Kazakh written literature. History of Kazakh literature Kazakh literature 40-60s of the 20th century

In the centuries-old history of the development of the art of the artistic word of the Kazakh people, the 19th century has a special place. Already in the first half of this century, oral folk art is experiencing a period of upsurge, more and more original individual authors appear, and written literature is born.

The heyday of Akyn creativity in the first half of the 19th century. especially significant. Its most prominent representatives not only created new talented works, but also preserved the poetic traditions of the past. Their merit is great in that many examples of folk heroic and social poems of antiquity have come down to us.

At this time, the Kazakh akyns improved the tradition of improvisation. Improvisation, wit and resourcefulness in poetic competitions (aitys) - this is the school that everyone who applied for the poetic title of akyn had to go through.

With the flourishing of Akyn's creativity, Kazakh literature is enriched with new poetic genres, such as epic tales, poems, elegies, political lyrics, songs; the genre of tolgau (reflection) is being improved.

In the first half of the XIX century. in the life of the Kazakhs there were significant socio-economic changes due to the voluntary entry of Kazakhstan into Russia. The gradual loss of former advantages by the khan's descendants, the steady disintegration of the feudal-patriarchal way of life, as well as the consequences of the double oppression of the tsarist colonialists and local feudal lords, could not but affect the spiritual life of the people and led to changes in the ideological and artistic content of the work of akyns and zhyrau (singers).

Some akyns, such as Baytok, Zhanuzak, Nysanbay, Doskhozha, glorified khans and sultans, justified their cruelty, supported the feudal-tribal law and order, and idealized patriarchal antiquity. The work of two major akyns Dulat Babataev and Shortanbay Kanaev is contradictory.

The poems of Dulat Babataev (1802-1874) were written down only after his death. The only collection of his poems was published by Maulekey in 1880 in Kazan under the title "Osiet-name" ("Testament"). Dulat saw and reflected the contradictions of the era better and deeper than any of his contemporaries.

Criticizing the feudal-patriarchal way of life, he opposed the cruel attitude of the tsarist officials, the new administration to the local population. However, drawing any aspect of life, he invariably came to the conclusion that life had not changed for the better, that its happy time was left behind ("From the nomad camp of Arka's ancestors").

Even when Dulat turns to the development of traditional themes of oriental poetry about the confrontation between good and evil, friendship and hatred, generosity and stinginess, he bitterly mourns the past, claims that young people have ceased to respect their parents, younger ones - older ones. He sees the era in the fact that the morals of people have changed so dramatically.

The work of Shortanbay Kanaev (1818-1881) seems to complement the poetic heritage of Dulat. Shortanbay's only poetry collection "Shortanbaidyn bala zary" ("Crying child of Shortanbay") was first published in Kazan in 1888.

In this book, starting with the poem "Our Forefather Adam" and ending with the poem "Everything is known to one Allah", the poet considers the same problems that Dulat paid his attention to, but solves them from orthodox Muslim positions.

According to the poet's deep conviction, the reasons for the unfavorable socio-economic changes that led to changes in the moral and ethical sphere lie in the fact that the foundations of faith are being shaken, that people have begun to neglect Sharia, i.e., the tenets of the Koran.

However, remaining a deeply religious person, a supporter of feudal-patriarchal mores, Shortanbai in some verses, such as, for example, “God-cursed bai” and others, truthfully depicts the hard life of the poor.

Akyns Shozhe Karzhaunov (1805-1891), Sherniyaz Zharylgasov, Suyunbay Aronov (1827-1896) were supporters of a different direction, they reflected the interests and needs of the working people, exposed the despotism of the feudal-bai elite.

A special place in the Kazakh literature of the period under review belongs to the greatest poet-warrior, fighter for national interests Makhambet Utemisov (1804-1846). Makhambet as a poet is formed in the conditions of clashes and struggle of peasants with feudal lords, khans, representatives of local authorities.

The rebellious poet from a young age was constantly at odds with the beys, became one of the leaders of the famous peasant uprising that broke out in the Bukey Horde against Khan Dzhangir in 1836-1837.

The literary heritage of Makhambet is so closely connected with this uprising that all stages of the struggle can be traced through his poems, from the first steps of the rebels to the tragic defeat.

In the years preceding the uprising, Makhambet appealed to the people with fiery verses, urging them to boldly rise up against the oppressors (“A call to the people”, “A matter of honor”, ​​“A Nar is needed for our cause”, etc.).

The poet does not promise people an easy victory, frankly warns that the struggle will be severe and difficult, will require great sacrifices, heavy losses. His poems are imbued with confidence in the justice of the intended cause, faith in victory.

Makhambet as one of the leaders, being in the days of the struggle in the forward detachments of the rebels, directly participating in the hottest fights and battles, at the same time, with his inspired songs-poems, raises the morale of his comrades-in-arms, supports them in difficult moments.

The poems addressed to the rebels are imbued with a sense of comradeship, care and sincere sympathy for the heroes who died in battle. His poems “Appeal to friends”, “Do not be sad, my friends”, “Valorous son”, “Happiness will return to us” rallied and inspired the rebels with the power of emotional impact.

In the work of Makhambet, the artistic reproduction of the heroic struggle of the people is combined with the disclosure of the social causes that led to the armed uprising. This is the cruel exploitation by feudal lords, khans, bays of workers, weak and poor families, the forcible seizure of land, their resettlement from their homes, etc.

The poet speaks with pain about how the valiant sons of the people “put their lives down” and “died in droves”. Poems addressed to the local ruler Dzhangir and Sultan Baimagambet sound angrily. The bold and proud poet calls them wolves, snakes, cowards and hypocrites. Makhambet's poetry is distinguished by love of freedom, fighting spirit and deep optimism.

The works of Makhambet, created in exile after the defeat of the uprising, although they contain sad notes caused by longing for loved ones, for their homeland, are also full of hope; they have no regrets about participating in a popular uprising. He believes that the time will come when the people will deal with the bays (“Appeal to Sultan Baimagambet”).

Singing the heroism of the participants in the uprising, for the first time in the history of Kazakh literature, he creates the image of a national fighter-hero. The poet found his ideal in the person of the leader of the peasant movement, Isatai Taimanov.

In the character of Isatai, the poet especially emphasizes his unshakable courage, fearlessness in the face of mortal danger, great will and endurance, and most importantly, boundless love for the people, readiness to give his life for the sake of their happiness. Makhambet dedicated a cycle of poems to Isatai, in which the national commander is characterized from different angles: as a devoted and worthy son of his people, a support and defender of the disadvantaged, a brave leader, a wise adviser and a good friend of comrades in arms, and as a gentle, beloved and loving father.

Based on the poetic traditions of previous and contemporary literature, Makhambet enriched it ideologically and thematically. He introduced political lyrics into Kazakh poetry, strengthened civil and patriotic motives in it. His poetry reflects the turbulent era of national liberation movements.

Dominant in the Kazakh literature of the first half of the XIX century. was democratic. In the work of Makhambet Utemisov, it found its most vivid expression, becoming the ideological and artistic basis for the further development of literature and anticipating the appearance of such luminaries as Ibrai Altynsarin and Abai Kunanbaev.

History of world literature: in 9 volumes / Edited by I.S. Braginsky and others - M., 1983-1984

Centuries, already by this time, the Turkic-speaking tribes of Kazakhstan had an oral poetic tradition dating back to an earlier period. This is also confirmed by various elements of epic poetry (epithets, metaphors and other literary devices) found in the Orkhon monuments - the texts of the tombstones of Kultegin and Bilge-Kagan, telling about the events of the 5th-7th centuries.

