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Academic literature on the topic 'Kyrgyz Epic poetry'
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Journal articles on the topic "Kyrgyz Epic poetry"
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Borbuchalova, Baktygul. "THE ARTISTIC FUNCTION OF FOLK SATIRE IN THE EPIC “MANAS”." Alatoo Academic Studies 23, no. 4 (December 30, 2023): 211–23. http://dx.doi.org/10.17015/aas.2023.234.22.
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When we carefully look at the path of growth and development of Kyrgyz literature, the main ideological and aesthetic trends, an endless and large-scale creative world is drawn before our eyes. Of course, every nation has its own spiritual manifestation. The pure spring flowing from that spring becomes a huge river, which gradually increases in size and rages. Today's Kyrgyz national literature seems to us to be a creative environment. Folk art, the poetry of singers, living in constant movement spontaneously, whose waves smashed mountains, are full of noble thought, wonderful words, songs accompanied by (“Manas”), caustic, flooding cheeks with laughter, is considered a treasure of jokes. Each of them was acquired in its own way by Kyrgyz scientists in special collective studies, but it is still clear that it is impossible to completely solve the above issues within the framework of one dissertation research or textbook.
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Plumtree, J. K. "ONEGIN AND MANAS, VALIKHANOV AND BELINSKY; RUSSIAN LITERARY CRITICISM AND KYRGYZ ORAL POETRY." Vestnik Bishkek state university af K Karasaev 67, no. 1 (April 12, 2024): 76–84. http://dx.doi.org/10.35254/bsu/2024.67.11.
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This paper examines the original context of the words ‘encyclopaedia’ and ‘epic’ concerning Manas. A New Historicism approach to the origin of this association, an 1861 Russian-language publication by Chokan Valikhanov, illuminates his likely use of a formulation - both verbal and conceptual - of literary critic Vissarion Belinsky, and placing Valikhanov’s interest in epics in pan-European (and Russian) early-nineteenth century socio-political context. Valikhanov’s comments display the placing of an interpretative framework from Russian literary criticism onto Kyrgyz oral poetry. This paper questions the continued use of the terminology related to nineteenth-century Russian colonialism and its significant impact on the Manas interpretation and valueing.
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Субакожоева, Ч. Т. "The History of Collecting and Writing down the Manas Epos." Вестник Рязанского государственного университета имени С.А. Есенина, no. 4(69) (February 16, 2021): 131–37. http://dx.doi.org/10.37724/rsu.2020.69.4.013.
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В киргизском фольклоре эпический жанр получил значительное развитие. Среди многочисленных сказок, песен, малых эпосов особое место занимает эпос «Манас». Эпос «Манас», принадлежащий творению киргизского народа, нашел свое бытование как в Киргизской Республике, так и в Китайской Народной Республике, где проживают этнические киргизы. Собирание и запись текстов «Манаса»ввиду его многовариантности и огромных размеров представляло большую научную проблему. В его собирании, публикации и исследовании приняли самое активное участие лучшие представители русской академической науки второй половины ХIХ — начала ХХ века, ведущие советские фольклористы многих национальностей, прежде всего киргизские, а также собиратели и исследователи «Манаса» из Китайской Народной Республики. Цель статьи — рассмотреть историю собирания и фиксации эпоса «Манас» в Киргизии и в Китае. Начало записи эпоса было положено еще в дореволюционное время Ч. Валихановым и В. Радловым и продолжено в советское время К. Мифтаховым, И. Абдырахмановым в Киргизской Республике. Эпос «Манас» популярен и в Китайской Народной Республике, где имеются многочисленные сказители эпоса, выступающие со своими вариантами. Большое внимание уделяется в Китае сбору и записи различных вариантов эпоса. Среди записчиков эпоса широко известна деятельность Балбая Мамая, Лю Фажун, Ху Чжэнхуа, Сакен Өмүр, Лю Чиенву и др. Благодаря их научно-исследовательской работе были записаны материалы многих сказителей. Таким образом, можно констатировать, что проделана огромная и важная работа в области записи вариантов эпоса «Манас» как в Киргизии, так и в Китае. The epic genre plays a significant role in Kyrgyz folklore. The Manas epos is prominent among the numerous tales, songs, and smaller epic works of Kyrgyz folklore. The