Specificity of Comedy in Contemporary Kazakh Prose (E. Tursunov’s Short Story Cycle)

Abstract

The relevance of this article lies in the need to construct a comprehensive history of the development of comedy in contemporary Kazakhstani literature, of which the works of Ermek Tursunov are an integral part. The author explores various approaches to the study of irony, satire, and humor, including philosophical (G. Hegel, F. Schlegel), cultural (A. Bergson, B. Dzemidok, M. M. Bakhtin, D. S. Likhachev, Y. Borev, A. M. Panchenko, N. V. Ponyrko, V. Ya. Karasev), and philological (V. Tyupa, V. Propp, M. Yu. Asanina, I. A. Obukhova, S. A. Dubrovskaya). The scientific novelty lies in the fact that Tursunov’s stories are analyzed for the first time in the declared aspect. The research has established that, firstly, irony becomes an important means of comedy in Tursunov’s collection of stories “Karashanyrak”. Secondly, non-direct speech ironically exposes the hero’s surrounding world (“How Kazakhs believed in omens”). Thirdly, there is an orientation towards Chekhov’s humorous tradition (“How Kazakhs received guests”, “How brides became wives”). Fourthly, the writer’s humor relies on national Kazakhstani traditions of comedy embodied in folklore (“How Kazakhs organized noisy performances”). Finally, one of the ways of constructing a comedic plot in Tursunov’s stories is through the synthesis of an anecdote with elements of satire. This study offers new insights into the role of comedy in contemporary Kazakhstani literature and contributes to the broader understanding of humor as a literary device.