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Journal articles on the topic 'Songs, Kazakh'
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Zhaparova, А. "RITUAL SONGS AND WAYS OF TEACHING THEM." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 389–94. http://dx.doi.org/10.51889/2020-4.1728-7804.78.
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Traditional ritual songs are the main factor that makes up the rich spiritual potential of the Kazakh people. The very method of teaching samples of Kazakh oral literature in accordance with our modern life is becoming one of the urgent problems of Kazakh folklore. Ways to solve it should be carried out in accordance with modern literary trends. It is true that traditional ritual songs are taught from school. Education programs at the school level are unified. Its development and training in various methods and techniques are well established. All possible favorable situations are created for the education and formation of the national spirit among schoolchildren through the teaching of traditional ritual songs. And this process does not freeze in one place, it moves forward. Over time, attention is paid to training at the appropriate level based on technological advances. Although the issue of teaching Kazakh ritual songs was raised in higher educational institutions, but clear guidelines have not yet been developed. In General, the very training of oral literature samples in higher education is a controversial issue. The question of how necessary this is will be discussed in this article.
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Eginbayeva, T., and А. Mombek. "Abai vocal cycle of E.Rakhmadiev: interpretation of the genre." Pedagogy and Psychology 44, no. 3 (September 30, 2020): 205–15. http://dx.doi.org/10.51889/2020-3.2077-6861.26.
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The article examines the musical creativity of E.Rakhmadiev, a classic of the Kazakh composing school, the author of vocal-symphonic, opera, chamber-instrumental, song-choral works that are included in the national musical treasury. The author of article presents an analysis of the vocal cycle of seven romances dedicated to the legacy of Abai. In the cultural life of the Kazakh people, the personality of Abai Kunanbayev, his poetic and musical creativity occupy a special place. Each of his poem “sings”, and it is not surprising that many composers, when creating their songs and romances, turn to the poetic heritage of Abai. In each of the romances the organic unanimity of the composers and the poet is manifested, each of the songs is self-sufficient and has its own musical and poetic content, all romances differ from each other both genre and stylistically.
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Zhirenov, S., and Y. Kasenov. "LINGUO-COGNITIVE SEMANTICS OF ORNITHONYMS IN TEXTS OF SONGS." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 46–52. http://dx.doi.org/10.51889/2020-3.1728-7804.08.
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In the article, the texts of Kazakh songs with ornithonyms are grouped in accordance with their use. The use of ornithonyms in the lyrics and their semantic meaning are also divided into thematic groups. The thematic group is based not only on the paradigmatic connections of ornithological names, but also on denotative ones. The linguo-cognitive semantics of the thematic group of ornithonyms and lyrics is determined. The semantics of ornithonyms in the lyrics is based not only on the similarity of the lexical meaning of words, also on the allegorical metaphorical meaning of objects and phenomena by which they are called. The semantics of ornithonyms in the lyrics reflects the cognitive characteristics of the ethnos in the perception of the world through a song. The presence of birds in the lyrics, close to the worldview of the ethnic group, is an indicator of national culture, which to a certain extent determines the ethnic identity of the ethnic group. In the spiritual world of an ethnos, ornithonyms in Kazakh poetry have long existed and are a spiritual value that remains to this day. The linguo-cognitive analysis of the language units of the lyrics reveals its significance in the Kazakh ethnic group.
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Zhirenov, S. "LINGUISTIC REVIEW OF ORNITHONYMS IN TEXTS OF KAZAKH SONGS." BULLETIN Series of Philological Sciences 72, no. 2 (June 30, 2020): 93–98. http://dx.doi.org/10.51889/2020-2.1728-7804.13.
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The article reflects the significance of the study of ornithonyms in the texts of Kazakh songs in a linguistic aspect. Ornithonyms in the lyrics of songs reflect the linguistic features of cognition by the ethnic groups of the world. In an interdisciplinary aspect, the interconnectedness of linguistic units in the lyrics is considered. During the existence of an ethnic group, ornithology has taken root in its daily life, having shaped the cultural life of the ethnic group. The songs of the ethnic group are an important part of its linguistic units, which have not lost their significance to this day. The study of the lyrics in the ornithological aspect reflects the characteristics of the language and culture of the ethnic group. Ornithology takes a great importance in the life of the Kazakh people. Ornithonyms in the lyrics reflect the national identity, their knowledge and culture of the ethnic group. Lyrics, which are rich with ornithonyms, is formed on the basis of social factors through worldview and cultural life, the customs and traditions of the whole ethnic group. The integrity of linguistic units of a connotative nature in lyrics with ornithonyms is considered from the linguistic aspect.
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Seisenbayeva, Zh. "ARTISTIC FEATURE OF GIRLS ' EDUCATION IN KAZAKH LITERATURE." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 314–18. http://dx.doi.org/10.51889/2020-4.1728-7804.64.
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The article reveals the features and nature of artistic design in Kazakh literature. In the scientific article, proved by concrete examples of the features of describing the image of a mother, raising a daughter in Kazakh Proverbs, it was formulated that such qualities as selflessness, courage, arrogance, foresight and wisdom have been the basis of legendary stories, heroic songs, songs in the mouth of the country for centuries. In connection with the wise philosophical principle "forty years of a girl", our ancestors paid special attention to the education of girls. In order to meet the" Kyz osse Eldin korkimi", he was instilled morality, decency, hard work, beauty. As they say "Kyz zhattyk", our ancestors, who studied life, wanted the upbringing of their daughters in a foreign country to be individualized by what I saw. The main problem facing our modern national literature is the images of women-mothers who have taken as a basis the upbringing of the nation, prosperity, and family well-being, and not the negative character traits found in women-mothers. The scientific article provides examples of works about Kazakh heroes who performed equestrian feats together with men for the freedom of their country and showed unwavering selflessness.
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Kossymova, G., and K. Issahanova. "PEDAGOGICAL IDEAS (THOUGHTS) IN ʻʻBABALAR SOZI (WORDS OF THE ANCESTORS)ˮ." BULLETIN Series of Philological Sciences 72, no. 2 (June 30, 2020): 104–8. http://dx.doi.org/10.51889/2020-2.1728-7804.15.
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This article discusses the issues of the national spirit, national identity, national idea, patriotism, patriotism, which today raises the idea of ʻʻEternal Countryˮ. “Babalar sozi” is one of the works that has made a significant contribution to the development of Kazakh culture in the world of spiritual, intellectual and scientific processes. This multivolume series “Babalar sozi” contains all the examples of the very rich and multifaceted spiritual heritage of the Kazakh people, and has special educational value for future generations. The musical creativity of the Kazakh people is closely related to their life, the use of folk songs and poems in the education of the next generation. This made it possible to raise a person with a beautiful, rich spiritual culture.
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Raimkulova, A. "KAZAKH MUSIC CULTURE ON THE GLOBALIZATION CROSSROADS: ETHNIC TRADITIONS VERSUS COMPOSER SCHOOL IN INTERCULTURAL INTERACTION." BULLETIN 384, no. 2 (April 15, 2020): 185–93. http://dx.doi.org/10.32014/10.32014/2020.2518-1467.58.
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At the present stage, Kazakh musical culture is heterogeneous. It represents traditions coexisting at the same time and interacting with each other: Kazakh ethnic and newly established composer school (tradition). Examining changes in cultural landscapes of the 20th century I reveal the peculiarities of interaction and dialogue between two kinds of culture: ethnic and global (endogenous and exogenous). The procedures include the complex study of the history of Kazakh culture in the 20th century, stylistic analysis of traditional and composer’s music, semiotic approach to intercultural interaction, as far as a comparative analysis of oral and written music of 19th and 20th centuries. On one hand, dramatic changes in the structure of music culture were caused by external objective reasons: new industrial and postindustrial civilization phases (urbanization and information technologies); intensification of interaction with western (mainly Russian) cultures, etc. On the other hand, some changes were inspired by inner factors: diverse development of local song and kui (dombyra piece) traditions; Soviet cultural policy. As a result new type (or layer) of national culture – Kazakh composers’ music – appeared. It was connected with the formation of a national style based on transcriptions and borrowing. Traditional music was influenced by new social institutions (philharmonic halls, theatres, radio, conservatoire) that caused changes in the creative process (decrease of oral transmission, lack of traditional social context) as well as in the style (virtuoso performance, new genres of songs).
