K.A. Toleubayeva
сandidate of philology sciences, professor, Philology Faculty, E.A.Buketov Karaganda State University, Karaganda, Kazakhstan, e-mail: k.toleubaeva@mail.ru
ARTISTIC SPACE AND NATURE OF CHARACTERS
The article is devoted to analysis of the compositions by Tursyn Zhurtbay «Zher-Besik», «Qar astyndagy kobelek», «Bir uys Zhusan». The article comprehensively quoted the ideological and aesthetic novelties of the compositions. The spiritual degradation of society, including the expansion of a human, his environment, and the impact of society on the person were analyzed. In addition, the cognitive and aesthetic principles of the writer in raising ethical and moral problems were revealed. In the works written in a memoir way, the plot lines connected with a drama understanding spiritual values of the character were comprehensively analyzed. The tragedy in the plot, characterizing the perception of the environment by the character was proved. The analysis of the artistic anthropological character included a complex internal psychological neglect of the character. Lyricisms were defined in the composition, which were manifestations of tragedy in the storyline. The compositions considering the inner world of the human soul were reviewed.
Keywords: spiritual world of the hero, tragedy, artistic anthropology, author’s conception.
INTRODUCTION
It seems that the author uses examples of living people to skilfully describe the traits of the character of his personages. The author pays special attention to each character and creates separately from other participants of the story. This also applies to the specific features of the writer. For example, throughout these three compositions we observe the process of Zharas’s transformation from a child into a complex personality. And in the performance of Kerbala, the writer reveals her character and psychology through all the events that she has experienced, and makes her the main character of the novel “Zher-besik”. The connection between author’s way to decribe the characters and the psychology of the composition can be seen from the detailed account of the characters. This is one of the main features of the creation of the character by the writer. To talk more precisely, we can safely say that there is a question about the prototype. There is a definition of “prototype” by Z. Akhmetov in “Adibiettanu” dicitionary: “Prototype (from Greek.prototypon – the original, imaginative) — a person in life, which serves as the basis for the creation of the image of the character in the work of literature, that is, the original, the final person available in life. The character and the story are taken from the life, those are combined with experience of the author” [1, 277]. This means that the person and his story are closely related to the writer, so the characters are transcribed from the prototype in reality. But the character takes an image different from real life according to the idea of the composition through typification and making common principles inherent to literature. Is the main character in writer’s novels Kerbala a person who really existed in life, or is she a hero born from the imagination of the writer? While reading novels “Zher-besik” and “Qar astyndagy kobelek”, one can notice specific preciseness and closeness in the descriptions. But this question is answered by the writer himself. The writer Tursyn Zhurtbay recalls his father-writer Kudakeldi Zhurtbayuly in his composition “Sure soz”: «My father, Kudakeldi, had an ability to win life difficulties and control his fate thanks to his character. His lifestory seemed to me as some kind of imaginary dream full of vivid components. He used to get angry and calm down very fast, he considered his own independency so important that did not take taxi or hire a driver because he thought that it limits his freedom. I used not to understand why my father did so, but now I understand the importance of freedom to anyone. Because of his stubbornness he had many problems in the 1920-30s, and calmed only in the 1960s. I have written this in my novel “Zher-besik” after some time has passed” [2, 139].
