Artistic Thinking Research Articles

М. П. МУСОРГСКИЙ И БАЛЕТНЫЙ ТЕАТР (к 185-летию со дня рождения композитора)

Modest Petrovich Mussorgsky, whose 185th birthday is celebrated in 2024, is known as an outstanding opera composer, creator of romances and songs, author of symphonic compositions and works for piano. This article highlights another facet of the great master’s oeuvre, which is addressed to the visual interpretation of his works. As it turns out, this is due to a number of features typical of the composer’s creative method, among which the first place is given to the theatricality of his artistic thinking. From the perspective of ballet aesthetics, especially important is the composer’s imprinting in his works of vividly contrasting images, characters and positions in their juxtaposition, which is inherently close to the carnival worldview. In the context of the research topic, we can also talk about Mussorgsky’s directorial talent, which is manifested in his penchant for explanations illustrating the emotional state of the character and his actions. The composer’s remarks in the notes, as well as the definitions given to his characters in correspondence, indicate that the musical image was born in the composer’s mind simultaneously with the visual one. Mussorgsky’s ability to express subtle psychological nuances, as well as to describe the appearance of a character — his gestures, gait, specific movements — could not pass unnoticed by choreographers. As a result, many of the composer’s works, which were not intended for the ballet stage, served as a musical text for choreographic productions.

"Думка – відчуття": концептуальний ландшафт "принципів мистецтва" Р. Дж. Колінгвуда

Background. The theoretical field of the English philosopher, historian of science, and art theorist Robin George Collingwood (1889-1943) covers a wide range of problems. The article deals specifically with the phenomenon of "thinking – feeling", which requires actualization and clear delineation due to the current increasing attention to the tendencies in the development of various culture-making models. Methods. The author uses uses the potential of the chronological (principles of historicism), analytical and systemic methods (in anatomizing and synthesizing the development of historical and cultural stages), and comparative (in comparison of theoretical conclusions) methods, as well as the principles of the cultural studies approach (interdisciplinarity, personalization, dialogism). Results. Since the understanding of the nature of both "thinking" and "feeling" has a long and controversial history, it is important to reconstruct all its components, among which the concept of "thinking-feeling" proposed by R.G. Collingwood occupies a prominent place. The article presents both the position of the English philosopher and the general for Ukrainian humanities theoretical interpretation of thinking and feeling, and also the results of the comparative analysis of R.G. Collingwood's views and the orientations of contemporary philosophers, cultural critics, and art historians. Considering that R.G. Collingwood created the "thinking-feeling" concept to support the understanding of a wide problematic field related to artistic creativity, art history, and trends in its development in the first decades of the XX century, the article uses the formal-logical structure of "conceptual landscape" to identify and analyze his theoretical guidelines. In this context, R.G. Collingwood's attitude towards English Romanticism, which gave the world a number of outstanding poets, is of particular importance. While writing "The Principles of Art", English scientist was concerned with developing new models for the study of artistic thinking as the exhaustion of Romanticism was becoming apparent at that time. Conclusions. Given that the "conceptual landscape" is a structure that determines scientific novelty, the article stresses the need for a theoretical attribution of the concepts of "thinking" and "feeling" in "The Principles of Art" art-historical dimension. Сomprehensiveness of R.G. Collingwood's study meets the requirements of an interdisciplinary approach, one of the cornerstones of cultural analysis.

Сюжетные элементы в лирических новеллах Анны Ахматовой и Ивана Бунина (К проблеме типологических связей)

The article examines the causes and mechanism of the manifestation of plot elements in lyrical poems by I. Bunin and early A. Akhmatova. It is proved that the plotogenic trends in lyrics reflect a new (essentially phenomenological) method of artistic thinking and lead to the formation of a new genre – the lyrical novel. The external details of existence and quasinarrative elements perform the functions of embodying an internal conflict in its dynamic development. The article also reveals the connection between the existential attitudes of the authors and the semantic structure of the novel.