Epos "Korkyt-Ata" and "Oguzname"

On the territory of modern Kazakhstan, the most famous ancient epics in the Turkic languages ​​- "Korkyt-Ata" and "Oguzname" - have developed. The orally circulated epic "Korkyt-Ata", which arose in the Kypchak-Oguz environment in the Syrdarya River basin around the 8th-10th centuries. , was recorded in the XIV-XVI centuries. Turkish writers in the form of "The Book of Grandfather Korkyt". In fact, Korkyt is a real person, a bek of the Oguz-Kypchak tribe of kiyat, who is considered the founder of the epic genre and musical works for kobyz. The epos "Korkyt-Ata" consists of 12 poems and stories about the adventures of the Oguz heroes and heroes. It mentions such Turkic tribes as Usuns and Kangly.

The poem "Oguzname" is dedicated to the childhood of the Turkic ruler Oguz Khan, his exploits and victories, marriage and the birth of sons, whose names were Sun, Moon, Star, Sky, Mountain and Sea. Having become the ruler of the Uighurs, Oguz waged wars with Altyn (China) and Urum (Byzantium). Also in this work, the question of the origin of the Slavs, Karluks, Kangars, Kypchaks and other tribes is discussed.

Heroic and lyric poems

It is no secret that even from the moment of the birth of the Kazakh poetic tradition, its main and obligatory figure was the national poet-improviser - akyn. It is thanks to the akyns that numerous epic works, fairy tales, songs, poems, written several centuries ago, have come down to us. Kazakh folklore includes more than 40 genre varieties, some of which are characteristic only for it - songs-petitions, songs-letters, etc. Songs, in turn, are divided into shepherd's, ritual, historical and everyday. Poems can also be divided into heroic, that is, telling about the exploits of heroes (“Kobylandy batyr”, “Er-Targyn”, “Alpamys batyr”, “Kambar batyr”, etc.), and lyrical, praising the selfless love of heroes (“Goats- Korpesh and Bayan-Sulu", "Kyz-Zhibek").

Early 20th century was the heyday of Kazakh literature, which absorbed many features of European literature. At this time, the foundations of modern Kazakh literature were laid, the literary language was finally formed, new stylistic forms appeared.

The emerging Kazakh literature mastered major literary forms, still unknown to Kazakh writers - novels, stories. At this time, the poet and prose writer Mirzhakip Dulatov, the author of several poetry collections and the first Kazakh novel "Unfortunate Zhamal" (), which went through several editions and aroused great interest among Russian critics and the Kazakh public, gained great fame. He also translated Pushkin, Lermontov, Krylov, Schiller, was a reformer of the Kazakh literary language.

At the end of XIX - beginning of XX centuries. a group of "scribes", which included Nurzhan Naushabaev, Mashur-Zhusup Kopeev and others, actively preached patriarchal views and collected folklore material. Around the newspaper "Kazakh" nationalist forces were grouped - Akhmet Baitursynov, Mirzhakip Dulatov, Magzhan Zhumabaev, who after 1917 went over to the camp of counter-revolution.

Creativity of Zhambyl Zhabaev

In the Soviet period, the work of the Kazakh folk poet-akyn Zhambyl Zhabaev, who sang to the accompaniment of a dombra in the tolgau style, became most famous in the USSR. Many epics were recorded from his words, for example, "Suranshi-batyr" and "Utegen-batyr". After the October Revolution, new themes appeared in Dzhambul's work ("Hymn to October", "My Motherland", "In Lenin's Mausoleum", "Lenin and Stalin"). His songs included almost all the heroes of the Soviet power pantheon, they were given the features of heroes, heroes. Zhambul's songs were translated into Russian and the languages ​​of the peoples of the USSR, received national recognition and were fully used by Soviet propaganda. During the Great Patriotic War, Zhambyl wrote patriotic works calling on the Soviet people to fight the enemy (“Leningraders, my children!”, “At the hour when Stalin calls”, etc.)

Literature of the second quarter of the 20th century

The founders of Kazakh Soviet literature were poets Saken Seifullin, Baimagambet Iztolin, Ilyas Dzhansugurov, writers Mukhtar Auezov, Sabit Mukanov, Beimbet Mailin.

Modern Kazakh literature

The literature of Kazakhstan in the late 1990s - early 2000s can be characterized by attempts to comprehend postmodern Western experiments in literature and use them in Kazakh literature. Also, many works of well-known and little-known Kazakh authors began to be comprehended in a new way.

Now the literature of Kazakhstan continues to develop in the context of global civilization, absorbing and developing new cultural trends, taking into account its own capabilities and interests.

see also

Sources

Links

Centuries, already by this time, the Turkic-speaking tribes of Kazakhstan had an oral poetic tradition dating back to an earlier period. This is also confirmed by various elements of epic poetry (epithets, metaphors and other literary devices) found in the Orkhon monuments - the texts of the tombstones of Kultegin and Bilge-Kagan, telling about the events of the 5th-7th centuries.

Epos "Korkyt-Ata" and "Oguzname"

On the territory of modern Kazakhstan, the most famous ancient epics in the Turkic languages ​​- "Korkyt-Ata" and "Oguzname" - have developed. The orally circulated epic "Korkyt-Ata", which arose in the Kypchak-Oguz environment in the Syrdarya River basin around the 8th-10th centuries. , was recorded in the XIV-XVI centuries. Turkish writers in the form of "The Book of Grandfather Korkyt". In fact, Korkyt is a real person, a bek of the Oguz-Kypchak tribe of kiyat, who is considered the founder of the epic genre and musical works for kobyz. The epos "Korkyt-Ata" consists of 12 poems and stories about the adventures of the Oguz heroes and heroes. It mentions such Turkic tribes as Usuns and Kangly.

The poem "Oguzname" is dedicated to the childhood of the Turkic ruler Oguz Khan, his exploits and victories, marriage and the birth of sons, whose names were Sun, Moon, Star, Sky, Mountain and Sea. Having become the ruler of the Uighurs, Oguz waged wars with Altyn (China) and Urum (Byzantium). Also in this work, the question of the origin of the Slavs, Karluks, Kangars, Kypchaks and other tribes is discussed.

Heroic and lyric poems

It is no secret that even from the moment of the birth of the Kazakh poetic tradition, its main and obligatory figure was the national poet-improviser - akyn. It is thanks to the akyns that numerous epic works, fairy tales, songs, poems, written several centuries ago, have come down to us. Kazakh folklore includes more than 40 genre varieties, some of which are characteristic only for it - songs-petitions, songs-letters, etc. Songs, in turn, are divided into shepherd's, ritual, historical and everyday. Poems can also be divided into heroic, that is, telling about the exploits of heroes (“Kobylandy batyr”, “Er-Targyn”, “Alpamys batyr”, “Kambar batyr”, etc.), and lyrical, praising the selfless love of heroes (“Goats- Korpesh and Bayan-Sulu", "Kyz-Zhibek").

Early 20th century was the heyday of Kazakh literature, which absorbed many features of European literature. At this time, the foundations of modern Kazakh literature were laid, the literary language was finally formed, new stylistic forms appeared.

The emerging Kazakh literature mastered major literary forms, still unknown to Kazakh writers - novels, stories. At this time, the poet and prose writer Mirzhakip Dulatov, the author of several poetry collections and the first Kazakh novel "Unfortunate Zhamal" (), which went through several editions and aroused great interest among Russian critics and the Kazakh public, gained great fame. He also translated Pushkin, Lermontov, Krylov, Schiller, was a reformer of the Kazakh literary language.

