Научно-Информационный Журнал Вестник МУК (ПОДРОБНЕЕ)

Transcription

Учебно-научно-производственный комплекс
«Международный университет Кыргызстана»
ВЕСТНИК МЕЖДУНАРОДНОГО УНИВЕРСИТЕТА КЫРГЫЗСТАНА
№ 2 (28)
2015
НАУЧНО-ИНФОРМАЦИОННЫЙ
ЖУРНАЛ
Выходит 4 раза в год
Главный редактор:
АЙДАРАЛИЕВ А.А.
Академик НАН КР
д.м.н., профессор
Зам. главного редактора:
БАЙХОДЖОЕВ М.С., к.б.н.
Ответственный редактор
МАМБЕТАЛИЕВА М.С.
Редакционная коллегия:
АСАНАЛИЕВ Т.А., д.ю.н., доцент
АДИЕВА А. А., д.э.н., доцент
АЛИЕВА Ч.Э., д.ф.н., доцент
БЕКБОЕВА Р.Р., к.э.н., доцент
КАРАЕВА З.К., д.ф.н., профессор
КЕЛЬГЕНБАЕВА К.А., Ph.D т.н.
МИРКИН Е.Л., д.т.н., профессор
НАРКОЗИЕВ А.К., д.п.н., доцент
ПАНКОВ П.С., д.физ.м.н., чл.корр. НАН КР
ТОКТОРАЛИЕВ Б.А., д.б.н., акад. НАН КР
ЧЫНГЫШПАЕВ Ш.М., д.м.н., профессор
ХУДАЙБЕРГЕНОВА Б.М., д.б.н., доцент
Башкы редакторы:
АЙДАРАЛИЕВ А.А.
КР УИАнын академиги,
м.и.д., профессор
Башкы редактордун орун басары:
БАЙХОДЖОЕВ М.С., к.б.н.
Жооптуу редакторы:
МАМБЕТАЛИЕВА М.С.
Редакциянын коллегиясы:
АСАНАЛИЕВ Т.А., ю.и.д., доцент
АДИЕВА А. А., э.и.д., доцент
АЛИЕВА Ч.Э., ф.и.д., доцент
БЕКБОЕВА Р.Р., э.и.к., доцент
КАРАЕВА З.К., ф.и.д., профессор
КЕЛЬГЕНБАЕВА К.А., Ph.D т.и.
МИРКИН Е.Л., т.и.д., профессор
НАРКОЗИЕВ А.К., п.и.д., доцент
ПАНКОВ П.С., физ.м.и.д., КР УИАнын м.кор.
ТОКТОРАЛИЕВ Б.А., б.и.д., КР УИА акад.
ЧЫНГЫШПАЕВ Ш.М., м.и.д., профессор
ХУДАЙБЕРГЕНОВА Б.М., д.б.н., доцент
Весmник МУК
Основан в 1998 году
Karaeva Z.K., The usage of the semiotic units in epistemology ............. 4
Abdykerimova Dina, Virtual semiosis of communication . ....................6
Aidaralieva Ainura, Translation Vicissitudes of A.Osmonov’s works
at the semantic level . ................................................................................. 9
Aitbaeva Aina, Sign and society (on the basis of advertisements) . .......13
Akmatova Ainisa, Joroeva Aigul, Semiotic symbols to the
functions of the compound predicat . .......................................................19
Akbaeva Albina, Semiotic analyses of “Byschak” (knife) in Kyrgyz
culture ......................................................................................................22
Alishova Makhabat, The sacred numbers as symbols .......................... 24
Alishova Rahat, Dream Symbols and Dream Interpretations
in different cultures .................................................................................. 28
Arslanbekova Nasyikat, Osmonova Kenjebu, Peculiarities
of Kyrgyz national feminine Headdress – Elechek ................................. 32
Bekbalaeva Cholpon, Proxemics across cultures ................................. 34
Bubusara Ukubaeva, Symbolism in Walt Whitman’s poems and
their translations into Kyrgyz language ...................................................37
Cetin Oktay, Heart in english and turkish idioms ..................................42
Charles F Carlson, Thomas A. Sebeok and his contributions
to the Field of Semiotics .......................................................................... 48
Chorobaeva Narynkul, Zhaparova Kosmira, Etiquette of
greetings in intercultural communication ...............................................51
Davut Ersoy, Sembollerin Yunus’un Şiirlerinde Kullanımı ............... 53
Durus Kozuev, Evgeny Dronov, Towards To the Semiotic
Typology of Languages ........................................................................... 58
Ibraimova Gulsaira, Semiotics of Kyrgyz music .................................. 62
Isabaeva Yrysgul, The semiotic analyses of the translation
of the fairy tale “fire-bird” ......................................................................65
Djumalieva Gulnura, Analysis of Nonverbal Semiotic Signs in
Hemingway’s “The End of Something” .................................................68
Dzhailobaeva Zarina, Rendering peculiarities of English taste
perception adjectives into Kyrgyz ........................................................... 72
Zhoroeva Gulbara, Semiotic meaning of animals and plants
in telling weather ....................................................................................77
Kasieva Aida, P.h.D., Cognitive-Semiotic Approach to some
Kyrgyz Lingua-cultural Concepts . ..........................................................80
Kasymbekov Nurdoolot, Non verbal communication and Semiotics.
(paralinguistical and extra linguistic aspect of communication) .............86
Kasimov Baiysh, senior teacher, The Semiotics of Advertising ........89
Kinalieva Meerm, Note-taking and symbols as means of minimizing
semantic loss in oral translation . .............................................................92
Kochkorbaeva Lailikan, Semiotics in Kyrgyz folk songs ................ 98
Kudaiberdiev Aybek, Semiotics in Chingiz Aitmatov’s Works ..........100
Kurmanova Gulbubu, Semiotics of Cultural
Diversity ......................................................................103
Makhsudinova Aijarkyn, teacher, Gratitudes
in Kyrgyz culture .........................................................106
Mambaeva Saltanat, The language of advertisement
and creolization of the Kyrgyz language......................109
Muratbekova Elnura, Semiotic Analysis of the Epic
“Manas”........................................................................ 113
Musaeva Tolkun, The reflection of Kyrgyz culture
through national symbols . ........................................... 116
Naimanova Cholpon, Semiotic Approach to Literary
Analysis (based on Hemingway’s story “Cat in the
Rain”) . ........................................................................ 122
Omurkanov Mirlan, Semiotics of dream peculiarities
of the small epic “Janysh-Baiysh” and their
interpretation ...............................................................127
Omurkanov Mirlan, The Kyrgyz epic
«Janysh-Baiysh» and literary style by K. Akiev . .......131
Orozbaeva Gulbarchyn, Metametasemiotic aspect
of translation of B.Alykulov’s poems ..........................134
Osmonova Kenzhebu, Arslanbekova Nasyikat,
The meaning of color and clothes in Kyrgyz culture . .138
Sagynalieva Gulnara, Colour as a semiotic mode:
notes for a colour of nature ..........................................141
Satybaldieva Gulmira, The role of “fire” in Kyrgyz
culture ..........................................................................145
Satybaldieva Gulmira, Turdalieva Nazira,
The role of handicraft in American history and
culture ..........................................................................147
Шабданалиев Н.А. , Семиолингвистические
средства при переводе произведений В. Шекспира
«Ричард 3» и «Отелло» на кыргызский через
русский язык . .............................................................150
Sharsheeva Ainura, Gestures in Different
Cultures ........................................................................155
Tashmatov Abdimitalip, The Correspondence
and Differences of the Dyadic and Triadic Sign
Models .........................................................................158
Turgunova Gulmira, Sulaimanova A., Challenges
and Variety of Communicative Semiotics; Nonverbal
communications through Kyrgyz Culture . ..................161
Zhaparova Kanykei, Abdyrazakova Marianna,
Cultural Semiotics. Interpretation of conventional
signs of two nations: Kyrgyz and American ................164
Dr. Lauren Matz, Teaching about Tea in British
Fiction .......................................................................... 167
Дубанаева Сезим, Семиотические особенности
китайских фразеологизмов .......................................171
Мырзагулов Милан, Modern TV as a link of
strategic socio-political system of the country ............174
Мырзагулов Милан, Басылмалардагы
семиотиканын айрым маселелери ............................177
Султаналиева Аита, Функции семиотики в
формировании медиатекста ......................................179
Сакыбаева Жыргал, Кыргыз гезиттериндеги
жанрдык өзгөчөлүктөр семиотика алкагында..........182
Тургунова Гульмира, Перевод художественного
текста и семиотический анализ (на материале
переводов произведений Ч.Айтматова) ..................186
Халилов Абдыганы, Журнал как тип
периодического издания и его место в системе
СМИ ............................................................................190
Эсенкулова Элнура, Типы семиотики в сфере
связей с общественностью (ПР) ...............................192
ИСТОРИЯ
Айдаралиев А.А., К вопросу о происхождении и
формировании кыргызского этноса ........................195
Юриспруденция
А.О.Кайпбаева, А.С.Мавлянов, Необходимость
правовой охраны животного мира и водоплавающих
птиц водно-болотных угодий в Республике
Казахстан ....................................................................199
А.О.Кайпбаева, Законодательное регулирование
охраны водно-болотных угодий в Республие
Казахстан ....................................................................202
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Welcome speech of the founder of the International University of
Kyrgyzstan!!!
It gives me a great pleasure to welcome all of the participants and
specially our guests to our International Symposium organized by the
Institute of the Foreign Languages of the International University of
Kyrgyzstan. This project has been endorsed by the teachers of the
Foreign Languages Institute as well as by the former postgraduate
students who gained now Ph.D. degrees under the supervision of doctor
of philology, professor and an organizer of this simposium Karaeva
Zina. By the listed international cooperation indeed our teachers will
receive a lot of experiences from the other participants and guests who
came from abroad. This symposium would include number of advanced
topics on semiotics of different cultures and it will provide not only with essential knowledge
but also with the great opportunity to share our experiences in the research of semiotics. I hope
that everyone would take the results of this program to develop their knowledge on semiotics
as one of the new branch of linguistic semiotics in Kyrgyzstan. I would like to declare official
opening of the first symposium and wish good luck, fruitful cooperation in your presentations.
My personal respect and thanks goes out to all of you.
Aidaraliev.A.A.
Academician of the Kyrgyz Republic.
The founder of the International
University of Kyrgyzstan
Урматтуу эл аралык семиотика симпозиумунун
катышуучулары!
Сиздерди симпозиумдун ийгиликтуу журушу менен куттуктайбыз.
Бул симпозиум биз өлкөдө б.а. Эл Аралык Университетиндеги Чет тилдер институтунун алдында алгачкы жолу өткөрулуп жатат. Семиотика илими башка
илимдер сыяктуу эле философия жана тил илими мене байланышта болуп, андагы
өзгөчөлуктөрду толук изилдөөгө шарт тузөт. Семиотика илиминин биздин окумуштуууларды кызыктыруусу, Кыргызстанда семиотика мектебинин ачылышы, ал илимдин
келечеги кенен экендигин көрсөтуу менен окумуштуулардын изилдөөлөрунө көптөгөн
мумкунчулуктөрду ачат. Кыргызстандагы семиотика илими негизделип, ага ондогон
окумуштуулардын тартылышы дагы бул илимдин заманбап илим катары эсептелээрин
дадилдейт. Семиотиканы изилдөөчулөргө, симпозиумдун катышуучуларына, Эл аралык Университетинин профессордук мугалимдер жааматына симпозиумга активдуу
катышкандыктары учун ыраазычылык билдируу менен семиотика илимин өлкөбуздө
жаштар изилдөөну улантат деген ишеничтемин!
Караева З.К.
Чет тилдер институтунун директору
Филология илимдеринин доктору,
профессор
УДК:811.161.1 (575.2) (04)
Karaeva Z.K.
Doctor of Philology, professor. IUK Kyrgyzstan
The usage of the semiotic units in epistemology
Аннотациясы: Эпистомология философиялык маселелерге байланышкан адамдын сырткы
дуйнону тааанып билуусу жонундогу илим. Эпистомология илимий изилдоолордо методологиялык
курал катары да колдонулуп, экинчи жагынан тилдик консепт катары да колдонулат.
Негизги сөздөр: эпистомология, консепт, эмпирикалык, рационализм, арбитрардуулук, дисембодимент, сингюларити, семиотика, иллюзия, когнитология.
Аннотация: Эпистомология – философская наука которая описывает познание внешнего
мира человеком и как оно используется в повседневной жизни. Эпистомология в исследованиях
используется как методологический инструмент так и консепт в философии и в лингвистике.
Ключевые слова: эпистомология, консепт, эмпирический, рационализм, мысленные конструкции, арбитраность, дисембодимент, сингюларити, семиотика, иллюзия, когнитология.