Вестиментарная стратегия фильма и этические ценности времени

Introduction. The intensity of the visual media influence in the format of films and TV series on cultural life, reaching its peak in the era of streaming television, poses the task for the humanities to study the visual type of thinking, visual consciousness, which is different from the classical visualization of verbal thinking in the plastic arts. If a researcher intends to derive from a film or TV series, a value system, a cognitive strategy that is relevant for its time, the visual environment may turn out to be no less eloquent for him than the dramatic action taking place in it. The character and quality of this environment are made up of many sensory elements: light, color, movement and its choreography, sound, space, subject referents, etc. Taken together, they represent not so much an articulation of the author’s thought, but a way of specifically visually thinking through this thought. The complex structure of visual-mental environments requires extensive and systematic research work. In this article we take one of the most obvious substantive aspects of the visible: the vestimental strategy of the film. The purpose of the article is to identify patterns marked by subject (vestimentary) characteristics that are redundant in relation to the dramatic action by comparing the visual environments of films from different decades of the 20th century; using the code of cultural universals that assign the function of sociocultural and ethical regulation to the concept of “clothing” [1; 3; 5; 10; 15], to identify the meaning of these patterns in the context of the ethical thinking of the era. Methods. During the study, the authors use general scientific methods of analysis and synthesis; the method of phenomenological reduction, which makes it possible to record the sensory qualities of object-spatial screen environments; a hermeneutical method that allows, on the basis of visible sign structures, to identify the essential intentions of a visual image. In view of the task, it turned out to be necessary to involve some concepts of narratology (in particular, the concept of focalization) and methods of corpus analysis adopted in linguistics. The scientific novelty lies in the fact that we approach the visual source from a philosophical and cultural perspective, considering the visual environment of the film as a form and method of actual sociocultural or philosophical thinking, which has specific (visual) tools. This approach allows us to draw conclusions based not only on individual films, but also on large source databases. Results. During the analysis, the authors applied the tools of modern visual studies and the conceptual basis of socio-philosophical ethics to cinematic texts of the 20th century. This made it possible to discover visual patterns common to films of some decades of the 20th century, namely: the 1930s, 1950s, 1990s, and connect them with the ethical issues of time. Conclusions. Analysis of source databases that include cinematic texts can be carried out through a systematic analysis of the visual environments presented on the screen. At the same time, dominant visual patterns characteristic of a particular era can be identified and described. Such a dominant determines the emphasis in the figurative whole and reveals important aspects of philosophical and cultural thought relevant for its time, including ethical thought.

Remolding and thinking of public art under the background of rural revitalization strategy

Remolding and thinking of public art under the background of rural revitalization strategy

Performance Style as Comprehensive Artistic Method in the Field of Music

"The possibility of a review of this topic consists in the disclosure of a specific performing and instrumental awareness of the notion of style, namely, in the methodological direction of this definition as factor of the intellectual and practical perspectives for the interpretation of musical pieces. The theme of the style is complex in understanding of the problems of musical and performing arts. It is not about the stylistic features of a particular personality of the composer or an era in which this personality worked and was spiritually raised, but more about the principles of their definition. Our attempts to understand the notion of performing style are intended to help define it as carrier of a specific artistic thinking, which is objectively shaped and technologically and conceptually functioning. Keywords: style, individuality, thinking of musician-performer, performing arts, composer’s creativity."

USE OF THE ORIGINAL OLEKSA VOROPAI HERITAGE IN THE CONTEXT OF MODERN UKRAINIAN STUDIES PEDAGOGICAL RESEARCH

The Ukrainian studies training of the future philology teacher provides one of the integral places, after which it is the basis of national education, the first step in acquiring the profession of a teacher. Throughout its existence, the Ukrainian people created outstanding examples of spiritual and material art, which entered the treasury of world culture. They reflected the worldview of the nation, its artistic thinking, philosophy, and pedagogy. Therefore, it is essential to involve philology students in Ukrainian folk culture, educate them in the best traditions, and train the new national school teachers. The purpose of this article is to reveal the essence of the Ukrainian studies training of the future philology teacher for Ukrainian folk culture and traditions. To ensure the objectivity and comprehensiveness of the research, a complex of general scientific and pedagogical methods was used, including: analysis of the literature on the researched problem to determine the state of its development and research prospects; comparison to study the points of view of different scientists; systematization and generalization for conclusions; observation of the educational process. In the conditions of the reform and development of education in Ukraine, the problem of schooling, and the formation of higher education in Ukraine at the beginning of the 21st century requires a theoretical and practical solution. In this regard, the conceptual views of prominent figures of Ukraine regarding the development of education in the period under study, as well as a certain experience in the development of schooling and higher education, are of great importance.