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Davan, Taya. "Итоги экспедиций Университета Внутренней Монголии в Синьцзян: полевые записи песен «Джангара»." Монголоведение (Монгол судлал) 13, no. 1 (April 26, 2021): 120–33. http://dx.doi.org/10.22162/2500-1523-2021-1-120-133.
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Introduction. For the first time the Epic of Jangar became known in scientific circles after B. Bergmann published a German account of The Song of the Battle between the Heroes of Jangar and Shara Gyurgyu the Terrible in the early 19th century. Since then, the Jangar had become known in the world as the Kalmyk heroic epic. After the publication of newly discovered songs of the Jangar at the beginning of the 20th century in Mongolia, it became known as a Mongolian epic. In the late 1970s, after publishing numerous songs of the Jangar in China, the epic became known as epic legacy of the Oirats of Russia, China and Mongolia. One of the scientific centers of China which has been actively searching for the Jangar texts for 41 years is Inner Mongolia University. From 1977 to 2018, teachers of the Mongolian Faculty undertook ten scientific expeditions to the Oirat-inhabited areas of Xinjiang. Goals. The article seeks to introduce the history and results of field expeditions to Xinjiang made during 41 years in order to record new songs of the Jangar epic. For the first time in the history of modern Mongolian studies, the paper describes the results of large-scale field works that have been carried out for four decades. During the first expedition in 1977 to Hoboksar, a University teacher Chojinjav managed to meet the prominent Oirat storyteller Yerempil and record six songs of the Jangar epic. In 1978, the expedition already consisted of three researchers and explored Bortala Mongol and Ili Kazakh autonomous prefectures. In those days, over 40 storytellers were identified and 60 songs of the epic were recorded. Each subsequent expedition brought its own results. One of the longest search expeditions took place in 1996, which lasted almost thirteen months and covered the Bortala Mongol, Ili Kazakh and Bayingolin autonomous prefectures, including Tarbagatai district. During that time, the University teacher D. Taya identified more than 40 storytellers and recorded 90 songs of the Jangar. Conclusion. Thus, for four decades, the University of Inner Mongolia was conducting systematic and systematic search works which gave tangible results — names of new talented storytellers-jangarchis were discovered, a huge layer of new and numerous versions of already known chapters of the Jangar were recorded but most importantly — scientific confirmation of the existence of a living epic tradition among the Oirats of Xinjiang was obtained.
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Burkitbayeva, Sh, and G. Kortabaeva. "FEATURES OF UİGHUR POETRY IN INDEPENDENT KAZAKHSTAN." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 218–25. http://dx.doi.org/10.51889/2020-3.1728-7804.32.
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The article deals with the poetry of the Uyghur diaspora living in independent Kazakhstan. First of all, this work is due to the fact that there are very few scientific works in the Kazakh language about the songs, poets and literary figures of the Uyghurs living in the independent Kazakh land. Second, the study aims to introduce ethnic Uyghur songs from the years of independence. The article also discusses the growth and prosperity of the poetry of the Uyghur diaspora, which was formed as a branch of the literature of independent Kazakhstan, the poets and their works. It is revealed that the main theme of the poetry of the fraternal Uyghur diaspora, one of the Turkic-speaking peoples, is developing in the same direction as the themes of Kazakh literature, and excerpts from his poems are given. The article examines the poetry of the Uyghur diaspora from 1991 to the present, when Kazakhstan gained independence, in three stages. It is analyzed that Uyghur poetry develops and continues as a branch of the literature of Independent Kazakhstan in all three stages, both in terms of themes and genres. The article uses materials from the library of the Uyghur Cultural Center in Almaty.Works from the literary fund of the Department of Uyghur Studies of the Institute of Oriental Studies named after Suleimenov and the poets themselves were used.
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Orda, G., and G. Askarova. "CONTINUITY OF TRADITIONS OF KAZAKH CHILDREN'S LITERATURE." BULLETIN Series of Philological Sciences 75, no. 1 (March 30, 2020): 268–75. http://dx.doi.org/10.51889/2021-1.1728-7804.46.
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The article discusses the continuity of the traditions of Kazakh children's literature, which originates from the samples of oral literature. Regardless of the age of the literature, it is important to note that writers write works of art for children. One of the main functions of fiction is to educate the reader, and in any work of poets and writers, it is shown with specific examples that they remember this and write valuable things that will bring up Kazakhstani children. A scientific analysis of the artistic and aesthetic achievements of modern children's literature is carried out by analyzing the works of poets and writers who wrote for children, such as B. Zhylkybekovich, S. Duisenbiev, S. Doszhan, R. Sautbay, who learned from the classics of children's literature. The tradition of modern Kazakh children's literature is based on certain subgenres such as counting, riddles, proverbs, songs of lies, fairy tales, legends, stories. Scientific opinions are presented based on the opinions of scientists.
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Shurentayev, A., and K. Kushkinbayeva. "Themes of law and rights in Abay Kunanbaev’s work." BULLETIN of the L.N. Gumilyov Eurasian National University. Journalism Series 134, no. 1 (2021): 52–58. http://dx.doi.org/10.32523/2616-7174-2021-134-1-52-58.
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The article is a scientific analysis of the works of the great thinker A.Kunanbayev in the context of aspects of law and legality. It is stated that his work includes poems, epics, songs and translations that reflect the most pressing issues of public and political life of the Kazakh people. The article is dedicated to the fact that A.Kunanbayev focuses primarily on the problem of human rights protection in his works. The author of the article compares the Kazakh law «Erezhe», created by Tole Bi (judge) and which became a significant event in the life of the Kazakh people, and Abai’s «words of edification», finding significant points of contact, arguing that the strict principles of «Erezhe» are presented in the «words of edification» as key issues. The article defines that a clear definition of the concept of «law» is contained in the words of Abay: «The law is a set of rules and regulations that lead to justice, peace and tranquility». The article also substantiates the need for further active study of the Kazakh thinker’s works from a legal perspective in connection with the discovery of new Abai’s texts.
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Sabyrova, Aliya, and Aigerim Baribayeva. "Overview of the documentary film "The first audio recording of Kazakh music. Road of people"." Central Asian Journal of Art Studies 6, no. 1 (March 31, 2021): 165–75. http://dx.doi.org/10.47940/cajas.v6i1.347.
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Kazakh traditional music has been the research object for many scientists from Russia, Germany, Great Britain, Hungary, Japan, the United States, and other countries. In the 20th century, due to the establishment of Soviet power, the territory of Kazakhstan was closed for research by foreigners. Simultaneously, such a combination of events contributed to preserving materials collected before the Great October Socialist Revolution. Therefore, today it is vital for the World and Kazakh ethnomusicology to consider unknown materials and scientific sources. Various foreign archives contain materials unknown to Kazakh ethnomusicologists about Kazakh traditional music collected on researchers’ and traveler’s expeditions since the end of the XVIII century. Recordings of the German ethnographer-anthropologist R. Karutz were found in 2016 by the film crew of the Interstate TV and Radio Company “Mir”, and analyzed and published by the doctor of Art studies S. I. Utegalieva in the book” Turkestan collection of songs and instrumental pieces collected by R. Karutz (1905)”. These recordings prove that there are sources about Kazakh traditional music that can change the opinion about the historical significance of the Kazakh culture in the Central Asian region. The famous turcologist Efim Rezvan presented the records in the Pushkin Museum in St. Petersburg. It turned out that the original cylinders with authentic recordings are currently stored in the archive of the Berlin Museum of Visual Anthropology and Ethnology. This article reviews the documentary film "Road of People: The First Audio Recording of Kazakh Music", and sheds light on the possible prospects of studying the problem of research the Kazakh traditional music. Today, the Berlin Phonogram Archive contains samples of music from all over the world, the first recording dates back to 1900. The collection of wax cylinders by Richard Karutz is kept in the Department of Ethnomusycology, Visual Anthropology at the Berlin Phonogram Archive of the Ethnological Museum in Berlin. The collection is well preserved, and according to its curator Dr. Ricarda Kopal, there are 16 wax cylinders from Turkestan, an area of now southern Kazakhstan, which R. Karuts crossed during his expedition. The film crew brought digital copies of the recordings to Almaty for further study. Kazakh and international scientists and performers, professors and doctors of sciences: S. Utegalieva, T. Togzhanov, A. Berdibay (Kazakhstan), I. Saurova (Karakalpak Autonomous Republic), R. Abdullaev (Uzbekistan) and others were involved to decipher, analyze, describe and evaluate the musical and artistic content of the recordings. The whole process was documented in the film, which was worked on by a whole team of professional journalists, the script was written by Timur Sandybaev and Askar Alimzhanov, directed by Kanat Yessenamanov.