Abstract: Epistemology is the philosophical science that describes about the knowledge of the human being, how people use their knowledge in the everyday life. It also researches epistemology as the
methodological tool as well as the concept in philosophy as well as in linguistics.
Keywords: epistemology, concept, empiric, rationalism, thought construction, arbitrariness, disembodiment, singularity, semiotics, illusions, cognitive science.
Epistomology is the philosophical science that
appeared in the 20-th century on the base the French
school of the History and Philosophy. Such scholars
as E. Meyerson, E Mejze, A. Koyre and many others
reseached the problems of epistomology. They come
to the conclusion that the new knowledge appears
in artifical conditions. Y. Haking wrote that there
is a close connection between the objects and the
concepts that expresses the objects.
A lot of philososphers say that epistomology
reseaches study of the world as well how much the
objects are true and real. It also researches relations
between the illusions and true concepts and their
relations with the objects that are expressed by
the concepts. The concept true opinion and its
differences are reaseached by Parmenid well and
completely. Also Aristotel made a good foundation
to the rasionalism working out the best method of
knowledge by means of analytics. Analytics as the
method deals with the tasks how to receive a real
knowledge about the objects, how to think out in a
correct way.
Generally epistemologie is devided into two
main directions. They are: a) empirism – it deals with
the problem that how much real objects correspond
with our feelings of the experiences and how much
they are true or false; b) rationalism – it deals with
the “creation of the mind as the thought construction.
It also deals with the newly born ideas from the
definite objects.
Speaking about epistemology we can’t but
speak about semiotics as the part linguistics as
well as philosophy. Semiotic units are also used
on the connotative level as newly born ideas, and
they are expressed by means of the linguistic units.
In our article we would like to speak about the
epistemological objects that are expressed by means
of the languages in different cultures and languages.
We know that different cultured people think in
different ways and the thought might be different
from each other, researching the linguistic units
from the point of epistemology and semiotics we
can understand inner world of the different cultured
peoples and the world view of these nations. In our
article we deal with the epistemological concepts that
are expressed in different cultured languages.
There is no difficulty in finding objects that are
true and the objects that are considered to be real,
but it is not true or false. For examples in the USA
there is an island Hawaii, one of the states of the
ISA, that is situated in the center of the Pacific ocean,
it is about 3700 kilometers form the continental
part of the USA. That is true for the receiver of
the information who knows about this state and
its geographical situation. In Kyrgyzstan, that is
situated in Central Asia there is a small place where
the restaurant “Hawaii” is situated that is not true
but it is real, because the place where the restaurant
is situated is a small island like true “ Hawaii” and
the restaurant is in the middle of the small lake. The
host of the restaurant tried to imitate the nature like
Hawaii and planted artificial palm trees. Anyway it
is not true Hawaii, but it is real as the restaurant “
Hawaii”. The people who had no ideas about true
Hawaii can imagine it like the place where there
is the restaurant is situated. The knowledge about
the host of their restaurant is widened and he gave
a birth to the new idea, the idea came out from the
true existence of the island Hawaii.
If we see that place we will have empirical
knowledge about true Hawaii as well as rational
knowledge that came from the empirical object and
it is actually known, then it categorically cannot
be false. It will bring to the true epistemological
knowledge of the peoples.
In modern epistemology there appeared a lot of
branches that researches where we had to research
the main functions of the knowledge and their
semiotic structures when we deal with the semiotic
units. As we know that Kyrgyz people were nomadic
nation and they had always close contact with the
domestic as well as wild animals in their everyday
life. As the result of that the images of the animals
or some elements of the animal body parts women
used in the embroidery, social utilities. In this case we
deal with the semiotic structures of the knowledge.
All the semiotic units that are used in different items
like horns of the sheep, wings of the birds, leaves of
the plants, flowers, had special purposes like: a) to
express their dreams, having a wish to live a long life,
to defend from evil, bad eyes, family amulet to save
the family from evil eyes, to satisfy the life and for
so many other purposes. But people understand the
meanings of all semiotic units, here we will base on
the study by Charles Morris and Charles Pearce who
defined all the peculiarities of the semiotic units like
arbitrariness, disembodiment and singularity.
Firstly they are formed by means of the
community members, specially by the women who
prepare all these designs while making carpets like
(ala- kiiz, shyrdak, taar are devoted to cover the floor
of the uirt or the house ), wall carpets (tush kuiiz)and
many small utilities of the household. Before making
them they plan the design with their special purposes.
Every sign has their own functions to be acted
on the connotative levels. The concept Kyrgyz
carpet in the form of word combination includes a
lot of connotative meanings as a part of dowry.
In epistemology we come from signs to natural
and cultural world. All the knowledge about the
world exists in the case when it is expressed by
means of the linguistic units or by means of the
words and word combinations. The structure of
the language corresponds with the structure of the
reality. The language doesn’t express the structure
of the world but it forms the image of the person’s
world who uses the definite language, as the result
of the that people of the different nationalities have
different point of view of reality. The person who
sees the Kyrgyz carpet may enjoy the beauty of the
carpet only if he had no idea about the background
of the culture as well as the connotative meanings
of the signs. In this case we deal with epistemology
on the one hand on the other hand we deal with the
cognitive science having some new information
about the Kyrgyz carpet- people’s dreams, good
wishes to the receiver.
Thirdly these signs are connected with the
semiology or semiotics as they are designed by the
community members (arbitrariness), every design
had their own meanings and functions for one case, in
other cases they had different meanings (singularity),
and of course they are used on the connotative
level that is free from subjective logical meanings.
Researching epistemology in practice we came to
the conclusion:
1. Epistemology as a science that deals with the
authentic knowledge and about the cognition of the
world that is closely connected with the problems
of philosophy. The term “epistemology” might be
used in two directions: a) as the methodological
tool in philosophy; b) as the concept that has two
directions like: 1) empiricism that studies the level
of the correspondence between material objects and
experiences of the feelings; 2)rationalism includes
the newly born intelligence of the definite objects.
2. There is a close connection of the epistemology
with the Semiotics as well as with the Philosophy to
decide such problems in a complete way.
3. Epistemology as part of philosophy related
with other sciences like linguistics, semiotics,
cognitive science and all together describes the cases
in a real scientific way
THE LIST OF THE REFERENCE
1. Гносеология в системе философского мировоз
зрения. — М. , 1983. — 383 с.
2. Ильин В. В. 1 // Теория познания. Введение.
Общие проблемы. — 2-е издание. — М. : Либроком, 2010. — 168 с. .
3. 2 // Теория познания. Эпистемология. — М. ,
1994.
4. Кезин А. В. Эволюционная эпистемология:
современная междисциплинарная парадигма //
Вестник Московского университета. — Серия
7. Философия. — 1994. — № 5. — С. 35. Пиаже Ж. Генетическая эпистемология // Вопросы философии. — 1993. — № 5.
6. Эволюционная эпистемология и логика социальных наук. — М. , 2000. — 463 с.
УДК:811.161.1 (575.2) (04)
Abdykerimova Dina,
IUK
Virtual Semiosis of communication.
Виртуальный Семиозис связи
Аннотациясы: Статьяда коммуникациянын виртуалдык семиотикасы изилденип суйлошуунун
этикалык ыкмаларын онуктуруу зарыл экендиги корсотулгон. Виртуалдык семиотика виртуалдык
маанилерди тузуунун эмпирдик, коммуникативдик жана уйротуучу аспектилерин карап чыгыт.
Ал индивидуалдык жана ар туркун экендигин динамикасын, эволюциясын жана алардын оз ара
байланыштуулугун,ырааттылугун билдирууго жана таанууга аракеттенет. Семиотика бизге
жашообуздагы бардык татаал кырдаалдарда багыт алууга жардам берип, биздин жашоодо
жана иштерибиздеги коп сандагы белгилердин маанисин тушундуруп турат.
Негизги сөздөр: Семиотика, виртуалдык семиотика, турбулентуулук, ынандыруу.
Аннотация: В статье показано, что необходимо развивать этический способ общения, исследуя виртуальную семиотику коммуникации. Виртуальная семиотика рассматривает эмпирические,
коммуникативные и обучающие аспекты создания виртуальных значений. Она стремится включить и признать множественность и разнообразие, динамику и эволюцию, взаимосвязанность
и согласованность индивидуальных и коллективных мыслей в процессе их общения. Семиотика
помогает нам ориентироваться во всех сложных ситуациях нашей жизни, показывая смысл
огромного количества знаков, с которыми мы живем и имеем дело.
Ключевые слова: Семиотика, виртуальная семиотика, турбулентность, предубеждения.
Abstract: This paper argues for a need to develop, by exploring virtual semiosis of communication,
an ethical mode of communication. Virtual Semiosis examines experiential, communicative and learning
aspects of creating virtual meanings. It seeks to incorporate and acknowledge plurality and diversity,
dynamics and evolution, interconnectedness and coherence of the individual and collective thoughts,
and of the process of their communication. Semiosis helps us to navigate through complexity of life by
making meaning of huge number of signs we live and deal with.
Key words: Semiosis, virtual semiosis, turbulence, preconceptions.
Introduction
Semiosis is an originally Greek concept that
relates to human ability to establish meaningful
connections (relations) between signs (things,
events, phenomena, processes) a priori seen as not
interacting with each other.
Semiosis helps us to navigate through complexity
of life by making meaning of huge number of signs
we live and deal with, and their intricate and dynamic
interrelationships.
Both experience and learning are inseparable
from the process of communication. Life starts
with communication and ends when our ability to
communicate ceases. It is our experience that we
share in communication with others (interpersonal
communication) or reflect solely upon by ourselves
(intrapersonal communication). Any experiential
event stirs up our inherent potential for learning. And
it is through communication that we can realize this
potential. Learning needs togetherness – a dialogue
with others or with our own thoughts and feelings,
a communion with nature or with various sources of
inspiration and wisdom. If we stop to communicate,
learning also stops.
The semiosis of communication is virtual – it
possibly leads to emergence (discovery, creation)
of new meanings. The term ‘virtual’ is used in the
same sense as Peirce used it when firstly introduced
semiotics as a “theory of experience mediated by our
ability to create and rely on representations” (Peirce,
1905). According to Peirce, “no present actual
thought has any meaning, any intellectual value; for
this lies not in what is actually thought, but in what
this thought may be connected with in representation
by subsequent thoughts; so that the meaning of a
thought is altogether something virtual.”
The virtual semiosis of communication (VSM)
reveals human potential for creating meaning out
of complex webs of ever-changing relationships
between experience, communication and learning.
VSM explores also the conditions facilitating
spontaneous emergence of new meanings as a
result of self-organizing dynamics of life events,
communicative acts and learning practices –
meanings able to guide individuals, communities
and society in their journey of self-organization,
self-realization and evolution.
can be shared (externally) with others or reflected
upon (internally) by A.
As the worlds of experience and interpretative
capacities of A and of the individual (B), with whom
A is in communication, essentially differ from one
another, B will never understand A’s narrative in
the same way as A does. There will be a degree of
misunderstanding of A’s narrative by B.
Teubner characterizes this kind of
misunderstanding as creative (Teubner, 1987) – it
does not reject the meaning of A’s story as captured
by B. On the contrary, it may enrich this meaning and
even lead to co-creation of new meaning negotiated
in the process of communication between A and B.
Learning about Selves
The co-creation of new meaning appears as a
virtual result of some learning process that happens
in parallel with communication. B learns about the
nature of the interpretative filters used by A and
vice versa: A learns about the interpretative filters
of B. Thus the negotiation of new meanings of the
experiential events under consideration represents
a kind of mutual exploration into beliefs, thoughts,
feelings, motivations, dreams and illusions held by
the individuals.
The beliefs, thoughts, feelings, etc. held by
an individual constitute his/her own self. When
negotiating a new meaning, individuals start to learn
more about the nature of their selves. This process is
obstructed by the fact that the self on public display
often does not match the self on which an individual
Creative Misunderstanding
is privately aware. Often the story that A is telling
The moment an individual starts to interpret to B in regard to some event is quite different from
some experiential event, this event becomes the interpretation of this event contemplated by A in
immediately colored by individual’s thoughts and private. The conditions of our present social life are
feelings. Filters of preconceptions, beliefs, likes very much in favor of such discrepancy.
and dislikes, moral and ethical values, prejudices,
False and Self-suggestive Communication
dreams and various forms of illusions carried by We live in an ambitious and enormously competitive
every individual inevitably stand between the world where the seeds of separateness easily
event (as directly experienced at the moment of grow. Both the competitiveness and separateness
its occurrence) and individual’s interpretation that inject falsehood in communication. Often the
follows. Wittgenstein used the expression “language- ‘shared’ narratives deal with deliberately distorted
games” when referring to the ways people interpret descriptions of what has happened in order to
the events occurring in their life, by ‘playing’ disadvantage, humiliate or even brutally get rid
with their mental, emotional and spiritual filters of some rival(s). In other cases, communication
(Wittgenstein, 1931).
process degenerates into self-suggestive monologues
Individual interpretations are usually commu- of the narrator(s) continuing to repeat one and the
nicated through narratives (stories). A narrative same interpretation of certain events in order to
reveals (or hides) how an individual (A) thinks and convince both themselves and the listeners that this
feels about a certain event or events. The narrative interpretation provides the only possible way for the
events to be understood.
