Kazakh Poet Research Articles

ОТРАЖЕНИЕ ОБРАЗОВ НАЦИОНАЛЬНОЙ КАРТИНЫ МИРА В ПОЭЗИИ ОЛЖАСА СУЛЕЙМЕНОВА

The article is devoted to the study of such topical issue as ethnic distinctness of works written by translingual authors in the context of the value paradigm of the national view of the world. The notion of “national view of the world” is characterized from the point of view of traditionalism and dynamism of its content. The article considers peculiarities of transculturalism and translingualism and pays special attention to the problem of bilingual and multilingual creative personality’s ethnic self-identification. The author also analyzes the notion “image of linguoculture” and studies the significance of Kazakh linguocultural images in the process of transferring the national content of life and its axiological meanings. The study is based on the material of the poetic discourse of Olzhas Suleymenov. As a result of contextual analysis of the poetic texts of the Kazakh poet, linguistic and cultural images reflecting fragments of the Kazakh national picture of the world were revealed. The article presents objectified images of the Kazakh linguistic culture in lyrical texts, which reflect national customs and traditions, images of the historical past of the Kazakh steppes, traditional images of Kazakh folklore and literature, proper names, objects of national life, cuisine, clothing, crafts of the Kazakhs. As the analysis showed, the translingual poetic creativity of the classic of modern Kazakh literature contributes to the formation of the paradigm of cultural values of the Kazakh national worldview

«So Far, No Charges Have Been Brought Against Him». Speech by the Russian Public in Defense of the Arrested Kazakh Poet A. Baitursynov in 1909

«So Far, No Charges Have Been Brought Against Him». Speech by the Russian Public in Defense of the Arrested Kazakh Poet A. Baitursynov in 1909

LINGUISTIC RESEARCH OF THE EPISTOLARY DISCOURSE OF KHAMIT YERGALIEV

The article is an analysis of the epistolary discourse of the Kazakh poet Khamit Yergaliyev, a famous representative of the literary activity of the second half of the last century in Kazakhstan. The aim of the work is to linguistically investigate the correspondence of the poet, laureate of the State Prize of the Republic of Kazakhstan, with a focus on revealing his subjective stylistic and grammatical peculiarities as a bilingual.The study is based on the analysis of epistols from the personal archive of Hamit Yergaliyev, as well as using scientific publications and written materials stored in the National Archive of the Republic of Kazakhstan. Emphasis is placed on the importance of studying epistolary discourse in both scientific and creative communication with contemporaries in order to form a linguistic picture of a certain time period.The scientific significance of the study lies in the possibility of revealing the characteristic features of the construction of discursive constructions of letter writers, which will give an opportunity to shed light on the various linguistic approaches used in the creation of communicative act in the conditions of bilingual component of the ethno-linguistic landscape of Kazakhstan. Such a study is important for a deeper understanding of linguistic dynamics and cultural aspects of communication in Kazakhstan.

Shakarim Kudaiberdiev's library as a reflection of spiritual and scientific quests: On the development of the poet's aesthetic and philosophical principles

Relevance. The relevance of the study of the specific features of the development of a person's philosophy and worldview is based on the fact that it is not always possible to establish them precisely. It mostly depends on their outlook and life experience. Thus, the issue of identifying the origins of the development of the worldview, philosophy and scientific views of the Kazakh poet, philosopher, and volost Shakarim Kudaiberdiev is relevant because it has not been sufficiently explored in Kazakh literary studies. Purpose. This study is intended to identify the specific features of the philosophical views and worldview of the Kazakh poet and philosopher Shakarim Kudaiberdiev. The purpose of this study is to discover the origins of the poet's worldview. Methodology. The main method used in the study is the desk research method: working with academic researchers on the subject. The method of bibliographic research, involving an analysis of Shakarim's biography and work, has also been applied, allowing identifying the factors that influenced the development of the thinker's and poet's philosophical views. Results. The study provides analysis not only of the poet's life and scientific and literary activities but also of the specific historical realities and cultural preferences of the artist. The study identifies factors that have affected the development of Shakarim's worldview: readership, education, environment, and the tragic events of the 20th century. The material in this study is of practical value for further bibliographic research. Conclusions. This study elucidates the unique philosophical views and worldview of Shakarim Kudaiberdiev by exploring the influences that shaped his intellectual and aesthetic development. The analysis reveals that Shakarim's philosophical and literary principles were significantly molded by his extensive readership, educational background, environmental factors, and the historical events of his time. Keywords: bibliographic research method; readership; philosophy of conscience; world view