At the end of XIX - beginning of XX centuries. a group of "scribes", which included Nurzhan Naushabaev, Mashur-Zhusup Kopeev and others, actively preached patriarchal views and collected folklore material. Around the newspaper "Kazakh" nationalist forces were grouped - Akhmet Baitursynov, Mirzhakip Dulatov, Magzhan Zhumabaev, who after 1917 went over to the camp of counter-revolution.

Creativity of Zhambyl Zhabaev

In the Soviet period, the work of the Kazakh folk poet-akyn Zhambyl Zhabaev, who sang to the accompaniment of a dombra in the tolgau style, became most famous in the USSR. Many epics were recorded from his words, for example, "Suranshi-batyr" and "Utegen-batyr". After the October Revolution, new themes appeared in Dzhambul's work ("Hymn to October", "My Motherland", "In Lenin's Mausoleum", "Lenin and Stalin"). His songs included almost all the heroes of the Soviet power pantheon, they were given the features of heroes, heroes. Zhambul's songs were translated into Russian and the languages ​​of the peoples of the USSR, received national recognition and were fully used by Soviet propaganda. During the Great Patriotic War, Zhambyl wrote patriotic works calling on the Soviet people to fight the enemy (“Leningraders, my children!”, “At the hour when Stalin calls”, etc.)

Literature of the second quarter of the 20th century

The founders of Kazakh Soviet literature were poets Saken Seifullin, Baimagambet Iztolin, Ilyas Dzhansugurov, writers Mukhtar Auezov, Sabit Mukanov, Beimbet Mailin.

Modern Kazakh literature

The literature of Kazakhstan in the late 1990s - early 2000s can be characterized by attempts to comprehend postmodern Western experiments in literature and use them in Kazakh literature. Also, many works of well-known and little-known Kazakh authors began to be comprehended in a new way.

Now the literature of Kazakhstan continues to develop in the context of global civilization, absorbing and developing new cultural trends, taking into account its own capabilities and interests.

see also

Sources

Links

From the depths of time

Kazakh li-te-ra-tu-ra is a pro-from-ve-de-niya in the Kazakh language, co-created by Kazakh-ski-mi av-to -ra-mi on the ter-ri-to-rii of Kazakh-sta-on, for example, from the 15th century.

In the present-day vi-de, the Kazakh language was sfor-mi-ro-val-sya and acquired its own gram-ma-ti-ku in the 19th - 20th centuries. , one-on-the-root-no mouth-no-th-on-kind-no-th creation-of-honest-va ear-dyat in a deep-bo-some pro-sh-loe. Pre-te-cha-mi Kazakh-li-te-ra-tu-ry can be considered the author of the middle-not-ve-ko-vy co-chi-not-ny on the lane -sid-skom and cha-ga-thai-skom languages-kah.

As svi-de-tel-st-vu-yut ki-thai le-to-pi-si 6-8 centuries, among the Turkic-speaking tribes of Kazakh-zah-sta-na to that -mu time-me-no already so-s-s-s-in-va-la oral-e-ti-chess-tra-di-tion, ascending to more-earlier-not- mu per-ri-o-doo. The legends and pre-da-tions about the sacred land of Otu-ken were preserved. From-ra-zha-whether you dream of a peaceful life-no-le-gen-dy about a fabulous, not-accessible for enemies mountain-noy to-li-not Er- ge-not-kong. Ele-men-you epi-che-koy-e-zii (epi-te-you, me-ta-for-ry) about-on-ru-zhi-va-yut-sya in or-khon-sky pas -mint-ni-kah - text-tah over-the-tomb-steles of Kul-te-gi-na and Bil-ge-ka-ga-na, in-west-woo-yu-shchi about co-be-ti- yakh 5-7 centuries. Inscription Kul-te-gi-na so-storage-nya-et mo-tiv ro-do-howl ob-rya-do-howl in e-zia, re-re-went-later into the epic , - mourning-ki-va-nie died-she-go.

Epochs

On the ter-ri-to-rii of Kazakh-sta-na, the well-known ancient epics in the Turkic languages ​​\u200b\u200bwere formed - “Kor-kyt Ata” and “Oguz -on-me". Ras-simple-ra-nyav-shiy-sya mouth-but the epic "Kor-kyt Ata", risen in the Kyp-chak-sko-Oguz milieu-de bass-sei-on the Syr-Darya at 8 -10th centuries, was for-pi-san in the 14th-16th centuries. tu-rets-ki-mi pi-sa-te-la-mi in vi-de Books de-da Kor-ku-ta. Kor-kut - re-al-noe face, bek of ogu-zo-kyp-chak-sko-go tribe-me-ni Ki-yat, count-ta-et-sya os-but-in-on-lodge - no-one epi-che-ko-go-gen-ra, art-kus-st-va vra-che-va-niya and mu-zy-kal-ny pro-from-ve-de-niy for co-be -behind. The epic consists of 12 poems and tales about the ways of the Oguz gods and heroes. Upo-mi-na-yut-sya ple-me-on usu-ney and kan-gly.

Ogyz-ka-gan (Oguz-khan), having given super-eu-test-vein-power, is the hero of the epic "Oguz-na-me", for-pi- san-no-go in the 13th century. Ra-shid ad Di-nom and later, in the 18th century, Abul-gazy. Po-ema in a sacred way to the det-st-vu Ogyz-ka-ga-na, his in-dvi-gam, in-be-dam over the ve-li-ka-nom, same-thread-be and birth-de-nyu sy-no-vey, someone-rykh is called Sun-tse, Lu-na, Star-yes, Ne-bo, Go-ra, Mo-re. Having become the great-vi-te-lem uy-gur, Ogyz-ka-gan wages wars with Al-ty-n (Ki-ta-em) and Uru-mom (Vi-zan-ti-ey), in co-chi-not-nii about-judging-yes-et-sya about pro-is-hozh-de-nii slav-vyan, kar-ly-kov, kan-ga-rov, kyp-cha- cov.

Aky-ny

On the whole pro-ty-zh-ni su-shest-vo-va-niya of the Kazakh in the e-ti-ches-coy tradition up to the 20th century. her obligatory fi-gu-roy was na-rod-ny in-it-im-pro-vi-for-tor akyn, bla-go-da-rya, what epi-we have reached us -chess pro-from-ve-de-niya, fairy tales, songs, poems. Kazakh folklore includes more than 40 genres of different kinds, but not-something-paradise of the ha-rak-ter-only for someone else - dog-no-pro-she-niya, dog-no-letter-ma, etc. The song is not de-lyat-sya on the past-that-six, about-rya-do-vye, is-it-ri-ches-kie and by-it-y. Po-ems can also be de-poured on the hero-and-chess, in the West-woo-u-s about the movements of the heroes, - Kob-lan -dy, Er-Tar-gyn, Al-pa-cape, Kam-bar-ba-tyr, etc. -wife love of heroes, - Ko-zy-Kor-pesh and Ba-yan-Slu, Kyz-Zhi-bek, etc.

First poets

In the 11th-12th centuries. at the court of Ka-ra-ha-ni-dov, the first large-scale pro-from-ve-de-niya appear - by-em Ku-tat-gu bi-lik ( “Bla-go-dat-noe knowledge”) (1069) Yusu-fa Khas-had-ji-ba from Ba-la-sa-gu-na (b. 1015), composed of 13 thousand two-verses. Po-ema in-stro-e-on in the form of dia-log-gov, from-re-che-ny, na-zi-da-ny. In its os-no-woo lay epi-zo-dy and pre-da-niya rai-o-nov Zhe-you-su, bass-this-on lake Is-syk-Kul and Kash-ga- rii, her dei-st-vu-yu-schie per-so-na-zhi - re-al-nye is-to-ri-ches-faces. The main idea of ​​the poem: knowledge is the only source of the blessings of both right-wi-te-lei and on-ro- Yes.

