Language World Picture and National-Cultural Specificities in Oral and Written Text

The Kazakh magic fairy tale became original synthesis of mythological aesthetic representations of the most ancient times. In myths, in fairy tales dreams of ancient people of conquest of natural forces were reflected. In fairy tales are embodied animistic and cosmogonic representations of forefathers of the Kazakh ethnos. In them totemism, \fetishism, a taboo, shamanism, a cult of ancestors are present as ways of attitude and outlook, as a way of life. In fairy tales Nature is occupied by demons. Occurrence of demons marks new quality of the human relation to the nature: care, fear, sensation of the powerlessness before mysterious and terrible elements.

Therefore in fairy tales is narrated about space pursuits, prosecutions; cosmogonic motives were embodied in representation about the general stream of a life in which there was an earth and heavenly bodies, there were animals and people. The idea of general transformation of one in another, cultivation of ancient beliefs about resettlement of souls is very popular in fairy tales. The magic in the Kazakh ancient fairy tales is a magic first of all things: hair, a wool, stones and magic of elements, first of all fire. Fire is omnipotent: it is necessary to burn a feather of bird Samryk - and hero leaves the trouble. Shamanism - worship the sky, the moon, the sun, honouring totems - patrons of ancestors, calling spirits is present in fairy tales as means of wish achievement.

However the main theme of art, a source of pleasure, experience fine (or awful) is a nature.

"Sekirtpe" (‘Playful’). A folk song from Eastern Kazakhstan, sung by Klara Tulenbaeva (b. 1976) accompanying herself on the syrnai.

My aul is on the bank of Ak Kemer.

I am a glorious snowdrop among my six brothers.

However much you whip your horse, my darling,

You will never catch me.

Flowers, flowers...

Let your face sparkle with carefree laughter.

My precious one in a golden gown with pearly buttons.

All the girls around you bow their heads before you.

Gakku-goi, gakku-goi, sing to this tune!

"Altyn altai" (‘The Golden Altai’). A folk lyric with music composed by

Edil Huseinov (b. 1955), a composer, performer and researcher who is

restoring and revitalizing archaic Kazakh instruments and their music.

I will take zhetygen and sing a song with deep meaning.

The Golden Altai is my native land.

I am longing for my homeland,

My treasure, inherited from my forefathers,

I cannot forget you, golden Altai,

I long for my motherland.

     The originality of attitude of that time was expressed by ethnos in evolution of folklore consciousness. There is the most ancient literary genre - the epos idealising a person as a carrier of exclusive energy and force, as hero. Centuries-old process of occurrence and evolution of epic forms of Kazakhs covers the period of an is patriarchal-patrimonial system (including feudal). Epic art is cosmological, an image of the general prevails, person is not individualised, does not resist to the nature, a patrimonial generality, ethnos, tradition. The mythology feeding the epos, focused on integrity of life, harmony of the person and the nature, the person and the world.

In the epos all fantastic is represented as real-life. The life fundamental principle - elements of water, the earth, air, fire is sensually perceived, they generate space and natural integrity, and each natural phenomenon reflects harmony or disharmony of space. In Kazakh epos there is no space and time division. Features of epic attitude reveal in the grandness of images. Space comparisons are monumental. In the epos the idea of equivalence of  person and  world ripens. For epic attitude of Kazakhs the feeling of movement, a way is characteristic.

The Kazakh epos became the original encyclopaedia of a nomadic life, image of real events of a life of ethnos, customs, customs. In an epic genre direct lines of a life, attitude have got character is universal-typical. Multidimensional structures of is art-shaped development of the world, metaphorical, allegorical, mythological receptions are used. The life and the nature are poeticized:

И помчал его конь вперед.

Конь пространство, как воду, пьет.

Вихрем мчит его по степи.

Or:

Байчубар быстрее летел:

Он вытягивался струной,

Воздух он разрывал стрелой,

Ветер громко в ушах свистел

У батыра и у коня

In epic legends the nature much can clear, underline in the person. The condition of the hero, feature of its character are transferred through natural phenomena. Emotions are rectilinear, unpretentious, общи, are abstract. There is no psychologism, there is no scale of experiences. The inwardness of the hero reveals in subject display. The natural phenomena are so bright, impressive and visible, that become identical to the world of emotions and moods of the hero.