Manas epos is popular both in the Kyrgyz Republic and in China where people of Kyrgyz ethnicity live. The work of collecting and writing down the Manas epos is a great challenge, for the epic is exceptionally long and versatile. The best Russian scholars of the late 19th — early 20th century, leading Soviet and Chinese researchers of Kyrgyz folklore united their efforts to collect and write down the Manas epos. The aim of the article is to analyze the history of collecting and writing down the Manas epos in Kyrgyzstan and in China. The process of collecting and writing down the epic work started in the pre-revolutionary period by Ch. Vaikhanov and V. Radlov. The work was continued by K. Miftakhov and I. Abdyrakhmanov in the Kyrgyz Republic. The Manas epos is popular in China, where there are many epic storytellers who recite their own variants of the epic. Chinese scholars work to collect and write down various variants of the epic. The most famous epic poetry collectors are Balbay Mamay, Lu Fajun, Hu Jen-hwa, Saken Omur, Lu Chienwu and others. The researchers have managed to write down more than twenty different variants of the epic. They have undoubtedly done great work in the sphere of collecting and writing down the Manas epos in Kyrgyzstan and in China.
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Субакожоева, Чолпон Темирбековна. "The Epic Storyteller Zhusup Mamai." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 1 (May 10, 2022): 33–40. http://dx.doi.org/10.26158/tk.2022.23.1.003.
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В мировой фольклористике огромное место занимает изучение выдающегося памятника устного народного творчества - киргизского героического эпоса «Манас». Эпос «Манас» - уникальное явление в фольклорном наследии народов мира. Самый длинный в мире эпос заменял бесписьменному народу на протяжении многих столетий и художественную литературу, и театр, и книгу по истории, воскрешающую прошлое. Эпос содержит свыше полумиллиона стихотворных строк. Основное содержание эпоса - подвиги богатыря Манаса во имя защиты киргизской земли от иноземных захватчиков. «Манас» бытовал не только среди жителей Киргизии, но и широко распространен в среде киргизов, проживающих в Китае. Эпос дошел до наших дней благодаря сказительскому искусству талантливых людей из народа, называемых манасчи. История донесла до наших дней имена более 100 сказителей эпоса. В Китае самым замечательным сказителем был Жусуп Мамай (1918-2014). Ему принадлежит наиболее полный и известный вариант эпоса, состоящий из восьми частей, который был издан в Китае в 18 томах. Данная статья посвящена этому выдающемуся сказителю эпоса «Манас», который стоит в одном ряду с великими киргизскими сказителями Токтогулом, Келдибеком, Балыком, Чоюке, Сагымбаем Орозбаковым, Саякбаем Каралаевым. В статье дана краткая характеристика древнейшего памятника устного творчества киргизского народа эпоса «Манас», рассмотрены жизнь и творчество великого манасчи Жусупа Мамая, знавшего не только классический вариант эпоса (трилогию «Манас», «Семетей», «Сейтек»), но и сберегшего и донесшего до нас историю последующих пяти поколений потомков Манаса. An outstanding monument of oral folk art, the Kyrgyz heroic epic “Manas” occupies a major place in the study of world folklore. “Manas” is a unique phenomenon in the oral poetic tradition; the longest epic in the world, it replaced belles-lettres, theater, and history for an unlettered people. The epic contains over half a million lines of poetry. Its main content is the exploits of the hero Manas in protecting the Kyrgyz land from foreign invaders. “Manas” was popular not only among the residents of Kyrgyzstan, but was also widespread among the Kyrgyz living in China. The epic has come down to our day thanks to the art of talented storytellers from the folk called “manaschi.” History has preserved the names of more than 100 of these epic storytellers. In China, the most remarkable was the great manaschi Zhusup Mamai (1918-2014), who narrated the most complete and most famous version of the epic, consisting of eight parts, which was published in China in eighteen volumes. This article is dedicated to this outstanding storyteller, who stands on a par with other great Kyrgyz bards like Toktogul, Keldibek, Balyk, Choike, Sagymbai Orozbakov, and Sayakbai Karalaev. The article gives a brief description of the epic “Manas,” the oldest Kirghiz oral monument, and examines the life and work of Zhusup Mamai, who knew not only the classic version of the epic - the trilogy “Manas,” “Semetey,” and “Seitek” - but also preserved the story of five generations that descended from Manas.