Although false or self-suggestive communication
may have significant learning components (after
discovering that A is lying or indulging in selfsuggestive stories, B inevitably learns lessons how
to relate to A in future), it is deprived of the most
essential feature of VSC. False communication
contributes neither in the process of understanding
human experience, nor in the process of learning
how deeper to penetrate into its dynamics in order
to extract, create (or facilitate the discovery) of new
meanings. Not only because false (or self-suggestive)
communication opens impassable gaps between the
events as they occur and the events as they have been
described and interpreted by individuals, but also
because it drastically emphasizes separateness of
the individual selves. Through the contorted prism
of separation individuals cannot read the signs of
interconnectedness and unity that are vital for VSC
dynamics.
There are two typical classes of life situations
where false communication loses its potency and
VSC clearly exhibits its creative power.
Coherent Communication
The first class relates to situations of
communication process entering a zone of criticality
(‘edge of chaos’): suddenly the interwoven dynamics
of experience, communication and learning involved
in VSC ‘explode’ in an outburst of enormous
turbulence. There could be many factors contributing
to this outburst, for example, false communication
may easily provoke such turbulence in the life
of a family or in the function of an organization
(company, community, and society as a whole).
Under the threat of mutually undesirable
disintegration of the communication process or other
critical events of a common danger, people tend to
throw away their masks of falsity and to openly talk
to each other.
Once false communication stops, the edge of
chaos turns into a region impregnated with a plethora
of opportunities for new developments, which
highly activates creative capacity of VSC. Turbulent
dynamics of communication under criticality are
so overwhelmingly saturated with energy, that
only a tiny little ‘nudging’ towards signs of mutual
tolerance, equal acceptance and dialogue based on
what connects rather than on what separates, can
easily transform turbulence into coherence. Coherent
communication may emerge as a new level of
manifestation of experiential, communicative and
learning dynamics of VSC.
In coherent communication VSC realizes
fully its creative potential: so complementary are
the individual dynamics and so harmoniously
they resonate with the group dynamics, that all
participants seem to act like one inseparable whole.
Coherent communication resembles very much a
synchronous flight of birds in the flock or the joint
pulsation of fibres in the muscle of the heart.
Empathy based Communication
The second class of situations where falsity
loses its potency in communication process is when
this process is driven by the mutual empathy of the
individuals.
In its Greek origin the word empátheia means
literally ‘in-feeling’, that is, a kind of mental entering
into the feeling (or spirit) of another person.
“The term is also used to describe the
apprehension, whether intellectual or imaginative,
and whether intentionally or not, of another person’s
state of mind. Thus to empathize is to experience
vicariously the thoughts, feelings and actions of
another person, thereby understanding (and, to
some extent, being able to predict) her/his behaviour
and capacity to deal with a given situation. The
knowledge that one is thus understood is liberating
and stimulates the growth of a relationship”
(Encyclopedia of World Problems and Human
Potential, 1995).
In the case when communication is permeated
by mutual empathy, VSC opens an infinite space for
realization of human creative potential. According to
Barnard, empathy experienced between the members
of a group “encompasses a whole set of higher-order
mental skills: openness to learning, a capacity for selfcriticism, low defensiveness, and the ability to process
multiple realities and values” (Barnard, 1998).
Empathy gives birth to coherent communication
but in an entirely different way than criticality does.
At the edge of chaos people are forced to explore
opportunities for coherence in order to minimize
the danger of an approaching disintegration of
communication. At a level of an organization, critical
conditions of organizational dynamics exercise a
significant pressure on individual dynamics for urgent
transformation – from opposing and competing to
coherent and collaborative with each other.
When there is empathy between people, the
driving force for coherence is from inside of
individual dynamics. Whether there are critical
conditions or not, it does not particularly matter:
people are driven towards coherent communication
as a natural manifestation of empathic relationships
to each other.
Criticality inevitably emerges as a result of
complex interactions between people in unpredictable
unfolding of their lives.
Empathy emerges from the inner depth of our
humanness in a conscious awareness that neither our
personal growth as individuals, nor our evolution as
a society, nor even our survival as a human kind, is
possible without constant realization of that limitless
ability to understand and help to each other.
Conclusion
Virtual Semiosis examines experiential,
communicative and learning aspects of creating
virtual meanings. It seeks to incorporate and
acknowledge plurality and diversity, dynamics and
evolution, interconnectedness and coherence of the
individual and collective thoughts, and of the process
of their communication.
Emergent outcomes, as well as the means
and ways leading towards this emergence
are not predetermined or certain. They are
constructed, facilitated or discovered, and
therefore under influence of human interpretation
and representation, which are often collectively
expressed as common understanding that in
turn emerges out of a specific process, we name
coherent communication.
This paper argues for a need to develop, by
exploring virtual semiosis of communication, an
ethical (empathy based) mode of communication. It
further implies a moral conviction that philosophy,
explored and applied, co-operatively and in the
public domain, must build and repair the events of
human experience.
Bibliography:
1. Collected Papers of Charles Peirce. Eight volumes.
Eds: A. Burke, C. Hartshorne and P. Weiss.
Cambridge: Harvard University Press, 1931-58,
Paragraphs 5.5; 7.103.
2. The Wittgenstein Reader, Ed. A. Kenny, Blackwell
Publishers, 1994
3. Teubner, G., Law as an Autopoietic System,
Presented at the London School of Economics
Complexity Study Group, 18 June 1997
4. Encyclopedia of World Problems and Human
Potential, Munich: K G Saur Verlag, 1995 5.
Barnard, D., Group Empathy, Fast Company, issue
17, September 1998, p.54
УДК: 811.161.1 (575.2) (04)
Aidaralieva Ainura,
Phd, NSU
Translation Vicissitudes of A.Osmonov’s works at the semantic level
Перевод превратности работ A.Oсмонова на семантическом уровне
Аннотациясы: Бул макала адабият чыгармаларынын башка тилге которуудагы маселелерге
арналган. Кыргыз акыны А.Осмоновдун чыгармаларын орус жана англис тилдерине которуудагы
кээ бир мүчүлүштүктөрдү изилдейт. Макалада түп нускадан жана котормодон мисал келтирилип салыштырылат.
Негизги сөздөр: семантика, котормо, лингвистика
Аннотация: Данная статья рассматривает проблемы литературного перевода произведений.
Объектом исследования являются переводы кыргызского поэта А.Осмонова на русский и английский языки. Статья делится с проблемами перевода произведений поэта в русском и английском
аналогах переведенных русскими и английскими лингвистами-переводчиками. Приводятся примеры
из оригинала и перевода, сопоставляются и обсуждаются искажения литературных единиц.
Ключевые слова: семантика, перевод, лингвистика
Abstract: This article deals with the problems of literary translation in the language. It reviews
the translation of A.Osmonov’s works into Russian and English languages by Russian linguists
and English interpreters. The article indicates some deviations in Russian and English versions
of his works and insists that these deviations weaken the literary color of poet’s works..
Keywords: semantics, translation, linguistics.
Translation Vicissitudes of A.Osmonov’s
works at the semantic level
Translation practice has a long and rich history,
the study of which sheds light on the important
aspects of language development, literature and
culture of different nations. Different cultures,
different personalities, different literature, different
traditions and attitudes are faced in it. Translation
is the process of recreating the unity of the original
form and it means to express the true and complete
tool of one language that has previously expressed
by means of another language.
Translation truly enriches not only our personal
knowledge and taste, but also our culture’s literature,
language, and thought. Professor Z.Karaeva in her
monograph “Перевод и семиотика: Многоязычное
бытие эпоса «Манас» и теоретико-методологические проблемы транслатологии” gives a real
definition to translation saying about this process
the following: “Перевод имеет свою внутреннюю
специфическую организацию, на основе которой
он выделяется как самостоятельная научная дисциплина. Переводческая деятельность, в отличие
от других лингвистических явлений, включает
рассмотрение экстралингвистических аспектов,
которые являются чрезвычайно важными при
филологическом анализе перевода”.
[Karaeva Z.K., 2006. p.38-39]
A comprehensive study of the problems of
translation represents one of the main challenges
of literary criticism. The success of world-famous
works of literature depends on the art of translation.
Mutual influence and interdependence of national
literatures become real due to appropriate translations of language units as semiotics.
Despite the dissimilarity of goals, status of semiotics and the theory of translation, in recent years
we can notice a significant convergence of these
disciplines. According to W. Wills this convergence
was caused due to the allocation of the general semiotics called as semiotics and linguistics, where the
natural language is primarily semiotic system one,
and each text can be described in terms of semiotics.
[W.Wilss, 1982, 10].
What is concerning ethnic discourse, it is, in
essence, caused by translation appeals to his artistic
component – to work itself. The motivation of these
appeals inevitably reflects the fundamental processes
and priorities of the host culture. Therefore, considering the ups and downs of our literature, it should
be guided by the certainty that in any case there
are complex and inter-civilizational power laws of
mutual attraction and / or rejection. In other words,
by A.Carpenter it is too – “the vicissitudes of the
method.” [Ospovat. L.S., 1986]
So, here, we are going to analyze two existing Russian translations of the great Kyrgyz lyrics
Alykul Osmonov’s masterpieces (1915-1950). It
could comment unusual examples of translational
selection associated with the change of literary eras
and generations of translation principles and aesthetic values, etc. In this formulation of a question,
the problem “value of cultural time” of the original
and the translation becomes very actual. The latter
is particularly important: a comparison of cultural
translation can be clarified something in the history
of both cultures.
The man, the first Kyrgyz who spoke in the
language of poetry, Alykul grew up an orphan, was
given a boarding school (which is actually in the
past of Kyrgyz people to do it was not accepted), his
life was short, and the poem “Grunya Savelievna”
(“Груне Савельевне”) is his actual autobiography
in twenty lines.
1. Далай таттуу даам жедим колуңдан,
2. Кем көрбөдүн өз бир тууган бооруңдан
3. “Начар экен бат оңолсун бала” деп
4. Шашып турдуң, чала уйкулуу ордуңдан.
5. Ырлар жаздым, кээде сызып, кээде
оңдоп,
6. Бала өстүргөн жаш атадай көнүлүм ток.
7. “Азгын экен, кантер экен бала” деп,
8. Сен үшкүрдүң күн кыскасын болжолдоп
9. Март да кетти, апрель, май жакындап,
10. Көктө турна, кoлдo каздар каркылдап.
11. Күнүн бүттү, кайтар мезгил болду, деп
12. Кош ат келди үй жанына жакындап
13. Мени акырын, “аман бол” — деп
узаттың,
14 Көзүн карап өзүм минген боз аттын.
10
15. Колумду алып, ылдый карай бергенде,
16. Мөлт, мөлт акты тоголонуп көз жашың.
17. Алыс кеттим, бармын, өлүү эмеcмин,
18. Мен барбасам, сен да мага келбессиң...
19. Жан боорумдай көнүлүмдө көз жашың,
20. Ата-энемден көз жаш көргөн эмесмин.
The first translation belongs to Vera Zvyagintseva
(well-known poet, translator) and it is included in
the first A.Osmonov’s book “My House” (1950)
in Russian language and subsequently reprinted
many times. The translation and publication of
A.Osmonov’s poems of in Moscow (by the initiative
of Russian poets and writers’ union) automatically
makes it a classic one. In 1946 A. Osmonov’s works
published in a large series of “Poet’s Library”.
Here is, Vera Zvyagintseva’s version of
translation:
1. Из рук меня кормила ты, бывало,
2. Сластями, словно сына, баловала
3.“Пусть поправляется, — твердила ты, — он
слаб...”
4. И на рассвете для меня вставала.
5. Я все писал стихи, порой кидая,
6. Порой удачные на свет рождая.
7. А ты печалилась: “Уж больно тощ сынок...”
8. И плакала, мои часы считая.
9. Прошел и март. Апрель к концу подходит.
10. Летит журавль. На речке гуси бродят.
11. — Ну что ж, пора домой. — Гляжу в
окно:
12. Коня к крылечку старому подводят.
13. Ты вышла проводить меня в дорогу.
14.Взглянув коню в глаза, седло потрогав,
15. Пожала руку мне, и крупная слеза
16. Скатилась и упала у порога.
17. Я далеко. Я жив, моя родная.
18. Не сетуй, что к тебе не приезжаю.