The unification of the person and the nature is transferred by means of an image of affinity of the epic hero to fruitful and powerful Mother Nature, merges to it in a uniform stream of a life. The sun becomes expression of the life-giving beginning. Alpamys is born together with a dawn rising in the east, with sunrise Kozy-Korpesh has grown, his life has returned to him in three days. The death is not dated for a decline. The grief is compared to a black cloud, anger - with night darkness. The aesthetic feeling of the nature at ancient Kazakhs has been developed strongly what testify «Alpamys», "Koblandy-batyr", "Kambar-batyr". Echoes of a primitive identification of the person with fauna are surprisingly poetical zoomorphic comparisons in which the mythological basis of a sight at beauty is traced.

  Character of estimated social stereotypes depends on set of factors of socially-demographic, national-cultural characteristics, educational level of an individual, etc. So, axiomatic orientations of habitants of cities and villages,the Western Europe and Central Asia, young and old, men and the women, rich and poor do not coincide. Americans on the foreground put forward personal success and financial well-being; Russian, on Vezhbitsky, aspire to unification, their feeling of a collectivism is strongly developed; for Kazakhs and for people of the Central Asia the respect of related relations, honouring of seniors, following to traditions and customs of the nation, as a whole, is characteristic.

The nature in the epos is still described in traditions of a myth, but there is a crisis at its perception. Any more grandness of natural phenomena, and new foreshortenings of perception of the world, pleasure of life, полнокровности lives start all to appear more clearly in epic legends. It marks attitude change, interest to the nature, vitally simple and ordinary. Landscape descriptions become more detailed. The world around is considered in space: the nomad perceived the world, steppe, as a circle. The Kazakh epos is historical. The mythological picture of the world is combined with its poetic perception in colourful and plastic variety. Evolution of aesthetic vision of the world has led to its new perception. So, in characteristic motive for the Kazakh epos - - the new relation to the nature is expressed protection of animals. Finds force motive of life-giving dialogue of the person with the nature world.

However in a reconstruction of complete shape of the nature flexibility, plasticity remains. Already in an antiquity the landscape was the major form of comprehension of generality of life. In this genre the relentlessness of the eternal nature in relation to feebleness of the person was quite often underlined. Pleasure, a disinterested admiring, sensation of completeness and pleasure of life, delight, triumph, pleasure and, on the contrary, grief, grief, melancholy, indignation - all this scale of feelings, moods, propensities and liking of the person became in the Kazakh epos means of development of the nature in all originality and originality of its displays. In the beginning it meant ability to be guided in space that demanded, besides knowledge of the terrestrial natural phenomena, studying of movement of heavenly bodies.

What were representations of the Kazakh epos about infinite? In-contemplation of the nature the person had no business with really infinite. It seized only psychologically equivalent to the infinite: a distance of heavens, open space of steppes, i.e. Space to which there is a limit. But contemplation of this prospect lost in a distance caused feeling of infinity. Not infinite time, not eternity of the Universe, but only rather far prospect. The psychological effect of the infinite arises from transferring of visible infinity on the validity. It arises at contemplation of open spaces of steppes, heavens, the star sky.

That it was possible to recognise works of art art and aesthetically true, Gegel put forward idea about necessity to get used the artist «in spirit of last times and another's people», understanding of the main thing, that «occupied thoughts and soul of the people, for it substantive in an epoch and the people if it only originally, remains clear for all times» [12]. Self-identification, formation of national character became these substantive in the heroic epos of the Kazakh ethnos historical and cultural and sociocultural. The system of sights at the world which underlies the epos of the Kazakh nomadic society, became an element of traditional consciousness of the Kazakh ethnos [13].

From a myth and the epos the descriptive manner of the story, the contemplate relation to the nature, space, person, world order, representation about fine as harmonies, metaphoricalness and hyperbole art consciousness, culture as a whole, the contrast image of life [14], respect by the way, moral dominants of culture have entered into a flesh and blood of national consciousness of Kazakhs. Epic heroes, folklore plots became poetic symbolics of national consciousness of the Kazakh ethnos. Organic communication of folklore, national tradition with literary art creativity [15] has created original aura of translation and accumulation of mythological and epic motives by the Kazakh national mentality. The present of a myth sings of the ethnos world - the human world, greatness of business of the person belonging to this ethnos; the nature appears as a sphere of action of the person, it is a life in unity with the individual, past and present communication: « Landscape»myths allow to feel communication with history.