Recognition and promotion of the great poet Abai Qunanbaiuly in China

Relevance. Abai Qunanbaiuly is a great Kazakh poet, public figure and educator. The versatility of the work of the national poet and progressive thinker of the late 19th and early 20th centuries, the memory of which is maintained at the state level, influences the development and formation of modern intercultural dialogue between Kazakhstan and China. Purpose. Abai Qunanbaiuly, the creator of the Kazakh literary language, is also a factor determining the cultural identity of Kazakhs, a significant part of whom live outside of Kazakhstan. Methodology. Recognition and popularisation of Abai's creativity within the country have become especially relevant in the framework of the formation and development of the new Independent Kazakhstan. Migration processes of the 20th century led to large-scale resettlement of Kazakhs to the territory of Western China. The problem of ethnic authenticity for the population of the Kazakh population of China, which preserves its traditional culture, is extremely relevant both for the Kazakhs themselves and for China. Results. The popularisation of Abai's heritage in China is a multifaceted and complex process related both to solving domestic political problems and establishing good-neighbourly relations with neighbouring Kazakhstan, which has embarked on the path of independence. This study identifies the main factors that influenced the process of popularisation and promotion of Abai Qunanbaiuly's creativity in China, and highlights the main directions of the process. The use of the comparative-analytical method and the method of systematisation made it possible to effectively organise the scientific search for material to solve the tasks. Conclusions. The study not only identified and defined the main directions of popularisation of the creative heritage of the poet, but also attempted to determine the qualitative level of the popularisation process, which can be regarded at this stage as the beginning of the process of actualisation of the creative heritage of Abai Qunanbaiuly. The results of this study can be used to develop a strategy for further research in a given direction.

«Японский след» в пейзажной лирике казахского поэта Бахытжана Канапьянова

Introduction. The influence of the Russian poetic tradition on works of Bakhytzhan Kanapyanov is a well-known fact. However, his poetry, particularly topographical lyrics, has also been influenced by Japanese culture and literature. Goals. The article attempts an insight into landscape lyrics of the Kazakh poet from how it reflects the Japanese philosophy of landscape, most fully expressed in the genres of haiku and tanka. Results. Using the structural-semiotic method, the work reveals that B. Kanapyanov’s landscape poetry is based on the Japanese principle — ‘the beauty of the moment’ which demonstrates the eternity of nature. Just like the Japanese masters of haiku and tanka, B. Kanapyanov depicts nature in small, insignificant details through human sensations and perceptions. Often these sensations complement each\ other: smells and sights, hearings and visions, etc. Traditional Japanese landscape symbolism, e.g. the moon, gets transformed in the poet’s artistic picture of the world depending on his ideological precepts. The Japanese poetic technique also influenced the formal side of B. Kanapyanov’s poetry: preference for syllabic versification, loose adherence to meter and rhyme. Such a significant influence of Japanese culture and literature is explained by the common philosophical attitude to nature among the Kazakh and the Japanese, namely: principles of unity of man and nature, harmonious coexistence of man and nature, and non-interference of man in nature. The syllabic type of versification is also characteristic of not only Japanese but also of the Kazakh language.

The Appearance of Postcolonialism in the Poetry of East Turkestan

The article discusses the arrival of communism in East Turkestan, which wanted equality for the colonized peoples of the world and pursued an anti-imperial policy, and its influence on Kazakh poetry in China, as well as the manifestations and features of the policy of the Chinese government, forcibly introducing the ideology of denationalization into modern small peoples, into the poetry of East Turkestan , and its influence on Kazakh poetry in China. Chinese communism, which spoke the language of the poor in the society of East Turkistan, like Soviet communism, influenced the culture and literature, traditions and customs of minorities under its neo-colonial perspective through literary texts. In the first part of the article, through a poem by the Kazakh poet Makatan Sharipkan, the penetration of Chinese communism into East Turkestan, which wanted to eliminate class division in society and protect the equality of the poor, is considered. Focusing on the characters of the poem, they paid attention to the semiotic and semantic artistry and originality. In the second part of the article, despite the pressure of the Chinese government, which owns East Turkestan, the manifestations of national values, national identity and originality in modern Kazakh poetry were analyzed through the poems of such poets as Omargazy Aitanuly, Zhenis Kakenuly, Orken Salubay. As part of these studies, analytical forecasts were made for the development of national anti-colonial literature in modern East Turkestan poetry.

