Opción, Año 33, No. 85 (2018): 344-361
ISSN 1012-1587 / ISSNe: 2477-9385
Poetics of modern
literature of Kazakhstan
Saule Abisheva
Kazakh National Pedagogical University named after Abay,
Almaty, Kazakhstan
s.abisheva@mail.ru
Zinaida Polyak
Kazakh National Pedagogical University named after Abay, Almaty, Kazakhstan
zinaida-polyak@yandex.ru
Samal Serikova
Kazakh National Pedagogical University named after Abay,
Almaty, Kazakhstan samalserikova@mail.ru
Zhanna Kermeshova
Kazakh National Pedagogical University named after Abay,
Almaty, Kazakhstan heartbeat87@mail.ru Dina Sabirova
Kazakh State Women's
Pedagogical University,
Almaty, Kazakhstan dinasabirova_84.kz@mail.ru
Abstract
Presently all art forms endure transformation
and reconsideration
including literature. The whole complex of social, economic,
political and cult urological processes
led
to global changes in art of an era of postmodernism.
Verbal creativity of Kazakhstan of the period of
Independence endures modification of art forms.
If to speak
about
literature of Kazakhstan, it should be noted that in Kazakhstan the national
and
Russian-speaking prose actively develops. The Kazakhstan literary criticism addresses the research of main tendencies of development of
modern literature – the genre. In works of the latest literature of
Kazakhstan demonstrates that during an era of a postmodern
there are
profound changes.
Keywords: Poetics, modern literature, Independence period, postmodernism, genre.
Recibido: 10-01-2018 Aceptado: 09-03-2018
La poética en la literatura
moderna de Kazajstán
Resumen
En la actualidad,
todas las
formas de arte soportan
la transformación y la reconsideración, incluida la literatura. Todo el
complejo de
procesos urológicos sociales, económicos, políticos y de
culto condujo a cambios
globales en
el arte de una era de posmodernidad. La creatividad verbal de Kazajistán
del
período de la Independencia
soporta
la
modificación de las formas
artísticas.
Al hablar
sobre
la
literatura de Kazajistán, se debe notar que en Kazajistán se desarrolla activamente la prosa nacional y de habla rusa. La crítica literaria de
Kazajstán aborda la investigación de las principales tendencias del
desarrollo
de la literatura moderna: el género. En las obras de la última
literatura de Kazajstán se demuestra que durante una época de
posmodernidad hay cambios profundos.
Palabras clave: Poética, literatura moderna,
período de
independencia, posmodernidad, género.
1.
INTRODUCTION
Literary modernism or Modern Literature is rooted in the late 19th and early 20th centuries in Europe and North America, and its main feature is the deliberate breakdown
of traditional writing techniques, both in poetry and in the story. The new revolutionaries experienced literary form and expression in order to join the words of Ezra Pound to "make her
new". This literary
movement was driven by the conscious mimes to overthrow the traditional modes and represent a new form of expressing
the
feelings of the time. The horrors of the First World War revived the
predominant assumptions about society in the minds of the modernists, and the New Revolutionaries were co-mingled with and affected by all
those who challenged the rationality
of the human mind, among them Sigmund Freud and Karl Marx (SCHMITZ,
2008). In the collective monograph "Literature of the People of Kazakhstan" (SADYKOV, et al.,
2013) the major stages and regularities of literary process are investigated.
In
S. Ananyeva's monograph "Russian prose of Kazakhstan. The last quarter of the 20th century – the first decade of the XXI century"
(KUANYSHBAYEVA and ZHIYENBAYEV, 2017) are considered the
main vectors and reference points of modern Kazakhstan prose, her genre features, problematic
and
style forms.The works embodying the artistic
world of a family are a noticeable part of modern literary process and genre system of Kazakhstan
literature. The modern Kazakhstan novel is a genre, many-sided on the theme and poetics. SAVELYEVA (1970) notes
complexity of definition of a genre framework for the modern novel. In
the
Kazakhstan literature of a boundary of the 20-21st century’s intensive
searches of new genre forms of the novel are observed. At the same time
authors, calling their works novels, consider the existing literary tradition. Genre kinds of the novel in modern Kazakhstan literature are various. It is
historical and publicist ALLWORTH (1964) "The chronicle of great jute" and the documentary novel.