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Жумаева, Г. З. "The Prophetic Dreams Using as a Fiction Features." Bulletin of Science and Practice, no. 8 (August 15, 2022): 464–69. http://dx.doi.org/10.33619/2414-2948/81/49.
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Рассматривается «проблема сновидений» в художественной литературе и описывается ее место и функции как художественных средств. Основной упор, путем сравнения примеров из древней общетюркской литературы и киргизской эпической поэзии, нами делается на тот факт, что «вещие сны» всегда лежат в основе поворотных этапов событий в произведениях. Можно с уверенностью отмечать, что такие понятия как «вещие сны», «потусторонний мир» и «пророк Хизр», дополняя друг друга, составляют единство. The article deals with the ‘problem of dreams’ in fiction and describes its place and functions as fiction features. The main emphasis, by comparing examples from ancient Common Turkic literature and Kyrgyz epic poetry, we place on the fact that ‘prophetic dreams’ always underlie the turning stages of events in works. Thus, it can be noted with confidence that such concepts as ‘prophetic dreams’, ‘the other world’ and ‘the prophet Khidr’, complementing each other, constitute a unity.
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Садыков, Канат Жалилович. "The genesis of the motifs of miraculous birth and heroic amusements in the “Manas” epic." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (November 11, 2019): 106–18. http://dx.doi.org/10.26158/tk.2019.20.3.009.
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В статье проводится анализ мотивов эпоса «Манас», присутствующих в сюжетном составе различных вариантов этого сказания и сгруппированных вокруг тем чудесного рождения героя и богатырских забав. Известные мотивы в героическом сказании кыргызов подверглись определенным трансформациям, характерным для традиционной эпической поэтики, но при этом все же сохранили следы мифологической традиции и архаической ритуальной практики. В процессе анализа выявляется связь мотивов чудесного рождения Манаса с мифологическими представлениями о циклической взаимосвязи старости со смертью и обновлением мира, а также мифологемой о рождении мира в результате перехода от хаоса к порядку. Обрядовая практика принятия родов в юрте, где устанавливается центральный шест (бакан), трактуется автором статьи как ритуализированный синоним мифологемы рождения первопредка возле мирового древа. С учетом принятия мифологической первоосновы этого ритуала становится понятной логика появления в эпизоде чудесного рождения образа дракона и богини плодородия Умай. В результате анализа мотива буйных игр юного богатыря автор приходит к версии возможной связи его с архаическим ритуалом поиска двойника-побратима. Эпические мотивы воспитания героя у пастуха и его встречи с духами-оборотнями возводятся автором к обряду инициации. This article analyzes the motifs of the “Manas” epic that occur in various versions of the tale that are connected with the hero’s miraculous birth and heroic amusements. Well known motifs in Kyrgyz heroic narratives have undergone modifications typical to traditional epic poetry but have still retained traces of the mythological tradition and archaic ritual practices. Analysis reveals connections between the motifs of Manas’s miraculous birth and mythological ideas about the cyclical relationship of old age, death and the renewal of the world, as well as with the mythologeme about creation as a transition from chaos to order. The author interprets the ritual practice of childbirth in a yurt in which a pole (bakan) is erected in the center as a ritualized synonym for the mythological birth of the first ancestor near the world tree. Taking into account the mythological basis of this ritual, the logic of the appearance of the image of the dragon and the goddess of fertility Umai in the episode of miraculous birth becomes clear. Analysis of the motif of the young hero’s violent games reveals a possible connection with the archaic ritual of searching for a twin brother. The author ascribes the epic motifs of the hero’s upbringing by a shepherd and his meeting with spirit-werewolves to the rite of initiation.