PERCEPTION OF THE WORKS OF ABAI KUNANBAYEV IN FOREIGN EASTERN COUNTRIES

The creative writings of Abai Kunanbayev occupies an important place in the history of Kazakhliterature’s international relations formation and development. In the article, based on the example of thecreativity of the great Kazakh poet Abai Kunanbayev, literary ties of Kazakhstan with such foreign easterncountries as Iran, Pakistan, Turkey, Mongolia, China, India have been analyzed. The process of translating hisworks into Oriental languages is presented. Abai’s poetry collections have been published in Urdu, Persian,Turkish and Mongolian. The prose work “Words of Edification” has been translated into Chinese and Korean.Thanks to these translations, Abai’s creative heritage became available to a wide range of Eastern readers,scientists and literary critics, who evaluated Abai’s creativity in newspapers, journals and introductory articlesto the published books. Important aspects of foreign literary reception include speeches by foreign participantsin the international conferences. The article discusses the reports of the researchers from foreign easterncountries. Most Eastern poets and writers, literary critics and literary historians have made comparisons of theirown literary traditions with the poets. Eastern literary figures, showing respect for the spiritual national leaders,unconditionally raised Abai to the rank of the Teachers of the East. The relevance of the research topic is dueto the fact that the perception of Abai’s creative writings by Eastern literary critics, who recognize the specialrole and place of the Kazakh poet in the life of their people, contributes to the international popularization ofKazakh literature.

French Reception of the Works by Olzhas Suleimenov

The paper explores the French reception of the works by the Kazakh poet Olzhas Suleimenov. The main goal of the study is to comprehend and summarize this reception as an independent cohesive process. The authors emphasize the role of the translation of Suleimenov's works in creating a positive image of the Kazakh poet in France. The study analyzes the key points of the penetration of Suleimenov's texts into French culture, beginning in the 1970s. Particular attention is paid to reviews of the poem "Earth, Bow Down to Man!", poetry collections "The Book of Clay" and "Transformation of Fire," as well as the reception of his popular science work "Az i IA." As a result of the study, based on the positive French reception of Suleimenov's work, the authors conclude that there is a growing prestige of Kazakh literature and its gradual integration into international culture.
 
 
 Received: 1 June 2023 / Accepted: 29 July 2023 / Published: 5 September 2023

ON THE PROBLEM OF SPELLING OF RUSSIANISMS IN ABAI'S WORKS

Loanwords are often found in the works of the great Kazakh poet Abai. Abai, uses such words more, especially in words of edification. The thinker, who has a good command of the Turkic-Chagatai written language, uses Arabic-Persian borrowings in his works in a version close to the original, as in a book style. Therefore, borrowed words from Eastern languages are much more common in Abai than Russianisms. Words borrowed from the Russian language are few, and many of them occur in a form adapted to the Kazakh spoken language, as in the written language of the late XIX century. Since the poet often used Russianisms for stylistic purposes, he tried to give his spelling the form of the language of the people. However, in all collections of Abai's works published in Soviet times and published at the present time, some words from the Russian language are presented in the same version as in the original language. Note that Abai's works in the Mursei t manuscript of 1907 and in the collection of Arabic writing of 1909 of the St. Petersburg Publishing House are not written as in Russian, but adapted to the law of pronunciation of the Kazakh language. The article analyzes the spelling of Russianisms in Abai's works based on the materials of the original manuscripts.