Among the co-tyr-ko-lingual tribes of Kazakh-sta-na up to the 19-20 centuries. so-stored your-im-different mo-but-te-is-ti-ches-kaya re-li-gia ten-gri-an-st-vo (upper god Ten- Gri - no-bo, si-la, managing the world), the cult of the mountains - in a cro-vi-te-lei ro-da, as well as sha-ma-nism. In the 6th–9th centuries Buddhism came to the Kazakh steppes, for-chat-ki ma-ni-hei-st-va. Ve-ro-va-niya on-se-le-niya medium-not-ve-ko-vo-go Kazakh-zah-sta-on from-whether-cha-lied a lot-about-ra-zi-em and syn-kre-tiz-mom. One-to-on-chi-naya from the 9th century. Kar-ti-na in-step-pen-but me-nya-et-sya. Ko-chev-ni-ki-sko-to-vo-dy continue to use the cult of Ten-Gri, and in the settled lands-le-del-ches-ki paradise-o-nah in-lu-cha-et ras-simple-ra-non-is-lam, na-chi-na-et de-vi-va-sya re-li-gi-oz-naya li- te-ra-tu-ra.

In pe-ri-od ras-simple-ra-non-niya is-la-ma li-te-ra-tur-ny language os-ta-val-sya motley, not-one-but-native ; Significant place in the cultural life of the city-sort-of-the-se-le-niya game-ra-whether pro-from-ve-de-niya der-vish -sky poets and pi-sa-te-lei. One of the best known was the son of the steppe-no-go mu-zy-kan-ta, pro-po-ved-nick is-la-ma Hod-zha Ah-met Yas-sa -vi (d. in 1167), author of a collection of verses re-li-gi-oz-no-mis-ti-ches-ko-go-der-zha-nia Di-va- no Hik-met ("Book of pre-mud-ros-ti"). In his co-chi-non-nii Yas-sa-vi pro-po-ve-do-val as-ke-tism and smi-re-nie, la-gaya that the path to is-ti- not and there is a way to god. The book contains no-ma-lo cultural-tour-but-is-to-ri-ches-kih, eth-no-gra-fi-ches-kih-de-niy about the tribe nah that time. Disciple Yas-sa-vi Su-lei-men Ba-kyr-ga-ni - author of the collection-ni-ka Za-mu na-zir ki-ta-by (“Book about the end of the world -ta"). She tells that at the time of the end of the world, everything that exists perishes, but God will again create the world and everything will be reborn again. The books of Yas-sa-vi and Ba-kyr-ga-ni on the pro-ty-the-same-nii after-the-du-u-th-hundred-years-would be obligatory nym in-so-bi-eat in the medical-re-se of Central Asia and Kazakhstan. Khi-bat ul-Ha-kaik (“Po-da-rock is-ti-ny”) - the only-st-ven-naya book Azib Akh-me-ta Mah-mud-uly Yug-ne-ki ( end of the 12th century) p-zy-va-la to a worthy life, hard work, striving for knowledge and people -nose-tee.

On-for-the-earlier pro-from-ve-de-niya of the mouth-of-the-nature-of-the-th creation-of-honour, whose author-tor-st-in can be considered a must -ta-nov-len-nym, from-no-syat-Xia to the 15th century. In the 16th century would it be ho-ro-sho from-west-ny so-chi-non-niya le-gen-dar-no-go Asan-Kai-gy, aky-nov Do-spam-be-ta, Shal-ki- and-for, in the 17th century. - aky-na Bu-ha-ra-zhy-rau Kal-ka-ma-no-va, av-to-ra sharp in-li-ti-ches-kih sti-hot-in-re-ny. In Kazah-sta-did-not develop a tra-di-tion of pro-ve-de-niya pe-sen-but-po-e-ty-chess-of-stya-za-ny inter-du aky-na-mi - ah-you-owls. Have you become-de-lyat-xia of the genre of pe-sen: tol-gau - fi-lo-sophic thinking, ar-nau - sacred, etc. d. In the 18-19 centuries. in creation-honest-ve aky-nov Ma-ham-be-ta Ute-mi-so-va, Sher-ni-ya-za Zha-ryl-ga-so-va, Su-yun-baya Aro-no- va-yav-la-yut-sya new those-we - pri-zy-you to fight against ba-ev and bi-ev. At the same time, aky-ny Du-lat Ba-ba-ta-ev, Shor-tan-bai Ka-na-ev, Mur-rat Mon-ke-ev pre-stav-la-whether so-boy con -ser-va-tiv-noe on-right-le-tion, idea-a-li-zi-ruya pat-ri-ar-khal-noe pro-sh-loe and praising re-li-gyu . Aky-ny 2nd in-lo-vin-ny 19th century Bir-zhan Ko-zha-gu-lov, Aset Nai-man-ba-ev, in-etes-sa Sa-ra Tas-tan-be-ko-va, Jam-bul and others. va-li ah-you-sy as a form of you-ra-zhe-niya of the society-ven-no-th me-tion, from-hundred-and-vaya so-qi-al-nuyu spra-ved- li-vost.

Lee-te-ra-tu-ra 19 - na-cha-la 20 centuries

Kazakh writing-man-naya whether-te-ra-tu-ra in its co-time-men-nom vi-de na-chi-na-et warehouse-dy-vat-sya only at 2 th in-lo-vie-not 19th century. under the influence of-I-ni-em con-so-tov and dia-lo-ha with the Russian cul-tu-swarm. At the is-to-kov of this pro-cess-sa there are Kazakh pro-sve-ti-te-li Cho-kan Wa-li-ha-nov, Ib-rai Al-tyn-sa -rin and Abai Ku-nan-ba-ev.

Cho-kan Wa-li-ha-nov(1835–1865) - the first Kazakh scientist, illuminator, is-to-rik, eth-no-graph, pu-te-shest-ven-nik and dip- lo-mat. The right-nuk of kha-na Ab-lai, he was born in a pro-Russian ori-en-ti-ro-van-noy family, he studied Arabic in a Kazakh school and familiar with the east in e-zi-her and whether-te-ra-tu-roy. He finished the Om-sky ka-det-sky kor-pus, someone was for the Asian-At-sky part of the Russian im-pe-rii of his own kind Tsar-sko-sel-skim face-eat. On windows-cha-nii was pro-from-ve-den in the root-not-you, but the forces of the Russian military-en-ny uniform, bu-du-chi Russian-si-sky ofi-tse- rum and chi-nov-no-one, performed in-ru-che-niya royal ad-mi-nist-ra-tion.

His duties include the functions of is-to-rio-count and participation in ex-pe-di-qi-yah on Is-syk-Kul, in Kuld- zhu, Kash-gar, during the time of some Va-li-kha-nov led his way days-no-ki, on the basis of -pi-sa-ny essays on kir-gi-zah (so in the 19th century on-zy-va-li ka-za-khov) - about their is-to-rii, common-ven-nom ro-do-vom arrange-st-ve, customs and customs-cha-yah, mi-fah and le-gen-dah (“For-pis-ki about kir-gi-zah”).