19. Слезою матери была твоя слеза,
20. Хоть ни отца, ни матери не знаю.
The second translation was done by Sinelnikov
Mikhail Isaakovich (Russian poet, translator and
literary critic). Among the poets of the seventies
M.Sinelnikov was one of the first who turned to
A.Osmonov’s works in the 70s, and this poem first
appeared in his book “My Alykul” where a deep and
unique understanding of the features of the Kyrgyz
poetic thought, and Osmonov’s lyrical world were
reflected. Here, you can read his version of translation
of A.Osmonov’s poem “Grunya Savelievna”:
1.Вкусною едой меня кормила, 2.Как своих
детей, меня любила.
3. Слабое дитя, не зная сна,
4. Выходила — отдала мне силу.
5. Первые стихи я сочинил,
6. Как отец потомством, счастлив был.
7. Глядя на меня, ты все вздыхала,
8. Так уж, видно, был я тощ и хил.
9. Скоро — май, и в небе — журавли,
10. Слышу: утки голосят вдали.
11. Пару лошадей подводят к дому...
12. Чтобы увезти меня, пришли.
13. Проводила тихо и уныло,
14. Руку мне, пожав, благословила.
15. Молчаливо голову склонив,
16. У порога слезы уронила.
17. Я — вдали, я жив, но в беге дня
18. Не найду тебя, и ты — меня.
19. В памяти твои остались слезы...
20. Материнских слез не видел я.
The poem “Grunya Savelievna” was written by
the author for four years before his death (he knew
about it), it is written in the village Cholpon-Ata,
Issyk-Kul, which almost was his homeland, where
he created a great cycle of the lyrics. Issyk-Kul in
1946s was Alykul Osmonov’s Boldin Autumn.
Returning to the theme of childhood the author
felt emancipation of vulnerable and proud person.
Materials of the writer’s biography generally support
this assumption.
Presumably, it is important to take into account
poet and interpreter’s creative compatibility. Age, attitude, social instincts, the dominant aesthetic – it all
seems important when comparing different translations. Along with the cultural time transferring can be
raised the question of the psychological and aesthetic
continuum of the original and the translation.
Let’s look through both translations of this poem
by two famous translators and poets.
Rhyming in the T-1 is stored, in the T-2 sort
of chain links of male clause in the blank verse by
women in the next stanza, then again men clause
were given etc. The effect is quite interesting, but it
is not dictated by the original and most likely arose
spontaneously, as in Sinelnikov’s shorter line it is
harder to operate meaningful words. However, as
Shapovalov V. I. (famous poet, translator of Turkish and European poems) pointed “in the T-1 and T
-2 occurs Russian catalexis: female clause is used
more to search for rhymes than male clause, this is
the property of the Russian rhyme” [Shapovalov.
11
V.I., 2011, № 9].
Some deviations or distortions of the original
are noticed in both T-1 and T-2.
For example: The deviation of the meaning in
T-1: in original there is no word about that the hero
does not know his father and mother, “не знает
отца и матери” but there is finest metonymy
— that he had not never seen weeping mother and
father, he did not see the tears of their parents.
But in T-2 the translator tried to keep the meaning of statements, but enhances it by replacing the
word “ parent” to the word “maternal” (motherly):
“Mother’s tears I had not seen...” However, in this
case, human reception was more important for the
translator and the word “motherly” has the most
powerful semantic field here.
What is concerning syntactic tracing speech cues
and narrative-descriptive information the translator
in T-1 tried to give the exact reproduction of the
original text. However, this accuracy leaded to literalism. Outwardly, it looks paradoxical, but in fact
the more literal translation, there is the greater loss
of the original meaning. What is not in the original?
There was no imperative “твердила ты”, “уж
больно тощ сынок”, “гляжу в окно”, “к крылечку
старому”, “седло потрогав”, no tears, “скатившейся и упавшей на порог”.
On the contrary, M. Sinelnikov is extremely
functionalized in syntax (the rejection of any and
all replicas) to save the details and brevity – while
maintaining the lyrical story. It is regarded T-1 as a
“fable” translation, while the T-2 is «scene” because
it is related to the disclosure of the dominant lyrical
image of “orphan – relationship – separation”. It is
less descriptive than the original, because based on
the actualization of the dominant components.
As the common mismatching with the original
which were allowed by two translators in transferring of significant values: can be regarded “азгын
экен, кантер экен бала” деп, because in T-1 (А
ты печалилась: “Уж больно тощ сынок...”), and
in T-2 (Так уж, видно, был я тощ и хил...) it was
interpreted in another way. In fact, the word “azgyn”
means, wayward, dissolute, but in this context it
may be read as go astray fate, may be rootless, an
orphan.
The another dissimilarity in translations can be
the omission of months of a year. In original, in line
9 three months were given: Март да кетти, апрель,
май жакындап, but in T-1 only March and April are
recalled (Прошел и март. Апрель к концу подхо-
дит), no word about May and in T-2 only May, there
is no word about March and April (Скоро — май, и
в небе — журавли).
Such deviations in translation of poet’s works
can be noticed also in Walter May’s translation.
In collection of A.Osmonov’s works which is
called “Waves of the lake” all poems were translated
into English by the well-known translator Walter
May. Therefore, some deviations take place in translations. Let’s consider one of poems “Music”.
In original: In translation:
Мен суу ичпейм, таңдай катып турганда, I
don’t stop drinking water when I am dry
Мен нан жебейм алдан тайып курганда, I
don’t stop eating bread when hungry and weak.
Музыкадай мага таттуу суусун жок, More
tasty is music, whatever wine I try,
Берчи мага, берчи мага, Give me, give me
Жарым кашык музыка! The teaspoon of music
I seek!
In the first and second lines the author would
like to express his attitude to music, that the music
plays a great role in his life. He wanted to strength
his desire to music figuratively in a way that he does
not drink water even if he is thirsty; he does not eat
bread even if he is hungry and there is only music
is sweet than any other beverage. However, in the
translation I don’t stop drinking water when I am dry
was presented instead of I don’t drink water when
I am dry and also I don’t stop eating bread when
hungry and weak instead of I don’t eat bread when
hungry and weak.
This deviation in translation changes the meaning of the poem and reader’s reception that he does
not stop drinking water when he is dry and does not
stop eating bread when he is hungry and weak;
In addition, Walter May in order to strengthen
author’s emotions about music added the word
“wine” though there is a speech about music as a
kind of beverage (суусундук) to quench his thirst
but not wine. No wonder they say that poetry is
neither just words, nor just meter. It is a music of
words, and is a way of seeing and interpreting the
world and our experience of it, and of conveying
to the listener a heightened awareness of it through
an intense concentration of metaphor and words in
which the natural flow of speech sounds is molded to
some kind of formal pattern. Such patterns can never
be the same after the act of translation.[Newmark,
P.P. 1982]
National color transferring of the translated
12
works has a great importance. This is an interpreter’s
art. Meanwhile translation, which erases the national
characteristics of the original, totally dehumanizes
the product and its heroes. As a result the reader
learns very little about other people and culture.
In short, the art of translation today is in an
era of expanding cross-cultural contacts between
countries and continents. It is one of the necessary
means to achieve mutual understanding in all areas
of human existence.
Bibliography:
1. З.К.Караева. Перевод и семиотика: Многоязычное бытие эпоса «Манас» и теоретико-методологические проблемы транслатологии, Бишкек,
2006.- C..38-39
2. W.Wills. The Science of Translation (Tubingen
Gunter Narr Verlag,1982)
3. Осповат Л. Человек и история в творчестве
Карпентьера. – В кн.: Приглашение к диалогу.
Латинская Америка: размышления о культуре
континента. М., 1986
4. А.Осмонов. Сборник стихотворений «Мой
дом», Ф:1950
5. Шаповалов В.И. «Дружба Народов» №9, М:
2011
6. Шаповалов В.И. Киргизская стихотворная
культура и проблемы перевода. Фрунзе, 1986
7. Алыкул Осмонов. «Көл толкуну» Ырлар
жыйнагы,Бишкек: 1996, 123-б.
8. Newmark, P.P. (1982). Approaches to Translation,
Pearson Education Limited, London.
УДК:811.161.1 (575.2) (04)
Aitbaeva Aina,
senior teacher IUK
Sign and society (on the basis of advertisements)
Аннотациясы: Өзүмдүн макаламда, мен тексттин же жарнамалардын маанисин табууда
кантип жардам берээрин көрсөтүү үчүн семиотиканын негизги түшүнүгүн карап чыгуудамын.
Семиотиканын негизги түшүнүгү – белги; семиотика алкагындагы теоретиктер адамдарды
белгилерди пайда кылуучулар жана түшүндүрүүчүлөр катары таанышат. Семиотика жана
семиотикалык анализ тууралуу өзүмдүн талкуумду мен “белги” түшүндүрмөсүнөн баштайм.
Негизги сөздөр: семиотика, мааниси, жарнама, белгилер.
Аннотация: В своей статье я рассматриваю основные концепции в семиотике для того,
чтобы показать, как она помогает нам найти значение в текстах и в рекламах. Наиболее фундаментальная концепция в семиотике – знак; теоретики в области семиотики позиционируют
человечество как производителей знаков и их толкователей. Свое рассуждение в отношении
семиотики и семиотического анализа реклам я начинаю с понятия «знаки».
Ключевые слова: семиотика, значение, реклама, знаки.
Abstract: In my article I research some of the basic concepts in semiotics, to show how it enables us to
find meaning in texts and advertisements in different cultures.. The most fundamental concept in semiotics
is the sign; semiotic theorists posit human beings as sign-making and sign-interpreting creature. It is with
signs that this discussion of semiotics and semiotic analysis of advertisements begins.
Keywords: semiotics, meaning, advertisements, signs.
Signs in Semiotics and Semiology.
Semiotics is, literally speaking, the science of
signs. The word semiotics comes from the Greek
root semeion, or sign, and is used to describe a
systematic attempt to understand what signs are
and how they function. Semiotics is probably the
more commonly used term, but some students of
signs use the term semiology, literally “words”
(togas) “about signs”. Semiotics is associated with
the work of the Americon philosopher, C S Peirce
13
(although its roots are in medieval philosophy)
and semiology with the work of the Swiss linguist
Ferdinand de Saussure. Both are concerned with how
meaning is genereated and and communicated. In his
posthumousty published book A Course in General
Linguistics, Saussure (1966) states.
Language is a system of signs that express ideas,
and is therefore comparable to a system of writing,
the alphabet of deaf-mutes, military signals, etc.
But it is the most important of all these systems. A
science that studies the life of signs within society
is conceivable it would be part of social psychology
and consequently of general psychology, what shall
be called as semiology.
This may be looked upon as one of the charter
statements about semiotics / semiology. Saussure
suggests that signs are made of two parts: a
signifier (sound, object, image, or the like) and
a signified (concept). The relation that exists
between the signifier and the signified is arbitrary,
based on convention, or, to use the technical term,
unmotivated. Because of this fact, we develop and
use codes to help us learn what some signs mean.
How Signs Function.
A sign can also be defined as anything that can be
used to stand for something else, but understanding
how signs function is some-what complicated,
because, for Peirce and semioticians, there are
always “others” involved. According to Peirce, a
sign “is something which stands to somebody for
something in some respect or capacity”. (1977,
p. 27).
Semiotics is concerned with everything that can
be taken as a sign. A sign is everything which can
be taken as significantly substituting for something
else. This something else does not necessarily have
to exist or to actually be somewhere at the moment
in which a sign stands for it. Thus semiotics is in
principle the discipline studying everything which
can be used in order to lie. If something cannot be
used to tell a lie, conversely it cannot be used to tell
the truth; it cannot be used “to tell” at all. Saussure uses the term semiology to describe
the science that would study “the life of signs within
Peirce, C. S., Quoted in Zeman, J. J. 1977. Peirce’s
Theory of Signs. In T. A. Sebeok, A perfusion of signs.
Bloomington: Indiana Press
Peirce ‘s Theory of Signs. First published Fri Oct 13,
2006; substantive revision Mon Nov 15, 2010
Peirce; epigraph in Sebeok., 1977, p. vi
Peirce; epigraph in Sebeok., 1977, p.7
society,” originally placing semiology within social
psychology. He suggests that a sign is like a piece of
paper: One side is the signifier and the other is the
signified, and together they make the sign/ sheet of
paper. Symbols, however, are a different matter. Symbols.
A symbol is a subcategory of a sign. It is a
sign whose meaning is not completely arbitrary or
conventional. What is important about symbols is that they
stand for something, they convey meanings. These
meanings are often connected to historical events,
traditions, and so on. The symbol, generally an object
or an image, because it can represent historical events,
because it “contains” all kinds of extraneous matters
connected to it, because it can be a repository of
meanings, because it can have so many connotations,
can become very important to people.