The historical landscape appears as intelligent life, the certificate of greatness of the world, movement of time, continuity of generations. The idea of a current of time, relay race of generations, pride and admiration of descendants, historical prospects in movement of human life feed modern national consciousness. «Complete view on the nature, its beauty and the harmony, transferred by previous generations in the form of a continuous chain of oral legends, songs, legends, ethical creations is necessary for the person of XX century. In them there is a place to gods and heroes, customs and beliefs, reflexions about destinies of the world and the person, and also all to best of spiritual experience of centuries, an originality of outlook of ancient, their aspirations and hopes» [16].

It is impossible to forget that national images of the world of the Kazakhs, transferred through the oral nomadic culture which has left the most appreciable trace in national mentality and psychology, speech, figurative, behavioural stereotypes mismatch in many respects to a pragmatism of a present life [17]. Character of the nomad, bent for to free pastime, the regular life which has been not burdened by requirement and necessity of hourly work is felt. There is no feeling of personal benefit, self-interest, barefaced individualism. And at the same time the internal spiritual culture, vital necessity of open space, immunity to narrowness, requirement to see in the dwelling microcosm of Universe is ineradicable. All it mismatches modern rates of an industrial civilisation in its western variant. From here discomfort, "intensity" of consciousness of ethnos, its emotional condition.

In due time the ZH.-item Sartre in « Sketch of the theory of emotions» has entered the concept of "uneasy consciousness», which much explains in a situation of emotional perception and world vision. It starts with representation about emotion as complete expression of a human reality which is self-sufficient and самоценна in the estimation of the world, in the relation to it. On Sartre, «the uneasy consciousness» is the emotion understood as meaning phenomenon and designating such type meaning the phenomenon of life (it the person is) which gives sense to the existence, to an act, updating, estimates them. Emotion in this situation becomes image of "magically focused behaviour of the person in the difficult and ambiguous world. With reference to ethnos in national consciousness the mentality carries out function of designing of a harmonious national image of the world not rational, not logic means, and means of spiritual symbolization, art culture of ethnos. Such updating assumes transformation of national culture. The world of national culture appears as unity of the natural and social validity in the field of activity of the person and as unity of these spheres in time of culture of the ethnos, connected with type of activity of the person and increase of value of time.

Time of national culture opens diachronic cut of cultural-historical evolution, fixes specificity of correlation "time-nature-society-person", specificity of connection of objective and subjective time rhythms of ability to live as they were differently shown in various civilisations, within the limits of concrete historical time. Within the limits of local societies always there is аритмия, a discrepancy of time forms and existence of its components: individuals, their ability to live, conditions of this ability to live. Time of national culture is manyvectoral: person masters rhythms of own, natural and social life and retrospective and perspective. Convertibility of time can become way of association of cultural phenomena occurring at different times, enriching it.

Original representations about time are inherent in the nomadic people. Time for the nomad not vector, but cyclic. Interestingly not time current, and that in it occurs, time - not empty activity, and the interval of a life filled with events. With concept of recurrence of time representation about indissoluble communication of the past, present, future communicates also. Traditions and customs are the past living in the present: the generation is possibility to feel as communication between the present and future. For the Kazakh folklore the openness of art time, combination in айтысе, the epos several time numbers is characteristic at once.

In the Kazakh folklore past and present synthesis acts as an integrated whole. The ancestors which for a long time have died, constantly exist in consciousness live, helping or counteracting them. Time is perceived in a statics, нелинейно, heroes always remain young, two actions cannot be depicted simultaneously if they are made in two places by two various characters. The static perception of time defines ethical and aesthetic estimations and characteristics. The hero remains to them up to the end as well negative up to the end will be negative.

«The unity of perception of time has defined integrity of an ideal of the steppe soldier - the protagonist of medieval Kazakh poetry. A life - for the sake of terrestrial pleasures,  destruction - for the sake of fight» [18]. Deviations from this norm cannot be. Worthy the one who will appear in fight by the first, - such drew legend and legend ancestors. The constant appeal to ancestors, to the past rich with nice events as to the standard, has caused extraordinary optimism of medieval Kazakh poetry. During crisis of a nomadic society - disintegration of Golden Horde, conflicts between the khanates which have arisen on its fragments, civil strifes - the understanding of time in unity of the past and the present has disappeared. There is no already former optimism, prospects of the future do not promise anything good. There are new values: not daring and courage, not pleasure by terrestrial pleasures, and work, knowledge, mind, kindness. There are elements of criticism of the modern validity.