He succeeded in the first pi-sat and re-re-vest-ti into the Russian language part of the hero-and-che-ko-go epic Ma-nas ”-“ The Death of Ku-ko -tai-ha-na and his po-min-ki", in the native epic-po-em "Ko-zy-Kor-pesh and Ba-yan-su-lu". In his ra-bo-tahs, Va-li-kha-nov paid a lot of attention to-ma-niya especially-ben-nos-tyam to them-pro-vi-for-tor-sko-go art-kus -st-va aky-nov, rit-mi-ke ka-zah-sko-go sti-ha. A number of his researches-before-va-ny are dedicated to the study of the Zoro-Astrian roots of the Kazakh men-ta-li-te-ta and syn-kre-tiz-ma sha-man-st-va with is-la-mom among the steppe peoples - “Traces of sha-man-st-va at kir-gi-zov (ka- za-hov)”, “About mu-sul-man-st-ve in the steppe”. In the spring of 1861, would his “Essay on Jun-ga-rii” be published, as well as the main works, sacred is-to-rii and culture-tu-re of Central Asia and Vos-to-ka (“Kir-giz-ro-do-slovie”, “About k-chev-kah kir-giz”, “ Pre-da-nia and legends of the big Kir-giz-Kai-sats-koy hor-dy ”, etc.).

Living in Peterburg in 1860-1861 and continuing to work on essays on the history and ethno-graphics of kir-gi- call, he is close to the idea of ​​\u200b\u200bRussian re-vo-lu-qi-on-nyh de-mo-kra-tov, common-scha-et-sya and others - lives with many pre-hundred-vi-te-la-mi pe-re-do-how de-mo-kra-ti-ches-coy in-tel-li-gen-tion - F.M . Do-sto-evskim, S.V. Du-ro-vym, I.N. Be-re-zi-nym, A.N. Be-ke-something. According to the re-co-men-da-tion of P.P. Se-me-no-va-Tyan-Shan-sko-go he was admitted to the active-st-vi-tel-ny members of Im-pe-ra-tor-sko-go Russian geo -gra-fi-ches-to-go society.

Os-ta-wa-is an idea-a-list-tom in a-no-ma-nii of a common-vein-noy life, Wa-li-ha-nov condemned-gave about-of-a-ox- zah-skih fe-o-da-lov and ko-lo-no-for-tor-sky in-li-ti-ku tsa-riz-ma, you-say-zy-wal-sya for pri-general -nie ka-za-khov to the Russian culture-tu-re.

Ib-rai Al-tyn-sa-rin(1841–1889) also graduated from the Russian-Kazakh-school, worked as a re-re-vod-chi-com in Oren-burg, teach -lem and in-spec-to-rum schools. At the same time, he did-bi-val-sya, so that Russian schools for the Kazakh mo-lo-de-zhi would open as much as possible. In 1879, his “Initial ru-ko-vod-st-vo to teaching kir-gi-zov of the Russian language” and “Kir-giz-sky xres-to-ma-tia, ”many of his stories and verses-hot-in-re-niya, as well as pro-from-ve-de- niya of Russian auto-moats, trans-ve-den-nye into the Kazakh language. His li-te-ra-tour-naya de-ya-tel-ness but-si-la pro-sve-ti-tel-sky ha-rak-ter and was part of the society-ven-but -pe-da-go-gi-ches-coy practice-ti-ki. In pro-iz-ve-de-ni-yah “Not-ve-gesture”, “Ko-var-no-mu aris-to-kra-tu”, he condemned fa-na-tism and vanity belief, opened the re-ak-tsi-on-nuyu essence of the mullahs, in “Kip-chak Seit-kul” and “De-re-vyan-nom do-me and yur-te” convinced somehow-water-dov for-no-mother-earth-le-de-li-em, in “Sy-not bay and sy-not poor-but-you” about-ty-in-pos-tav- lyal work-to-any-bee poor-nya-kov sku-pos-ti and greedy-nos-ti god-ga-whose. In sti-hot-in-re-ni-yah “Spring-on” and “Autumn” for the first time in Kazakh poetry Al-tyn-sa-rin re-a-lis-ti- ches-ki describe-sy-val Kazakh-sky landscape and car-ti-ny-to-che-in-go-ta. He also wrote about the im-right-of-the-lo-of women in the traditional Kazakh society. As a folk-lo-rist for-pi-sal and pub-li-ko-val of the tales “Ka-ra ba-tyr”, “Al-tyn-Ay-dar”, le-gen-du “Zhi-ren -she-ost-ro-words”, from-ry-wok from the epic “Kob-land-dy” and many others.

Life and work of Abay

In-bor-nick friendship would be with the Russian-on-ro-house, os-but-in-on-loose-nick re-a-lis-ti-ches-coy-te-ra-tu-ry, the poet and thinker Abai Ku-nan-ba-ev (1845–1904) was the continuation of the de la Wa-li-ha-no-va. His work-honor-de-de-li-lo cul-tour-but-pro-sve-ti-tel-skoe movement of the end of the 19th - on-cha-la of the 20th centuries, eye-for -lo oh-rum-noe influence-action-st-vie on the next-du-th-che-de-s-thing of Kazakh-th-whether-te-ra-tour-no-th language .

Ku-nan-ba-ev in-lu-chil class-si-ches-something-accurate about-ra-zo-va-nie. In the medical-re-se ima-ma Ah-met-Ri-zy, he studied Arabic, Persian, other oriental languages, he knew class-si-ches-coy Persian li-te-ra-tu-roy - Fir-do-usi, Ni-za-mi, Sa-a-di, Ha-fi-zom, etc. Od- new-re-men-but, on-ru-shay prohibition of honey-re-se, in-se-schal Russian parish school. At the age of 28, he moved away from you-full-of-non-ad-mi-nist-ra-tiv-ny functions of the head of the family, wholly from-having given himself -ra-zo-va-nyu. Abay writes verses, strengthens-len-but studies Russian culture-tu-ru, for-no-ma-et-sya in a public biblio-te-ke. Knowing-com-st-in with Russian-ski-mi in-li-ti-ches-ki-mi exile-us-mi eye-for-lo strong influence on the for-mi-ro-va -nie pro-gres-siv-no-go world-ro-vision-of-this. He re-re-vo-dit into Kazakh pro-from-ve-de-niya A.S. Push-ki-na, M.Yu. Ler-mon-to-va, I.A. Kry-lo-va, for-ru-beige-class-si-kov, pi-shet Kazakh songs on words from-twitch-kov from Eugene One-gi-na . Na-for-lea from-west-on his ele-gy, in-lo-feminine-naya on mu-zy-ku, “Ka-ran-gy tun-de tau kal-gyp” - a poetic pe -re-water “Night-song-no country-no-ka” Ge-te.

Li-te-ra-tour-noe-on-the-track of Abai compose-la-yut verses, poems, poetic re-re-vo-dy and re-re-lo-same -nia, pro-and-chess "na-zi-da-nia". His e-zia is from-whether-cha-et-sya class-si-ches-coy simple and graceful hu-to-gesture-ven-nyh receptions. He introduces new poetic forms - shes-this-tishya and eight-mis-tishya: “From time you-fall-yes-yet a moment” (1896), “Once -we shouldn’t, dead, I’ll become clay ”(1898),“ On the water, like a man-nok, lu-on ”(1888),“ When it becomes long shadow ”(1890), etc. For his poetry, kha-rak-ter-ny is characterized by a deep philosophical meaning and civil sound. In verse-hot-in-re-ni-yah “Oh, my ka-za-hi”, “Eight-miss-ti-shiya”, “That's old age. Sorrowful du-we, a bit of a dream ... ”,“ From-mu-chen, ob-ma-nut I’m all around ... ”sounds cri-ti-ka fe-o-distant usto-ev. In the collection-ni-ke hu-do-gesture-ven-no-fi-lo-sof-sky pro-se "Gak-lii" ("Na-zi-da-nia"), for-tro-well-you is-to-ri-ches-kie, pe-da-go-gi-ches-kie and right-to-the-we, the author pri-zy-va-et people to take the path of culture -no-go pro-gres-siv-no-go development, hard-no-go and honestly work-yes. Shi-ro-ko from-wes-ny verses, in-sacred times-we-we-yes.