2. MAIN PART
The ontological aspect of
contents
of many
novels
defines
philosophical approach of authors to disclosure of the artistic idea. Here is
– complexity of a novelistic form: the narration is under construction of
different level and multidimensional
text combining various styles. The
intertextuality
and the addressing the myth as to an archetype and the parallel text – these lines of the modern Kazakhstan novel make related it with creative searches of postmodernists.
One of the important
subjects hardening of problematics
of these works is the family theme, home,
relationship of generations. Various novelistic forms define properly new approach to the solution of this theme in each novel. The genre of the
story is traditionally popular with authors and readers. The Kazakhstan
story of the last decades develops
intensively and multi-faceted. Topicality of this genre is determined by its mobility and laconicism. The
modern Kazakhstan story keeps the main genre lines of the classical story:
the
limited volume, a small amount of characters, a plot concentration
around several events, etc. At the same time, it is possible to allocate
several kinds of this genre in the latest domestic literature, having created its
typology.
Genre types of stories: social and psychological story
(ABDULLINA,
2013, MCGUIRE, 2014, TLEUOVA, et al., 2016); philosophical and psychological story (DURANT, 1961, POLUKHINA,
2008, FAHRUTDINOVA, et
al., 2016); humor story; story-apologue;
story-miniature; fantastic story (Eyre, 1961); novelistic story; fantastic
stories; autobiographical. (Kuanyshbayeva and Zhiyenbayev, 2017) adds
to this typology some more versions: stories of classical type, surrealistic stories, stories with elements
of
absurd and grotesque. Therefore,
in creativity of certain authors it is also possible to differentiate genre varieties of the story. So, the following types are distinguished
from U.
Tazhikenova's stories: stories-apologues, philosophical stories,
stories- sketches, stories-situations, stories-miniatures, stories-dreams or visions,
stories-outlines
and traveling notes. These versions in a certain measure
reflect the main tendencies of development of small genres of epic prose
in modern literature of Kazakhstan. The
family theme implementation in a genre of the story differs in compactness of composition
and
concentration of structure of the work. The image of relationship of family members is under construction on use of several bright events of a plot, laconic dialogue and exact expressive details. The genre of the story holds
median position between the novel and the story. The typology of this genre in the Kazakhstan literature is built according
to the general
tendencies of development of this genre. It is possible to subdivide the story into social and psychological, biographic and autobiographical,
memoirs, fantastic, philosophical, lyrical, historical and publicistic, etc.
Special situation and in stories of writers of the senior generation (DAVE,
2007), and in works of those who have come to the reader at the end of the
20th century (FIERMAN, 1998) is allocated for a
family theme.
The special place among stories of Kazakhstan writers takes N. Chernova's works. The poet who has addressed prose, it is inventive in
definition of genre subtitles of the stories: a short novel in stories ("The
steppe town", "Great wanderings"); cycle of plots ("Song of cicada");
imaginations about poets ("Maria's star (imaginations about Pushkin)", "The burned
angel (imaginations about
Lermontov)". The love, trust, family bonds,
inexcusable mistakes and
small
personal feats
–
these
motive threads connect together the documentary
story of N. Chernova – "Let's talk about inexpressible" (imaginations about Irina Knorring and
Yury Sofiyev's
love)". One more genre which has gained prevalence in modern prose of Kazakhstan is the literary fairy-tale. The children's reader audience defines the thematic and
problem layers of reality lifted by
authors of fairy-tales. The theme of the family relations, a question
of mutual understanding
of children and parents, drama consequences of
moral mistakes in education of children in a family – all these motives are traced in fantastic plots and system of characters.The
fantastic prose for
children is presented in Kazakhstan by the (MATUSZKIEWICZ, 2010).