MAIN PART
It is not difficult to understand that Kerbala from the novel matches the description of author’s father given by the author himself. For example, we can consider the words written about Kerbala in the beginning of the novel: “Life is a treasure, which belongs to the living in the bright world. She has tasted it. She saw its difficulties. She won and lost. She is glad to experience both good and evil. Kerbala is amused not at how fast her life passed, but at how much she had to fight in it. She does not regret, but gets surprised. Victorious person’s spirit is not broken. The blown flag she was born with is blown away when she is dying. Her spirit was not broken when she faced her enemies” [3, 4]. It seems that these two descriptions complement each other. The writer admits this by writing the following in the end of the composition we are talking about: “In my opinion, this story is small piece of those difficulties my father experienced. The rest are personal stories, and I wish readers take a lesson from what I have written” [2,169]. Hence, we realise that the stories Kerbala was in are very close to the author. And if Kerbala’s prototype is author’s father Kudakeldi Zhurtbayuly, then Zharas in the composition should be the writer himself. This could be the secret of such a precise and full description of the characters. One reason for the detailed and effective description of the feelings and inner world of the characters in every moment of the story is the fact that the author experienced them. In conclusion, each work has different world of their characters, through their psychology which refers to the full psychology of the work. And the writer Tursyn Zhurtbay, who knows how to skilfully use the psychology of heroes in his work, retained the value of his works, noticed the specificity of his style from other writers. If we talk about artistic ideas, the general idea cannot be understood as a conclusion, which in the work is in the finished form. Because the reader should collect all the descriptions, events, thoughts and feelings to draw a great conclusion. This conclusion cannot be the same. This is because every reader has a unique point of view, taste and perception, hence a conclusion should be matching them. Nobody can tell what is the idea of the composition reading just a piece of it. For each reader may be different ideological capacity, which can affect all the content they read a literary work-the richness, the artistic skill. The main ideological directions of the work are felt both from individual ideas and from the characteristic features, figurative qualities, skill of the writer. The main idea is that the work of art should be dictated by its essence, content and artistry. Z. Akhmetov noted that in the composition which has a deep meaning and idea, every image and word are special. One of the scientists, who considered the idea in close relationship with the world of characters, Kenzhebay Akhmetov expressed his opinion about an idea: “One of the main characteristics of literature is its ideality. Ideality is a vision of a meaning of the events and characters in the composition” [4,86]. Therefore, the scientist considers the artistic idea in close contact with the problems of views and directions of the writer, the author’s idea. As Kenzhebay Akhmetov stated due to the fact that ideas in literary works are manifested directly through the word, mainly indirectly through artistic images, they do not stay in the eyes, are revealed throughout the work as a whole, through linguistic-figurative images in the work. As it was stated above, the idea cannot be cut out from the composition, and this opinion just proves it more. Moreover, adding to his opinion about ideality: “Ideation is a general dimension of art in aesthetics, which evaluates the characteristic features of the content of the work of art, i.e. social, political, philosophical significance of the theme, social orientation and ideological trends, the realism of the artistic idea” [4,86]. This will increase the amount of definitions presented to the idea. If in a literary work there is high knowledge of harmony, the content and type, thinking and verbal table, then this work achieves great success and impressions of readers. In these works of ideas and their generalization, one whole actual problem-the main idea, which will be deeply and comprehensively full. The writer Tursyn Zhurtbay skillfully conveyed the artistic idea through various events related to the life of the characters, the nodes of the life path and his views on it, the ways out of these events, the views and actions of the heroes. In his compositions, he fully revealed many individual ideas, such as morality, friendship, honesty, love, the relationship between parents and children, work. By integrating these ideas to one complex and main idea, the author creates an attractivity of his compositions. These are individual features, individual tendency of the writer who affected his readers through conveying the main idea. And in every literary work an impressive idea is not revealed, it is revealed through a tendency to depict the truth of the writer. Zeynolla Kabdolov explained: “Tendency is a principle