BETWEEN DOCUMENTARY AND POST-DOCUMENTARY: SEARCH VECTORS OF CONTEMPORARY UKRAINIAN DRAMA

The article discusses modern dramaturgical strategies, which consist in creating a transformative field by means of documentary/post-documentary. The purpose of the article is to demonstrate the search vectors of contemporary Ukrainian drama in the context of the connection between documentary and post-documentary aesthetics. "Post-documentary" becomes such a feature of liminal aesthetics, which manifests itself in its performative, active orientation to the understanding of reality through the document. The main features of post-documentary theater, identified by researchers, are the ability to bring to the fore the subject of the action, which records its own states "here and now" and turns the text into a performative event. With such an artistic strategy, the author realizes an approach to true reality, "preserves" the moment of creation, the fluid phase of "here and now", a unique moment that is valuable for its true imperfection. For a dramatic text, this can be realized in the inclusion of autobiographical material, in the metagenres of diary, notebook, letter, etc., and through the embodiment of a "draft aesthetic". "Draft aesthetics" is a contemporary strategy of "non-finito" as a type of artistic thinking and demonstrates conditional imperfection, incompleteness of the text, an open form that captures the variability, uniqueness, confusion of the subject's state of consciousness and realizes the performative nature of the dramatic text. The fixation of facts, characteristic of a document, becomes in the documentary a fixation of temporary fluid states of the character in the interpretation of events (past or present) in order to preserve and remember this liminal state. In contemporary Ukrainian drama, a field of frontier between documentary and post-documentary is being formed: playwrights, directors, drama and theater researchers raise issues of trust in the document, look for ways to find contemporary attitudes, artistic methods and techniques that would reflect the "truth of the fact", raise questions of artistic ethics regarding involvement of documentary sources. The crisis of the documentary is realized as a means of salvation in the post-documentary: playwrights embody for the recipient the maximum approximation to reality, which reflects the document as an object of artistic research.

Specificity of European Theatre Directing of the Flemish Wave: Metaphorical Images Luk Perceval

The purpose of the article is to reveal the peculiarities of the creative activity of one of the leading representatives of theatre directing of the "Flemish wave" Luk Perceval. Research methodology. The analytical method, the method of typological, art history, genre-stylistic, and figurative-stylistic analysis was used, thanks to which the author's approaches and the methodology of L. Perceval's direction were revealed and structured, as well as the method of theoretical generalisation. Scientific novelty. The creative activity of one of the leading directors of the European theatre at the end of the 20th century and the first two decades of the 21st century was studied. L. Perceval; the aesthetics of L. Perceval's theatrical direction are analysed through the prism of the concept of post-dramatic theatre; metaphorical images and their place in the visual text of the play are considered, using the example of the productions of "Othello" by W. Shakespeare and "Black-Yellow-Red Trilogy: Journey to the European Heart of Darkness" (alternative name "Belgium Sorrow") by S. Khin. Conclusions. Theatrical direction of L. Perceval, whose artistic thinking was formed in the atmosphere of Flemish theatre culture and reflects all its features, is characterised by an active search for exquisite symbolic forms of the embodiment of the highest unity of all living things. The director interprets modernity through the prism of the past, makes an attempt to highlight the deep contradictions of the modern socio-cultural space in the process of creating a system of creative reflections, the complex play of aesthetics of modern post-dramatic theatre and generalising various cultural layers and topics relevant to people of the 21st century in comprehensive metaphors. L. Perceval comprehends the problems of place and time, nature, life, freedom, independence, the complexities of life and natural contradictions, phenomena and tragedies that strike a person. The director expresses his own attitude, inner experiences and deep feelings with the help of metaphorical symbols that make up the essence of his creative manner. A feature of L. Perceval's directorial vocabulary is the search for metaphorical ways of stage expression of the complex psychological content of productions, in the process of researching the main contradictions of the human personality, which enhance the plasticity of the updated minimalist stage space of the performance. Keywords: Luk Perceval, European theatre direction, "Flemish wave", post-dramatic theatre, metaphorical images.