Among
the called works genre varieties of fairy- tales are defined: mythological tales of the Kazakh traditions and customs; regional tales of the area; tales of an origin of lakes, rivers, mountains,
barkhans, flowers, birds;
bedtime stories, tales of
animals, magic fairy
tales; psychotherapeutic fairy tales (POLUKHINA, 2008).
The modern Kazakhstan poetry also includes a family theme in a circle of the substantial motives. In lyrics of the senior generation N. Chernova's poetry is allocated. The image
of the lyrical heroine
– women,
mothers, and the beloved – is created with poetic skill and philosophical
depth. Many modern poets bring the contribution in creation of an image of a family in Kazakhstan lyrics. V. Mikhaylov's
poetry, graceful lyrical miniatures of Yu. Serebryansky, an image of the family house in the lyric
poet
(SHADYMANOVA and AMSLER, 2017), poems of family
relationship
in poetry for children – all these works enrich a diversified picture of the artistic world of a family in literature of Kazakhstan. The artistic world of a family in modern literature of Kazakhstan is embodied in
works of various genres: this and large epic cloths in a novel genre, both stories, and small
prose – the story, the short story, the fairy-tale, and lyrical works. Each of these genres has varieties. The richness of art means and width of coverage of reality in this multi-color palette allow to show a family subject in various foreshortenings, with different extent of
penetration into
its
social
and
moral
aspects. Genre
borders in
many
respects determine poetics of the work of art. Therefore the most
completely and multilaterally the artistic world of a family reveals in novels. However the story and the story use the genre benefits (compactness,
a concentration, attention to a detail) and at least successfully show the opportunities in the image of a family perspective. The lyrical embodiment
of
the world of a family differs in emotionality,
penetrating intonation and impressive figurativeness.
Mentioning the newest period of literary creativity of Kazakhstan,
it is possible to speak about a new view on traditional values in which center, undoubtedly,
there is an institution of family and marriage, the
world of a family. Through
a concept of the world of a family those enormous changes which happened in our society and the world in general are well monitored.
The period of formation of literature of the period of independent Kazakhstan
coincides with a number of the global changes which have exerted a great influence on it and reflected in works of
domestic authors. First of all, this is the change of a geopolitical
situation
in the world: collapse of the USSR, secession of "a
big Soviet family", falling of the Iron Curtain, urbanization, Americanization
and western station of Post-Soviet
society. At the on thologic level there is "loss" of a big Soviet family and search of the national roots, sources. (WEBBER and
WEBBER, 1994), characterizing this period, in the collective monograph
"Postmodern literature of Kazakhstan: the poetics and semantics"
writes the following: "The collage of the world becomes a basis of postmodern
vision today, and the "big"
history gives the way to "small" one. It can be
observed as on the example of social network Facebook
(everyone
represents the point of view of the events, "makes"
the history), and, i n
more global plan, on the example of the independent sovereign states
which arose on fragments of the USSR. Each newly made country which
was once a part of 15 republics represents the vision of the events with it in the past today. The same process proceeds
also in foreign countries – review of results of World War II, revaluation of the American democratic
values, insolvency of the European idea of multiculturalism, etc. Ethnoses of the whole world address search
of
the roots, the "small" history.
It
is some kind of shady side of globalization. In peak to this big process
directed to next "bright future" for all the people address the past reflected
sometimes in a curve mirror of a reflection".