inherent to writers to narrate the truth” [5, 157]. So the artistic idea of the writer «through the trend beautifully expressed words tender images of his own sentiment,» missed their readers the whole truth, adding their point of view and raises some actual concern. Now the question is about the author’s idea and an objective idea. There is a note about these in “Soz oneri” by Zeynolla Kabdolla: “The author’s idea is the core of the artist’s thought; an objective idea is a purposeful result from a particular work. More precisely, what the author wrote is not always the same as his expectations. Sometimes an objective idea can be even opposite to the author’s idea” [5, 165]. Generally, the author’s idea refers to the composition, but the effect of this composition on the reader and reader’s view necessarily do not coincide with the idea of the author. This is also connected with the artistic reality, which was used by the writer in promoting the idea. It is also possible that the truth that plays the role of the basis of the composition eventually is not observed in the story. Every true story passes through the core of the writer’s thought, and it becomes a reality of the artistic truth. In opinion of Z. Akhmetov: “The artistic truth is a way of life that is permeated with the thought, creativity of the writer, generalized, described in literary works, turns into an artistic picture. The artistic truth is born by deep comprehension of the truth in life, thorough understanding, expression of its relation to it by the writer” [1, 193]. Therefore, every truth passes through the writer’s thought in literary works, turns into an artistic picture, passes to the artistic truth. The compositions of the talented writer
Tursyn Zhurtbay, who skilfully depicted the psychology of the characters, namely “Zher-besik” and
“Qar astyndagy kobelek” are clearly connected to each other and their ideas are linked too. Another feature of the writer in these two complex works is the beginning and the end of the compositions. The author starts off by giving the readers philosophical thoughts and then makes a lyrical step back. The writer begins the novel “Zher-besik” with the lines: “It is snowstorming. There is only one wintering house in the Qaraspan mountains. Zher-besik (Earth-cradle) is lulling this only house as its baby. Heavy snowstorm covers the house hid near the high cliffs with snow. Snowstorm is bulking the wanderer. Who…?” and posing a question to the reader continues “Kerbala’s life is a lifestory which is not similar to any other. She did not notice how while fighting she reached the ledge. She continuously sees her life from the beginning in front of her eyes. Zher-besik crudles the only citizen on its back. The snowstorm lulls the only wintering there” [3, 8]. And then the author finds the philosophical solution and finishes: “Zher-besik cradles all people in its palms, lulling them with continuing movement. Mother’s lullaby, the sound of the snowstorm, the thunder of the lightning, the noise of the leaves, rustle the branches and the murmur of the water in the river source, all of these are pieces of the lullaby. It does not pray to fate. What did the human in his life, how did he live and what for?… Every generation should seek for the answer by living. Today Kerbala answered those questions individually. The Earth-cradle or the tree cradle. Is the meaning of life and death depicted by what the cradle is being lulled? The Earth rotates and the wintering house in the Qaraspan mountains listens to its lullaby” [3, 205]. There is a clear connection between the beginning of the novel “Qar astyndagy kobelek” and the ending of the novel “Zher-besik”. The writer cites a quote from Antuan de Sent Exupery and travels to the childhood time: “Nobody can bring back the past. It disappeared in eternity after leaving scratches on the hearts with its good, evil and hurting. Its images become just a dream and are kept closely in mind. My father’s life is like a seaweed grown under the ice sheet always aspiring to great light. I don’t know whether it is hard or easy. But he came out from the dark place, and showed his life to the Sun. In his early spring I was born. We are related. I take lessons from my father’s life. He travels to the future with my son. The difficulties of his life left scratches on my heart too. And today is my day, a part of the time allocated to me. I need to seek the meaning of my life. When I returned to the house in the Qaraspan mountains, the place of my childhood, my heart ached not only because of my father’s fate but also because of the hurt of my fate too. I have both delighted and grieved. My joy and grieve are enough for one fate. My answer to the question about the meaning of the world is my lifestory. To get rid of serious thoughts and to console the soul, I went to the river source in the area of red rock with a smell of mint. I looked at the steep rounded boiling water for a long time. There is an image of a man with dark brown hair, thick mustache on the surface of the clear water looking at me through the water vibration. The image of his face was unclear. I leaned forward. The clear water touched my face but I still deepened my face