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Matyzhanov, K., and A. Aitbaeva. "Children Development in Early Age by Children’s Ceremonial Songs (on the example of kazakh child folklore)." Journal of Educational Sciences 56, no. 3 (2018): 4–12. http://dx.doi.org/10.26577/jes-2018-3-514.
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Bukeshova, S., and R. Kerimbayeva. "Poetic and musicl-structured features of national singing in the songs by the composer M. Eginbaev." Pedagogy and Psychology 43, no. 2 (June 30, 2020): 243–49. http://dx.doi.org/10.51889/2020-2.2077-6861.33.
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Article about the use of the game asyk in the modern world of technology, as an effective tool against gadgets, ridding children of Internet addiction. The negative impact of gadgets on the health and psychological development of preschool children is analyzed. However, today children have become unconsciously dependent on gadgets. The consequences of children’s dependence on gadgets affect their health, development, and the future of the nation as a whole. The author defines the psychological and pedagogical possibilities of using the games of assik in order to distract children from gadgets. It offers modern, modernized types of games assik, which are national games of the Kazakh people. The optimal pedagogical and methodological approach to the use of the game assik in the educational process of kindergarten is determined. As an innovative project in the field of education, we have developed the experience of using the game assik in the modern direction, as an effective program for the formation of cognitive processes and sensory development of children.
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Sipos, János. "In Bartók’s Footsteps A Folk Music Research Series Among Turkic People (1936–2019)." Studia Musicologica 60, no. 1-4 (October 21, 2020): 313–26. http://dx.doi.org/10.1556/6.2019.00015.
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The Hungarian language belongs to the Finno-Ugric linguistic family, but several pre-Conquest strata of Hungarian folk music are connected to Turkic groups. Intrigued by this phenomenon, Hungarian folk music researchers launched thorough comparative examinations. Investigations authenticated by fieldwork have also been ongoing to the present day, parallel to theoretical research. Initially, the main goal was to explore the eastern relations of Hungarian folk music, which gradually broadened into the areal research of the Volga-Kama-Belaya region. I further expanded this work to encompass the comparative investigation of Turkic-speaking groups living over the vast Eurasian territory. This paper provides a summary of the findings of this field research examining the folk music of Anatolian Turk, Azeri, Karachay, Kazakh, Turkmen, Uzbek and Kyrgyz people. I briefly describe the sources, the fieldwork, the methods of processing the collected material, and most interestingly, I summarize new findings. After providing an overview of traditional songs of several Turkic peoples, selected results are provided in three tables: 1) a grouping of Turkic folk-music repertoires; 2) Turkic parallels to Hungarian folk music styles; and 3) the current state of Turkic folk music research conducted by Hungarian scholars.
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Sipos, János. "A lament from Bartók's anatolian collection and its musical background." Studia Musicologica 48, no. 1-2 (March 1, 2007): 201–13. http://dx.doi.org/10.1556/smus.48.2007.1-2.13.
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Abstract Bartók collected folk music in Turkey in 1936, and his Turkish collection was published in 1976 almost simultaneously in Hungary and America, and in 1991 in Turkey. How Bartók's conclusions stand the test in the light of an examination on a larger Turkish material? I investigated this question in four of my books, and the detailed analysis points way beyond the scope of the present paper. This time I deal with a single melody, the No. 51 lament of Bartók's collection and with its larger Anatolian, Hungarian and other musical background. Can this melody be an important link between Hungarian and Anatolian folk music layers? If so, why did Bartók not realize this? Does Bartók's incredibly detailed way of transcription has practical benefits in the ethnomusicological research? Is the unique intonation of certain tones in some Anatolian and Hungarian laments accidental or do these tones show a consistent system? Can we find the musical form represented by this Turkish lament in the folk music of Turkic and other people; is yes, what kind of conclusion can be drown? Trying to find an answer to some of these questions I use the melodies and the results of my Turkish, Azeri, Karachay-Balkar, Kazakh, Mongolian and Kyrgyz researches of more then 7000 songs.
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Bierzeņš, Aņss Ataols. "„f“ AND „h“ LETTERS' PROBLEM IN LATGALIAN LANGUAGE." Via Latgalica, no. 3 (December 31, 2010): 51. http://dx.doi.org/10.17770/latg2010.3.1671.
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<p>In the article is told about the problem of letters’ (and sounds’) f and h in Latgalian language. These sounds have never been in any Latgalian dialect, in foreign words speakers always have been replaced them with other sounds. At the same time letters f and h have been used in written Latgalian at all times: from the first known book „Evangelia toto anno“ to the present day. What to do in this situation: to keep the way of the still alive traditional spoken language, or to yield to the pressure of other languages?</p><p>The author analyzes a variety of sources: tells about reconstructions of source languages and opinions of their researchers about presence/absence of these sounds in them, deals with f in contemporary Eurasian languages (Eastern Slavic: Russian, Ukrainian, Belarusian; Finnic: Finnish, Estonian, Vyru; Turkic: Kyrgyz, Kazakh, Chuvash, Yakut; Persian: Pashto; Baltic: Lithuanian, Samogitian) and h in contemporary Eurasian languages (French, Kazakh, Lithuanian, Samogitian). Latgalian and Latvian dialects’ recordings, folk songs, ancient texts (from XVI–XVIII centuries), as well as Latgalian contemporary literature are analyzed. The author also evaluates inclusion of letters f and h in alphabet of the official Latgalian terms of spelling in year 2007.</p><p>Author establishes that there are five possible paths:</p><p>1) to use the f and h in all the words where they are in Latvian, Russian or other languages;</p><p>2) to keep p, k, g and c in traditionally used words, but to put f and h in newly borrowed ones;</p><p>3) do not use the f and h at all;</p><p>4) to use both variants parallely in the same words;</p><p>5) to write f and h, but to pronounce them as p and k.</p><p>Author concludes that the actualy usable are only two of them: the second one – the way of a compromise, and the third one – as the most appropriate to Latgalian phonological system.</p>
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Muftaсhutdinova, D. "Early 20th century kazakh madrasah shakirds’ songs of social protest (Based on the materials of the Orenburg gendarmerie administration Fund of the early twentieth century)." Journal of history 91, no. 4 (2018): 145–50. http://dx.doi.org/10.26577/jh-2018-4-310.
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Babizhan, B. Z., A. R. Berdibay, A. B. Baisakalova, Y. T. Chukmanov, and A. N. Ulkenbaeva. "Contemporary Song Folklore of the Kazakhs of the South-West Zhetysu: The Experience of Musical and Regional Research." International Journal of Criminology and Sociology 10 (December 31, 2020): 120–32. http://dx.doi.org/10.6000/1929-4409.2021.10.16.
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Kazakh music and dance has many unique features but also has many things in common with the music and dance of Mongolia and Central Asia. For Kazakhs the summer has traditionally been the best time for merry-making. They often sing and dance during summer nights on the pastures. The relevance of the study is due to the insufficient study of the Kazakh song folklore of the south-western part of Zhetysu, represented by eight districts of the borderland of Almaty and Zhambyl regions with Kyrgyzstan. This article is aimed at identifying the genre composition of the song folklore of the local tradition, the conditions of its existence, as well as the peculiarities of their musical-poetic structure and musical language. The results of this research are a contribution to the musical archeology of Kazakhstan. They can also be used in the study of the stylistic originality of the song folklore of the Kyrgyz and Uzbeks living in the border regions of Kazakhstan and Kyrgyzstan.
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Bankauskaitė, Gabija. "Respectus Philologicus, 2011 Nr. 20 (25)." Respectus Philologicus, no. 20-25 (October 25, 2011): 1–286. http://dx.doi.org/10.15388/respectus.2011.25.
