Academic literature on the topic 'Kyrgyz Short stories'

In this article, the authors focus their attention on the construction of plot and composition of stories created by Kyrgyz authors during the years of independence of the Kyrgyz Republic. In particular, the plot, composition, portrait sketches are considered, which interact closely through such artistic functions as psychological study of the character’s soul and disclosure of his character. The examples of short stories by Kyrgyz writers show the importance of composition for understanding the meaning of a work, as the composition affects the readers’ perception of the story. The authors have attempted to identify the specific features of the story genre, the poetics and function of artistic details within the framework of this article. New artistic and imaginative ways, techniques and means used by contemporary writers. The authors have systematized the rich literary-theoretical material which is devoted to the study of the problem mentioned in the article.

The article describes how writers-poets continued to write their works, no matter how significant, complex and acute the realities of life were during the period of perestroika after independence, except that literature changed only its theme compared to what it was before. Although in the early years of independence not so many stories were published in book form as before (for example, in the seventies and eighties), readers are told from time to time that the stories are coming out. Since the second half of the nineties, artistic interest in creativity has revived somewhat, and although the subject matter of the stories was diverse, it can be noted that almost all social problems that concern people began to manifest themselves in the stories. We can say with joy that Kyrgyz stories, despite all the ups and downs, have found their place in the literary process thanks to beautiful works rich in various values. Most of the Kyrgyz short stories written during the years of independence faithfully fulfill their function as a ”subgenre that promptly reflects the acute social problems of our time", finding their place in the context of time in the process of the growth of national fiction, we can say that this genre of prose also has a future.

It can be said that after the October Revolution, namely in the 20s of the twentieth century, a period of great success, controversy and heated discussions began for the former Soviet literature. These materials alone would give grounds for considering them as objects of special scientific research. After all, at that time, the literature of the Union republics was making a new step in professional terms, and with the publication of the first samples of written literature, its theoretical and practical issues were put on the agenda and aroused considerable interest. New concepts for the literature of the 1920s often arose within the framework of the Russian literature of that time, and with great difficulty they reached the remote mountainous regions, especially those like us, whose literature lived and developed in oral form. Its objective reasons are also known to us. Nevertheless, in 1924 the first Kyrgyz national newspaper Erkin Too was published on November 7 and served as a source of our literature. Starting from the first issues of the aforementioned Erkin Toon, some genres of Kyrgyz written literature appeared. Kyrgyz professional satire is also created on the pages of this newspaper. In a satirical work, laughter is necessarily critical and sarcastic. He pokes fun at petty flaws in people's behavior, work, and character with mild humour. Humor can be found in all genres of fiction - novels, short stories, essays, short stories, dramas, feuilletons, fables and others.

The article focuses on the artistic transformation of rural life in the Kyrgyz short stories of the years of independence, written in the period after the independence of Kyrgyzstan and published in periodicals. Although the stories published in the press vary in subject matter, it is noticeable that most of the stories are devoted to rural life. The article elaborates on the fact that the countryside has unique psychology of life. In general, it is said that rural life has become one of the main themes in the works of almost every writer. It can be said that the typicality of character formation in literature, the figurative creation of the image of the characters is also a feature of the writer, who wrote about rural life.

The prose of 70s of XX century follows core changes in literature, which were prepared in 1960s. During this decade in Kyrgyz literature appears works reflecting new voices, new horison, new trends in genres, themes, forms. This period writer’s talent of Kasym Kushubekov has been risen, and his active and fruitful efforts in the realm of creativity left a path in the national literature. This article provides a brief analysis of Kasym Kushubekov’s unique style and his mastery in creating of character’s personality in example of his short stories.

