0131r. Xalq\u0131n ruhu, etnosun m\u0259n\u0259vi enerjisi (potensiyas\u0131) onun \u00fc\u00e7\u00fcn maddi m\u00f6vcudluqdur ki, t\u00fcrkl\u0259rin co\u011frafi-m\u0259d\u0259ni, tarixi m\u0259kan\u0131nda (“t\u00fcrk kosmosunda”) bu g\u00fcn d\u0259 ya\u015famaqdad\u0131r.<\/p>\n

\"\"<\/p>\n

Bu yubiley g\u00fcn\u00fcnd\u0259 alimin bir n\u0259z\u0259ri istiqam\u0259tin\u0259 d\u0259 diqq\u0259t yetirm\u0259k ist\u0259rdim. O da janr-\u00fcslub m\u0259s\u0259l\u0259sidir. N.C\u0259f\u0259rovun ara\u015fd\u0131rmalar\u0131nda janr – \u00fcslub ierarxiyas\u0131 eynil\u0259\u015fdirilir. Onun fikrinc\u0259, h\u0259r bir \u0259d\u0259bi janr h\u0259m d\u0259 dilin \u00fcslubi imkanlar\u0131-estetik \u00e7evr\u0259sini m\u00fc\u0259yy\u0259nl\u0259\u015fdirir. “Janr-\u00fcslub” qar\u015f\u0131durmas\u0131n\u0131n v\u0259hd\u0259ti \u00f6z n\u00f6vb\u0259sind\u0259, Az\u0259rbaycan \u015feirinin obrazl\u0131l\u0131\u011f\u0131n\u0131 t\u0259min edir. Akademik\u00a0 \u0259minlikl\u0259 bildirir ki,\u00a0 \u0259d\u0259biyyat tarixi \u00fcslublar\u0131n, y\u0259ni d\u00fc\u015f\u00fcnc\u0259 t\u0259rzl\u0259rinin qar\u015f\u0131la\u015fmas\u0131, estetik konsepsiyalar\u0131n \u00fcz-\u00fcz\u0259 dayanmas\u0131d\u0131r. M\u0259tnin \u00fcslubu h\u0259m d\u0259 m\u00fc\u0259llifin m\u0259nsub oldu\u011fu b\u00f6lg\u0259nin \u00fcslub land\u015faft\u0131n\u0131 ifad\u0259 edir. Yaz\u0131 m\u0259nb\u0259l\u0259rinin \u00fcslubiyy\u0259ti il\u0259 regional m\u0259nsubiyy\u0259ti aras\u0131nda m\u00fc\u0259yy\u0259n uy\u011funluq m\u00f6vcuddur.<\/p>\n

\u00dcslub tarixi modusdur, y\u0259ni \u00fcslubi yeti\u015fdir\u0259n zamand\u0131r. \u0130st\u0259nil\u0259n tarix o c\u00fcml\u0259d\u0259n \u0259d\u0259biyyat tarixi istisnas\u0131z olaraq \u00fcslub tarixidir. \u00dcslubu olmayan \u0259d\u0259bi-b\u0259dii, geyim, memarl\u0131q v\u0259 s. toplumun tarixi mahiyy\u0259t k\u0259sb edir. D\u00fc\u015f\u00fcn\u00fcr\u0259m ki, bu problem t\u0259dqiqat\u00e7\u0131lar\u0131n diqq\u0259tini \u00e7\u0259k\u0259c\u0259kdir.<\/p>\n