into it and opened my eyes… I saw that the blue water is playing with the light, stones inside the water are looking like gems, the bubbles were like pearls and I realised that I was standing on the high rock… This is my childhood. I continued to deepen my face down to the river and the beautiful world opened in front of me” [6, 12]. Author uses a butterfly as a symbol to finish the composition: “You are living too, the butterfly under the snow (qar astyndagy kobelek). Here I am standing too. Now you should not worry, you take care of your weak wings. And we got rid of the cold of fate. Butterfly, you are my life, fly as you can, you are a symbol of the brightness in my life. I said “Fly” having my eyes wet: I have buried you under the snow thinking about you as a symbol of my life. My life was connected to you. You won and gifted me the bright sun, the blue sky. Thank you for that. I have travelled a lot. We will not meet anymore; nobody will remember me. But my butterfly under snow, you will disappear. However, on the native land you’re flying, while preserving my spirit. Earth will remember our kindness and care, warmness of our souls and tender love will be kept in spring butterflies, pure sunlight and a song of a nightingale. Earth warmed thanks to those and the world blooms. But now, fly and fly, my butterfly-life, — said I and opened up my palms. …Thousand kinds, thousands of butterflies were flying. There should be the one that was under the snow. We have all rights to be happy, enjoy and participate in those parties too” [6, 97]. This feature of specific beginning and ending opens up the meaning and the psychology of the composition from another point of view. The basis for such connectivity of the compositions is the individuality of the writer. In conclusion, talking about the truth that was the basis in Tursyn Zhurtbay’s compositions, the artistic truth deeply sensed in the author’s compositions and the writer showed his relation to the truth, hence the compositions had autobiographic traits. The writer interests his readers by intervening his own direction and viewpoints with the feelings, events, thoughts of the characters. Due to the fact that the idea of this work is associated with the depth and completeness of the presentation of his ideas, it can be noted that the ability to convey the basic idea – in the features, and the skill of the writer. We considered psychologism in a composition in close contact with the psychology of the hero. Now it is necessary to dwell on how the psychology of the hero affects the general psychology of the work, the idea of the work and its main activity. Of course, it is obvious that the author uses different technics to create a new character and open up his inner world. And all of them form a unique, and specific psychological style. And from what point of view should we consider general psychology? Because, psychologism is used once as a category, then as a generic designation, as an artistic approach, as a phenomenon, as a direction. Gulziya Piraliyeva tells the following opinion about this problem in her work “Some problems of psychologism in the prose”: “Probably, a conclusion is that the psychologism should be considered as an artistic system, which consists of several directions and ways of displaying in fiction, grouping different concepts. After all, in general, the reflection of the spiritual world of man is a phenomenon inherent in the compositions of all genres. “Psychologism is an artistic requirement inherent in psychological prose, which reaches the level of spiritual value by deepening and the knowledge of the inner spiritual world of the character. Psychology is divided into two types. The first, psychologism in its broad sense (universal) is a characteristic of the whole literary work. The second, narrow meaning of psychology, deeply comprehending the fate of the individual, pays special attention to the detailed image of the spiritual world” [7, 4]. Then stating that the psychologism is a complex phenomenon which includes full psychological prose moving from the psychology of the individual character to the general psychology of the composition. Then, the psychologism is a special artistic system consisting of a conflict of consciousness, the «inner voice» of the soul. But one of the features of the literary psychology is that even thoughts of the author and the character, the conflicts of consciousness are full of contradictions, in the opposite position, the work remains systematic, does not deviate from one system. This sequence is well preserved between the writer, which we are considering, and his compositions. Because psychologism has a peculiar artistic world, that is, poetics. “First, the way of the description in psychology includes psychological analysis and self-analysis. A neutral/third party descriptor narrates in psychological analysis, and person himself describes in self-analysis. But the most advanced approach to psychologism is an internal monologue. There is a great role of the literature psychologism in opening the truth inherent to the compositions and the aesthetics of the compositions” [7, 8]. This literary phenomenon is observed in the works of Tursun Zhurtbay.