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CONTENTS
I. PROBLEMS AND SOLUTIONSLoreta Ulvydienė, Giedrė Drėgvaitė (Lithuania). Linguistic Experience as the Projection of Urban Cognition in Literature...11Saule Altybayeva (Kazakhstan). Neomythologism of the Modern Kazakh Prose: Polycultural Discourse and Art Prospect Search...27Michał Mazurkiewicz (Poland). The Nature of Ritual... 40
II. FACTS AND REFLECTIONSLaima Kalėdienė (Lithuania). Attitude Towards the Official Language According to the Data of Sociolinguistic Survey... 52Vadim V. Dementyev (Russia). Glamour as “The Old New Svetskost”?....65Elena Bonta, Raluca Galiţa (Rumunia). Joking as a Semiotic Practice and Means of Spiritual Survival. A Pragma-linguistic and Stylistic Approach... 80Irina Melnikova (Lithuania). The Gorris Defence, Or Nabokov on Screen... 95Jadvyga Krūminienė, Artūras Cechanovičius (Lithuania). On some Jungian Archetypes Reflected in Joseph Conrad’s Heart of Darkness... 107Ewa Anna Piasta (Poland). Axiological Horizons of the Short Story „The Dream of the Saint“ by Reinhold Schneider... 122Oleg N. Grinbaum (Russia). The Fourth Chapter of the Novel “Eugene Onegin” by A. S. Pushkin: Onegin’s Monologue in the Light of Rhythm and Meaning ... 133Valentina Litvinova (Russia). The Epistolary Heritage of A. Chekhov from Siberia (the Letters of the Writer from the Point of View of Time and Space)... 153Roma Konsevičiūtė (Lithuania). The “Giesmių Giesmė” (The “Song of Songs”) Motive Transformation in Antanas Jasmantas’ Lyrics... 162Eleonora Lassan (Lithuania). Conjunction зато as a Means of Realization of Psychological Compensation in the Russian Language.... 170Joanna Senderska (Poland). The Social Vocabulary Enrichment Based on Selected Cases of Polish Sociolects...181Danguolė Melnikienė (Lithuania). Peculiarities of the Specific Realia Expression in Lithuanian Bilingual Dictionaries... 192Marlena Chudzik (Poland). Toponomastic Scholars’ Problems... 202Daiva Aliūkaitė (Lithuania). Expression Ideals of Young Samogitians: Conscious Attitude...209Yuri Tambovtsev, Ludmila Tambovtseva, Juliana Tambovtseva (Rusija / Rosja). Functioning of the Continuous Tenses in Female and Male Variants of the American and British English Language...221Natalia Krasilnikova (Russia). Public Opinion in the Light of Cognitive Discourse Paradigm... 233
III. OPINIONJelena Konickaja, Artur Zapolskij (Lithuania). Metaphors in Lithuanian and Slovenian Political Discourse... 243
IV. SCIENTIFIC LIFE CHRONICLEConferencesViktorija Makarova (Lithuania). “Language and Method”. Krakow, 5–6 May, 2011...254Daiva Aliūkaitė (Lithuania). Project “Research on Modern Geolinguistics in Lithuania: Point Network Optimization and Dissemination of Interactive Dialect Information“...257Books reviewsDanutė Balšaitytė (Lithuania). Diagnosed. What next? ЛАССАН, Э., 2011. Лингвистика ставит диагноз... Очерк «духа эпохи» в свете данных лингвистического анализа... 260Dagnė Beržaitė (Lithuania). Remarks of Ungrateful Reader. DOSTOJEVSKIS, F., 2010. Apysakos I: Antrininkas, Žiemos pastabos apie vasaros įspūdžius, Užrašai iš pogrindžio... 267
Announce... 271V. REQUIREMENTS FOR PUBLICATION...272VI. OUR AUTHORS...280
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Mirov, M., and N. Saduakas. "NEW PAGES OF JUBANOVATION." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 132–38. http://dx.doi.org/10.51889/2020-3.1728-7804.20.
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Professor KudaibergenZhubanov is a scientist who worked at the turn of the last century. He made a significant contribution to the formation of Kazakh linguistics. Currently, his scientific works are deeply studied and are known in the scientific community as "Zhubanovedenie". Both of his sons, EsetZhubanov and AskarZhubanov, were scientists who made a significant contribution to the study of the Kazakh language. Therefore, the article describes the directions of further research in the field of "Zhubanovedenie".Zhubanovedenie is a general definition of the scientific heritage of the brothers Kudaibergen and AkhmetZhubanov. Therefore, in this article we will focus only on the issues of the Kazakh language. A. Baitursynov, H. Dosmukhamedovich, T. Shonanovich, K. Zhubanov, E. Omarov, K. Kemengerovich and others, who stood at the origins of the formation and development of Kazakh linguistics. The contribution of prominent scholars to the study of the native language was special. Among these outstanding citizens, we note the name of Professor KudaibergenZhubanov, who worked tirelessly for the future of the Kazakh language and left behind a rich scientific heritage.
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Кuzbakova, G. "Prosody of the Word in Kazakh Ritual Song Rhythmics." Bulletin of L.N. Gumilyov Eurasian National University. Philology Series 123, no. 2 (2018): 96–104. http://dx.doi.org/10.32523/2616-678x-2018-123-2-96-104.
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Pangereev, A. Sh, and M. R. Baltymova. "Children's folklore as a special kind of traditional culture." Bulletin of the Karaganda University. Philology series 99, no. 3 (September 30, 2020): 91–95. http://dx.doi.org/10.31489/2020ph3/91-95.
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The article deals with the formation of folklore, its influence on the development of traditional culture, song art of the Kazakh people and their features, the role of the Kazakh people in preserving spiritual wealth and values. A review of scientific research on oral literature, analyzed the collection of folk motifs, their distribution among the people, and mythical stories in ancient Turkic monuments. Based on the research, the ways of forming the spiritual values of the Kazakh people through national literature and culture, the importance of folk heritage as a means of preserving traditional culture are identified. The special role of children's folklore in the education of the younger generation and the formation of spiritual values is shown. It is revealed that the folklore genre forms the traditional culture and closely develops together with the people for many centuries.
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Caffee, Naomi. "How Tatiana's voice rang across the steppe: Russian literature in the life and legend of Abai." Journal of Eurasian Studies 9, no. 1 (January 2018): 12–19. http://dx.doi.org/10.1016/j.euras.2017.12.002.
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The Kazakh poet Abai Qunanbaiuly (1845–1904) today enjoys a dual legacy as the father of modern Kazakh literature (as distinct from its oral tradition) and also as an enlightener who translated the Russian classics into Kazakh and acted as a vital bridge between the two cultures. Much of Abai's reputation owes its existence to the twentieth-century author, critic, and scholar Mukhtar Auezov (1897–1961), whose biographical writings on the poet formed the standard narrative of his life and work. Initiated in 1937, the year of the Pushkin centennial celebrations in the Soviet Union, Auezov's literary canonization of Abai hinges on the poet's acquisition of the Russian language and his transformative encounters with Russian-language texts – most notably among them, Pushkin's Dubrovskii and Evgenii Onegin. In Auezov's account, Abai's efforts lead to the discovery of an authentically Kazakh literary voice, heralded by his successful adaptation of Pushkin's Evgenii Onegin into traditional Kazakh song form. In analyzing this prominent episode of the Abai legend, I argue that Russian literature's “conquest” in Central Asia was in fact a multifaceted dialogue in which writers laid the foundation for distinct national literary traditions by appropriating the literature of the colonizer – and in particular by reading, translating, displacing, domesticating, and “disorienting” the figure of Pushkin.
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Kara, DÁvid. "Kalmak: The enemy in the Kazak and Kirghiz epic songs." Acta Orientalia Academiae Scientiarum Hungaricae 63, no. 2 (June 2010): 167–78. http://dx.doi.org/10.1556/aorient.63.2010.2.3.
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Duisenbi, A. "TEXTOLOGICAL ANALYSIS OF THE MANUSCRIPT TEXTS OF THE SONG «BOZUGLAN», AHMETBEK AND ZHUSUPBEK»." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 225–30. http://dx.doi.org/10.51889/2020-3.1728-7804.33.
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In this article, manuscripts of epos «Bozoglan, Ahmetbek, Zhusipbek» published in Kazan in scientific work "Babalarsozi" and manuscripts of epos "Yusuf beg - Ahmet beg" from the fund of manuscripts of Academy of Science of Turkmenistan are analyzed. Explanations to some words, phrases and meanings from text are given in the Kazakh version of manuscripts. In our article, we compare the Kazakh-Turkmen text of the poem, compare some words and concepts that contradict each other or cannot convey meaning in verses, comparing them with detailed examples. We have considered that the results of our research and evaluation will be useful to future researchers in this area. Analysis of the works was done according to intercultural literature researches and methodologies build upon them. This article states that historical literature of early periods, should be analyzed considering the features, literary traditions, and usage of words of that period.