ПОЕТИКА АЗЕРБАЙДЖАНСЬКИХ ЛЮБОВНИХ ДАСТАНІВ

The article aims to study the peculiarities of the content and structure of the love dastan genre as a product of the artistic thinking of the Azerbaijani people, to determine its poetic originality as well as the impact on the development of Azerbaijani literature and spiritual values of the next generations. The article traces the causes and origins of the similarities and differences between the ancient Turkic epic as a product of folk poetry and the subsequent medieval classical love epics created by Ashuga poets. In order to achieve the goal, historical-literary, cultural-historical, comparative, and hermeneutic research methods were used. Poetological originality of love dastans is conditioned by cultural-historical and literary aspects. On the one hand, love dastans contain the ancient culture of composing epics, which is characteristic of the Turks, and on the other hand, they combine features of the artistic outlook specific to medieval Sufism. Thus, the features of Turkic folklore and Sufi consciousness are synthesized in the Azerbaijani love dastans, which is reflected in the level of structure and content specificity of the love epic. In contrast to the works of the heroic epic, which often consisted of separate songs and legends united by a single plot line in a complete work (“Keroglu”, “Kitabi-Dede Gorgud”, etc.), the structure of love dastan tends to the structure of fairy tale genre, where the original plot is built into a universal structure. Love dastans are mainly characterized by a five-level structure, which includes the introductory part (ustadname) and the main one, where the following stages are distinguished: the wonderful birth of the hero, the stage of obtaining “buta”, the stage of overcoming obstacles, and the stage of winning in competitions. The specificity of the content of love dastans is determined by the dominance of the love theme, the understanding of the problems of morality, family values, cognition and mentoring, and a special type of hero – a young man with a pure heart, worthy of receiving a higher gift, which contributes to the spiritual growth of the character and success in achieving the goal (conquest of the beloved). It should be noted that unlike the heroic epic, which focuses on patriotic issues, social values, the main of which is devotion to the Motherland and its people, in love dastans the theme of individual love is understood in the context of the general national values of the Azerbaijani people. In this regard, love dastan as a work of folklore already has the features of an author’s literary work, marking the stage of transition from traditionalist to individual creative poetics.

(анти)колоніальні стратегії художнього мислення Євгена гребінки В поемІ «богдан»

(анти)колоніальні стратегії художнього мислення Євгена гребінки В поемІ «богдан»

THE WORKS OF MAGZHAN ZHUMABAYEV AND MAXIM GORKY - A SOURCE OF PATRIOTIC UPBRINGING

This article addresses the issue of educating students about high and valuable moral qualities through the heroes portrayed in literary works. It highlights the importance of instilling universal personal values in students, values that significantly influence the formation of an individual's character and personality as a whole. Presently, the primary requirements of modern education involve nurturing a generation with a sense of patriotism, a high level of spiritual thinking, and a strong sense of responsibility. The significance of utilizing the works of Magzhan Zhumabayev and Maxim Gorky in patriotic education is underscored. Darkness and light, East and West, heroism and betrayal, life and death coexist within the creativity of these writers. The comparative method reveals the richness of the heroes' souls, their strength, and courage. The artistic thinking system harmonizes well with associative connections, philosophical, and psychological characteristics. A distinctive feature of patriotism lies in observing a high degree of national-artistic consciousness and personal development in individuals.Through the artistic images depicted in these works, there emerges an opportunity to understand individuals, their environment, and their inner experiences. These methods of portraying characters in literary literature enhance students' logical thinking skills.The power of these works lies in their ability to strengthen the national spirit in youth and elevate the sense of patriotism.

Artistic Play and Laughter as a Way of Living in Art

The article deals with the duality of a rational, sane worldview and an oppositional-irrational, namely a laughable and theatrical way of reinterpreting reality and life in this "other reality". It is emphasized that the instinct of play, theatricality, and a sense of humor from the earliest times (prehistoric eras) was and still is a manifestation of individual freedom. The instinct of play as a manifestation of cultural self-awareness is represented as a sign of psychological and mental health. Options for rethinking rational life within the framework of the "laughing instinct" are considered in the review of creative approaches to reality by Serhiy Parajanov (his collages), in the stage techniques of Bohdan Stupka. For the first time in Ukrainian art history, the "laughter" of Lucien Dulfan — an artist from Odesa, and since the 1980s — a New Yorker, has been considered. The Odessa "laughter space" was also traced in the works of Serhiy Bozhek and Igor Gusev (their anti-war work of 2022). The painting of Vladyslav Shereshevsky is visualized from the point of view of the "carnival double". Negativist, cynical manifestations of laughter and play in the works of individual representatives of Ukrainian contemporary art were also noted. The article analyzes the positive role of laughter in the works of Ukrainian artists of 2022–2023 in their protest against Putinism. The prognostic value of artistic gestures is illustrated on the example of Serhiy Parajanov's work, which, breaking the law of continuity and normality in art, in creative outbursts (moments of bifurcation), shake the old system of artistic thinking, offering novelty. Laughter in this situation is a guide to prognostication. The article shows how the creative theatricalization of the worldview, the transformation of the tragic into the comic with a joke, in a game and a laugh, is able to save a person not only from lame pragmatism in everyday life, but also from a tragic sense of well-being during periods of severe trials, in particular, when confronting the barbarism of war.