THE ORETICAL FOUNDATIONS OF COMPARATIVE TEACHING OF ABAY'S ENGLISH TRANSLATIONS

The article studied and considered in detail the prerequisites that led to the translation of the work of Abai, a classic of Kazakh literature, into other languages. The heritage of Abai, the main Kazakh poet, occupies a special place not only in Kazakh, but also in world literature. The reason is that Abai is a unique person who did not remain within the framework of one nation, but rose to the spiritual heights of all mankind. The issues raised in the works of Abai are relevant not only for the Kazakh people, but also for representatives of other nations. The poet's works discussed the values ​​inherent in the human race, and his reflections on the nature of life were well received by foreign readers. Interest in Abai is growing every year. The work of translating the works of the poet, which began with translation into the languages ​​of neighboring countries, and then in 1995, when the entire world community celebrated the 150th anniversary of Abai, expanded under the auspices of UNESCO. The article shows the implementation of the task of translating Abai into ten languages ​​of the world, undertaken under the leadership of the head of state Kassym-Jomart Tokayev, as a major innovation in the propaganda of Abai abroad. The purpose of the study was to consider the issue of translating Abai's works into foreign languages ​​as a result of increasing interest in Kazakh literature and culture.

LITERARY INTERIOR IN MUKHTAR AUEZOV’S NOVEL «THE PARTH OF ABAY»

This article presents an in-depth analysis of the intricate application of interior description and function in Mukhtar Auezov's renowned historical novel, "The Path of Abay." The novel captures the life and works of Abay Kunanbayev, a prominent Kazakh poet and philosopher, set against the backdrop of 19th-century Kazakhstan. By examining specific examples and case studies, this research investigates the pivotal roles that interior descriptions play in various aspects of the novel. These aspects include establishing the historical and cultural setting, building the atmosphere and tone, contributing to character development, and advancing the plot. Our analysis begins by exploring how Auezov's detailed descriptions of interior settings, such as Abay's family home and madrasa, serve to establish the historical and cultural context of the novel. We then delve into how sensory details within these descriptions help create an immersive atmosphere and evoke emotions in readers, forging a stronger connection between the reader, the story, and its characters. Lastly, we explore Auezov's literary techniques in crafting interior descriptions, including his use of language and imagery, symbolism and metaphor, and the interplay of narrative perspective. These techniques contribute to the vividness and depth of the novel's interior descriptions, making them both engaging and informative. By providing a comprehensive understanding of the significance of interior description and function in "The Path of Abay," this article demonstrates the novel's contribution to our knowledge of 19th-century Kazakhstan and its people. Moreover, this research highlights the enduring appeal of Auezov's work and its relevance in understanding the complexities of Kazakh history and culture.

“WHITE” AND “BLACK” IMAGES IN THE POETRY OF M. MAKATAEV

In this article were considered two monochromes ―white‖and ―black‖in the poetic texts of Mukagali Makataev, who isa famous Kazakh poet, writer and translator of the 60sand 70s of the 20th century. A quantitative and qualitative methodsof analysis wereused, a frequency dictionary of color images was developed based on the material from the poetry collection ―МҰҚАҒАЛИ(MUKAGALI)‖ (2012). In addition, a detailed semantic and structural analysis of two monochromes was conducted to determine their role and the way in which the color semantics are represented: as main or additional elements. The generalized structural and semantic analysis revealed that Makataev uses these images as a contrast between darkness and lightness, comparing them and being indecisive in choosing a color. Black and white colors form thematic blocks such as animate/inanimate nature, the theme of moral choices, the theme of creativity, motherland, and love.Both colors reveal in their own way the theme of love and the theme of death through different images. Moreover, we can notice that the semantics of the white color is based on a well-knownand traditional image, while the black color contains the cultural background characteristic of the Kazakh people.

Great Kazakh thinker Abai and Azerbaijan

The article deals with hard and honourable way of life of an outstanding classic of the Kazakh literature, great Kazakh poet and thinker Abai Kunanbay (1845-1904) who reflected national-spiritual values of Kazakh people. It is mentioned that the years of study in Semipalatinsk were of special importance in the formation of Abai Kunanbayev's outlook. Abay, who studied at a madrasa on his father’s advice, learnt Arabic and Persian, but later dropped out and got an opportunity to study the rich Russian literature and culture at a Russian school in Semipalatinsk. Writing poems that glorify the people’s spirit caused him to be persecuted by the authorities.However, in spite of all this, he sought the way of prosperity of the people only in enlightenment, in national-spiritual self-awareness. Abai's first poem, written when he was 10 years old – "Chasing a camel" – tells about his great talent. The social themes reflected in his poems are similar to the problems expressed in 19th century Azerbaijani literature from Abbasgulu agha Bakikhanov to Gasim bey Zakir and Seyid Azim Shirvani. The peak point of Abai Kunanbayev's creative work was considered his novel “Agliyya” (“Black Words”). This novel reflects the whole evolution processes from Abai's moral theory to enlightened realism.The article also touches on the points that connect the life and work of Abai Kunanbayev with Azerbaijan. It is also noted that Nizami Ganjavi and Mahammad Fuzuli has an important role in forming his worldview. Translation work in Abai Kunanbayev’s activity who has a wide range of other creative activities also has a special place. He liked Alexander Pushkin's novel “Eugene Onegin” and popularized many parts of this work among the Kazakh people by repeating. Books and articles published in Azerbaijan are essential contributions of Azerbaijani science and literary and social thought to Abai studies.