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Massimkhanuly, D., and A. Abidenkyzy. "The spread of the national idea of Alash among the Kazakhs of East Turkestan." BULLETIN of L.N. Gumilyov Eurasian National University. HISTORICAL SCIENCES. PHILOSOPHY. RELIGION Series 135, no. 2 (2021): 26–34. http://dx.doi.org/10.32523/2616-7255-2021-135-2-26-34.
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The ideas of Alash are the spiritual value of the Kazakh people, which determine the development priorities of our state and historical policy. The formation of the USSR and the subsequent totalitarian vector of development conditioned the persecution and exilement of the Alash national intelligentsia. As the result of the repressive policy the majority of the best sons of Kazakh nation were arrested, shot, exiled to camps and forced to flee abroad. There in a foreign land, including in the territory of Xinjiang in China, they continued to spread the progressive ideas of Alash. The authors believe that the ideas of Alash played a role in the creation of the independent Republic of East Turkestan, which existed for five years (1944-1949). The authors examine in the prism of historical events the evolution of Alash ideas since the emergence of its leaders on the territory of East Turkestan, as well as the impact of Alash ideology on the scale of the national liberation struggle. The content of the article demonstrates the main publicity channels which played a particular role in the spread of the Alash idea. Firstly, it is the information obtained from Kazakh, Saryarka newspapers and letters from Aykap magazine. Secondly, these were the Alash emigrants themselves, who were active in spreading the idea of independence in the emigrant community. Third are the new generation, the followers of Alash, who grew up on Alash ideology, poets and writers. The authors show that, as a result of the ideology created by the PRC in 1949, all non-ethnic dissent was banished.
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G.G. Sapargaliyeva. "PECULARITIES OF THE VOCAL TECHNIQUE FOR THE IMPROVEMENT OF VOCAL ELOCUTION ON THE EXAMPLE OF A KAZAKH SONG." SERIES OF SOCIAL AND HUMAN SCIENCES 2, no. 330 (April 15, 2020): 188–93. http://dx.doi.org/10.32014/2020.2224-5294.55.
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Omirbaeva, G. "FEATURES OF PROFESSIONAL TRAINING FUTURE SPECIALISTS IN THE CONTEXT OF IMPLEMENTATION OF THE PROGRAM «RUKHANI ZHANGYRU»." BULLETIN Series of Pedagogical Sciences 68, no. 4 (December 30, 2020): 122–27. http://dx.doi.org/10.51889/2020-4.1728-5496.18.
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The article deals with the theoretical ideas and experience of a higher school teacher in implementing the «Rukhanizhangyru» Program for professional training of future specialists in the sphere of culture and art. The author substantiates the relevance of the ideaswhich are presented in this Program. They are aimed at developing the training of specialists in the context of globalization, innovation in the socio-economic sphere of society, and the more significant is the preservation of folk music, careful attitude to the treasures of folk art. While teaching students pop vocals, instrumental performance, specialty «Traditional art», the teacher is guided by the ideas оf the Program «Rukhanizhangyru». A special feature of professional training of specialists in the sphere of culture and art is the possibility of including in the integral pedagogical process of the University forms and methods of studying works of song and instrumental performance, the rich folklore of the Kazakh people, contributing to the formation of a person – a citizen, a patriot of his homeland.
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Ram, Harsha. "Imagining Eurasia: The Poetics and Ideology of Olzhas Suleimenov's AZ i IA." Slavic Review 60, no. 2 (2001): 289–311. http://dx.doi.org/10.2307/2697272.
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The article examines the controversial book AZ i IA (1975) by the Russian-language Kazakh writer Olzhas Suleimenov. Ostensibly a study of the Russian medieval classic The Song of Igor's Campaign, the book was quickly understood to be a pointed commentary on the history of Russo-Turkic relations and a vindication of the Central Asian nomads, who were seen as oppressed by imperial domination in the field of knowledge no less than in politics. While Soviet critics noted the tension between the book's scholarly premises and its ideological claims, they chose to ignore the deeper implications of AZ I IA as a hybrid genre that conflates the devices of poetry with the scholarly methods of historiography and linguistics. While earlier critics chose to hail or dismiss Suleimenov's ideas on the basis of their scientific accuracy, this article interprets his poetics and ideology as characteristic of a “Eurasianist” tradition in Soviet letters, represented in this case by the linguist N. Ia. Marr and the avant-garde poet Velimir Khlebnikov, both of whom can be said to anticipate essential aspects of Suleimenov's linguistic vision and epistemological orientation.
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Baibek, Aigul Kydyrgalikyzy. "The Role of Ethnosolfeggio in the Preservation and Development of Kazakhs’ Song Heritage in the Conditions of Globalization." Ethnic Culture, no. 1 (1) (December 26, 2019): 19–23. http://dx.doi.org/10.31483/r-64072.
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The article is devoted to the problem of preserving the spirit and creative potential of the traditional music in the modern Europeanized education of folk musicians in Kazakhstan. In the modern ethnosolfeggio course, adapted for folk singers, the necessary basis is formed for understanding the historical development of traditional music and its role in modern cultural contexts, as well as the need for its preservation and further development. The purpose of the article is to offer the measures to preserve the valuable qualities of traditional music and ensure its further development. Based on the methods of generalizing pedagogical experience (observation, studying normative documentation, questionnaires), many years of experience in teaching a course of ethnosolfeggio adapted for folk singers are presented. As a result of the work, the necessary theoretical and practical basis was obtained for understanding the historical development of traditional music, understanding its role in modern cultural contexts and the need for its preservation and further development. The article concludes that ethnosolfeggio course include saturation with creative forms of work that rely on «verbalness» inherent to traditional singers, and emphasis on mastering improvisation that unfolds the composing potential.
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Purik, Elsa E., Marina G. Shakirova, Mars L. Akhmadullin, and Vilur R. Shakirov. "The Melody of Form and Space: Music as a Source of Inspiration." ICONI, no. 2 (2020): 97–107. http://dx.doi.org/10.33779/2658-4824.2020.2.097-107.
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The article is devoted to the artistic legacy of Bashkir sculptor Ruslan Nigmatullin, one of the leading masters of contemporary visual arts in the republic. The relatedness of artistic expressive means of music with those in the plastic arts, their expressive elements become more apparent in the comparison of music and abstract art in the process of generation of the artistic image. The authors examine the artist’s oeuvres in the context of the particularity of sculpture as a peculiar art which requires from the viewer the knowledge of the laws of artistic form-generation and an understanding of their language, based on such elements as mass and space. The article presents an analysis of the artist’s works made of stone, metal or wood, while the artist himself sees their source as being connected with music. During the course of his entire artistic path Ruslan Nigmatullin has created sculptures in different directions: realism, decorative plastic and abstract art. The master’s art works, according to the authors of the article, are all unified by an inner figurative idea: when looking at the sculptor’s works it is possible to observe their inherent qualities: contemplation, abstraction and pure sound — natural, ethnic and sometimes purely songrelated, enhancing their relatedness to music. The artist considers one of the sources of his inspiration to be the historical Asian melodies, which share common roots with the ethnic music of the Bashkirs, Kazakhs and Tuvans. The authors provide an analogy between the folk songs of these peoples and their instrumental tunes, the latter being marked with a concise, measured rhythmic structure, and the artist’s works, his ability to create new forms, frequently just as abstract as the melodies with which it is associated.
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Bielik-Zolotariova, N. A. "Choral dramaturgy of the opera «The Way of Taras» by O. Rudianskyi: symbolism of chronotope." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 25–39. http://dx.doi.org/10.34064/khnum2-18.02.