The writer most often shows the specificity of his works by presenting in the first person or artistic representation of life reality. The study of the mysterious nature, the inconsistency between thought and feeling, unforeseen phenomena in multi-layered pockets and action characteristic of human nature is the main task of the writer-psychologist. A.Baitursynov outlined three bases for the science, which researches the humankind: “1.Intelligence. 2.Imagination. 3.Attention. The work of intelligence is hunting, that is, understanding things, knowledge, mental thinking; the role of imagination is indicating, that is likening the thoughts to some objects; the work of the attention is to remember, conclude” [1, 27]. These three bases are the main object of the study of the human consciousness. It is known that without deep studying the intelligence, imagination and attention it is impossible to get deeper into his inner world. A writer who is able to fully convey the psychology of a hero and comply with these rules will be noticed to be closely related to his heroes. And it is not difficult to notice that there is a very close connection between the writer Tursun Zhurtbay and the characters of his compositions. Because you can see that each writer was close and closely associated with his characters, who knew how to skilfully set the inner world and the inner thoughts.“Psychologism in the literature is divided into several types: dynamic, analytical and syncretic. All of these are typical for a literature composition. So, undoubtedly, there is a simple question of how the psychological prose is different from the other genres. Unique stylistic, genre and artistic features of the psychological composition: Firstly, issues like event, character, period, time, theme, idea do not come first. It is not required. Secondly, here, the most important thing is the inner life of a person, the difficulties of the fate in the period between the life and the death, the process of character’s changing to a complex person. The composition analyses the qualitative changes in the consciousness of the individual, spiritual gap, the internal sensitive phenomena rather than the chain of shock events. Third, the aesthetic, artistic world of psychological prose, in accordance with its genre, artistic, stylistic requirement, deeply analyses the contradictions of thoughts and feelings in artistic systems, statements and disorders that occur in the individual consciousness” [7, 10]. The connection between the author and his characters, their inner world, thoughts and feelings can be said to be first-hand issues in the compositions of Tursyn Zhurtbay. This feature is reflected in almost all the works of the writer. The works of the writer Tursyn Zhurtbay are closely related to each other. And in each composition, we are reading the fate of the character, we can see that the main character, patient with these difficulties, has become a complex person. The stage of character growth is revealed with genre, stylistic features of the main psychological composition, and for its development an internal monologue, monologue, thinking, imagination, skill, memory, ignoring, delirium, self-control and self-analysis are used. However, these categories in the work of art are considered as artistic techniques, excellent means of analyzing the human soul, and they are the categories that study the laws of the human soul system in the spiritual science. Therefore, the highest aesthetic world of the reality of life in a composition and the level of the spiritual value are associated with the laws of psychology.“Of course, the terms, phenomena, even categories, theoretical notions of psychology are relatable to the literary psychologism, psychological analysis and, generally, the artistic world of the psychological prose. As B.Maitanov said: “…psychologism is a permanent ambassador of psychology in the literary psychologism”. Categories that study psychological science are undoubtedly an artistic means for the manifestation of the human psyche and representatives of the word art. At the same time, we believe that these are categories of psychology that expand the artistic world of the psychological prose, reveal the characteristic means of the visual activity, develop and enrich the views, tastes and professional skills of writers. Particularly, introspection is self-analysis, consciousness is remembering one’s experience and depiction by recalling, main processes of consciousness are to remember, to leave, to recognise, to recall and to imagine, affect is a short-term, flash, extremely strong emotional reaction and a lot of other emotions and feelings, psychological characteristics of various phenomena in the body/appearance, eyes, facial gestures, etc./, forms of thinking, imagination, night dreaming, these terms of psychology are artistic features of the artistic psychologism” [7, 13].
CONCLUSION
Such artistic visual means, of course, help to achieve great success in creating a character. The nature of psychologism in the literature can be observed from: “Methods of psychological analysis are diverse, — he emphasizes. L. Ginzburg, in particular, the identity of the author or the introspection of the character, the indirect ways of depicting the spiritual world, the non-verbal desires, actions, etc. are all passed through the analytical analysis of the author. Among them, a special place is occupied by the inner monologue, the inner word of the character” [8,33]. Therefore, if the author’s contemplation or the introspection of the character is given on the analytical principle like the inner monologue, the inner word, mind, dreaming, then indirect ways of depicting the spiritual world are observed as a dynamic principle like the non-verbal notes, the external movement, the artistic detail, the objective world, the psychological environment, etc.