Questions
like who we are, where we come from,
and
where we go, of course,
concern young authors of an era of independent
Kazakhstan. In this interval of time there is a
process of a reconstruction and reconstruction of established historic facts,
the
recent Soviet past is comprehended and even attempts of modeling of alternative options of reality appear. After "farewell"
to the big "Soviet
family" Russian-speaking
literature of Kazakhstan absorbs some genetic
features of literature of the past era and it is a quite natural process. What
get
the Kazakhstan writers who have been born in the USSR and trained
in the spirit of the Soviet traditions (or can be in a paradigm of their denial and rejection), in inheritance from the big Soviet empire:
– Russian language
is not only as the language of international communication of independent
Kazakhstan,
but also as the
language of creative self-expression;
–
Heritage
of the Russian
literature,
its
spiritual wealth
(the
Russian literature was studied at schools as compulsory);
– The ideals of a traditional (patriarchal) family and examples of
spirituality broadcast by the Russian literature;
– Subject of fathers and children;
– Subject of continuity of generations;
– "splinters" of the Soviet myth as material for construction of the
new artistic/possible worlds;
– The Eurasians type
of
thinking in which east type
of
thinking and
attitude more prevails.
The separation from "the Soviet family" is often marked in works
of
Russian-speaking authors of the period of independence by nostalgia on the Soviet past in which, authors, in fact, did not manage to live.
As
a rule, authors of the period of independence have found a decline of the USSR.
From
here they also have a feeling of understatement
and lustiness, a
certain complex of the disappointed
hopes and promises develops.
The
Kazakhstan literature of the latest period at the level of poetics partly is
based on fragments of the Soviet myth and adopts certain spiritual
traditions not
only Russian, but
also
Soviet culture. In
works of the Kazakhstan
writers certain cultural codes of the Soviet era are broadcast, there is a nostalgia on a past, reception of a retrospective look is entered,
and
attempts of judgment
of the past and the present through a family subject are made. The subject of a family
and
the house as protection against outside world, against failures in life of the small child and adult
in the creativity is actively developed by the modern Kazakhstan poet and
the
writer (YURE, 1946). In the cycle "I Have Lifted a Stone"
in the poem "The Boy climbs on a Stool …" the six-year-old child, trying to climb on a stool, hears a well-known sentence which adults often
use: "you will fall
and
will be hit". In this situation latently there is a metaphor that in life
there are dangers: "just there are already so many people". And to protect the little person from
the
real and future falling and failures the house, the home world (try to get into an armchair
"Igor" of the firm
"Zeta") and
parents can ("Try / get ("or to sit down on father`s knees, / let him read you"). The family and family reading from time immemorial making
idea of a family cosiness, security, of education of good manners and
familiarizing with culture are a guarantee of future
wellbeing here.In
Serebryansky's
cycle "The guide from Thailand" enters the mini-cycle
consisting
of 4 poems: 1. Hong Kong; 2. A Daughter; 3. A Mother; 4. A Ferry.
Here
the realities of today connected with a possibility of departure
of
an average family to the city of a dream Hong Kong are represented. In this paradise the lyrical hero even stronger also is more shrill feels vital
family bonds. In the first poem the family of two parents and the daughter
(a
traditional family) travels by two-storeyed tram around Hong Kong.
The flashing houses, the street, a market – this is the variety
of external beauty won't be compared to feeling of love and attachment, overflowing the lyrical hero, to the girls: "A
daughter and a wife are sitting next to
me". Both of them for him make whole, the integrated whole as the phrase "I take her by hand" can concern to both people equally. The author as if
the
reader suggests to play guessing. In the second poem the world of the girl capricious child and lassie daughter appears: "You have told today "leave"
mothers, has called me to sit down on beds nearby". How to find a common
language with the modern child? The adult will be helped by magically
operating chocolate and animated films in this: "After, I am standing and knocking
to the daughter through cartoons", and also the
hidden irony, transfer of attention to other semantic register connected
with emergence of impartial Room Service.
(YURE, 1946) small poems where the minimum
of
artistic means reaches a maximum of figurative and semantic expressiveness, possesses
a poetic polysemy (according to Yu. Tynyanov – "flickering meanings"), they represent psychological and philosophical miniatures. Here the image of the modern family which is constantly
on the way in a condition of
travel appears.