ОБРАЗ АЛМАТЫ В СТИХАХ ВЕРЫ САВЕЛЬЕВОЙ

The article studies the content of the poetic locus of Almaty in its different historical periods. The author compares two artistic images of the city: created in the 1960s and in the 2020s. The poetics of Alma-Ata, read from the space-time series of natural and urban images, has undergone a significant transformation over the past 60 years. Based on the material of the “Almaty cycle” by the Kazakh poet Vera Savelyeva, it is proved that in the poems of the Almaty poets of the beginning of the 21st century a different intonation appeared, the dominant emotion changed, the semiotic code of Almaty changed, but at the same time, Almaty as an artistic locus is not lost, therefore, the poetics of the city also functions creatively

CREATIVITY OF AKYT ULIMZHIULY AND LITERARY AND FOLKLORE INTEGRATION

One of the urgent problems of modern Kazakh literature is the analysis of the world of fiction, outside of its historical homeland, the analysis of development trends, the study of prospects, the assessment of the present, the identification of its main representatives. If we talk about the fact that national literature has deep historical roots, then it can be argued that Kazakh literature, which in each country and in different places is distinguished by its local and regional characteristics, is its fruitful, multifaceted Golden Branch. Therefore, the timely study of the rich cultural and literary heritage of near and far abroad is due to national necessity. Akyt Ulimzhiuly is a man who published several books in Kazakh history during his life. He is a great poet and educator at the level of Abai, Shakarim. Of no small importance is the contribution and significance of the works of Akyt Ulimzhiuly to the popularization of traditions, literature, culture, religion, history, philosophy, psychology of the Kazakh people at the end of the 19th-first quarter of the 20th century. Due to the historical reasons of that period, the poet lived alternately in the rich regional region of China and Mongolia. His works reflect the life, religion, state, being, customs, worldview of the Kazakh people who inhabited these two regions. It was in this direction that we studied the life path of the poet-scientist, teacher-educator, public and religious figure, one of the founders of written literature Akyt Ulimzhiuly, who follows the main Kazakh poet Abay. We would like to analyze his rich literary heritage, his national position and reveal the folklore side of Akyt's works. In particular, this article will be devoted to the problem of the poetics of folklore and works by A. Ulimzhiuly. Folklorism, consideration of the patterns of folklore integrity, differentiation of manifestations of folklore motifs underlie the goals and objectives of the study.

Ideological and Artistic Features of the Poetry of Svetkali Nurzhan

Svetkali Nurzhan (Aitman) is one of the outstanding poets who came to the world of poetry with their style, won the hearts of readers, determined their place in modern Kazakh poetry. His poems and stories depict various problems of the historical era and the present with a special artistic manner and deep socio-philosophical overtones and give rise to their own thoughts. The poet's desire to reveal the deep layers of social reality and human nature is distinguished by its ideological scope and poetic innovation. In addition to the subtle lyricism that penetrates deep into the human soul, epic poetry is clearly visible in his works, mixed with lofty thoughts and sharp civic wisdom. This article highlights the themes, ideological and artistic features of the poetry of the famous Kazakh poet Svetkali Nurzhan. Various themes in the poet's poems are depicted in a broad artistic and ideological manner. The poet's poetry is analyzed through the concepts of the Great Steppe and the native land, which are the main conceptual core and invariable poetic orientation of the poet's work. Whatever topic the poet approaches, it is noted that he sings from the standpoint of the national spirit and national identity, Kazakh traditions, from the point of view of his civic position. The poet brings his unique character and thoughts into his lyrical character, thereby revealing his poetic personality. On specific examples, it is proved that the images, captivating the reader and evoking the real thought and reality of life, philosophical thought, leading to deep reflection, reveal the poetic individuality of the author and show the originality of his poetry.