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Background. The last quarter of the 20th century – the beginning of the 21st century, marked in Ukraine by significant social changes, actualized the necessity to turn to eternal spiritual values of national culture, among which Taras Shevchenko’s creativity takes leading positions. During this time, a number of works appeared in Ukrainian musical and stage art that supplemented the domestic “Shevchenkiana” (a total of the works devoted to Shevchenko): the operas by O. Zlotnik, V. Gubarenko, H. Maiboroda, L. Kolodub). The tradition of embodying the image of T. Shevchenko was creatively developed by O. Rudianskyi. The significant role of choral scenes in his opera “The Way of Taras” led to their involvement in revealing the leading idea of the work: to show the main periods of the life of the great poet. Choral scenes are peculiarly organized in the time-space of the opera, gaining symbolic meaning. The disclosure of this symbolism becomes the key to understanding in the modern context of the historical role of T. Shevchenko’s life and work. The purpose of this study is to identify the symbolism of chronotope in the choral dramaturgy of the opera by O. Rudianskyi. The following events from the life of Shevchenko are presented in the opera «The Way of Taras» by O. Rudianskyi (1992, 2nd ed. 2002: the libretto by V. Yurechko & V. Reva): his arrival to Kiev from St. Petersburg after the graduation of the Academy of Arts, the activity in The Brotherhood of Saints Cyril and Methodius, finally, the arrest and the exile. The composer uses the choral factor in full – almost every stage of the opera has choral episodes, which receive various functions depending on the development of the dramaturgy of the opera. O. Rudianskyi created the images of the Ukrainians peasants, young men and women, children, members of the Cyril and Methodius Brotherhood, prisoners, soldiers -- by the use of male, female, children and mixed choir compositions. The opera includes: the "Ukrainian world", which obtains its characteristic precisely due to the presence of choral singing; the "Kazakh world", which is represented mostly by solo and dancing episodes; the "Russian world", which is presented through the spoken dialogues, orchestral fragments, choral recitation. The radical contrast in the depiction of Ukraine, the Kazakh steppes, and the St. Petersburg world creates to the chronotope changes in connection with the plot: Taras Shevchenko is free in Ukraine, he is not free in Russia and Kazakhstan. The opera-biography “The Way of Taras” almost for the first time at the Ukrainian musical stage emphasizes in the image of Shevchenko, who was a poet and a painter, the versatile of his creative personality. O. Rudianskyi introduces the method of artistic documentalism in revealing the events of T. Shevchenko’s life path, but along with the real people (Kostomarov, Petrov, Veresai), there are also fictional characters (the caretaker of the steppe – «Berehynia stepu»). Each of the pictures of the opera highlights a certain episode of the biography of the hero. The fragmentary character inherent in the opera by O. Rudianskyi makes it similar the opera “in four novels” «Taras Shevchenko» by H. Maiboroda and the opera-phantasmagoria «Poet» by L. Kolodub. Two female characters in the opera, Oksana and Zabarzhada, presents as a symbol of Taras’s unrealizable love. The image of Oksana – the first love of the poet – is created due to choreography, that makes it possible to define a ballet as another genre component of the composition. The development of the female theme involves both the women’s and the mixed choirs. O. Rudianskyi found a new approach to embodiment of the personality of the artist and poet in the first picture of the opera. This is the moment when T. Shevchenko is painting one of his picture on the bank of the Dnieper, reciting, at the same time, the lines of his immortal verse «Reve ta stohne Dnipr shyrokyi» («The broad Dnieper is roaring and moaning»), which became a folk song. In the fifth picture of the opera it is being sung powerfully by the choir – all Ukrainian people. So, the poet is presented as a prophet and spiritual leader of the people. Inspired by the Poet, people spoke out against the tyranny of the authorities. T. Shevchenko’s prayer with a mixed choir «To me, O God, give love on Earth» («Meni zh, mii Bozhe, na zemli podai liubov») is the reminiscence of the first picture, where the Poet created his immortal verse (its reciting with the vocalization of the choir basses). Conclusions. Thanks to choral scenes in the opera “The Way of Taras” by O. Rudiiyansky, a single space-time is created, in which the composer gives to the choir a symbolic meaning. In the choral presentation, the song about Dnieper River sounds as a symbol of freedom of the Ukrainian people; the effect by choir “church bells” symbolizes the conciliarity of Ukraine; the Marche funebre is the personification of the soldier serve, and the words-symbols “path”, “movement” embody Poet’s fate, inextricably linked with the fate of the Ukrainian people. The symbol of the opera whole is the word-image “path”. The semantics of the path, the moving is revealed both on the stage and on the mental levels: the Dnieper waves are constantly moving, the peasants are going to work, the path of prisoners is endless, and human life itself is the Path...
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Alves, Kelle Karolina Ariane Ferreira, Lívia Menezes Borralho, Ítalo de Macedo Bernardino, and Tânia Maria Ribeiro Monteiro de Figueiredo. "Análise temporal da incidência da tuberculose na população privada de liberdade." ARCHIVES OF HEALTH INVESTIGATION 9, no. 6 (December 28, 2020): 655–60. http://dx.doi.org/10.21270/archi.v9i6.4907.
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Objetivo: verificar o comportamento da incidência da tuberculose na população privada de liberdade e estimando sua tendência. Materiais e métodos: Trata-se de um estudo ecológico de série temporal com análise de tendência da incidência da tuberculose na população privada de liberdade. Utilizou-se de dados secundários provenientes do Sistema de Informações e Agravos de Notificação. A população foi composta por todas as notificações de Tuberculose da população privada de liberdade de unidades masculinas e femininas no período de 2007 a 2016. Na análise de tendência temporal foi realizada através da criação de modelos de regressão polinomial e testados os modelos linear; quadrático; exponencial. Resultados: A tendência da incidência na população privada de liberdade geral e no sexo masculino foi considerada estável, ambas com (p=0,180), e no sexo feminino decrescente (p= 0,040). Conclusão: É necessário avanços na condução do controle da tuberculose nas unidades prisionais.
Descritores: Tuberculose; Epidemiologia; Prisioneiros; Incidência; Saúde Pública.
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Omarova, A. "THE ERA OF GLOBALIZATION: ANCIENT RIPS IN THE KAZAKH OPERA." Keruen 70, no. 1 (March 15, 2021). http://dx.doi.org/10.53871/2078-8134.2021.1-09.
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This paper presents the new evidence that confirms the influence of A.V.Zataevich (direct and mediated) on the work of composers in the genre of opera in Kazakhstan. Relying on the support of various sources, mainly inaccessible and/or forgotten, there is shown the true scale of the use of song and instrumental samples of his musical and ethnographic collections of the «1000 songs of the Kyrgyz people (tunes and melodies)» (1925), «500 Kazakh songs and kuy…» (1931) and piano transcriptions (treatments) that are created in parallel with the collecting activity. In this regard for the first time the variety of forms and results which are opening a real contribution of A.V.Zataevich in the development of the Kazakh opera art is designated., Keywords: сhant, song, folklore, quote, tradition, composer, opera, plot, globalization.
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Akhmetzhanova, Zhanar Baltabekovna, Klara Tursynkhanovna Kabataeva, and Muslima Sharipovna Toizhigitova. "Comparative-typological Analysis of Kazakh Historical Songs." Mediterranean Journal of Social Sciences, September 1, 2015. http://dx.doi.org/10.5901/mjss.2015.v6n5s2p240.
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Shegebaev, A., A. Kyrgyzbayeva, and G. Khalidullayeva. "ETHNOGRAPHIC BASIS OF KAZAKH RITUAL SONGS RELATING TO MATCHMAKING." BULLETIN Series of Philological Sciences, June 30, 2020, 458–68. http://dx.doi.org/10.51889/2020-2.1728-7804.74.
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This article analyzes the ethnographic nature of ritual songs associated with the marriage customs of the Kazakh people. Studies have been conducted based on the history of the development of family and marriage on the paths of human development. In the Kazakh society, the social and social significance of creating a family is revealed, in accordance with the stages of the emergence and development of customs and traditions associated with marriage, the semantics of matchmaking is comprehensively and systematically disclosed. The single aspects of matchmaking with the life of the people from ancient times to the present day have been considered. The values of such ancient customs in the marriage ceremony of the Kazakh people were revealed, such as swearing “emitting blood”, treating the liver with fat tail fat, the significance, meaning and place of such ceremonies as, for example, sending a messenger, giving a dowry, paying a ransom to a bride, giving a gift to the house were examined the bride, the bridegroom's first visit to the bride’s house in Swatovst. The cognitive and educational nature of each sign associated with the matchmaking was analyzed. At the same time, conclusions are summarized as a result of analysis, comparison of the conditions of change and modernization of these traditions.
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Nurysheva, Gulzhihan, and Banu Kaldayeva. "The image of a woman in the traditional Kazakh worldview." Central Asian Journal of Art Studies 5, no. 4 (December 25, 2020). http://dx.doi.org/10.47940/cajas.v5i4.290.