We are profoundly affected by symbolic
phenomena, all the time-when we are awake and
when we dream. It is because texts of all kindsfi1ms, television programs, novels, plays, works of
visual art-are full of symbolic phenomena (objects,
actions of characters, geographic locations, and so
on) that they resist easy interpretation. Their symbolic
(and mythic) aspects make them extremely complex,
and so they are seldom easily understood.
Icon, Index, Symbol: Peirce’s System.
In Peirce’s theory of semiotics there are three
kinds of signs: icons, which communicate by
resemblance; indexes, which communicate by
logical connection; and symbols, which are purely
conventional and whose meanings have to be
learned.
In Peirce’s theory, both icons and indexes have
natural relationships with what they stand for: for
example, a portrait of someone and the person
being portrayed (an icon) and smoke indicating fire
(an index). The meanings of symbols, on the other
hand, have to be learned. Table.1 presents Peirce’s
trichotomy in graphic form.
An image is conventionally understood to be a
visible repre sentation of something, though it can
also be a mental picture of something (such as the
image of the businessman as found in early-20thcentury American literature). We live in a world of
photoelectronic images, and with the development
of television, all kinds of images that we never
Language and Culture. A Social Semiotic Perspectives.
Claire Kramsch. University of California, Berkeley, 2000.
14
Table 1. Pierce’s Trichotomy. Kind of Sign
Example Signify
Process
Icon
paintings
resemblance can see would have seen in real life are now brought to us,
in mediated form, on the video tube. As the result of
developments in printing, photography, and video,
images play an increasingly important role in our
lives.
Images, then, play a significant role in our lives,
whether we recognize this to be the case or not.
They have to be interpreted, and this takes a good
deal of work, for it is not always easy to understand
how images function. Cultural critics have, in recent
years, expanded upon their interest in images and
now talk about the phenomenon of representation.
This concept deals with images of all kinds in the
context of the social and political order in which
these images are found, and considers such matters
as who creates images, who controls the image
making in a society (especially images generated
and spread by the mass media), and the functions
these images have for the sociopolitical order and
for individuals.
Codes.
At the simplest level, codes are systems for
interpreting the meanings of various kinds of
communication in which the meanings are not
obvious or evident.
In the world of espionage, messages are often
coded (so that if they are somehow intercepted
they will not be understood). The same applies to
the world of culture. Much of what we see and
hear around us in our culture carries messages, but
because we do not know the codes that enable us
to find the meanings in these messages, we do not
pay any attention to them, or, if we do, we tend to
interpret them incorrectly. We also tend to be blind
to the codes that we have learned because they
seem natural to us; we do not realize that when we
find meaning in things, we are actually decoding
signs. There are in every society, semioticians suggest,
2004. “The Development of Peirce’s Theory of Signs”
in, The Cambridge Companion To Peirce. Cheryl Misak
(ed). 214–240. Cambridge: Cambridge University Press.
Index
smoke/fire causal connection can figure out
Symbol words, flags convention must learn culture codes- hidden structures (in the sense that
we are not aware of them or pay no attention to
them) that shape our behaviour. These codes deal
with aesthetic judgments, moral beliefs, cuisine,
and many other things. They are directive and
generally are highly articulated and specific, even
though those who use them tend to be unaware of
them. We need codes because we need consistency
in our lives. Codes vary in scope from the universal
to the local.
Semiotics: society as semioticians and
advertisements.
Today’s society relies on advertisement for
consumer affairs. Magazines, a form of mass media
is at the top of everyone’s list for finding the perfect
household good. Advertisments are the major part
of our everyday life. The most common signs are
words in a language, but traffic signals, punctuation,
and visual markers are also signs. At a broader level,
clothing, gestures and even sentences and whole texts
may be signs in a larger sign system.
Semiotics is an investigation into how meaning
is created and how meaning is communicated. Its
origins lie in the academic study of how signs and
symbols (visual and linguistic) create meaning. It
is a way of seeing the world, and of understanding
how the landscape and culture in which we live has
a massive impact on all of us unconsciously.
Our actions and thoughts – what we do
automatically – are often governed by a complex set
of cultural messages and conventions, and dependent
upon our ability to interpret them instinctively and
instantly.
For instance, when we see the different colors of
a traffic light, we automatically know how to react
to them. We know this without even thinking about
it. But this is a sign which has been established by
cultural convention over a long period of time and
which we learn as children, and requires a deal of
unconscious cultural knowledge to understand its
meaning. Langrehr, D. (2003). From a semiotic perspective: Inference formation and critical comprehension of television
advertising. Retrieved January 13, 2005
15
Viewing and interpreting (or decoding) this sign
enables us to navigate the landscape of our streets
and society. Everyone is a semiotician, because
everyone is constantly unconsciously interpreting the
meaning of signs around them – from traffic lights to
colors of flags, the shapes of cars, the architecture of
buildings, and the design of cereal packaging. And
signs don’t only need to be visual – they can be aural
or sonic signs too, such as the sound of a police siren,
usually heard before the vehicle is seen.
We know for instance that the “thumb up”
sign in the West means everything is OK. This
can be dated back to its alleged use by Roman
emperors to signal whether a gladiator would
live (hence be OK). Its reverse – thumbs down
– signified death. But in scuba diving this sign
means go up to the surface, and by the side of
the road it means you want to hitch a ride. In
other words, we need to understand the context
in which a sign is communicated in order to
comprehend its real meaning, and hence act
appropriately. What is going on around the sign
is usually as important for us to know as the sign
itself in order to interpret its meaning.
Decoding and interpreting the signs in
advertisements through the lens of semiotics.
Once advertisements were mostly reliant
on the written text, with the words explaining or
complementing the visual; a person speaking a
message that is emphasized by the pictures. This has
changed radically. Contemporary advertising can
be a mini drama, a continuing story or a montage of
images. The growing use of visuals in advertisements
has enhanced the ambiguity of meaning embedded
in the message structure. The function of the text has
moved away from explaining the visual and toward
a more cryptic or coded form where the text is a key
to the visual.
The aim is to make the advertising more
ambiguous and thereby enhancing its effectiveness
by linking the product to a broad and subtle range of
associations. Decoding what is happening in these
complicated message structures requires the use of
a method such as semiotics. Semiotics is a method
Moriarty, S. E. (1995a). Visual semiotics and the production of meaning in advertising. Retrieved January 16,
2005.
Barthes, Roland (1963) ‘The Advertising Message’, in
Barthes (1994) The Semiotic Challenge (trans. Richard
Howard). Berkeley, CA: University of California Press,
pp. 173-8
for examining textual material. A text in this context
is anything we can read or understand as having
meaning: images, sounds, words. In semiotics, the
science of signs, we derive meaning from reading
and interpreting signs in combinations. The French
theorist Roland Barthes was one of the first to study
advertising from this perspective. A precursor was
the literary and media critic Marshall McLuhan.
McLuhan anticipated what has become a major
area of interest in advertising from the perspective
of its relationship with media systems and popular
culture.
Many contemporary advertisements do not
directly ask us to buy a product. Often they seem
to be more concerned with amusing us, presenting
us with a puzzle or demonstrating their own
sophistication. The aim of this development in
advertising is to engage us in their structure of
meaning, to encourage us to participate by decoding
their linguistic and visual signs, codes and social
myths, and to enjoy this decoding activity. At the
same time as we are decoding the signs we are
participating in the structures of meaning that the
advertisement represent.
In order to study advertisements closely
in semiotic terms it is necessary to identify the
visual and linguistic signs, to see how the signs
are organised paradigmatically and note how the
signs relate to each other through various coding
systems. There is a need to recognise that all codes
are potentially ambiguous and that different readers
have the potential to decode the signs differently. We
can assume that anything that carries meaning to us
in an advertisement is a sign.
So linguistic signs (words) and iconic signs
(visual representations) all act as signs adding to the
cumulative code and meaning. Some of these signs
we recognise consciously, others unconsciously. A
model in an advertisement can denote the particular
individual or a young woman in a given situation
but can also carry the connotation of the mythic
ideal of feminine beauty. Marketing messages have
three basic components: object, sign, interpretant.
An example of semiotics in advertising is the
advertisement for the new woman’s fragrance “Gucci
Guilty”, it shows a naked woman wearing a pinkyred lipstick with a slight gloss to it, a sexy smokey
eye, looking very seductive, desirable and guilty
while being caressed by a man and staring at the
viewer. The message behind the advertisement tells
the audience that if you buy and wear this fragrance
16
you too will become irresistible and will make you
feel more attractive to man.
The advertisement works because the signs
are easily readable. Myths and narratives play an
important role in generating and maintaining social
beliefs and identity. The example of Apple logo
deeply represents that signs can carry connotations,
meanings that have social, cultural and historical
relevance. The Apple logo is one of the popular
symbols across the world. It has own way of
evolution and modification. The original logo depicts
sir Isaak Newton under an apple tree. Semiotic ally
the image of Newton used in the logo were signifiers
of discovery and innovation10.
The use of apple fruit depicts “Desire” and
“Eagerness”. Then this logo was modified by Rob
Jainoff. He designed a simple but unique logo. It
presents rainbow coloured silhouette of an apple with
a bite taken off. The apple with a “bite” taken out of
it can be understood semiotically. The apple – the
visual component of the sign – serves as signifiers.
The associations that viewers create from perception
the apple, ranging from seeing the apple as a basic,
everyday object to deeper cultural connections to
the symbol of health, and an icon of nature, make
up what is signified by the Apple logo. The bite in
the apple from the semiotic perspective has religious
associations. Adam and Eve eating the forbidden
apple resonate with Apple’s early brand positioning
strategy as a young company in opposition to the
computer giants as IBM and Hewlett Packard. Further
semiotic connections include the fact that Adam and
Eve gained knowledge from this transgression, that
the bitten apple can be associated with the challenge
and promise of knowledge that apple products make
available their users.
With the thousands of advertisements each
consumer views a day, it is each corporations goal
to make their.own commercial stand out among
the masses. Nike Inc has created just that method
to attract the audience. Nike makes the consumer
believe that by wearing their product they will not
only run faster, jump higher, and perform better, but
they will in fact run the fastest, jump the highest
and perform the best. The visual elements include
logo, slogan and print advertisements. The logo
of Nike Inc is a sign of a swoosh. This swoosh is
simply a check mark, what makes it popular? It is
totally recognizable as the company, everywhere,
10
Rohit Rohan. Semiotic analysis of The Apple Inc.Logo.
Semiotic Assignment Submission, 2011.
it is global. The popularity of the swoosh can be
explained semiotically. According to semiotics, a
sign is a combination of a signifier (physical shape)
and a signified (the meaning behind the shape).
In this case the swoosh would be signifier and the
slogan “just do it” would be signified. Combined
these two items make up Nike as a “whole”, of
which we associate sports. But this sign also can
have motivational theory; checks are used to mark
off things you have completed off a list. And with the
Nike’s slogan, check indicates you have completed it.
It motivates us to be winners, overcome challenges
and achieve our goals.
Semiotics is a key tool to ensure that intended
meanings (of for instance a piece of communication
or a new product) are unambiguously understood by
the person on the receiving end. Usually there are
good reasons if someone doesn’t understand the real
intention of a message and semiotics can help unravel
that confusion, ensuring clarity of meaning.
Conclusion.
Semiotics and semiology focus our attention
on how people generate meanings--in their use of
language, in their behaviour (body language, dress,
facial expression, and so on), and in creative texts
of all kinds. Everyone tries to make sense of human
behaviour, in our everyday lives, in the novels we
read, in the films and television shows we see, in
the concerts we attend, in sports events we watch
or participate in--humans are meaning-generating
and meaning-interpreting animals, whatever else
we are. We are always sending messages and always
receiving and interpreting the messages others send
us. What semiotics and semiology do is provide
us with more refined and sophisticated ways of
interpreting these messages-and of sending them. In
particular, they provide us with methods of analyzing
texts in cultures and cultures as texts. Semiotics is important because it can help us
not to take ‘reality’ for granted as something having
a purely objective existence which is independent
of human interpretation. It teaches us that reality is
a system of signs. Studying semiotics can assist us
to become more aware of reality as a construction
and of the roles played by ourselves and others
in constructing it. It can help us to realize that
information or meaning is not ‘contained’ in the
world or in books, computers or audio-visual media.
Meaning is not ‘transmitted’ to us – we actively
create it according to a complex interplay of codes
or conventions of which we are normally unaware.
17
Becoming aware of such codes is both inherently
fascinating and intellectually empowering. We learn
from semiotics that we live in a world of signs and
we have no way of understanding anything except
through signs and the codes into which they are
organized.
Annotated bibliography
• Guiraud, Pierre. (1975). Semiology. London:
Routledge & Kegan Paul. This is a very brief but
interesting explication of semiotic principles,
originally published in the French “Que saisje?” series. It focuses on the functions of media,
signification, and codes.