Alashorda folk songs: M.Zhumabayev’s heritage in public memory

The article provides a general overview of the socio-cultural life in the Akmolinsk region in the 1920s and 1930s, based on archival and field materials collected in the region. During this period, there was a process of establishing a new authority aimed at excluding certain groups of people, identified as «members of the former establishment» (byvshyye) and «disfranchised» (lishenets), from public and political life. Their segregation was justified by the necessity of building a new society and state based on social justice. One of the most effective actions, from the perspective of the new authority, was the subversive action of material well-being of the «members of the former establishment» (byvshyye). In Kazakhstan, which was considered one of the backward regions of the East at that time, as part of collectivization and the fight against kulak and bai elements, the confiscation of movable property, such as livestock, belonging to the Kazakhs was carried out. The consequence of this action was a well-known humanitarian catastrophe – famine. The anticipation of this famine was expressed in anti-Soviet folk songs called «chastushka». This form of popular folklore became an expression of the social protest. The novelty of the study lies in the introduction of texts of anti-government folk songs (chastushka) from the specified period into the scientific discourse. The analysis of the text of «Alashorda» folk song (chastushka) in the Kazakh language revealed its connection to the writings of the outstanding Kazakh poet Magzhan Zhumabayev, suggesting that the folk song (chastushka) originated from his composition. The evaluation of the events is presented through the examples of the provided chastushkas. A significant number of the «disfranchised» (lishenets) individuals was subjected to physical extermination, moral and psychological violence during the years of the Soviet regime. However, their voices are preserved in the memory of their descendants through post-memory.

ПЕРЕИЗОБРЕТЕНИЕ ИСТОРИЧЕСКОЙ СУБЪЕКТНОСТИ КАЗАХОВ В ТВОРЧЕСТВЕ ОЛЖАСА СУЛЕЙМЕНОВА 1960-х гг.

The article is devoted to the reflection in the historiosophical works of the Kazakh poet of the sixties Olzhas Suleimenov the key plots for the formation of historical memory in the Kazakh society in the 20th century: the loss of the nomadic way of life, the museumified play of symbols of nomadic existence from the point of its no return (urban chronotope of sedentarized nomadic culture), perception the historical memory of the Kazakh society of cultural heritage of the urban culture of Central Asia, dialogized with world culture within the framework of the autochthonism concept. The studied literary and historiosophical material makes it possible to comprehend the problem of the correlation of the nomadic and the settled in the historical memory of Kazakhstan society and the presence of the cultural trauma of “being ahistorical”, overcame in the second half of the 20th century. The factors that shaped this cultural trauma include: 1) interruption of nomadic culture as a result of forced collectivization and the transfer of nomads to settled life in the 1920s–1930s; 2) historiographic tradition of describing nomadic culture as regressive and its perception by the Kazakh national intelligentsia in the 1960s–1970s through the dominant historical narrative. The way to overcome this trauma was dialogic assimilation of the cultural heritage of the medieval urban culture of Central Asia, the active archaeological research of which begins in these years in the Kazakh SSR, and inscription of the reformatted historical subjectivity in the history of civilization.

Peculiaridades temáticas e ideológicas das obras literárias de Zhumeken Nazhimedenov

ABSTRACT The present paper is devoted to an outstanding Kazakh poet, musician and writer Zhumeken Nazhimedenov who lived during the Soviet Union. Zhumeken Nazhimedenov is one of the authors of the Anthem of the Republic of Kazakhstan, adopted in 2006. The object of the research was the collection of poems and prose by Zh. Nazhimedenov, published in different years, and literary criticism written about him by well-known critics and writers of that time. The purpose of the paper is to analyse and distinguish thematic and ideological features the genre-literary issues and stylistic analysis of Nazhimedenov’s poetry and prose. In the study, the methods of thematic and stylistic analysis were used. The poet’s literary works are distinguished by the diversity of contemporary scenes and traces of the search for the discovery of the human world, the possibility of depicting nature. In conclusion, each work of Zh. Nazhimedenov summarizes the realities of life in its time, touches the hearts and conveys the truth. The ideology of literary works is based on the traces of goodness, which began with the homeland, consisting of a passion for life, compassion and appreciation of mankind.