Na-cha-lo 20th c. became-lo-pe-ri-o-house of the race-color of the Kazakh li-te-ra-tu-ry, write-tav-shey into yourself damn Kazakh, resurrect accurate and European-ro-pei-sky li-te-ra-tour. At this time, for-cla-dy-va-yut-sya-os-but-you-so-time-men-noy Kazakh-y-te-ra-tu-ry, windows-cha-tel-but for-mi-ru-et-xia whether-te-ra-tur-ny language.

Class-si-ki of the Kazakh-li-te-ra-tu-ry

Ah-met Bay-tur-son (1873–1913) for-no-small-sya pe-da-go-gi-ches-koy and whether-te-ra-tur-noy de-ya-tel-ness - ne -re-vo-dil bass-no Kry-lo-va, gave in-po-lyar-ny medium ka-za-hov in-e-ti-ches-ky collection-ni-ki "Ky- roar we-sal "and" Ma-sa "(1911). Bai-tour-sy-na can be called the first Kazakh language-ko-ve-house - he wrote articles, in some you-stepped for number -that Kazakh language, freeing it from Russian and Tatar words.

Na-rozh-da-yu-shcha-i-sya Kazakh li-te-ra-tu-ra osva-iva-la large li-te-ra-tour-form-we - ro- ma-na, by weight. Po-et and pro-za-ik Myr-zha-kyp Du-la-tu-ly (1885–1925) - the author of several collections of the first Kazakh ro-ma-na “Un-happy Zha-mal” (1910), you-hold-zhav-she-go not-how-of-yes-ny and you called the big in-te-res from the Russian kri-ti-ki and the Kazakh community-ven-nos-ti. He is also for-no-small-sya-re-vo-da-mi on the Kazakh Push-ki-na, Ler-mon-to-va, Kry-lo-va-Shil-le- ra, was no-va-to-rum and re-for-ma-to-rum of the Kazakh language. Span-di-yar Ko-be-ev (1878–1956) from-wes-ten as a re-re-vod-chik ba-sen Kry-lo-va and the author of one of the na-for- more significant Kazakh ro-man-nov Ka-lym (1913).

Pi-sa-tel and journalist on the list -i-mi Top zhar-gan (1900), Gul-ga-shi-ma (1903), re-re-vo-house of the poem Rus-tem-Zo-rab from "Shah-na-me" Fir- do-usi, was the main re-dak-to-rum of the zhur-na-la "Ai-kap" (1911–1915), in the circle of someone-ro-go group-pi-ro-wa-lis progressive creative forces. Co-labor-ni-chav-shi with the journal Sul-tan-mah-mud To-rai-gy-rov (1893–1920) pi-sal verses and stories on those we not-ra-ven-st-va, he is the author of ro-ma-na "Ka-mar Su-lu". In the zhur-na-le, the Sul-tan-Mah-mut To-rai-gy-ditch, Sa-bit Do-nen-ta-ev, Ta-ir Jo-mart-ba -ev and others.

With name Ms. Zhu-ma-baya(1893–1937) due to the introduction into the Kazakh style of sti-hos-lo-same-new in-e-ti-ches forms, and in Kazakh- li-te-ra-tur-ny language - sti-lis-ti-ches-coy sis-te-we, someone-paradise is preserved to this day. He started writing verses from the age of 14 and almost in all newspapers and magazines in the Kazakh and Tatar languages -kah. In 1912, in Ka-za-ni, his collection “Shol-pan” was published in a-ti-ches.

Sha-ka-rim Ku-day-ber-dy-uly(1858–1931), nephew of Abay Ku-nan-ba-e-va, was a re-li-gi-oz-ny fi-lo-so-f, p-tav-shim-sya in a tractor ta-te “Mu-syl-man-shyl-dyk, shar-t-ta-ry” (Orenburg, 1911) ob-os-no-vat dog-ma-you is-la-ma with in-mo -schi lo-gi-ches-ko-go me-to-yes. In the same year, he published one of the first works on the history of the Kazakhs - gi-zov, ka-za-khov and khan-skikh di-us-tiy. Sha-ka-rim was the author of the pain-sho-go number of sti-hot-in-re-ny, po-em and pro-and-ches-pro-from-ve-de- ny. He re-led in the poetic form of “Oak-ditch-sko-go” Push-ki-na, his-and-mi teach-te-la-mi considered Bai-ro-na , Push-ki-na, Ler-mon-to-va, Ha-fi-za, Na-voi, Kan-ta, Sho-pen-gau-e-ra.

Re-li-gi-oz-ny fi-lo-sof Mu-ha-med Sa-lim Ka-shi-mov, from-the-west of his-and-mi pro-from-ve-de-ni-i- mi “Vezh-li-vost”, “Agi-ta-tsiya”, “Na-stav-le-ka-za-ham”, was also an auto-rum in weight “Sad-chal-naya Ma-ri-yam ”(1914), in which they condemned the custom of tea you-da-chi de-wo-shek for a husband without their consent. In three books published in 1913 Mash-gu-ra-Zhu-su-pa Ko-pei-u-ly (1858–1931) -noe apparition in my long-years-her life”, “Po-lo-same” and “On whose land Sa-ry-ar-ka” he sharply you-say-zy-va-et-sya against-li-ti-ki of Russia and the re-se-le-niya of Russian peasants in Kazakhstan.

At the end of the 19th - at the beginning of the 20th centuries. group-pa “books-ni-kov”, Nur-zhan Na-usha-ba-ev, Ma-shur-Zhu-sup Ko-pe-ev and others enter into someone-di-li, about -po-ve-do-va-la pat-ri-ar-khal-nye views and so-bi-ra-la folklore. Around the newspaper "Kazakh" (1913) group-pi-ro-va-lied on-tsio-nal-pat-ri-o-ti-ches-kie-ly - A. Bai- tour-su-nov, M. Du-la-tov, M. Zhu-ma-ba-ev, after 1917 re-went to the camp con-tr-re-vo-lu-tion .
Lee-te-ra-tu-ra 20th century

After-le Ok-tyabrsk-coy re-vo-lu-tion in the creation-honest-ve aky-nov Jam-bu-la Ja-ba-e-va, Nur-pe-i-sa Bai-ga-ni- on, Doskeya Alim-ba-e-va, Nar-taya Be-ke-zha-no-va, Oma-ra Shi-pi-na, Ke-ne-na Azer-ba-e-va active-no raz-vi-va-yut-sya so-qi-al-nye mo-ti-you and those-we so-qi-a-lis-ti-ches-to-go stro-and-tel-st-va.

In the so-vet-sky per-ri-od, the greatest known-ness in the USSR at-o-bre-lo creative-honor-in-of-the-native-native-no-go-this -aky-na Jam-bu-la Jam-ba-e-va (1846–1945), singer-she-go under ak-com-pa-ne-ment house-bra in the style of tol-gau. From his words, would the epics Su-ran-shi-ba-tyr, Ute-gen-ba-tyr, the fairy tales “Khan and akyn”, “The Tale of Len- tyae ”etc. After the Ok-tyabr-koy re-vo-lu-tion in the creation of Jam-boo-la-new themes appeared -“ The hymn of Ok-tab- ryu”, “My Ro-di-na”, “In Mav-zo-lei Le-ni-na”, “Le-nin and Stalin” (1936). Almost all the heroes of the co-vet-power-of-the-go pan-theo-on entered his song, they were given the hell of heroes, bo-ha-you-ray. Song-no Jam-bu-la would-whether re-re-ve-de-na into the Russian language and the languages ​​​​of the peoples of the USSR, in-lu-chi-whether everything is native vocation and in full measure was used by the Soviet pro-pa-gan-doy. In the years of Ve-li-koy Father-honest-ven-noy war Jam-bul pi-sal pat-ri-o-ti-ches-kie pro-from-ve-de-niya, zo-woo- those who are the Soviet people to fight the enemy - “Le-nin-grad-tsy, my de-ti!”, “At the hour when Stalin calls” (1941 ) etc. In 1941, he becomes a la-u-re-atom of the Stalin Prize.