«The new perception of time which has put forward a new ideal of the person... Stands out through creativity of poets XVIII-XIX centuries and marks a birth of the new literature, its the first, still uncertain steps» [19]. For the Kazakh oral literature art time is characteristic. In it time numbers can be combined some. Time is not limited by certain limits, it covers during a short instant the historical events which have left on time in an extreme antiquity, and not so old events, and simultaneously proceeding with it. The oral form did time changeable, there was a free transition from one event to another. The orientation of time and its type are defined by expansion of figurative thought of the subject who has been not constrained by any chronological frameworks. Often spatial width compensates conciseness, brevity of time or, on the contrary, spatial limitation is compensated by time expansion.

The figurative model of the world [20] which have arisen in folklore and the oral literature of Kazakhs, in the is art-time structure has emotional and rational sense. The art space bears the certain information - the function necessary for art such. The image of road has huge value not only because in it the unity of existential definitions acts most clearly but also because the space becomes concrete, is sated with time, real vital sense. Road - a life measure. Not only road-mission, but also road as alternative of good or harm. The art space, containing images of mountains, steppes, the sky, “correlates with qualitatively essential, lasting time, transferring space nomadic in unity of its objective existential co-ordinates”

It is one of examples of rapprochement of concept and an image when conceptual representations about time and space and perceptual representations about time and space make sanguineous complete unity »[21]. This chronology became a basis of creation of an image of art space and time in the Kazakh literature. For it are typical (in particular, it concerns prose) constant switchings of a literary narration from the past in the present, allowing to connect sketches from nature to descriptions of philosophico-historical and moral-ethical character. Art time and space are safely designed. Correlation and combination of various historical epoch, resettlement and collision of time layers, spatial jumps - here the major lines of existential transformations in the national literature of the Kazakh ethnos.

Various existential transformations, as well as diverse forms of art convention, serve the purpose of art development of the validity. For the Kazakh literature the is art-philosophical maintenance where the authentic intertwines with a myth where the heroic legend borders on steadfast moral-psychological research [22] is characteristic. Many modern products are deprived spatial and time limitation. Existential scale and universalism are similar to the cosmogonic designs peculiar to most ancient mythological thinking. Universal spirituality, communication of space with a human microcosm, eternity with momentary caducity pull together these products with мифопоэтическими the representations fixed in ancient monuments of verbal art.

Historical time adjoins with mythological and is often opposed mythological as a reality - ancient and not growing old dream of mankind. Language of ethnos, its paint, is art-graphic norms very difficultly give in to transformation. Remain constants and the figurative means born in bowels of traditional outlook [23]. All system of figurative thinking, aesthetic representations of the people depends on system of customs, from the traditions developed in compliance with features of the ability to live. The mental warehouse and national character are shown in national art and the literature in the form of original lines of national culture which often clothe in forms of customs and traditions. Eposes "Kyz-Zhibek", «Kozy-Korpesh and the Bayan Suly», for example, is a history, a life, customs of nomadic Kazakhs. Therefore for the Kazakh literature having rich orally-poetic tradition, development of the poetry which is based on oral addition, on improvisation [24] was quite natural. The art tradition of folklore, oral poetic creativity is rich and various. But as in it the outlook of ancient Kazakh ethnos is reproduced, it owing to the epical, mythological produces rather conditional descriptions [25].

The originality of a way of life of ethnos in many respects defines also an originality of its art thinking. Dependence of the Kazakh language, more precisely, dependence of is figurative-speech means on attitude and attitude of the people is found out practically in all spheres of the use of figurative speech. It has affected the sound nature of speech, on spatial designations [26]. Traces of a national mentality, especially Kazakh concepts and representations are appreciable in turns of speech, metaphors, the Kazakh poetry about the earth and waters, about steppe and mountains, about the nature and nomads. «The tradition is expressed tested, habitual to the national thinking, graphic receptions corresponding to national aesthetic tastes and all riches of a national language» [27].

So, the inner world of Kazakhs is transferred in steady, habitual for traditional consciousness and folklore tradition epithets, turns: a white beam, a light wish, warm blessing, moonlike, a white dome etc. At the same time with the black intentions, black earth, black night, a black stone - the words creating emotional colouring and perception. In language the comparisons connected with the phenomena, by the closest to a life of Kazakhs, - the nature, livestock, in general fauna are used. A hyperbole - one of traditional receptions of the Kazakh epos. The properties inherent in ancient oratory of Kazakhs, - the distant approach, a hint, allegorical meaning, and sometimes and direct speech - are present practically at all literary works.