Languages, Linguistics and Literature
http://nur.nu.edu.kz:80/handle/123456789/498
2024-03-28T14:59:45ZPRESENT, YET INVISIBLE: AVDOTYA PANAEVA AS AN EXEMPLARY CASE OF THE REALIST WOMEN WRITERS BEING SHIFTED TO THE CORNER OF THE RUSSOPHONE LITERARY CANON
http://nur.nu.edu.kz:80/handle/123456789/6568
PRESENT, YET INVISIBLE: AVDOTYA PANAEVA AS AN EXEMPLARY CASE OF THE REALIST WOMEN WRITERS BEING SHIFTED TO THE CORNER OF THE RUSSOPHONE LITERARY CANON
Demidenko, Darya
One can hardly study Russophone literature without diving into its
classics, which is mostly represented by the realist writers and poets2
. Lermontov,
Gogol, Dostoyevsky, Chekhov, Tolstoy, all of these prominent authors belong to
the realist movement and constitute an integral part of the Russophone literary
canon. Notably, the overwhelming majority of the canonized literary works from
the realist period is written by the men writers. Yet there were women writers of
the same period, who produced influential writing pieces, as much as were actively
involved in the literary circles, their publications seem to receive considerably less
attention compared to the men writers.
2022-05-01T00:00:00ZMAPPING PARTICIPANT FRAMEWORKS IN THE AITYS OF BIRZHAN AND SARA
http://nur.nu.edu.kz:80/handle/123456789/6389
MAPPING PARTICIPANT FRAMEWORKS IN THE AITYS OF BIRZHAN AND SARA
Dubuisson, Eva-Marie
Here the lens of the "mapping problem" described by Judith Irvine in participant framework studies is used to analyze shifts in the cultural tale “The Aitys of Birzhan and Sara” from its origin as an improvisational verbal duel in the late 19th century, to a Kazakh socialist opera during the Soviet period, to a nationalized historical reference in Kazakhstan. During the multiple recontextualizations of that social text, its discursive pragmatics and characters are preserved within the expanding and shifting participant frameworks enabled by the genre of aitys poetry. Birzhan and Sara are able to “speak”—as poets, characters, and ancestors—to a changing series of audiences, all of whom become involved and implicated in their words and story as a result. They—like all aitys poets and the tradition itself—become a source of cultural authority. Thus the mapping of this social text over time is used as an example, in order to explain why and how an oral tradition is able to overcome or absorb even serious intertextual gaps resulting from shifting historical and political contexts over a long twentieth century.
2021-01-01T00:00:00ZSHARED DESTINIES: EMILE CIORAN, YASMINA REZA AND THE APOLOGY OF REJECTION
http://nur.nu.edu.kz:80/handle/123456789/5557
SHARED DESTINIES: EMILE CIORAN, YASMINA REZA AND THE APOLOGY OF REJECTION
Villamía, Luis
There is no doubt regarding the influence exer-cized by the work of Emile Cioran upon Yasmi-na Reza’s fictional texts. Not only some of her theater characters are inspired in the figure of Cioran, but both writers share a similar world-view and analogous obsessions that flourish in their writings. In this manner, we do perceive in them a kind of aggressiveness that turns against themselves seasoned with frivolity and humor. In the speeches and monologues of Reza’s cha-racters we can identify ideas that are repeated endlessly in Cioran’s aphorisms. Both authors turn reflection into pleasure towards excess, as if they were unable to contain themselves. From this perspective, we can better understand ideas such as their rejection from the notion of hap-piness for being considered a desire vulgar and childish, and the apology for barbarism as the only way to be reborn again.