Символический капитал авангарда в дискурсе неофициального искусства 1960–1980-х гг.

The article considers the work of independent artists of the 1960s and 1980s, rethinking the heritage of the avant-garde. In the unofficial art discourse, the ideas of the beginning of the XX century represent symbolic capital, significant for artists in the formation of new techniques. The appeal to the avant-garde tradition unites various regional schools of non-conformism in an effort to create a synthesis of contemporary artistic practices and art of the past. Unofficial art unites representatives of different disciplines, were separated from public ac-tivities due to long censorship. The creative and conceptual searches of the artists expressed a disconnect be-tween personal, emotional and inner world of artistic thinking in the late 1950s, tired of operating a single sys-tem. The appeal to the avant-garde tradition unites various regional schools of non-conformism in an effort to create a synthesis of contemporary artistic practices and art of the past. Moscow nonconformists developed a conceptual direction, representatives of the Leningrad underground experimented with methods of metaphysi-cal painting and abstract art, ideas of decorative symbolism were preserved in the works of Saratov noncon-formists. Interacting with the avant-garde, nonconformists form a unity of figurative and abstract painting, a dis-tinctive feature of unofficial art.

RESEARCH OF FOLKLORIST S.RUZIMBAEV IN PARTICULAR OF KHORAZM'S EPIC AND ITS PERFORMERS

In the article, the role of folklore in expressing the aesthetic ideals of a particular nation in world literature is of particular importance, folk epics are an oral creative-artistic complex that reflects the historical and cultural development of mankind, and the arrival of this information over centuries. Necessary information about the contribution of folklorists to the study of its laws is presented. Therefore, it is emphasized that it is appropriate to consider folklore samples as an impartial source that brought the early artistic thinking of humanity to today's development. The gradual improvement of folklore genres, their specific characteristics, and the study of the principles of poetic imagery are among the current scientific problems in the focus of experts' attention. It is their skill that folklore samples created by our people over the centuries and polished due to the positive changes added by the potential of creative performers of each generation, their creative innovations, become the representatives of our national spirituality and traditions performers - thanks to the creativity of the Bakhshis. The achievements of the science of folklore are extremely important in educating the young generation in the spirit of respect and reverence for our traditions and values, instilling our national identity in their hearts. In this article, the author presents analytical thoughts about the singers of Khorezm epics – bakhshis, their genealogy and traditions of bakhshis, based on the researches of folklorist S. Rozimboyev. which epics are most skilfully sung in each school of bakshichik is shown in historical evidence and in practice. In today's era of globalization, understanding the patterns of human artistic thinking is extremely important for the development of world culture.
 Keywords: world artistic thought, first folklorist, museologist, Khorezm epics, bakhshis, traditions of Bakhshis, schools of Bakhshis, genealogy of Bakhshis.

АНТРОПОЛОГИЯ КИНО: КОНСТРУИРОВАНИЕ НОВОГО ЧЕЛОВЕКА НА ОСНОВЕ МОНТАЖНОГО ПРИНЦИПА МЫШЛЕНИЯ

The article discusses the editing principle in cinematography, thanks to which the artistic thinking of cinematographers is able to generate new images. In discussions about the possibility of constructing a new person by means of cinematography (based on the editing principle), philosophical anthropology actualizes traditional problematic issues about the relationship between the spiritual and the bodily in a constructed person, about his integrity. In this regard, the problem of the correlation of the author’s freedom of artistic experiment and ethical norms in the process of designing a complete human image requires a new understanding. It is concluded that the philosophical and anthropological interpretation of the specific features of the assembly principle of thinking in the construction of a new person with new qualities is relevant and in demand in the context of the loss of human integrity.