Combining oral forms with li-te-ra-tur-ny-mi, Jam-bul you-ra-bo-tal new in-e-ti-ches-kuyu ma-ne- ru, from-whether-cha-yu-schu-yu-sya psi-ho-lo-gi-chess-coy-saturation, concrete-ness of the image-of-the-society-of-society venous life, for-soul-ness and simple-to-the-west-in-va-nia.

Ro-do-na-chal-ni-ka-mi Kazakh so-vet-sky li-te-ra-tu-ry became po-ety Sa-ken Sei-ful-lin (po-ems “So-vet-stan”, “Al-bat-ros”, “So-qi-a-lis-tan”, in weight “Earth-le-ko-py”, “Fruits”), Bai-ma-gam-bet Iz-to-lin, Il-yas Dzhan-su-gu-rov (based on the poem “Steppe”, “Mu-zy-kant”, “Ku-la-ger”), pi- sa-te-li Mukh-tar Au-e-zov (“Night races-ka-you”), “Sa-bit Mu-ka-nov” (so-chi-al-no-is-to-ri -chesky ro-man “Bo-ta-goz” (“For-ha-daughter-noe banner”), Be-im-bet May-lin (according to the story “Kom-mu-nist-ka Ra-u-shan", ro-man "Aza-mat Aza-ma-tych").

In 1926, there was a co-building on the Kazakh as-so-qi-a-tion of pro-le-tar-sky pi-sa-te-lei, in the first years of its own go su-shest-vo-va-niya bo-rov-sha-i-sya pro-tiv on-cio-on-lis-ti-ches-kih manifestations-le-ny in li-te-ra-tu -re. Did you-ho-dit al-ma-nah "Zhyl ku-sy" ("First las-toch-ka") (since 1927) and the magazine "Zha-na ad-bi-et" ( "New li-te-ra-tu-ra") (since 1928). In 1934, the So-yuz pi-sa-te-lei of Kazakh-sta-na was created, later, in its co-hundred-ve, sections of Russians and uy began to work -gur-skih pi-sa-te-lei.

The first howl at the meeting of the Father-honest-vein-noy war in the Kazakh li-te-ra-tu-re was called civil-dan-sko-pat-ri-o -ti-ches-kaya in-e-zia - poem by K. Aman-jo-lo-va “The Tale of Death in-this” (1944) about in-motion in -gib-she-go near Moscow, this Ab-dul-ly Ju-ma-ga-li-e-va, verses Tok-ma-gam-be-to-va, Zha-ro-ko -va, Or-ma-no-va, etc. After the war, the ro-ma-na “Sol-dat from Kazakh-sta-na” Mus-re-po-va appeared ( 1949), "Kur-lyan-diya" Nur-pe-i-so-va (1950), "Thunderous days Ah-ta-po-va" (1957), me-mu-a-ry Mo-we -shu-ly "For Na-mi Moscow" (1959).

In 1954, Mukh-tar Au-e-zov completed the best-chiv-shui ot-click in many countries tet-ra-logia - ro-man-epo-sing "The Way of Abai ". Pos-le-vo-en-naya Kazakh li-te-ra-tu-ra osva-iva-la large forms of "pain-sho-go" with-vet-sko-th style la, cha-go-teya to large-scale li-te-ra-tour-form-mums - ro-ma-us, three-lo-gi-yams, po-ems and ro-ma-us in sti-hah (Mu-ka-nov, Mus-ta-fin, Shash-kin, Er-ga-li-ev, Ka-ir-be-kov, Mul-da-ga-li-ev, etc.). Raz-vi-wa-las dra-ma-tur-gia (Khu-sa-i-nov, Abi-shev, Ta-zhi-ba-ev), on-learning fan-tas-ti-ka (Sar -se-ke-ev, Alim-ba-ev).

In the 1970s, pay attention to chi-ta-te-lei attracted a book from the vest-no-go of your collection “Good time to re- ho-da "(1961)," Over the white-mi-re-ka-mi "(1970)," Repeating at noon "(1975) Kazakh poet and pi-sa-te-la Ol-zha-sa Su-lei-me-no-va "Az and I" (1975). In it, he developed the idea of ​​​​the kin-st-ve of the Ka-za-khovs and the ancient Shu-Me-ditch, paid attention to the big-sho-whether-honest- in the words of the Turkic pro-is-hoj-de-niya in the Russian language, what does it say, in his opinion, about the strong influence of the Turkic skoy kul-tu-ry into Russian. In a revival-len-noy discussion, unfolding-new-shey-sya in pe-cha-ti, Su-lei-me-no-va about-vi-nya-li in “pan-tur- kiz-me" and na-tsio-na-liz-me.

In the verses of Ol-zha-sa Su-lei-me-no-va “Ko-chev-nik”, “Song-nya ku-ma-na”, “Chrome-my ku-lan”, “Ka-ra -gach”, “Red go-nets and black go-nets”, “Mo-lit-va ba-ty-ra”, “Nomad before my winter ...”, “Bal-la -yes”, “Vol-cha-ta”, “After-her word aka-na Sme-ta” and many other de-ni-yah this-go-yar-ko-go pre-hundred-vi-te-la Kazakh in e-zia second-lo-vin-na of the twentieth century, uch -no-go and dip-lo-ma-ta, common-ven-no-go and go-su-dar-st-ven-no-go de-i-te-la, pro-follow- va-yut-sya and personal-noe-na-cha-lo, and deep-bo-ko in-di-vi-du-al-ny in-a-ti-ches-ky look at the essence of yav-le- ny fast-ro me-nya-yu-shche-go-sya world-ra, some-ry co-spun-same-us with the well-known post-tu-la-tom “from part-but- go to the general. Ele-men-you-native in-e-ti-ki, char-rak-ter-ny for many aky-nov so-called-zy-va-e-my “steppe ref-ren” , instant-ven-naya im-pro-vis-za-tion, born by my self-e-ti-ches-coy thought, someone-paradise always lives in su-lei -me-new Word that “wanders in the steppe” - all this and many-many-many other things are always defined-de-la-lo in-e-ti -che spirit of Ol-zha-sa Su-lei-me-no-va as su-gu-bo on-tsio-on-l-noe creative-honesty, you-went-out of a lot- ve-ko-howl tra-di-tion, name-well-e-my “step-pee in-e-zi-her”.