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Orlitsky, Yu B. "Siberian Free Verse of the 1920s – 1930s: General and Special in a New Poetic Form." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 129–55. http://dx.doi.org/10.25205/2410-7883-2020-2-129-155.
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Since the beginning of the twentieth century, free verse (vers libre) begins an active penetration into Russian poetry, decisively moving from the category of a marginal poetic phenomenon into the most active forms of national verse. Since the end of the 1910s Russian free verse also appears in the thriving Siberian poetry. First of all, this occurs in the works of authors who work with verse in line with the main currents of the general Russian poetic tradition – relatively speaking, among the Siberian futurists, acmeists, and imagists. The article examines the process of the emergence of free verse (free verse) in the Siberian branch of Russian poetry in the first third of the twentieth century. Examples of early free verse from periodicals and books of the 1920s – 1930s, which were created in line with the all-Russian trends in the development of versification, are given. However, if we talk about the absolutely specific features of the Siberian free verse of the first third of the twentieth century, then this is, without a doubt, its use in translations and arrangements (including quite free ones) of the lyrics and epic of the peoples of Siberia. Publishing interlinear translations was common practice in those years. However, falling into the context of Russian literature, these interlinear translations were already perceived as poems, and precisely as written in free verse. The most productive source of Siberian free poetry can be considered the so-called “self- laying”, author’s variations on the themes of which are published by Anton Sorokin, Vsevolod Ivanov, Leonid Martynov and Pavel Vasiliev. Of particular interest are the Altai and Khakass “songs” of Ivan Eroshin, a significant part of which is also written in free verse. For the most part, these are small stylized lyric poems. His “Songs of Altai” is a rare example in world poetry of the reincarnation of a European poet into foreign characters – hunters, shepherds, even girls – on whose behalf most of the miniatures of the books “Blue Yurt” and “Songs of Altai” are written, performed by different types of verse. In total, from 1923 to the beginning of the 1950s, Eroshin wrote more than 40 vers libre, distinguished by the utmost laconicism combined with a bright “barbaric” imagery. A special place among the stylists of folk poetry (including the folklore of the peoples of Siberia) in Soviet poetry of these years is occupied by the poet and playwright Andrei Globa. His cycle of 1922 “Kyrgyz Songs”, consisting of 17 poems, was written mainly in free verse. His collection “Songs of the Peoples of the USSR”, which has survived three editions, includes translations and stylizations of works of different genres, many of which are also written in free verse. In addition, the paper examines the features of the use of free verse in translations and free transcriptions of the folklore of the peoples of Siberia, performed by V. Zazubrin, O. Cheremshanova, E. Tager.
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Koichumanova, Gulzhan. "PHILOSOPHICAL IDEAS IN THE KYRGYZ POETS WORKS." Alatoo Academic Studies 2020, no. 3 (September 30, 2020): 218–25. http://dx.doi.org/10.17015/aas.2020.203.25.
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This article is investigating philosophical ideas in the Kyrgyz poet’s works based on theoretical problems of modern philosophical poetry and mastering the centuries-old heritage of the Kyrgyz people. It is known that the philosophical values of Kyrgyz people were formed through ancient time’s folklore, epics, proverbs, and singers’ work taken as a source of philosophical poetry in the modern professional literature. Aims of this research were to consider philosophical lyricism in the Kyrgyz poetry as a complex and contradictory issue from ancient nomadic times to the present days; finding the primary sources of philosophical lyricism; to consider the chosen scene in connection with the poet's philosophical thoughts and views following his artistic taste and worldview. Deep understanding of an artistic nature and philosophical thoughts, values of Kyrgyz poets' works achieved by focusing on their role in the literary process, and artistic values of Kyrgyz poetry, relying on literary and theoretical patterns in the synthesis of philosophical categories and art have been described.