• Peirce, C. S. (1935-66). Collected papers of
Charles Sanders Peirce, (Vols. 1-8). Edited by
Charles Hartshorne, Paul Weiss, & Arthur W.
Burks. Cambridge: Harvard University Press.
(References are to volumes and paragraphs)
• Peirce, C. S. (1986). Deduction, induction, and
hypothesis. In Writings of Charles S. Peirce: A
chronological edition; Volume 3, 1872-1878.
Bloomington, IN: Indiana University Press.
• Peirce, C. S., Quoted in Zeman, J. J. 1977. Peirce’s
Theory of Signs. In T. A. Sebeok, A perfusion of
signs. Bloomington: Indiana Press.
• Culler, J (1986) Ferdinand de Saussure (Rev.
Edition). Cornell University Press, Ithaca
• Lotman, Y. 1990. Universe of the Mind: A
Semiotic Theory of Culture. Transl. Ann Shukman.
Bloomington: Indiana University Press.
• Peirce's Theory of Signs. First published Fri
Oct 13, 2006; substantive revision Mon Nov 15,
2010
• Atkin, A., 2005. “Peirce On The Index and
Indexical Reference”. Transactions of The Charles
S. Peirce Society. 41 (1), 161–188.
• Langrehr, D. (2003). From a semiotic perspective:
Inference formation and critical comprehension
of television advertising. Retrieved January 13,
2005.
• Moriarty, S. E. (1995a). Visual semiotics and the
production of meaning in advertising. Retrieved
January 16, 2005.
• Bourdieu, Pierre. Language and Symbolic Power.
Ed. and introd. John B. Thompson. Trans. Gino
Raymond and Matthew Adamson. Cambridge:
Harvard UP, 1991.
• Language and Culture. A Social Semiotic
Perspectives. Claire Kramsch. University of
California, Berkeley, 2000.
• Semiotics and advertising byKiran Manral, November 2011. International Journal of Cognitive
Research in Science, Engineering and Education.
Vol. 2, No.1, 2014
• 2004. “The Development of Peirce's Theory of
Signs” in, The Cambridge Companion To Peirce.
Cheryl Misak (ed). 214–240. Cambridge: Cambridge University Press.
18
УДК:811-114 (575.2) (04)
Akmatova Ainisa,
Joroeva Aigul
Osh State University
Semiotic symbols to the functions of the compound predicate
Семиотические символы в функции составного сказуемого
Аннотациясы: Бул макала англис тилиндеги сүйлөмдөрдөгү татаал атоочтук баяндооч
жана этиштик баяндоочторго анализ жүргүзүү жөнүндө. Макаланын негизги максаты татаал
баяндоочтун структуралык жана морфологиялык классификациясын мисалдардын негизинде
cемиотикалык белгилердин жардамы менен анализдөө болуп саналат.
Негизги сөздөр: семиотика, тилди окутуу, татаал баяндооч, практикалоо, символ.
Аннотация: В статье рассматривается синтаксический анализ составного сказуемого, а
именно составного именного и составного глагольного сказуемого в предложении. Цель статьи
рассмотреть структурную и морфологическую классификацию сложного сказуемого, а также
проанализировать составное именное и составное глагольное сказуемое в примерах с помощью
семиотитических знаков.
Ключевые слова: семиотика, обучение языка, сложное сказуемое, практиковать, символ.
Abstract: The article investigates the research on syntactic analysis to compound predicate i.e.
compound nominal and verbal predicate in the sentence with the help of semiotic symbols.
Keywords: Semiotics, language teaching, compound predicate, practice, sign, symbol
According to the function, verb can be defined
as a word making up the predicate of the sentence.
The English Verbs can be divided into two main
groups, according to the function they perform in
the sentence – the finite forms and non finite forms.
The finite forms have the function of the predicate
in the sentence and may also be called the predicate
forms.
The aim of this article is to widen and deepen
the knowledge on English grammar, i.e. structures
and morphological classifications of predicate and
analyze its various functions in the sentence. As the
predicate makes for one of the two most important
parts of the sentence, the other one being the subject,
we think without the predicate, the reader of a
particular sentence may be clueless on the subject
and the predicate improvises the subject of the
sentence or makes attempts at trying to describe it,
making the sentence sensible. To understand deeply
how a compound predicate functions in a sentence, it
would be better for the students to go through quite a
number of examples. For this purpose the examples
from the best known humorous travelogue novel
“Three Men in a Boat” by J.K.Jerome are selected
for practicing and used grammar signs. To achieve
the aim set it was necessary to solve the following
tasks:
• to give available grammatical rules and
definitions of compound predicate;
• to illustrate and analyze compound predicate
and their functions in the sentences using the
examples from the novel “Three Men in a Boat” by
Jerome K Jerome;
• to use semiotic symbols to make their
grammar practicing easy;
The compound predicate
As can be seen from the term itself the compound
predicate consists of two parts: (a) a finite verb and
(b) some other part of speech: a noun, a pronoun,
an adjective, a verbal (a participle, a gerund, an
infinitive), etc. The second component is the
significant part of the predicate.
The first part expresses the verbal categories
of person, number, tense, aspect, mood and voice;
besides it has a certain lexical meaning of its own.
The compound predicate may be nominal and
verbal.
The compound verbal predicate can be divided
into two types according to the meaning of the finite
verb:
1) The compound verbal modal predicate;
2) The compound verbal aspect predicate;
19
1). The compound verbal modal predicate shows
whether the action expressed by a noun – finite form
of the verb is considered as possible, impossible,
obligatory, necessary, desirable, etc. These shades
of meaning are expressed by the first component of
the predicate.
2). The compound verbal aspect predicate
The compound verbal aspect predicate
expresses the beginning, repetition, duration or
cessation of the action expressed by the non –
finite form of the verb. It consists of such verbs
as to begin, to start, to commence, to fall, to
set about, to go on, to keep on, to proceed, to
continue, to stop, to give up, to finish, to cease,
to come and an infinitive or a gerund. Would
and used + Infinitive also belongs to this group
of words which denote a repeated action in the
past.
Elaine, this ill – advised behavior of yours
is beginning to have results. His bones ceased to
ache. She had stopped asking Yates about the time.
I used to write poetry myself when I was his age. I
lived with a man once who used to make me mad
that way.
The Compound Nominal predicate. Semantic
characteristics of link verbs
The compound nominal predicate denotes the
state or quality of the person or thing expressed by
the subject (e. g. He is tired. The book is interesting),
or the class of persons or things to which this person
or thing belongs (e. g. She is a student).
The compound nominal predicate consists of a
link verb and a predicative (the latter is also called
the nominal part of the predicate).
The link verb (or a verb of incomplete predication)
expressed the verbal categories of person, number,
tense, aspect, mood, sometimes voice. All link verbs
as the result of a long development have partly lost
their original concrete meaning. One link verb has
lost its concrete meaning altogether: this is the verb
to be, which can be called a pure link verb as it
performs only a grammatical function and can be
linked with a predicative expressed by any part of
speech used in this function. e. g. This is a picture
of Leningrad.
Most link verbs to some extend preserve their
meaning. The following are the most common
of these link verbs: To appear, to get, to grow, to
continue, to feel, to keep, to look to turn, to hold,
to prove, to turn out, to loom, to rank, to remain, to
run, to seem, to smell, to taste, to fall, to stand, to
go, to work. e. g.
-His wife sighed and remained silent.
-Harris grew more cheerful.
-At my age I get nervous.
There are some verbs which, though fully
preserving their concrete meaning, perform the
function of link verbs: they are used with a
predicative and form a compound nominal predicate.
Here belong: to lie, to sit, to die, to marry, to return,
to leave, to come, to stand, to fall, to go, etc.
After many adventures I and a little girl lay
senseless in the Bad Lands.
The poor woman sat transfixed with awe and
joy.
Here the important thing is that the speaker stood
but that he stood transfixed with awe and joy.
Happily, too, the greater part of the boys came
back low – spirited.
According to their meaning link verbs can be
divided into two large groups:
(1)link verbs of being and remaining;
(2)link verbs of becoming.
1. The first group comprises such verb as to be,
to remain, to keep, to continue, to look, to smell,
to stand, to sit, to lie, to shine to seem to prove, to
appear, etc.
He felt exhausted not with physical fatigue but
with the weight of vague burdens.
Either course seemed unthinkable, without any
20
connection with himself.
The door remained wide open; the voices inside
were louder than ever.
2.The second group comprises such verbs as to
become, to get, to grow, to come, to go, to leave, to
run, to turn, to make etc.
Oh, Adolph’s Cousin will make a very good
husband.
This becomes uninteresting, however, after a
time.
The predicative is the notional part of the
compound nominal predicate.
It characterizes the person or non-person
expressed by the subject.
The characterization may concern the
following:
1. The properties of the person or non-person
(the state or quality or
quantity of it). The girl looked tired but pretty.
I felt sore for a minute.
But he is not always alone. The visibility seemed
very good.
2. The identity of the person or non-person, that
is, what class of persons or things they belong to.
This man is my father. Old Mr Clare was a
clergyman.
Examples to the syntactic functions of the
compound predicate from the novel “Three Men in
a Boat” by J.K.Jerome.
We, Instructors of Grammar sections help the
students learn and understand grammar rules easily.
The novel “Three Men in a Boat” by J.K.Jerome
which the students read for their independent work
was chosen for effective grammar practicing. The
instructors of the grammar sections meet once a week
to discuss over grammar materials. We decided using
the novel “Three Men in a Boat” by J.K.Jerome for
practical part of the syntactic functions of principal
and secondary parts of the sentence. Here are some
examples from the novel were discussed and practiced in class on compound predicate.
There are numerous ways to apply the principles
of semiotics to foreign language learning environments in teaching grammar. The problem emerges
from the selection of suitable methods and teaching
techniques which may be feasible in foreign language classes. Therefore, it would be appropriate
to present the terminology related to educational
semiotics with reference to FLT, and discuss the
following teaching symbols in grammar. Hopefully,
this will give the students further understanding of
the semiotic approach in foreign language teaching
and learning.
Compound verbal predicate (compound
verbal modal (CVM) or aspect (CVA))
1. They decide to bring a cover for the boat so
they can sleep in it. (CVM)
2. Jerome and Harris stop to lunch on the
river bank, a man accuses them, and a man tries to
blackmail them. (CVA)
3. George ought to do anything that would have
a tendency to make him sleepier than he always was,
as it might be dangerous. (CVM)
4. We must not think of the things we could do
with, but only of the things that we can’t do without.
(CVM)
5. I want to stop in bed till the last moment, and
then come down and have my breakfast. (CVM)
6. We were to learn in the days to come, when it
was too late, that George was a miserable impostor,
who could evidently have known nothing whatever
about the matter. (CVM)
7. Of course I had to turn every mortal thing out
now, and, of course, I could not find it. (CVM)
8. Harris and I began to feel rather ashamed of
it, though why we should be, I can’t see. (CVA)
Here are also some examples to the functions
of the compound nominal predicate (CNP) from the
novel “Three Men in a Boat” by J.K.Jerome.
1. There were four of us – George, and William
Samuel Harris, and myself.
2. We were all feeling seedy and we were
getting quite nervous about it.
3. I felt rather hurt about this at first: it seemed
somehow to be a sort of slight.
4. I grew less selfish, and determined to do
without housemaid’s knee.
5. The girl looked tired.
6. I felt sore for a minute.
7. George is a beginner and his music is so
awful.
8. It is the most fairy like nook on the whole
river.
Summing up the paper, it is worth pointing out
that the aims were achieved:
We used the easiest way of explaining rules
and definitions of compound predicate through
the given structural forms that we discussed and
simplified in class with our students using semiotic
signs. Examples on compound predicate were
taken from the novel “Three Men in a Boat” by
J.K.Jerome.
21
References:
1. Боронникова Н.В., Левицкий Ю.А. Синтаксис. Пермь, 2002.
2. Вейхман Г.А. Новое в английской грамматике.- М., 1990.
3. Иванова И.П., Бурллакова В.В., Почепцов
Г.Г. Теоретическая грамматика современного английского языка. – М., 1981.
4. Ilyish B.A. The structure of Modern English.
– L., 1971.
5. Каушанская. Grammar of English М., 1973.
6. Аганина Т.В., Щербаков Грамматика английского языка. М., 1999.
7. The book “Three Men in a Boat” by
J.K.Jerome)
УДК: 811.161.1 (575.2) (04)
Akbaeva Albina,
The Diplomatic Academy
MFA KR named after K.Dikambaev
Semiotic analyses of “Byschak” (knife) in Kyrgyz culture
Семиотический анализ слова «Бычак» в кыргызской культуре
Аннотациясы: Кайсы болбосун чет мамлекетке барган учурда, ошол мамлекеттин каада
– салттарына ар дайым урматтоо менен мамиле кылуу керек. Кыргызстан коп улуттуу мамлекет, андагы улуттар калыптанып калган оздоруно таандык жашоо турмушка ээ.