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The article is devoted to the image of a woman in the traditional worldview of the Kazakh people. Traditional worldviews that are divided into historical types and the evolution of ideas and trends associated with the problem of women which took place at these stages are being studied. It is important to consider the problem of women in the context of the traditional worldview. This is due to the fact that trends and stereotypes about the social role of gender are formed on the basis of deeply rooted ideas that are traditionally passed down from generation to generation. These concepts have evolved over a long history of society and have different aspects: historical, social, economic, political, cultural, religious. Since the central core of all this is the worldview of people, it is important to analyze the image of a woman in the traditional worldview. This allows us to understand the evolutionary path of society's understanding of women's problems and its foundations. To preserve one's identity in the context of today's globalization, it is necessary to study the traditional system of values of the Kazakh people, the evolution of the system of ideas about the place and role of men and women in society, the historical experience of the people in relation to gender relations. In today's world, the globalization of culture and the national renaissance go hand in hand. In the culture of the 21st century, on the one hand, a common world culture of the whole planet is being formed, on the other hand, there is a growing interest in the cultural diversity of each nation and its development. The relationship between cultural heritage and modern culture is clearly reflected in the relationship between tradition and modernity in the image of today's Kazakh woman. Any culture is not established by force in a short time, the factors that regulate the culture of the people are formed over the centuries. Therefore, it is important to systematize the image of the Kazakh woman in modern culture, starting from the analysis of the image of mother in Kazakh mythology, motherhood in the Kazakh genealogy, the image of women in the heroic songs, as well as the image of women in the works of poets. Keywords: image of a woman, traditional Kazakh worldview, essence of a woman, “the concept of a Kazakh woman”, folklore.
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Batyrbekkyzy, G., T. K. Mekebaev, and Zh Zh Kumganbaev. "FROM THE HISTORY OF THE GREAT PATRIOTIC WAR." BULLETIN Series Historical and socio-political sciences 67, no. 4 (December 30, 2020). http://dx.doi.org/10.51889/2020-4.1728-5461.18.
Full textAbstract:
The article is a part of the history of the Great Patriotic War of 1941-1945 - newspapers in the Kazakh language on the front. It is a chronicle of the bravery of the Kazakh warriors, the brave sons and daughters of the Kazakh people, the citizens of the Soviet Union in fiery battles, and the feat of home front. The most widespread and developed branch of the Kazakh journalism of that time - daily editions, newspapers, constantly transmitting the news to the public and readers. If in fact, the main duty and responsibility of the media (media) before the country, the Creator, for society was to guide the positive emotions of all citizens by the right distribution of truth and to ensure the development of society, then during the war years the media had fully fulfilled their duty, performed, described exemplary ways to defend the Motherland, passed on to the descendants as a historical heritage. This is an eternal historical value and value for us and for our future generations.
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Abduov, Muhammadgali, Nazilya Abduova, and Nicolae Stanciu. "Image, Function, Meaning, and Structure: The Role of Aphorisms in the Kazakh Epic Poem Kyz Zhibek." Studia mythologica Slavica 23 (September 18, 2020). http://dx.doi.org/10.3986/sms20202306.
Full textAbstract:
In this article, the function of aphorisms in folk song, which also contains lyrical and dramatic elements, is analysed and defined through cultural (mostly folklore) literature, and linguistic methods. The main purpose of this paper is to show the role of the gnomic words generated by folk creators in an epic poem’s plot, their main functions in the development of conflict and the aesthetic expression of the work. Therefore, the meaning of symbols has been interpreted in close connection with the actions, archetypes and metaphors inserted in the structure of the song. Using as an example the song “Kyz Zhybek”, which is a prominent creation in Kazakh folklore, and reviewing research papers on the subject, the present article follows the contrastive analysis in researching the echoes of archetypal traditions in a Muslim cultural frame. Ethnos in culture remains in an attempt to recover the identity of a group using what seems specific in folklore, history, and linguistics and to track them in an original ideology articulated on national and universal bases. This paper may help researchers when studying folklore heritage, with understanding the scope of using the aphorisms and the main function actualised by them in folk literature. In addition, the role of aphorisms in a folk song is systematised, and their historical and identity significance is underlined.
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Azibayeva, B. U. "NOGAY CYCLE OF THE KAZAKH HEROIC EPIC." Keruen 3, no. 68 (September 15, 2020). http://dx.doi.org/10.53871/2078-8134.2020.3-02.
Full textAbstract:
Epic song heritage is an important and significant part of the Kazakh folklore. Important, socially significant issues of the Kazakh epic, an integral and composite part of the global epic heritage – praising the actions of the arrow-hunter, who lives separately from the people, protection of the family, protection of the clan, tribe, El, Motherland from foreign invaders, the struggle for the unity and independence of the people, the struggle for personal happiness, protection of honor and dignity of the individual, glorifying personal qualities of the average member of society, depiction of the internal struggles, religious feelings and affections, as well as interpersonal, intra-family, intra-tribe and inter-tribe interactions, etc. The national theme of protection of the Motherland, being relevant in many periods of history of Kazakhstan, is a dominant theme of the epics with heroic orientation, which received the highest artistic expression in classical samples of the heroic epic which were rightly included into the golden Foundation of the world epic heritage; images of the heroes- defenders became an example to follow for many generations. Heroes of classical samples of the heroic epic, for example, epics "Alpamys Batyr", "Kobylandy Batyr", "Kambar Batyr", etc. protect interests of specific clans and tribes which they lead. Heroes of Nogay cycle of the heroic epic don't protect a specific clan or tribe, but the whole Nogay El. In historical epics, the batyrs defend the interests of the Kazakh khanate, fight for freedom, independence, peace and happy life of the entire Kazakh people. These epic genres give us a panoramic picture of the progressive development of the national epic from the clan-tribal to the State epic. Nogay cycle is a semantically significant part of the heroic Kazakh epic, a symbol of a certain stage of its historical development. Nogay cycle of heroic epic is created within the frame of national epic traditions, however, it is characterized by its specific parameters and features.
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Batyrbekkyzy, G. "METHODOLOGICAL PROBLEMS OF STUDYING THE PERSONALITY OF THE GREAT STEPPE." BULLETIN Series Historical and socio-political sciences 64, no. 1 (March 30, 2020). http://dx.doi.org/10.51889/2020-1.1728-5461.15.
Full textAbstract:
The article deals with theoretical and methodological problems of research of national figures. A special place in the content of national history is occupied by the problem of historical personality. The study and teaching of social and political activities and creativity of the Kazakh intelligentsia in the Soviet system is important for popularizing the personality of the great steppe. The article deals with the origin of the Kazakh genera of the Senior Zhuz: saryuysun, Dulat, Alban, Suan, ysty, Shapyrashty, Oshakty, Sirgely The study of the lives and activities of the sons of a famous people who were innocently punished at one time is one of the main goals for history, since history is formed by individuals. The history of the life activity of great personalities in the modern history of Kazakhstan is one of the factors of formation of Kazakhstan patriotism. Of particular importance is the question of studying the life and work of great personalities of their time. These individuals not only created history, but also preserved the cultural values, moral principles and traditions of this society, becoming its leader.
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"Problems and issues of national development in the newspaper "Kazakh adebieti"." Journal of Social Sciences Research, no. 5 (December 25, 2018): 368–74. http://dx.doi.org/10.32861/jssr.spi5.368.374.
Full textAbstract:
Literary, cultural and art newspaper of an independent Republic of Kazakhstan – ‘Kazakh literature’ was a judge of justice and truth, and a preacher of national power having the trouble in its eighty five years of history. The edition had a mission to build and develop social concept leading the culture of the nation for the purpose of the country. It has been a part of history of the country being the source of political and social life of the nation. Many problems of the country had been solved by courtesy of the newspaper which couldn’t be ignored. During the Soviet Union the paper supported the mission of the nation in spite of Communist party which was cruel and violent. Because of it, the editors of the edition were precarious between fifties and eighties. Almost all the leaders of the newspaper were well-known writers, poets, publicists and personalities who showed them to be the real sons of their nation. During all periods of its history, the national edition united around itself and brought up ardent publicists, and with the power of a sharp word they fought for the bright future of their native land, for the fulfillment of the nation’s cherished desires. Therefore, from the mid-1950s to the 1980s, its editors-in-chief did not stay long in their post.
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Zekenova, A. Zh. "ONE IDENTITY FROM PROHIBITED LITERATURE." Keruen 3, no. 68 (September 15, 2020). http://dx.doi.org/10.53871/2078-8134.2020.3-10.