Three persons in a family are a universal family
composition, redistribution of members
in which happens
by
the principle "parents – the child" or on sexual:
"girls – boys".
The poem is called "Mother", i.e. the family triple can make one more important social configuration:
"mother – children"
as so there is an ordinary opinion that
men
are big children (they still stay children). In this case the small and big child are under protection
of mother, woman, keeper of a family and center. Certainly that the style of poetry of (YURE, 1946) is closely connected with a postmodernism
esthetics with domination of a
phenomenon
of the small world, the game beginning, irony. Graphic and
rhythmic-international
execution, style minimalism and minimalism of a form
also are in the course of current verse trends. But, as shows the
carried-out analysis of a number
of
his poems, in semantic realization of a
family subject it is
rather traditional. The arisen effect of surprise is
connected with the fact that, playing with a form, he concludes
well-
known old in new. Traditional interpretation
of
subject of family is probably covered in the aspiration
of the poet to recreate the world, the world of the childhood and to get a response in souls of those with whom it is connected
by the memoirs,
certificate to that poetic cycle Yu.
Serebryansky "The city which grew in the glass uncle" where a concept of family promotes the embodiment of motive of return, important for the
poet, home, to the hometown of Almaty – to the city of the childhood.
This the devil of an initial geographical object when deleting all others
assume "an
intensification
of
one (real or legendary, but without fail the most valuable to the creator of other world)" (YURE, 1946).
One more Almaty author A. Bayanov pays a tribute, first of all, to
a memoir genre. The narration in the book "An informal Alma-Ata”
(2006) is similar to the
memorable photo where on each photo it
is possible to see the author and his environment in the 70-80th of the last
century. The flashback which became to an urgent stylistic component
of modern
culture is artly productive
and
in this case. The book is divided
into 11 thematic
parts, in each of which one of aspects
of
life of informal
youth in days of the author's youth is described. The parts "Boy`s Alma-
Ata", "Hazardous Alma-Ata", "Bohemian Alma-Ata" and others with a documentary
accuracy recreate a conduct of life, laws of coexistence, family and moral rules, details of life of different layers of urban
population of the end of the 20th century. Judging by these memoirs,
traditional moral values began to lose the attractiveness
to youth these
years. Each new generation begins the entry into
life
with a peculiar revolt
against moral foundations of seniors. The friendly brotherhood of youth
groups becomes replacement of family support for many teenagers. A. Bayanov in the part "Boy`s Alma-Ata"
writes about it: "And in that Alma-
Ata
all of us were one blood, were only divided into areas" (BAYANOV,
2017). Not accidentally
the author turns the flashback where the word "friend" was identical to the word "brother": "In case of any deal you shall "be responsible for your words", to fight with anyone who offended you
or
to be protection for the boys" (BAYANOV, 2017). Along with such words as "homeland", "work", "revolution", the words "friendship" and "family" are devaluated in its meaning
too
and is very notable. In the newest literature of Kazakhstan the concept of "family" can appear and in
deformed-hypertrophied,
surrealistic sense. The novel of the Kazakhstan writer D. Shishkin "Revolt"
in which there is an image of the leader of the people, father and primogenitor of the Soviet family – Vladimir Ilyich
Lenin is indicative in this way. Here not only subconscious thirst for return to the past, in a bosom
of
the "Soviet" family, but also attempt
of modeling of alternative history, attempt to correct and change history, to
rewrite it "one more time" – to take an active creative position is seen.
3. DISCUSSION
The result of these changes become the appearance
of such phenomenon as: novel-essay, novel-leader, novel revelation, family tree in
family myths, the diary, the documentary novel, the novel-symphony, the lyrical
novel, oneiric
novels,
novels-dreams,
the historical novel,
the novel-family tree, the existential epos, lyrico-philosophical novels, etc. The motive of the way, motive of returning home, search of the new house is quite often closed with the concept
"family". And this thematic syncretism is inherent in a large number of young Kazakhstan
authors. Among them it is possible to call (ODEGOV, et al., 2007, ADAMS, 2011, YESSENBEKOVA, 2016) and many others. Signs of the postmodern
letter are characteristic of many texts of the period of independence.