Многофункциональность предметного мира романа Н. Мусина «Вечный лес»

The aim of the research is to determine the features of the material world and its functions in the novel “The Eternal Forest” by N. Musin. The poetics of the objective world is considered as an important component of artistic thinking, one of the significant cultural components in the writer’s creative work. Bashkir literary studies and literary criticism to a certain extent have already touched upon the issues related to the problems of poetics, the peculiarities of the artistic world of the prose writer. The paper is original in that it is the first to provide a holistic description of the objective world in the Bashkir writer’s prose, to reveal the artistic specifics and functions of the world of things. As a result of the research, it has been determined that the features of the artistic functioning of the material world in N. Musin’s prose are based on the artistic experience of literature in the late XX century in the depiction of the objective environment. A hero’s characterization through objective details becomes a peculiarity of N. Musin’s artistic worldview, in his writings, the world of things symbolizes both the inner world of a character and the philosophy of the author’s creative work. It is noted that in the works of the writer, the world of things is multifunctional, on the one hand, it highlights the author’s position and, on the other hand, it becomes a significant characteristic of the environment.

The Interdisciplinary Pictorial Material of Greek Religious Textbooks - A Chance to Meet the Otherness

Abstract Introduction:Religious textbooks are always at the front of the Greek educational reality, following the broader tendency of a school study grounded on textbook culture. The present paper focuses on the visual structure of the Greek secondary religious textbooks (in the three grades) and answers the following questions: What kinds of visuals are used in the textbooks? What exactly does the substance of these things consist of? Where can they go, exactly? Moreover, how do linguistic and visual structures relate to one another? On the other hand, the “otherness” problem is also analyzed through the results provided by the implication of the mixed method used. The latter is accumulated in the assumption of the dynamics of the visuals and their capacity to stimulate the participation of the students through their content. The otherness definition follows two main paths: one of an interdisciplinary approach during the learning process and another concerning the personal stimulation of all students through an inter-social and interreligious level. The hypothesis is confirmed through the interesting results of the present research. Methods: For research purposes, it has been used Atlas ti. The software was available for the qualitative type of research. However, there are various accounts of interesting quantitative magnitudes for comparisons. Results:The primary outcome focuses on a frequency balance among the grades using traditional and more modern visuals in their textbooks. Discussion:Pictures could offer an outstanding pedagogical service when used creatively and effectively. The latter means that the meanings of the day’s lesson could be conveyed through visuals to all the students (international students included). Then the religion teacher could initiate a debate in class or assign a related artful thinking activity (providing motivation and inflaming students’ participation. Limitations: The first twenty pages of each religious textbook have been used for research. The above restriction consisted of a research choice to avoid a broader statistical data account, which was not the primary goal to achieve. Conclusions:Disregarding the dominant research frequencies and locations and going further from the correlations issues between textual and visual formations as depicted, it might be interestingly argued that the modern and abstract tendencies and options of Grade A and B’s religious textbooks consist of a pole of appealing of the otherness in an individualistic and spiritualistic level of discussion.

On Thunderclouds

Landscapes and atmospheric processes are rapidly changing, and so are the technologies we use to depict and detect them. How to ponder these transformations through artistic thinking and making? In the artwork On Thunderclouds, I examine the thundercloud as aesthetic motif, meteorological phenomenon, and as an ominous sign of climate change. In the making of the work, the tension between prediction and unpredictability on a larger level is mirrored in my working process, a balancing act between setting up systems and allowing elements of chance, even chaos. In the work various predictions, speculations and uncertainties thus vibrate.

ЭЛДИК САТИРАНЫН ООЗЕКИ ЧЫГАРМАЧЫЛЫКТАГЫ НЕГИЗГИ ЭЛЕМЕНТТЕРИ

Having a separate place in the public consciousness (according to the critical point of view), satirical or humorous artistic thinking, which manages to approach literary creativity from a different angle, acquires a specific form as a work of art, and the personal creativity of a poet or writer is of great importance. Of course, when a creative person expresses his attitude to funny events, he does not intend to write in only one genre, but at the same time he is engaged in a wide genre range in order to make the thought satirical or humorous, and tries to place his own content from it. Typing genres, based on a known research problem, should generalize and draw a conclusion. Since 1957, satirical magazines have become more active, which, along with operational reviews, began to publish purposefully readable small satirical works, accompanied by funny words. Since it was impossible to raise the prestige of a magazine that was limited to criticism in all cases, poets and writers who turned to this genre were obliged to write original works that would cheer up the people using various genres of satire and humor. The fact that the authors, who began to gain fame in their chosen direction, found their place in Kyrgyz literature and began to be discussed in different conditions, also revealed the need to study this issue in literary science.