Nizami C\u0259f\u0259rov dil\u00e7i v\u0259 \u0259d\u0259biyyat\u015f\u00fcnas olmaqla yana\u015f\u0131, g\u00f6rk\u0259mli epos\u015f\u00fcnasd\u0131r. Az\u0259rbaycan t\u00fcrk insan\u0131n\u0131n epos t\u0259f\u0259kk\u00fcr\u00fcn\u00fc, dil t\u0259f\u0259kk\u00fcr\u00fcn\u00fc b\u0259rpa etm\u0259kl\u0259 t\u00fcrk etnosunun obraz\u0131n\u0131 yarad\u0131r. Arxaik t\u00fcrk eposlar\u0131, onlar\u0131n co\u011frafi areallar\u0131, epik dilin protot\u00fcrk qatlar\u0131, dini motivl\u0259r, mifoloji d\u0259y\u0259rl\u0259r sistemi onun b\u0259rpa\u00e7\u0131l\u0131q i\u015fin\u0259 yaray\u0131r.<\/p>\n

“Kitabi-D\u0259d\u0259 Qorqud” poetik sistemin\u0259 orta \u0259srl\u0259r t\u00fcrk etno-m\u0259d\u0259ni m\u0259kan\u0131n\u0131n “epik islam\u0131n” t\u0259kam\u00fcl\u00fc kimi baxmas\u0131 x\u00fcsus\u0259n “Xan\u0131m hey” kitab\u0131nda eposdak\u0131 m\u00fcraci\u0259t formalar\u0131n\u0131 dini-ideoloji, ritual-mifoloji s\u0259viyy\u0259l\u0259rd\u0259n, sistemli \u015f\u0259kild\u0259 n\u0259z\u0259rd\u0259n ke\u00e7irm\u0259si ciddi n\u0259z\u0259ri-metodoloji m\u0259s\u0259l\u0259l\u0259rd\u0259n biridir.<\/p>\n

Epik d\u00fc\u015f\u00fcnc\u0259 v\u0259 t\u0259hkiy\u0259 t\u0259rzi onun elmi \u00fcslubuna da, yaz\u0131lar\u0131n\u0131n strukturuna el\u0259 d\u0259rind\u0259n yans\u0131mas\u0131 janr\u0131n\u0131 d\u0259yi\u015fm\u0259sini \u015f\u0259rtl\u0259ndirmi\u015fdi. \u00d6m\u00fcr t\u0259cr\u00fcb\u0259sind\u0259n v\u0259 mental xarakterind\u0259n g\u0259l\u0259n epik m\u00fcdriklik yaln\u0131z g\u00fcnd\u0259lik davran\u0131\u015f\u0131nda elmi deyil, \u00e7\u0131x\u0131\u015flar\u0131nda, xatir\u0259l\u0259rind\u0259 ayd\u0131n hiss olunur. O, m\u00fcdrik hekay\u0259\u00e7i-t\u0259hkiy\u0259\u00e7idir. Nizami m\u00fc\u0259llimin yaz\u0131\u00e7\u0131l\u0131\u011f\u0131 genetik s\u0259n\u0259tdir, y\u0259ni m\u0259nsub oldu\u011fu n\u0259slin v\u0259 mahal\u0131n epik t\u0259f\u0259kk\u00fcr\u00fcnd\u0259n g\u0259lir. Nizami G\u0259nc\u0259vid\u0259n tutmu\u015f S.Vur\u011funa, N.H\u0259s\u0259nzad\u0259y\u0259, \u0130.\u015e\u0131xl\u0131ya, \u0130.H\u00fcseynova, El\u00e7in\u0259, Anara q\u0259d\u0259r klassikl\u0259rimizin yarad\u0131c\u0131l\u0131\u011f\u0131n\u0131 t\u00fcrk “epos potensiyas\u0131” kontekstind\u0259 t\u0259hlil e\u011fm\u0259si d\u0259 bu \u00fczd\u0259ndir.<\/p>\n