Негизги сөздөр: уруулук байланыш, тумар, белги, ишенич(ишеним), ырымжырым, каада – салт,
типтик белги, интерпретациялоо, символ, маданияттуу нарктар.
Аннотация: При посещении любого иностранного государства необходимо с уважением относится к местным обычаям и традициям. Кыргызстан многонациональная страна, в которой
представители других наций имеют устоявшийся свой образ жизни.
Ключевые слова: родовые связи, амулет, талисман, примета, вера, суеверие, традиции, обычаи, типичный признак, интерпретация, символ, культурные ценности.
Abstract: When visiting any foreign country it is always polite to respect the local customs and
traditions. Kyrgyzstan is a multinational country, and besides Kyrgyz population there are also many
other nationalities with its own mode of life.
Keywords: ancestral ties, amulet, tumar, omen, belief, superstition traditions, customs, typical sign,
interpretation, symbol, cultural values.
Customs and rituals of Kyrgyz people passed
a complicated route of historical development. The
formation of basic typical sign happened in close
relation with Turk Mongolian ethno cultural milieu.
Searching for better pastures and water supplies
cattle–breeder with his family often passed from
one place to another, joining all economic, trading,
family conjugal relations with related tribes, as well
as with strangers. The exchanged of information,
cultural values, working skill, mutual enrich in
culture and economical domestic technology
happened. Important changes were in each stage
of development. At the same time, owing to strong
family, tribal and ancestral ties, all the best from the
lives of ancestors had been kept and saved.
Beliefs and Superstitions
The following are some beliefs and superstitions
of the Kyrgyzstan people. Most of the Kyrgyzstan
people do not believe in them, but some do.
They say you gain more enemies:
- If you sweep the house at night.
- If you wipe a knife with bread.
- If you leave a broom standing against the
wall.
- If you step over a lying gun or man.
- If knife fall down on the floor wait a man
22
coming soon at your house, if spoon or fork wait a
woman.
From our history we have a lot of superstitions
– and one of them that you cannot give a knife as a
gift. It is believed that a knife as a gift can lead to
a quarrel and the rupture of relations with those to
whom you give the knife.
There is the following interpretation of why the
knife – a bad omen. The reason is the love of evil
forces to sharp corners, what exactly is the knife
itself. It turns out that the donation of a knife (and
a sword, scissors, and all that has sharp corners and
cuts), we cannot help we give to man and the evil
spirit.
Knife is impossible not only for us, also in
Russia. In China and South America gift knife
can be perceived by the recipient as the end of the
friendship.
In addition to the signs, gift knife described in
the books. For example, gets a knife as a gift from
her lover so soon ending love.
However, the knife itself is remarkable and, at
times, present no alternative, so superstitious people
figured out how to avoid bad luck. All you need to
do is take the person to whom giving a knife, or a
penny ruble – and that’s been presented to the knife
becomes legally sold.
However, not all cultures cannot give knife as
a present to someone. For example, in the Middle
East knife-gift – a welcome gift, a token of respect
and trust to man. In Japan, it is considered that given
the knife can bring good luck and ward off your bad
fate. In Finland, where the knife gift is a symbol of
trust and friendship, representatives of commercial
organizations, clubs, and even civil servants prefer
to give Finn his employers and business partners.
Yes, that really Japan and Finland – from the
Slavic peoples was a good tradition to give swords,
sabers and daggers atamans, generals and kings.
But a knife has another meaning for Kyrgyz
culture. The birth of a child is the most important
joyful event in the Kyrgyz life of the family and clan.
The child in the family – is a kind of successor, a
symbol of immortality of people.
Pregnant women wore different amulets.
Women hung an amulet called “tumar” with letter
from Koran sewed inside, an amulet out of bear
nail “ayou turmagy”, hands of eagle owl. For the
preservation of the laboring woman by evil spirits
during childbirth in the tent during the day and at
night we put a knife to the edge of the door. On the
lattice skeleton of the yurt – “kerege” hung over
the head of the woman loaded gun. These items are
believed to scare away evil spirits, distilled malicious
force. Also when the pregnant woman saw the knife
in her dream it means that she will give birth to a son.
If the pregnant women or one of the members of her
family will find a knife it also considered a sign that
a pregnant woman will give birth to a son.
If the child worried or frightened from something
people put a knife under the pillow. Kyrgyz believed
that knife will protect and scare away evil spirits.
When a child begins to make his first independent
steps, parents organized the festival “Tushoo Kesuu”
– ceremonies dedicated to the first steps of a child.
Child stood in front of yurt with legs bandaged
legs thread woven from two thin woolen threads.
Moreover, the thread must have been white and
black colors – “ala gip”. They symbolize the struggle
between two principles – light and darkness, good
and evil. According to custom Kyrgyz life consists of
bright happy and bad days. That’s why child should
be strong since childhood.Therefore; a child must
be prepared for all situations.
“Tushoo Kesuu” usually starts in the morning
(10-11 hours). On the opposite side of the yurt, where
there is a child with bandaged legs, towards the kid
on the team started jogging “zharysh” children aged
from 8 to 12 years. Here the knife has an important
role, winner cut the bandaged legs. This knife, he
took away also received a small prize. Usually,
the ceremony was repeated several times running:
running older children, then adults. The winner of
each race cut a new tie-up, pick up a knife, received
the prize. The purpose of the race – a magical way to
make a child soon learned to walk. This ceremony is
the main features and functions at the moment.
Customs and ceremonies connected with engagement and marriage. According to custom there
used to be an old form of engagement “kudalashuu”.
Relatives married children, who not born yet to make
friendship with neighbors. Beside this people swore
to be tight friends till the rest of life confirming this
by rituals they touched an arrow with teeth, tasted
blood of each other and broke the branch of tree
together, exchanged spittle and so on. If marriage
of children was bad but relatives of both sides still
were real friends. As to bride she had special bans.
She must not call relatives of husband by names;
she must not sit in front of husband’s relatives with
her back to them, or with her legs stretched, with
uncovered head, naked, speak loudly, to escape of
23
direct meeting with husband’s relatives and so on.
But relatives of husband had also special “etiquette”
concerning to daughter in law. Ritual meaning had
custom of initiation. Each family from husband side
and wife invited new-wed to get acquainted. In new
–wed honor relatives cut an animal, dressed white
scarf on bride’s head “ak joluk”. White color meant
a symbol of purity, happy life, happiness and kind
thoughts. And knife has an important role here also,
for example: the bride’s family gives for her daughter
special present “sep” (сеп), where they put a lot of
things including crockery, sheets, national shyrdak
and etc. But family cannot present knife or include
it as a gift, because it would mean that the bride can
become the enemy then for her family or it may lead
to quarrels with family.
Literature:
1) Valihanov Ch. Ch. Works in 5 vol., vol. 2, p.
48, Alma-Ata, 1985.
2) Abramzon, S. M. Kirgizes and their
ethnogenetical historical and cultural connections,
Moscow, 1971, p. 361.
3) OrexCA.com – Central Asian Online Travel
Company.
4) www.en.wikipedia.org
5) Moldobaeva Gulumbubu. Personal interview.
April 2015.
6) Mambetalive Yryz. Personal interview. April
2015.
7) Abdraimova Asanbubu. Personal interview.
April 2015.
УДК: 811.161.1 (575.2) (04)
Alishova Makhabat, Ph.d.
BHU
The sacred numbers as symbols
Священные числа как символы
Аннотациясы: Бул макалада сырдуу сандардын сырлуулугу жана алаардын ар маданияттагы
ар турлуу ситуацияда колдонулушу.
Негизги сөздөр: семиотика, котормо, тил дуйно таануу, маданият.
Аннотация: В этой статье «священные цифры» рассматриваются как символы в разных
культурах. Также наблюдается употребление цифр в разных ситуациях в жизни кыргызского
народа.
Ключевые слова: семиотика, перевод, языковая картина мира, культура.
Abstract: this article deals with the sacred numbers in different cultures and their usage in different
situations of Kyrgyz people.
Keywords: semiotics, translation, world view, culture.
Belief to the supernatural forces can be expressed
by different images, that appear suddenly, turning to
a magic essence and executing the planned mission
and disappear. Disappearance as a philosophic
category in the epic Manas does not mean the death,
but leaving for eternal life with the appearance again,
only with another mission. In the epic the description
about 40 chiltens appear and not once. First they
appear, when Manas still was a child, symbolizing
his forty protectors.
Жетип барып караса When he came near, and took a look
Аттары бар канаттуу, In one cave he saw forty men
Адамдан башка санаттуу, All the nooks were packed out then,
Аргымак бедөө минишкен With each rider’s wide-winged steed,
Аземдүү тонду кийишкен, These were unusual folk, indeed,
24
Бир үңкүрдө кырк киши, Riding on rapid racing mares,
Бир отокто жык киши, The richest clothes were theirs
Аларды көрүп алганы, So Manas glanced every way
Жартысын жеген козусун, That small lamb, half eaten lay,
Жанына байлап салганы. (2860) They have placed it at their feet. (2860)
This context describes about the protectors
of Manas, but we constitute that there is not any
information about extra-linguistic factors like “forty
chiltens”, and for this the reader needs to have a
phonological knowledge that would be a bridge for
conceptual understanding of the Kyrgyz people.
The protectors defend Manas Hero from all sides:
from the sky, from the water, from the fire, from
the right and left, from the underground and from
back. Hyperbolical comparisons always accompany
the descriptions throughout the development of
events.
Ажыдаар-жыланы There was his dragon, his snakes forked tongue
Артынан сойлоп калгандай, Grawling behind him, it never fails…
Көсөө куйрук көк бөрү, Grey wolves followed, with naked tales
Көк жал эрдин жөкөрү, Knights rode after the beared brave
Көтүнөн эрчип алгандай, On to victory or the grave!
Асман жаккы айбаты, From the heavens, protecting him
Алп кара куш арбайып, Alpkarakush, spreading wide its wing,
Асмандан бутун салгандай Stretctied its claws, till ready to crack
Кара башыл ак буура. Then a white camel, with head all back
Оң капталдан туп туура, Came from hiding, prepared to attack,
Калжан уруп качырып, Shook its black head, and then went back,
Кабактан чыга калгандай On the right side, into hiding thus.
Каршы алдына көрүндү. Then there appeared before Manas,
Кара чаар жолборсу. One huge tiger, black striped and grim,
Кайып эрен кырк чилтен, Forty chiltens who protected him,
Канкор элдин жолдошу, His companions in time of need,
Кырк чилтендин бирөөбү, One in the form of a dragon, indeed,
Ажыдаар болуп сойлошуп, One is leaping leopard became,
Кабылан бири, бири шер, One a lion, with streaming man,
Кашында бар сексен төрт, And with these, his eighty four bravesБири миңге тийген эр, Touch could fill hundreds of enemy graves!
Чилтендин бири куш болуп, One chilten a vulture became,
Асмандан бутун салыптыр, And as if he wishing his prey to claim,
Чагарак куйрук чаар тон, Stretched his claws to Aloo-oke. (6770, II, p.432)
Чамынганы соо болбос,
Шанын көрсө сур жолборс,
Кырк чилтен болгон боо жолдош,
Кыраан Манас баатырга,
Кылапат айткан жан оңбос. (6760-6790)
For recreation of the aesthetic effect of
the verbal expressions, his protectors play
very important role and preserving functional
images, their actions are used in epiphorical
and anaphorical alliterations. The idea about
these images are demonstrated for readers as
hallucinations and hyperbolizations, however the
function of information is implemented in English
translation.
The word “кайыптан” represents the invisible
world for people, mythical spirit of a human and
animals, which can turn up at one time and disappear. In translations this element often omitted, for
example:
25
Бербердигер кудурет, Then the Mighty Creator broke through,
Берди дөөлөт башыма, Happiness down from heaven he sent
Кайыптан күттүм баланы, Will my testament reach him now,
Балага айтса жетеби, Will he listen to my last vow. (780, p.206)
Атанын айткан саламы. (780, 24 б.)
The epic Manas is a bright demonstration of categorical concepts, like death and immortality, peaceloving and struggle, war; hospitability and greediness, concept of the world, human relationships with
a world and a nature. All sided interpretation of the
conceptual mind style, from the linguistic perspective, as well as from poetics. The epic includes all
nuances of material understanding of the world: from
the mythical epoch to classic epoch. A world outlook
of Kyrgyz is based on the unity of the world, and the
connection of the God and people always reflected
by “taboo”, not naming but using another words
of Iran origin, for example- «Барбадигер», «Көкө
Теңир», «Лаайлама».