2020-05-10T00:00:00ZWhy Kazakh Comedians Do Not Make Jokes About Women Anymore: A Study of Humorous Monologues About Women
http://nur.nu.edu.kz:80/handle/123456789/4899
Why Kazakh Comedians Do Not Make Jokes About Women Anymore: A Study of Humorous Monologues About Women
lyassova, Ulbazar
Making jokes about women is a common pattern in contemporary male-dominated Kazakh comedy. Kazakh comedians make critical jokes about women, judging women’s behaviour and appearance and ridiculing them for following beauty trends or for going to the gym. This kind of comedy is widely popular in Kazakhstan, with humorous monologues performed in concert halls, then broadcast on TV, and later actively shared on various social media platforms. I link this representation of women as imagined by male Kazakh comedians to the history of Soviet and Soviet Kazakh comedy, where stage comedy developed as a form of social critique. Then, I closely read contemporary humorous monologues applying feminist theories of Simone de Beauvoir and Betty Friedan about the objectification of women by men. In doing so, I apply Irving Goffman’s term ‘footings’ to uncover the ways in which comedians communicate their critiques on women in front of a mixed audience. I reveal that comedians propagate traditional views on gender relations according to which women should be submissive to men in family and society. Male comedians criticize any changes in women that they fear may lead to disfunction in traditional gender roles. In addition, I draw on interviews with audience members in an attempt to learn the social consequences of the ideologies of gender relations propagated in jokes about women. The interviews show that humor’s function as a social critique and as propaganda of national values contribute to positive receptions of jokes about women. Yet there is also a part of the audience who do not agree with these critiques of women. I argue that the reception of the audience depends on whether the viewers support or oppose the nationalistic views that the comedians communicate via their jokes.
2020-08-01T00:00:00ZThrough The Hardship of Short Fiction Narration: Challenges of Finding The Voice
http://nur.nu.edu.kz:80/handle/123456789/4750
Through The Hardship of Short Fiction Narration: Challenges of Finding The Voice
Yespanova, Assyl
The main aim of this project is to investigate the concept of the author’s voice. The
methodic includes the research of the theoretical framework of the construction of the voice
and the actual creation of the short stories used as the tool for finding the writer’s voice. The
voice in literature represents the rhetorical mixture of different literary devices such as tone,
point of view and the word choice; however, it also operates on the author’s features of the
identity. As part of the project the detailed analysis and close reading of the strong voices in
short fiction narrative such as Nabokov’s in “Sign and Symbols” and Baldwin’s in “Sonny’s
Blues” were provided. The voices in those stories represent the psychological reflections of
the authors on their experiences. Thus, the voice also derives through the interconnectedness
of the author and their attitude towards the story. Further, I tried to implement this experience
of understanding Nabokov’s use of the voice as the tool to deliver the truth of the author and
Baldwin’s distinct voice representing the connection of the past and present. Through
creating the short stories “明 (aka) meaning ‘bright’” and “…and earth kept singing” I came
to the conclusion that the voice is rather a summation of reflections of author’s identity and a
tool to speak the truth of own. Although the literary devices are essential to define the way
the story is written, the important ingredient to the way the story sounds is an author’s choice
of way on how to express this voice. The difficult experiences and identities that create the
inner truth of the author and lead them to the process of telling that particular story are the
main components that create the unique voice for a particular narrative that should sound in a
voice the writer has intended.
.
2020-05-01T00:00:00ZCOMMUNICATION WITHOUT ANY COMMON LANGUAGE: SPOKEN AND SIGN LANGUAGE USERS
http://nur.nu.edu.kz:80/handle/123456789/4728
COMMUNICATION WITHOUT ANY COMMON LANGUAGE: SPOKEN AND SIGN LANGUAGE USERS
Imanbayeva, Alima
The process of social interaction is a common phenomenon and is performed for various reasons: to make acquaintances, share knowledge or solve problems. It is typically unproblematic to speak with people if you share the same language, but what if the languages you speak are not mutually intelligible? There is a lack of research done in this area which describes what users of different spoken and sign language experience while communicating. Along with that, there is little information about possible solutions to those miscommunication difficulties. The goal of this study is to identify language barriers that occur between people that use different spoken and sign languages, as well as the strategies these users employ when communication breaks down. The overarching research question of this study is “What are the communication problems that users with no common language face and how might these problems be solved in order to avoid miscommunication?”. Within this empirical study non-Russian and non-Kazakh speaker engaged in role plays (hospital, taxi, restaurant, shop) with native speakers in order to explore what kind of difficulties in communication they have and how they overcome them. It was found that the hospital scenario was the one where participants experienced the most struggles, whereas there was no trouble in communication in shop situations. Some of the solutions to those miscommunications were body language, namely gesturing, miming, pointing as well as translators and cognate words. Regarding deaf interactions, German and British corpora were analyzed and it was found that people with same sign languages face communication problems as misunderstanding of the sign or specific part of the narrative, and different sign for the same word. What they implement in order to resolve the struggle are repetition of the sign, rephrasing and nodding. This twofold study has research implication as contribution to the field of research on deaf and spoken communities by identifying communication troubles they face and methods they use to overcome them.
2020-05-16T00:00:00Z