U\u015faq vaxt\u0131 babas\u0131na “Koro\u011flu” dastan\u0131n\u0131 (bu g\u00fcn d\u0259 bu dastan\u0131 sevir!) oxumas\u0131, g\u00f6r\u00fcn\u00fcr, s\u00f6yl\u0259m\u0259-t\u0259hkiy\u0259 t\u0259cr\u00fcb\u0259sini formala\u015fd\u0131r\u0131b. Onun alim obraz\u0131n\u0131n \u0259n g\u00f6r\u00fcml\u00fc, yaddaqalan c\u0259h\u0259ti m\u00fcdrik yumorudur. M\u0259hz inc\u0259 yumor onun \u0259d\u0259bi-f\u0259ls\u0259fi \u00fcmumil\u0259\u015fdirm\u0259l\u0259rin\u0259, t\u0259hkiy\u0259sin\u0259, canl\u0131 dan\u0131\u015f\u0131\u011f\u0131na ayr\u0131ca ovqat-intonasiya z\u0259nginliyi g\u0259tirm\u0259kl\u0259 yana\u015f\u0131, ger\u00e7\u0259k personajlar\u0131n (bu s\u00f6hb\u0259tl\u0259rin bir obyekti m\u0259n d\u0259 olmu\u015fam) psixoloji portretini tamamlay\u0131r. M\u0259s\u0259l\u0259n, g\u00f6rk\u0259mli yaz\u0131\u00e7\u0131m\u0131z v\u0259 alimimiz Mir C\u0259lala h\u0259sr etdiyi m\u0259qal\u0259sind\u0259 onun aforistik, duzlu deyiml\u0259rini b\u00f6y\u00fck m\u0259h\u0259bb\u0259tl\u0259 ip\u0259-sapa d\u00fcz\u0259r\u0259k v\u0259 \u0259s\u0259rl\u0259rini t\u0259hlil ed\u0259r\u0259k maraql\u0131, sevimli m\u00fc\u0259llim-yaz\u0131\u00e7\u0131 obraz\u0131n\u0131 yaratma\u011fa nail olub.<\/p>\n

Akademik Nizami C\u0259f\u0259rovun epos texnikas\u0131, elmi \u00fcslubuna f\u0259rqli qavrama t\u0259rzi g\u0259tirir. \u0130.\u015e\u0131xl\u0131ya, H.Arif\u0259, T.Hac\u0131yev\u0259, A.Axundova h\u0259sr rounmu\u015f xatir\u0259l\u0259ri avtobioqrafik n\u0259srin s\u0259mimi, g\u00f6z\u0259l n\u00fcmun\u0259l\u0259ridir.<\/p>\n

Nizami C\u0259f\u0259rov \u00e7a\u011fda\u015f Az\u0259rbaycan filoloji humanitar m\u0259kan\u0131nda ayr\u0131ca davran\u0131\u015f tipii v\u0259 d\u00fc\u015f\u00fcnc\u0259 obraz\u0131\u00a0 dem\u0259kdir. Bu filoloji davran\u0131\u015f tipi onun m\u0259nsub oldu\u011fu, t\u0259dqiq etdiyi xalq\u0131n m\u0259d\u0259niyy\u0259tind\u0259n v\u0259 y\u00fcks\u0259k d\u00fc\u015f\u00fcnc\u0259 – ya\u015fam \u0259xlaq\u0131ndan g\u0259lir.<\/p>\n

…Nizami qa\u011fam\u0131n ham\u0131ya oldu\u011fu kimi, m\u0259n\u0259 d\u0259 \u00e7ox yax\u015f\u0131l\u0131\u011f\u0131 ke\u00e7ib, xeyirxahl\u0131\u011f\u0131\u00a0 \u00e7ox olub – he\u00e7 vaxt unutmad\u0131m…<\/p>\n

Doktorluq dissertasiyam\u0131n m\u00fcdafi\u0259sind\u0259 opponentlik etdi – \u015f\u0259r\u0259f duydum. Sonralar h\u0259min opponent r\u0259yini m\u0259qal\u0259 kimi “\u018fd\u0259biyyat q\u0259zeti”nd\u0259 \u00e7ap el\u0259di – sevindim.<\/p>\n

M\u0259nd\u0259n bir ne\u00e7\u0259 ya\u015f b\u00f6y\u00fck olsa da, onu h\u0259mi\u015f\u0259 mifik obraz kimi (tam s\u0259mimi deyir\u0259m!) kimi q\u0259bul etdim.<\/p>\n