The current research is devoted to study how the plots of the world-wide collection of stories «Totynama» are reflected in the Kazakh and Kyrgyz fairy tales, as well as in our written literature. The author focuses on the origin of the story about three husbands of one girl that is very popular among Indian literary monuments. A number of works of Kazakh poets and writers are based on this story. Among them «Qyz korelik» by T. Zhomartbayev and «Aina-taraq» by Bazar zhyrau Ondasuly, as well as a number of variants of Kazakh fairy tales are considered. In the current paper the author pays special attention to the issue of usage of a well-known Oriental plot as the core of the story or as an element of the work. The idea of the process of transformation of a short story into an artistic creation or the appearance of several parts of the same story in different works is considered. The main thing is that the article contains a lot of information about the origin, sources and ways of development of the Oriental plot. The masterpieces of world literature in which these plots are used as «Totynama» by Ziya ad-Din Nahshabi, «Totynyn angimeleri» (Tota Kakhani) by Saiyd Haidar Bakhsh Haidari, «Tungi zhaukharlar» (Pearls of conversations) (Dzhavakhir al-asmar), «Vetalanyn zhiyrma bes angimesi» by Imad ibn Muhammad an-Naari, «Sindabad-name» by Muhammad az-Zahiri al-Samarkandi as well as a number of versions of «Totynama» that spread in our country and among Chinese Kazakhs are analyzed. In addition, new ideas are expressed about the nature and character of the eastern plot, its spread to the world population, its transformation, and adaptation to the mentality of the nation, its assimilation into a new work, its integration into oral and written literature. The author does not neglect a single difference in the process of changing plots. The specific features of the plot, which are embodied in each work are emphasized as well. It is worth paying attention to such complex details as the emergence of several literary plots from the one plot, the occurrence of often-repeated traditional details, the presence of common patterns in the origin and sequence of the story.

The article highlights one side of the huge scientific and educational work of an outstanding representative of the Kazakh national intelligentsia, one of the founders of the Alash movement, a statesman Khalel Dosmukhamedov, whose bright, full of struggle and suffering life for the bright future of his people coincided with the period of socialist reorganization and the establishment of Soviet power in Kazakhstan. Despite his services to the Soviet authorities in the speedy cultural modernization of the Kazakh society, he was repressed in the late 30s of the twentieth century. His research on oral history is still relevant and important for the development of Kazakh historiography. Kh. Dosmukhamedov was one of the first to draw the attention of researchers to the connection of epic and folklore with the daily life of the Kazakhs. Kazakh epic poems, such as "Kobylandy batyr", "Narikoglu Shora", "Alpamys batyr", "Kambar batyr", "Shora batyr", "Edige Murza" in 1922-1923, in the period work in the Kyrgyz * (Kazakh) scientific commission. Together with A. Divaev, the book "Anthology of samples of Kyrgyz (Kazakh) literature"(«Хрестоматия из образцов киргизской (казахской) литературы») was written. Further development of the problem of the oral history of the Kazakhs was continued in his collections "Words of Murat-akyn", "Isatai-Makhambet" in 1924 and "The legend of the construction of the Kogeltash madrasah in Bukhara", published in Tashkent in 1927-1928 in which, in his opinion, fragments of the five-century history of the Kazakh people are reflected. He argues that, similar to the annals (historical stories) in European historiography, the Kazakh historical epic was formed as a special form of historical consciousness and knowledge in the nomadic Kazakh society.

AbstractThe day after the election night, on October 5th of 2020, several thousand Kyrgyz citizens poured in the direction of the main square of the capital Bishkek to denounce fraudulent elections. An estimated 1,250 people were injured, and one young person died. This third violent change of government in Kyrgyzstan’s short history of independence can be best understood as a combination of three distinct stories coming together under an unprecedented external shock produced by the coronavirus. First, a genuine citizen mobilization was triggered by the pandemic-related economic decline and rigged elections. Second, the initial peaceful protest was hijacked, to the surprise of the many, by a populist leader capitalizing on long-existing societal polarization. Third, the spectacular unfolding of the intra-opposition struggle downplays an important process of oligarchization, underlying the shaky grounds of patronal presidentialism in pluralist systems.