“Psychologism is the study of a man in the literature from the point of views of the analytical and dynamic principles. Analytical principles include stylistic devices and expressive means like internal monologue, internal dialogue, mind blow, thoughts and feelings, conflict of actions, dreaming, delirium, unconsciousness, etc. which deeply analyse the soul of the character, and dynamic principles mostly include external psychological signs such as gestures, non-verbal manipulation, body state” [7, 177]. Now let’s observe the role of them in the composition. “Especially the complex and outstanding artistic techniques of psychological analysis are to analyse from a scientific and theoretical point of view, paying special attention not only to the nonverbal actions, but also to the world of objects” [7, 15]. Therefore, one of the types of artistic methods of psychological analysis is dreaming. Dreaming is an artistic method that arose in the literary, artistic attempts, initially unconsciously, and later, has its own content. In a composition, dreams are used to give psychologically convincing and accurate actions of the character. The dreaming approach is considered as an effective approach to the disclosure of the complex and mysterious nature of the character, to the solution of events, to the disclosure of the skill of the writer. In his composition, the writer Tursyn Zhurtbay effectively used this method. In the novel “Zher-besik”, Zarkum’s, Kerbala’s son from Ryskan, dream was shown as the sign of the child’s sinlessness and faith in the fairy tale from father’s imagination: “Zarkum was harnessing a white deer and saw white nomads on sleighs. He came forward with joy and called out. He was not seen or heard, they just passed next to him. He run after them, his lungs were burning, muscles fatigued, and he fell on the snowdrift. His head was stuck in the snow. He woke up suffocating” [9, 122]. Faith and love between father and son developed after this dream, and then the main character of the composition Kerbala concluded the solution of this dream: “A white boat became a symbol for a wish for desirous, holiness. Later, the sleigh with white deer was added to the fairy tale. Is it really a fairy tale? No, it is a life story…”, “…This letter is a white bird, a white bird that he was waiting so long! This letter is a white pigeon from fairy tale that developed the child’s imagination and supported the little child’s heart, isn’t it?” [9, 145]. Kerbala’s awaiting letter from her son and the white bird which was long awaited by Zarkum found consonance together making an artistic solution of the composition. The psychological dictionary gives the following definition of the dream: “Dreaming is a natural psychological phenomenon inherent to the individual. The meaning and emotional colouring of the dream directly correlate with the personal characteristics of the viewer, his state at the moment of dreaming” [10, 366]. This means that dreams of Zarkum and of Zharas from “Bir uys zhusan” are of significant importance, it can be seen that they are playing a particular role in opening up the artistic idea of the composition. The plot of the dream is a complex consisting of the dreamer’s motive, his instinctive desire, wish, emotions and feelings in the symbolic form. Dreaming is the most important artistic approach in the Kazakh psychological prose, literary science and is used as its main model. The most important artistic role of the dream approach in fiction is that it accurately reflects the psychological reality. The dreams take a special place in the plot of the composition. The artistic world of the dream analysis, which skilfully combines artistic reality and the reality of life, determines the meaning of dreams. This approach is used by the writer in the elegiac work «Bir uys zhusan». At the end of the composition, using the results of all the events, the author demonstrated with great skill the moments of farewell to his beloved sister Toleu. This dream is filled with the imagination and takes place in memory. The color picture symbolises the time of farewell between the illusion and Zharas: “The picture-illusion slowly rose from its place and left. I left after him. Stepping out of the yard, he held my hand. The wind blew slightly, and I went up into the sky… I was flying in the air when I was high in the sky… The high peaks