Gizl\u0259tmir\u0259m, siyasi, ideoloji, etnokulturoloji yaz\u0131lar\u0131n\u0131 inc\u0259l\u0259yib bir kitab\u00e7a yazmaq fikrind\u0259 olmu\u015fam. H\u0259l\u0259 onun m\u00fcdrik g\u00fcl\u00fc\u015f\u00fcnd\u0259n – “xoxma”s\u0131ndan (“xoxma” q\u0259dim y\u0259hudi dilind\u0259 m\u00fcdrik g\u00fcl\u00fc\u015f\u00fc bildirir) dan\u0131\u015fm\u0131ram. Ax\u0131r ki, bu yax\u0131nlarda “Akademikin g\u00fcl\u00fc\u015f\u00fc” adl\u0131 bir yaz\u0131n\u0131 qaralad\u0131m…<\/p>\n

Biz, qazaxl\u0131lar, b\u00f6y\u00fckl\u0259rimiz\u0259 h\u00f6rm\u0259t \u0259lam\u0259ti olaraq “qa\u011fa” dem\u0259yi \u00e7ox sevirik. H\u0259tta bu s\u00f6z\u00fcn etimoloji yozumuna – “ka\u011fan” s\u00f6z\u00fcnd\u0259n yarand\u0131\u011f\u0131na inanm\u0131\u015f\u0131q. Nizami C\u0259f\u0259rovun ad\u0131 g\u0259l\u0259nd\u0259 “qa\u011fa-ka\u011fan” s\u00f6zl\u0259rinin assosiativ yax\u0131nl\u0131\u011f\u0131 yaran\u0131r.<\/p>\n

Dostlar bilir ki, m\u0259n ona “Nizami ka\u011fan” deyir\u0259m…<\/p>\n

Bilmir\u0259m, qula\u011f\u0131na \u00e7at\u0131bm\u0131?<\/p>\n

M\u0259nb\u0259: “\u018fd\u0259biyyat q\u0259zeti”<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

Yaz\u0131ya 62 d\u0259f\u0259 bax\u0131l\u0131b<\/p>\n","protected":false},"excerpt":{"rendered":"

R\u00fcst\u0259m KAMAL Az\u0259rbaycanda el\u0259 \u015f\u0259xsiyy\u0259tl\u0259r var ki, onlar\u0131n ya\u015f\u0131 t\u0259qvim il\u0259 deyil, da\u015f\u0131d\u0131qlar\u0131 arxetipl\u0259 m\u00fc\u0259yy\u0259n edilir. M\u0259n t\u0259xmin\u0259n 30 ildir ki, akademik Nizami C\u0259f\u0259rovu “M\u00fcdrik Qoca” arxetipinin da\u015f\u0131y\u0131c\u0131s\u0131 kimi tan\u0131y\u0131ram. M\u00fcdriklik, A\u011fsaqqall\u0131q, S\u0259birlilik bu arxetipin t\u0259zah\u00fcr formalar\u0131d\u0131r. 80-ci ill\u0259rin sonlar\u0131nda q\u00fcrb\u0259t eld\u0259 universiteti bitirib V\u0259t\u0259n\u0259 g\u0259lmi\u015fdim. “\u018fd\u0259biyyat v\u0259 inc\u0259s\u0259n\u0259t” q\u0259zetind\u0259 daim onun m\u0259qal\u0259l\u0259rini oxuyurdum. X\u0259yal\u0131mda […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[17,3,21],"tags":[],"_links":{"self":[{"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/posts\/20302"}],"collection":[{"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kultur.az\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=20302"}],"version-history":[{"count":1,"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/posts\/20302\/revisions"}],"predecessor-version":[{"id":20304,"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/posts\/20302\/revisions\/20304"}],"wp:attachment":[{"href":"https:\/\/kultur.az\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=20302"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kultur.az\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=20302"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kultur.az\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=20302"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}