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Kolbaeva, Meerim, and Chinara Urdolotova. "POETIC MASTERY OF BALYKOOZ (BEKMURAT)." Alatoo Academic Studies 19, no. 4 (December 30, 2019): 108–14. http://dx.doi.org/10.17015/aas.2019.194.13.
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The article considers the analysis of the work of one of the akyn-improvisers of the Kyrgyz people Bekmurat akyn. There are a number of facts testifying to his nickname Balykooz, a narrator, an improvising singer and the legend of early epics. First of all, Bekmurat was an improvisational poet. From the age of 14-15 he began to tell the epic "Manas", folk tales and songs among the people. In his work, improvisation, syncretism, mastery, and poetic traditions are clearly manifested. Balyk became famous in the competitions of akyns - improvising singers who demonstrated their skills, where he competed with the improvising singer Aytyk. Bekmurat’s works also analyze the songs of the sanat, therme, and the jokto.
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Samsalieva, Meerim. "NARRATIVE AND VARIATIONS ISSUES IN KYRGYZ AKYN POETRY." Alatoo Academic Studies 22, no. 2 (June 30, 2022): 156–63. http://dx.doi.org/10.17015/aas.2022.222.20.
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The creativity of akyns (Kyrgyz folk poets and singers) is defined as a separate stage, an artistic and aesthetic phenomenon that combines folklorism and professionalism while forming the corresponding features on the path of oral folk art and fiction development. This article analyzes and discusses opinions about the quality of folklorism in the work of Kyrgyz akyns-improvisers, in particular, the ability of each listener to be a potential performer or about the narration of akyns-improvisers. In addition, the issue of variability in the work of akyns is analyzed. Based on the author’s opinion, the variation is considered in three directions. The first one is the emergence of variations in the narration of folk epics and legends. The second one is variations of such genres as lamentation songs, proverbs, and sayings in the work of akyns. And the third one is based on the example of akyns-improvisers works, such issues as the revival of traditional themes in the works of akyns are analyzed.
Books on the topic "Kyrgyz Epic poetry"
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Gumanitardyk zhana ėkonomikalyk ilimder bȯlu̇mu̇ (Kyrgyz Respublikasynyn uluttuk ilimder akademii︠a︡sy) and Ch. Aĭtmatov atyndagy Til zhana adabii︠a︡t institutu, eds. Kyrgyz ėl Koshoktoru. Bishkek: "Print-ėkspress", 2016.
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Radlov, V. V. Manas destanı: Kırgız Türkçesi metin, Türkiye Türkçesi çeviri. [Ankara]: Türk Kültür ve Sanatları Ortak Yönetim, 1995.
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Musaev, Samar, Sagymbaĭ Orozbak uulu, and Akmataliev A. Manas: Kyrgyz ėlinin baatyrdyk eposu. Bishkek: Khan-Ten︠g︡ir, 2010.
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Moldokeev, Seĭdene. "Semeteĭ" ėposu: Seĭdene Moldokeevanyn aĭtuusunda. Bishkek: Biĭiktik, 2008.
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Manas Destanı ve Etkileri Ulusalarası Bilgi Şöleni (1995 Turkey). Manas Destanı ve Etkileri Uluslararası Bilgi Şöleni: Ankara, 21-23 Haziran 1995, Konya, 24-26 Haziran, 1995. Ankara: Atatürk Kültür, Dil ve Tarih Yüksek Kurumu, Atatürk Kültür Merkezi, 1995.
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İnayet, Alimcan. Kırgız destanları XV: Manas destanı (Cusup Mamay Varyantı). Ankara: Türk Dil Kurumu Yayınları, 2017.
Find full textBook chapters on the topic "Kyrgyz Epic poetry"
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"Part II Oral epic poetry and the Manas." In Singing the Kyrgyz Manas, 63–89. Global Oriental, 2010. http://dx.doi.org/10.1163/9789004218048_010.
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