Modern Kazakhstan poets were mostly influenced by the French
literature. This effect was direct and sometimes
through the literature of
Russia and Turkey. The modern poets of Kazakhstan were influenced by
modern-day western poets, the romantics and symbolists. Poets, who was
heavily influenced by French symbols, in his glorious analysis of the
world literature and inevitable expression
of
the aesthetic change of
Kazakhstan poetry, points to Western symbols. The family in modern
realities is subjected to serious tests. In this world there isn't always a place to not only representatives of the senior generation, but also to a
child (children).
Obligatory is a presence of both parents and in general
the child's
birth,
without creation of a family
is quite
admissible. Universal canons of education of children and continuity of generations
are
replaced with individual behavior models where any options which will be possible (have to be!), accepted
by
society as reasonable.
It
is interesting to observe as in the modern Kazakhstan society traditional in essence, two types
of
thinking, two poles, two behavioral paradigms fight.
One
part moralizing it indicates
due behavior in society, a family, and the second – lives happily, trampling on moral standards, resists pressure of social doctrines.
Authors open
logic
of the
Kazakhstan inhabitant
according
to
which it
is
a
shame not to buy estimates at school and if the
child graduated from school not with a gold medal when "the father has three
hundred fifty horses".
And it is not a shame at all when your chief
is your
native uncle: "Naturally, the uncle Bermagan without whom Baskayd
could not see a desired position. That is now the beloved nephew was the direct relative of the chief. This status was to both not new as and on former places of employment
the
uncle was Baskayd's chief always. Such
migrations are characteristic of modern Kazakhstan,
and nobody is
surprised any more to how other family and clan crowd wanders on
organizations after for the most penetrative relative like Chingyz Khan's hordes, quite often leaving behind ashes and ruins". It becomes
obvious that moral standards of a traditional Kazakh family become upside down
and it leads to establishment of double
standards
in
the Kazakhstan society. And there is shameful at all not what it is necessary to be ashamed
of.
On the example of the appearance of the Internet superhero Uyatmen,
we
see that the role of the exposer of vices is not so grateful. Realizing that the image of Uyatmen
is a collective image of all those who like to moralize and decide
what is embarrassing and what is not, we come to the conclusion
that modern Kazakh literature today acts as a kind of diatribe. In modern works, as in a distorted mirror, the vices of Kazakhstan society
are
reflected, the world of the family also looks very unattractive here. Of
course, the literature of the postmodern era as a whole is characterized by self-irony, which does not abolish
the rules of the "mirror effect", when literature responds sensitively to everything
that happens in society and ruthlessly reflects it on paper.
4. CONCLUSION
Summing up,
it would be
desirable to
mark separately that in polyphony
of the modern literary
life also female voices noticeably got stronger. In the period of independence of the women take enough active
position. Demonstrative names of feminists M. Vilkoviskaya
and A.
Kadyrova will be at the fiction level. Both girls are brilliantly educated, both do not only write artistic texts, but also actively advocate feminism
ideals, and also have blogs on social networks, A. Kadyrova
has also the
channel on
YouTube.It is difficult to predict development of this direction, however, already today
it is possible to say that in texts, similar
"Yes, I am a feminist", perception of the woman and the role in society, the role in the world of a family changes. It is obvious that the woman in a
family does not feel superfluous or unclaimed any more, she only does not want to see herself as the victim and the housewife. Today priorities
from "it was always that way" till "and I do not want that way" and on an example with the feminist of literature those deep ontological
processes and changes which happen in a modern Kazakhstan
family are especially
noticeable. So, the nuclear family of an era of a postmodernism
is transformed to new type of a
family or, rather, to its absence.
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