of the mountains were turning brown, and when we reached the centre, we decreased our level and entered the building with an opened window. He sat down at the table. The lecture hall of the University, I recognise it too… Moving slowly, he went to the blackboard and wrote using a piece of chalk: “An example for a complex sentence: “If you are looking for a place in life, then keep your past in your heart, and then, when you get tired, you will miss even a black stone”. Toleu”, and took my hand… The Sun was beginning to be seen… He gave me his hand and said: — Bye, I won’t be seen as illusion anymore. Now I’m turning into light and losing space. Only memories will remain in your heart. Maybe I will be a light that hangs on your eyelash when you wake up, or maybe I will be the beam that warms your cheek in cold. Finally, I’ll give you warmth. Don’t look for me, bye… Let your light be more in life. I’m flying away now. Glare, birds caravan will come. The morning light is accompanied by their wings. It is the light beam. The beam of my life… Bye… I woke up being very scared” [9, 378]. Has he seen reality, or dream, or mistake, or illusion, who knows? Not every writer can go to depicting two such feelings opposite to each other. Because, this is the characteristic inherent only to psychologist-writers who perfectly knows the nature of human soul, the thoughts flow, deeply studied the psychological processes, has broad horizons and exceptional ability to depict. The writer in the Kazakh literature, who paid special attention to the dream approach, used it differently in every composition, tried to study it closely, gave it a great philosophical, social and psychological meaning, the aesthetic value, spiritual need, and turned it into the most valuable feature of own compositions, is Tursyn Zhurtbay; he depicted the traits of the character according to real laws of psychology, skilfully connected the episodes of dreams and awakening, analysed the action and thoughts of the character after the dreaming.
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К.А. Толеубаева
Көркемдік кеңістік және кейіпкер болмысы
Е.А. Бөкетов атындағы Қарағанды мемлекеттік университеті,
Қарағанды қ., Қазақстан Республикасы
Мақала Тұрсын Жұртбайдың «Жер-бесік», «Қар астындағы көбелек», «Бір уыс жусан» шығармаларын талдауға бағытталған. Мақалада тақырыпты ашуда көркем шығармаларындағы идеялық-эстетикалық жаңалықтар жан-жақты дәйектеледі. Қоғамды жайлап бара жатқан рухани азғындау экспансиясы, адам, оны қоршаған орта, сол қоғамның адамға тигізер әсер-ықпалының көрінісі жан-жақты сараланды. Сонымен қоса, қаламгердің этикалық-ұждандық мәселелерді көтеруіндегі танымдық-эстетикалық ұстанымдары ашылды. Мемуарлық сипатта жазылған шығармалардағы кейіпкердің ішкі жан әлемі, рухани құндылықтар туралы ой кешудегі драматизммен өрілген сюжет желілері жан жақты сараланған. Кейіпкердің қоршаған ортаны қабылдауын сипаттайтын сюжеттегі трагизм дәлелді талданған. Көркем антропологиялық сипаттағы талдаулар арқылы кейіпкердің ішкі психологиялық иірімдері кешенді қарастырылған. Көркем туындыдағы лиризм, трагизмнің сюжеттік желідегі көріністері айқындалған. Адамның ішкі жан әлемі көркемдікпен берілген шығармалар қарастырылған.
К.А. Толеубаева
Художественное пространство и характер персонажа
Карагандинский государственный университет имени Е.А.Букетова,
г. Караганда, Республика Казахстан
Статья посвящена анализу произведений Турсына Журтбая «Жер-бесік», «Қар астындағы көбелек», «Бір уыс жусан». В статье при раскрытии темы разносторонне определяются идейно-эстетические новизны в художественных произведениях. Проанализированы широко распространённые духовные деградации общества, человек, окружающая его среда и влияние общества на человека. Кроме того, были раскрыты познавательно-эстетические принципы писателя в поднятии этико-нравственных проблем. В произведениях, написанных мемуарным образом, разносторонне проанализированы сюжетные линии, связанные с драматизмом в осмыслении духовных ценностей героя. Доказан трагизм в сюжете, характеризующее восприятие персонажа окружающей среды. Анализ художественного антропологического характера включает в себя комплексные внутренние психологические пренебрежения персонажа. В художественном произведении определены лиризм, проявление трагизма в сюжетной линии. Рассмотрены произведения, в которых художественно выражен внутренний мир человека.