Full textAbstract:
The article considers the life and work of one of the poets of literature of the early twentieth century, Baybatyr Yerzhanuly, whose years of birth and death have not yet been fully specified and defined. Based on the available archival documents and reasonable information provided by the descendants of the poet, it was found that Baybatyr was born in 1897 in the former Kyzylzhar (now North Kazakhstan Region) and died in 1939. It was revealed that in 1935 the poet was arrested by the East Kazakhstan Military District (Military Commissariat of the regional administration), and an investigation was carried out on him. In a collection of literature of the early twentieth century, published in 1994, in an article about Baybatyr Yerzhanov, the scientist Zh. Tilepov, referring to the opinion of the journalist Seyten Sauytbekov, claims that Baybatyr was born in the South Kazakhstan region. It was found that this idea was presented a bit hastily. Archival data and manuscripts relating to the life and work of the writer are submitted to the public for the first time. For example, the original manuscript of his such books as “Get up, Kazakh!”, “Love for learning”, were found in the written letter based on the Arabic script “It is embraced with death” together with one chapter of the work “For the Collective Farm”, death certificate, questionnaire, completed by the poet’s handwriting during the investigation. Based on the collected material, the biography of the poet was supplemented. The article found and revealed that the poet had two sons and one daughter, as well as his wife Marjan, and that along with teaching and editorial work, he combined poetry, writing and journalistic skills.
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Ananyeva, S. V., and L. Kotorcha. "MYTHOREALITY AND CULTURAL SUPER-MEMORY IN VICTORIA KING’S NOVEL «RECLUSE»." Keruen 67, no. 2 (June 15, 2020). http://dx.doi.org/10.53871/2078-8134.2020.2-01.
Full textAbstract:
In the world literature, randomly discovered notes, diary and excerpts are widely used as a technique for creating a new artistic text by being its pretext. In the novel of the modern American writer Victoria King «Recluse» in parallel with the narrative line of «found notes» develops the story about the life and fate of the main character Lydia Sergeevna. The text of the novel includes fragments of ancient legends and myths from the book «Legends and Myths of Ancient Greece», in the margins of which one of the heroines of the novel reads a story about another, former life of the 30-50s of the XX century. Introspection and fantasy, intellectual search, aphoristic, figurative style, folklore motifs are successfully combined in the poetics and style of V. King in order to reveal the theme of the deep relationship of all living organisms on planet Earth. Narrative strategy allows the writer to combine three times – mythical, Soviet and post-Soviet. Temporary layers of the narrative intersect, develop in parallel, alternating both in the composition of the novel and in the memory of the characters. The past becomes a myth and suddenly comes to life, sprouting into the fate of the heroes. This is the skill of the writer as a narrator. The heroines of the novel, without hesitation, come to the rescue, stretch a helping hand to the elderly, save the children. Invisible threads in one instant bind the inhabitants of different countries of the world. The cultural super-memory allows the American writer in the pages of the novel to recreate the image of a Kazakh artist, decorator of the Almaty Opera House – Sergei Kalmykov. Imagological discourse is important as a view from abroad. The image of the artist was described, that of fully immersed in his fairy tales, in the memoirs of the main character of the novel, and in the diary entries Darya Belotserkovskaya. The poetics of the novel is characterized by fantasy motifs that reinforce sadness and grief, and folklore elements (song, folk laments, parable). Central is the parable of the old recluse who remains to grieve in the ashes. The measured, unhurried rhythm of the narrative prolongs the simple, unpretentious story. The drama of what is happening is transmitted through the representation of immutability of human essence and the eternal quest of the soul.
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Chernyavsky, V. A. "Взаимодействие музыкальных культур в контексте современных проблем образования." Nasledie Vekov, no. 3(19) (September 30, 2019). http://dx.doi.org/10.36343/sb.2019.19.3.011.
Full textAbstract:
Статья посвящена актуальной проблеме взаимодействия музыкальных культур в многонациональных регионах юга России. Автор рассматривает особенности традиционной музыки Ростовской области, Ставрополья, Астрахани, Кубани, Карачаево-Черкеcии, Адыгеи и подчёркивает, что её органичное вхождение в академическое искусство происходило в специализированных учебных заведениях музыкальных училищах и музыкальных педагогических институтах. Привлекавшиеся для работы в них педагоги, переплавляя в единое художественное целое местный фольклор и традиции академической музыки, создавали благоприятные условия для формирования нового поколения музыкантов, в произведениях которых находит свое подлинное воплощение диалог культур. Этот опыт, приходит к выводу автор, может быть взят на вооружение современной системой музыкального образования, в связи с чем изучение вопроса не должно прекращаться.The article is devoted to the urgent problem of the interaction of musical cultures in the multinational regions of Southern Russia. In the context of the growing globalization, the search for ideas that can become the basis for intercultural dialogue is becoming relevant. In these conditions, music can be considered as the clearest example of a powerful resource for creating and strengthening the space of interethnic interaction. Russian musical heritage is enormous in its characteristics, distinguished by the wealth of national schools. This heritage is a unique laboratory in which distinctive cultures constantly experience mutual influence thus enriching each other. The author notes that Russian composers constantly turned to Oriental themes not only reflecting the corresponding musical specifics, but also creating a new image of the East in the eyes of their compatriots, acting as artists carrying Russian culture. Currently, this tradition continues, which is shown by an example of the musical culture of the South of Russia, whose development reflects the constant interaction of academic music and folklore. The culture of dialogue, which made the integration of traditional music and academic art possible, originated in specialized educational institutions. The first of these institutions was the Music and Pedagogical Institute (later Rostov State Rakhmaninov Conservatoire), which trained composers whose works expressed all musical forms and genres. The joint work of teachers and students in the early 1970s positively reflected in the work of the Ensemble of Don Cossacks. The founding of Astrakhan State Conservatory (1969) became an important link in the formation of the space for cultural interaction between the peoples of the region (Kalmyks, Volga Germans, Kazakhs, Volga Tatars, etc.). Of great importance for the work of local composers were folklore works recorded on tape during ethnographic expeditions and then decrypted in the form of musical notation. Of considerable importance was the activity of graduates of Astrakhan Conservatory in the neighboring Kalmykia. According to composers and musicologists, the traditional music of the Kalmyk people is notable for its significant originality. One example of cultural interaction in the musical sphere is the Kalmyk dance melody Chichirdyk, which appeared in one of the villages populated by Kalmyks and Ukrainians. In Stavropol Krai, the opening of Stavropol School of Music in 1903 had a positive impact on the local traditional song and dance culture. The musical tradition of this region began to form during the period of active development of the region by the East Slavic population since the end of the 18th century. Krasnodar Krai is the center that has been attracting many ethnic groups, each of which brought its own unique shade to the local musical palette. The carriers of ethnic cultures that actively influenced the formation of the musical picture of the region were the Adyghe, Black Sea Cossacks, Armenians, Greeks, Assyrians and many other peoples. Currently, the Krasnodar Branch of the Union of Composers of Russia includes professionals who are fluent in various genres of music and embody the ideas of dialogue of cultures in the form of musical works.
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Pham, Nghia-Luan, and Van-Vinh Nguyen. "Adaptation in Statistical Machine Translation for Low-resource Domains in English-Vietnamese Language." VNU Journal of Science: Computer Science and Communication Engineering 36, no. 1 (May 30, 2020). http://dx.doi.org/10.25073/2588-1086/vnucsce.231.
Full textAbstract:
In this paper, we propose a new method for domain adaptation in Statistical Machine Translation for low-resource domains in English-Vietnamese language. Specifically, our method only uses monolingual data to adapt the translation phrase-table, our system brings improvements over the SMT baseline system. We propose two steps to improve the quality of SMT system: (i) classify phrases on the target side of the translation phrase-table use the probability classifier model, and (ii) adapt to the phrase-table translation by recomputing the direct translation probability of phrases.
Our experiments are conducted with translation direction from English to Vietnamese on two very different domains that are legal domain (out-of-domain) and general domain (in-of-domain). The English-Vietnamese parallel corpus is provided by the IWSLT 2015 organizers and the experimental results showed that our method significantly outperformed the baseline system. Our system improved on the quality of machine translation in the legal domain up to 0.9 BLEU scores over the baseline system,…
Keywords:
Machine Translation, Statistical Machine Translation, Domain Adaptation
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