Na-tsio-na-l-naya li-te-ra-tu-ra na-ro-dov Ka-zah-sta-na

In 1977, in So-yuz, pi-sa-te-lei of Kazakh-sta-na opened a section of the Korean li-te-ra-tu-ry. Pi-sa-tel and poet Kim Dyun (1900 - 1980) - author of the poem "Aliya", in the sacred Kazakh de-vush-ke-ba-ty-ru A. Mol-da-gu-lo-howl (1960, in Korean). Since 1937, in the Republican-Kan-Korean Te-At-Re, see-te-li see-de-li more than 100 plays of Korean drama-ma-tours. In the Korean language, after setting up the plays by M. Au-e-zo-va “Ka-ra-goz” and “Ko-by-lan-dy”, G. Mus- re-po-va “Ko-zy Kor-pesh - Ba-yan Su-lu”, as well as a play by O. Bo-dy-ko-va, K. Mu-ha-med-zha-no- va. In the re-pub-li-ke, non-metz-kie poets and pi-sa-te-li are successfully working. From-yes-we-e-ti-ches-kye pro-from-ve-de-niya R. Zhakm-en, K. Vel-tsa, I. Var-ken-ti-na, as well as about - for A. Reim-gen, V. Klein, D. Gol-man, A. De-bol-sko-go, G. Bel-ge-ra. In 1932, or-ga-ni-zo-va-na uy-gur-skaya section. In this period, I. Sat-ti-ro-va, I. Is-kan-de-ro-va, had a success in-e-zia, would you have put a pie- sy J. Asi-mo-wa and A. Sa-di-ro-wa, K. Ha-sa-no-wa. From-da-na collection of weight-tey H. Ab-dul-li-na, Z. Sa-ma-di, J. Bo-sa-ko-wa, T. To-hta-mo -va, M. Zul-py-ka-ro-va, A. Ashi-ro-va, N. Ba-ra-to-va, P. Sa-bi-to-howl, as well as verses and poems by I. Bakh-tiya, M. Ham-ra-e-va, I. Bakh-ni-ya-zo-va, R. Ka-dy-ri, A. Ga-ni-e-va, M. Ab-du-rah-ma-no-va. Pe-re-ve-de-ny and from-da-ny into the Uy-gur language “Sti-hot-vo-re-niya” by A. Ku-nan-ba-e-va (1987), “Ba -lu-an Sho-lak” by S. Mu-ka-no-va (1987, translated by K. To-hta-mo-va), “Ul-pan is her name” by G. Mus-re-po-va ( 1987, trans-re-water Z. Sa-ma-di). From the well-known pi-sa-te-lyam and therefore the eye-zy-va-et-sya support from the side of the go-su-dar-st-va, Dm. Sne-gin, G. Bel-ger, M. Si-mash-ko udos-e-we pre-mii of the Mira and spirit-hov-no-go co-gla-siya Pre-zi-den-ta Republic of Kazakhstan.

So-time-men-naya kazakh-stan-sky li-te-ra-tu-ra

Pe-ri-od of the end of the 1990s - on-cha-la of the 2000s. in li-te-ra-tu-re Ka-zah-sta-na ha-rak-te-ri-zu-et-sya in-torture-ka-mi comprehend in-st-mo-der-nist- Western ex-pe-ri-men-you in li-te-ra-tu-re and the possibility of using the methods of de-con-struction and " compaction-non-niya "text-ta, as well as re-os-cape-le-niya pro-from-ve-de-niy from-vest-ny and little-from-vest-av -that-ditch. Li-te-ra-tu-ra Ka-zah-sta-na pro-long-zha-et time-vi-vat-sya in con-tech-with-these general-mi-ro-howl qi-vi -li-za-tion, vpi-you-vaya and development-vi-vaya new cultural ve-i-niya, taking into account your own-st-ven-nyh-capabilities and in-te-re-owls.

Source: http://www.kazakhstanlive.ru

When someone starts talking about the literature of Kazakhstan, Abay Kunanbaev, Mukhtar Auezov, Olzhas Suleimenov and many, many others come to mind. Who can we remember from the school course of Kazakh literature? Classics. However, whatever one may say, poetry and prose are a reflection of the spirit of the time, and if we fully learned about what happened 200, 100, 50 and even 25 years ago, then the literary face of modernity is hidden in the shadow of ignorance.

Revision C is outreach and writing about those who write about everything, including maybe even us.

Pavel Bannikov

Oppositionist of the conservative "Union of Writers", co-director of the poetry seminar at the progressive "Open Literary School of Almaty", co-founder of the anti-periodical publication " yshsho one”, an eternal marginal (like most modern Kazakh poets) and a person who knows firsthand why domestic literature cannot yet reach the masses: the writer cannot publish because publishing houses are still suffering from the Soviet censorship syndrome, the reader is not ready , he is lost in the choice and, like in a supermarket, he would rather take something “with a name” than with the brand “made in Kazakhstan”.

However, Pavel is a creator who looks at things, as they say, with faith in the best, well, and we will take an example from him and will wait for new literary exploits.

Zair Asim

Poet and prose writer

He studied not as a philologist and not even as a journalist, but graduated from the Mathematics Faculty of KazNU. al-Farabi. She does not work in an editorial or publishing house, but gives lessons in Argentine tango (and mathematics). Most likely, it is the totality of the above that gives his syllable a clearly adjusted rhythm and pace, and the word and images have a shade of exact science - life as it is and nothing more.

Ilya Odegov

prose writer

Perhaps the most widely known writer from Kazakhstan in narrow circles, the winner of the international literary competition "Russian Prize", the winner of the "Modern Kazakhstani Novel" award and the owner of many other titles and awards that you most likely have not heard of, but in the literary environment this solid, respected and prestigious.

If most people who undertake to write these days are literary collections, then Ilya Odegov is a whole library. The man to whom literature came by itself. The main, generalizing idea of ​​his works is faith in people and in circumstances that can change these people. For better or for worse, you'll only know by reading it.

Aigerim Tazhi

Poetess

We play tic-tac-toe with God.

He draws stars in the sky, and I

I throw stones into the green water.

We miss you. Draw.

We sincerely believe that in order to feel and at least try to understand all the feelings that the author puts into his works, you need to find and study them yourself.

We can only say about Aigerim that, for a moment, she is published not only on the territory of the post-Soviet space, but also across the distant Atlantic Ocean. Life in Kazakhstan, where West and East, Russian, Kazakh, English and many other languages ​​and cultures are intertwined, literally deprived her creativity of borders and made it absolutely understandable to any person on planet Earth. The rest is yours.

Karina Sarsenova

Poet, novelist, screenwriter

Poet, writer, producer, screenwriter and psychologist. She is the general producer and creator of one of the largest production centers in Kazakhstan, KS Production. Karina Sarsenova is the owner of many serious international literary awards and orders. She is a member of the Union of Writers of Russia, as well as the president of the Eurasian Creative Union. In addition, she even founded a new literary genre - neo-esoteric fiction. Under her authorship, 19 books have been published in Kazakhstan, Russia and China. From under her pen came the script for the full-length film "Guardian of the Way", as well as the scripts for the musicals "Alma and Armand: the magic of love", "The other side of the heart" and "Signature". You can get acquainted with the poetry of Karina Sarsenova.

Ayan Kudaykulova

She published her first book in 2011, and in 2013 she became the best-selling author of the year. Its genre is acute social and psychological prose. In his works, Ayan reflects on polygamy, problems in the family, considers the process of its destruction and looks for the place of a woman in Kazakhstani society. Despite the seriousness of the topics, the author writes easily, which makes the process of reading a pleasant experience. Ayan Kudaykulova's famous novels are Coco's Handbag, Carnelian Ring, Eiffel Tower, Gardener for Lonely Ladies.

Ilmaz Nurgaliev

The genre in which this author works is unique - Kazakh fantasy! He is known for a series of works "Dastan and Arman". The protagonist of the story is the horseman Dastan, who is in love with Armanay. She loves him back, they are engaged since childhood. But the father, according to the classics of the genre, opposes marriage and gives the young man 7 difficult tasks. In general, each book in the series is the execution of the next task. If Dastan copes with everyone, he will receive the hand of his beloved. In this fantasy you will not find monsters and ghouls. Bais, batyrs and heroes of legends and tales live there. Ilmaz is still a pioneer in this genre, but we believe that it is worth getting acquainted with his work. This is really interesting content that popularizes our culture.