Trueth to tell for them one and all
I your father Jakyb did call
May your soul awake or sleep,
Safely great Allah always keep.
According to the ancient Kyrgyz belief, the
Universe consists of seven plasts, as a result number
“seven” still is believed to be a magic and sacred
number. Besides “7” numbers “40”, “9”, “5”, “4”,
“12”, “3” in Kyrgyz mentality they possess very
important meanings and associations.
Number “40” forty- is often caused by the relation with supernatural powers in a social life and in
the epic often used word-combinations with “forty”,
like “кырк чилтен”- 40 prophets, кырк чоро- 40
warriors, “кырк үйлүү кыргыз-a tribe with 40
house”, “кырк нөкөөр” – 40 servant girls, “кырк
кыз”, “кырктын бири кыдыр, миңдин бири олуя”one out of 40 may be a sacred, “кыз- кырк жылкы”a new born baby girl is worth 40 mares as a future
dowry, “кырк кара боз”- amount of mares, usually
given or taken as a gift. The ethnonym “Kyrgyz ” is
also rooted with the number “kyrk kyz”. Number 40
express the power of unity. Why the number 40 is
chosen is an arbitrariness. According to Iran superstitions, number 40 is a sacred as in the proverb “out
of forty is sacred” which confirms above mentioned
statement from philosophical point of view.
Number “12” is associated with the concept of
a good luck. In the epic and in colloquial speech of
Kyrgyz there are phraseologisms like “он экиден
бири жок, уй байлаарга жиби жок” meaning “so
poor, even not to have a robe to tie a cow” addressing
to describe a poor person.
Number “9” – in the life of Kyrgyz and in
the epic is related to the concept of well-being, a
good financial standing. All domestic cattle are
counted with number 9- “тогуздап мал берип,
тогуз баш мал”, this expression is often used
when the rich people were able to give a dowry
for a bride, the groom side should give animal
from each kind: nine cows, nine sheep, nine camel, nine goat, nine horse.
Тогуз жылкы тогуз кой, Ninety sheep and ten mares he slew
Болуп жаткан бул бир той, What a feast it was going to be!
Уйдан сойду жетини, Seven cows in a row slew he!
Төөдөн сойду экини, Then two white-headed camels he slew,
Бай Жакып бирди көрдү деп, Thinking: “Jakyp, something’s wrong with you”
Башканын баары шекиди. (1020) Others were guessing- in doubt they stayed.(1020, p.37)
Geocosmical picture of the world in understandings of the Kyrgyz in the epic Manas, Universe
consists of three spheres: upper- sphere of Alp kara
Kush, the bird defends Manas from above; central
sphere- Grey Wolf, defends from the land, and lower
sphere- Dragon and Snake, fantastic creatures, de-
fend from the underground. Number “7” shows that
land was built up seven layers and there are many
combinations: “жердин жети катмары”, “жети
нан садага, жети токоч баабедин”, “жетилик”,
“Жетинин бири кыдыр”, “жети кабат жер урсун”
(a curse).
3870-3880, II ch, p.90
Аяр Боон билиптир Cited an oath and a cast a spell
Абсун окуп дем салып Then breathed one breath as well…
26
Бир үшкүрүп ийиптир From the mountains appeared red fire.
Тоодой кызыл от болду How could the fighters face death so dire?
Топ топ болгон мергендер How defore such flames could they stand?
Отко кантип токтолду Then Irdik opened each hand
Жети кесек топурак Soon as he breathed on clay lumps,
Ырдык үйлөп ийгенде Rainclouds formed in seven vast clumps
Жети кат болду булуту Seven large phials with water filled
Жети чыны суу барган, Turned into seven lakes when spilled.
Жети дайра көл болду, And with the rain the fire they doused.
Күйгөн отун курутту
The number “seven” possess pragmatical
meaning for Kyrgyz as a sacred numeral. According
to the form, we read hyperbolas in the original and
in translated version. Hyperbolas are compressive in
form, expressive in content, that causes hardships in
translating. The translator used the original images
not taking into account pragmatical peculiarities of
English language and receivers of the information,
adding his imaginations to keep architectonic
features of the epic lines and got a good descriptive
translation.
Throughout the epic we face several numerals
like, “60”, “50”, “70”,
1.Алтымыш күндүк дайрадан,
Аттап өтөр жан эле,
Токсон күндүк тоолордон,
Басып өтөр мал эле. (3140, ч.3. стр.75)
That beast will gallop over the waves,
Over the hills for ninety days.
(3140, 3 ch., p.266)
2.Алтымыш сарай карс толгон,
Актатып койгон күрүч бар,
Зумураттан токсон бар,
Коохар таштан миңи бар. (70, ч.3.,стр.9)
Sixty sheds overflowing indeed,
Stand full of purest rice refined,
Jewels I have of every kind,
Thousands of brilliants and emeralds (70)
In translation we notice the omission of numbers sixty in the first, number ninety in the second
examples, but replaced by other numbers.
Беш жүз бээни соеюн,
Берген соң малды Кудай деп,
Ишемби сойду элүүну,
Жекшемби сойду элүүнү,
Дүйшөмбү сойду элүүнү,
Шейшемби сойду элүүнү,
Чаршемби сойду элүүнү. (2250, ч.1, стр.60)
God gave me, and I say “Good”!
Share with others a rich man should,
Saturday fifty more he slew,
Sunday fifty more fell too,
Monday fifty more he slew,
Tuesday fifty more fell too,
Wednesday fifty more fell too.
(2250, part 1, p.69)
The repetition of “fifty” in Kyrgyz and the words
“slew”, “fell” are ordinary words without a context.
The enumerating the names of the days show that
the father of Manas is really rich person, the birth of
a son is very important for him and for all Kyrgyz
families, and it highlights Bey Jakip was generous
and wants to share his good news with people and
neighbors.
The next special number is “six”, depending
on the context the number “6” either have positive
or negative connotations. In the epic we read “the
youngest one of the six lions”- heroes besides Manas.
For proper understanding one needs a phonological
knowledge why is six, not other numbers. Firstly,
the metaphor six includes great names like: Prophet
Solomon, Davut (Dööty), Iskandar Zulkairan,
Rustam Dastan, Aziret Aali Prophet, God’s assistant
– Prophet Manas. In this context Manas is the
youngest of six heroes, the word “Sher is a king of
lions, have strengths, intellect and ability to win an
enemies”.
Besides in the epic we may read combinations
“six sharps”, the topic goes about six sharp swards
of heroes. For example, Zulpukor- Manas’s sword,
Achbolot- Altybai’s, Kurchbolot- Bakay’s sward,
Joikuma- Almambet’s sward,
Achalbars- Chubak’s sward, NarkeskenSyrgak’s sward.
Word-combination “alty aram” also has
it’s story – these are people who wanted to be
against Manas. They are from Manas’s second wife
27
Bakdöölöt: Abyke, Köbösh, Kochkor, Chyibyt,
Adybai, Kölbai. They always were envious and in
any possible opportunities they tried to do something
against Manas.
Every of these swards and people are described
with the help of special epithets, that represent
interest for the reader, as well as for the translator.
In description of a Chinese soldier Boom were
used a lot of hyperbolical comparisons, and these
kind of comparisons are found in fables, fairy-tales,
narratives, legends. Interesting comparisons:
1) his hair is compared with burnt foam;
2) his tail is similar to “taigan” – hunter dog of
authentic Kyrgyz descent;
3) nails are similar like an arrow;
4) eye-brows are similar to horse’s hair;
5) eyes are similar like a dark cave;
6) teeth are like a sow;
7) apple is like a big cup;
8) height of hundred fists, one kulak is about
one and half meters
9) thickness of forty girths. Such lines as “More
like a hunting dog was he” are inappropriate to the
content of the text, when in description we read that
“his thickness is more than forty girths”.
The function of “influence” is expressed through
different repetitions, hyperbolas, doublicats, triads
(function of information, communication and
influence) that carry a marginal character between
complex and simple sentences, emotional means in
the form of exclamatory and interrogative signs and
sound repetitions.
Used literatures:
1. Akhmanova O.S.Linguistics and Semiotics.
M.,1979
2. Arnold I.V. Interpretation of the literary text and
expressiveness, LSPI, 1975
3. Arnold I.V. Interpretation of parodys and stylistic
functions of phraseologisms// Interpretation of
literary text in linguistic high schools.- L., 1987.
4. Barthes R. The Semiotic Challenge. New York,
1988
5. Karaeva Z.K. Translation and semiotics. B.,2006
6. Kydyrbaeva R.Z. variants in epic “Manas”.
Frunze, 1988
7. Kyrgyz heroic epic “Manas”, I,II,III,IV books,
M.,1988-1995
8. Epic “Manas”, I,II volumes, W.May, MoscowBishkek, 1995.
УДК: 811.161.1 (575.2) (04)
Alishova Rahat, KTU Manas
Dream Symbols and Dream Interpretations in different
cultures
Символы снов и их толкование в разных культурах
Аннотациясы: Макала ар түрдүү маданияттарда түш жорумдары, белгилери жана ишенимдери кандай кабылданаарын иликтейт. Түштөр тууралуу социалдык, религиялык жана психологиялык контекстте антропологдордун, психологдордун изилдөөлөрү каралып, ар бир маданиятта
түштөрдүн мааниси изилденет.
Негизги сөздөр: түш, символ, белги,түш жору системасы, ишеним,илимийлүүлук
Аннотация: В статье рассматривается интерпретация снов в различных культурах. Сны
представлены как знаки, символы в культуре и как предмет изучения антропологии и психологии
в социальном, религиозном и психологическом контексте.
Ключевые слова: сон, символ, знак, система интерпретации, вера, научный подход
Abstract: This paper deals with the emphasis on dreams and beliefs as signs, symbols, communications
about them across cultures. The purpose of this paper is to seek the answer for how are dreams evaluated
in different cultures, how are they examined by different anthropologists, psychologists in social, religious,
and psychological contexts.
Key words: dream, symbol, sign, system of interpretation, beliefs, values, scientific approach
28
Symbols are the language of dreams. A symbol
can invoke a feeling or an idea and often has a much
more profound and deeper meaning than any one
word can convey. At the same time, these symbols
can leave you confused and wondering what that
dream was all about. Acquiring the ability to interpret
your dreams is a powerful tool.
Even during the ancient civilizations dreams
have had a high reverence in the different cultures
all over the world. Some cultures regarded dreams
as messages from the gods while some saw dreams
as warnings and omens, and even one culture used
dreams in order to cure illnesses and disease. In
some cultures people consider dreams important
sources of information-about the future, about the
spiritual world, or about oneself. In others, dreams
are considered to be a space for action like waking
life, or a means for communication with other people
or with the supernatural. The Assyrians believed
dreams to be mostly omens of good or ill luck. Like
the Babylonians they tried to deal with the possible
fate following from bad dreams. In fact this sense of
an ill fate being presaged by bad dreams was common
to most ancient cultures. But this was gradually
extended in Egyptian, Greek and Roman culture.
The Babylonians had a simple take on dreams.
When dreams were good, they were from the gods,
however when one had nightmares or bad dreams
then these were generally interpreted as demonic.
The Babylonians had a goddess of dreams named
Mamu. The function of the priests of Mamu was to
prevent bad dreams.
The Romans took dreams a little more seriously
than the Babylonians. Dreams were subject to debate
in the senate and were regarded as messages from
the gods. The dreams were then interpreted and
these were used as “guides” as to how the state
proceeds with certain laws, actions and even war.
The Greeks were even more accurate than their
Roman counterparts. They would purify themselves
for two days before sleeping in temples in order
to receive messages from the gods. They would
fast, abstain from sex and eat no meat or fowl. The
potential dreamer would then sleep in the temple of
the god which he wished to invoke. They believed
that Hypnos would then send his son Morpheus in
order to warn or give prophecies to those who slept
at his temples.
The Hebrews like most other cultures believed
that dreams were messages from the gods. However,
the Hebrews were monotheistic and believed in only
one god. So when they dreamed, they believed that
it was God who spoke to them. Lots of the Bible
characters that we know used dreams to guide them
and rally the Hebrews. Jacob for example, dreamed
of a very tall ladder which reached the heavens where
God stood at the very top. He was promised by God
that Israel would forever belong to the Jewish people.
It is these types of dreams and prophecy that had a
great impact on the Hebrew religion and culture.
In many heroic epic songs of Central Asia,
the parents of the hero are usually old and without
children. In the beginning of epic Manas, Jakïp, very
much laments the fact that he is getting old and he
has no son to inherit his livestock, protect and lead
his people. Before his son Manas is born, Jakïp also
sees a special dream: In my sleep I saw a sign, Not
for nothing I slept all that time, I have seen a dream,
Wonderful things in sleep I’ve seen One grey hawk
with a brazen hood, Black was his breast, fat-necked
he stood, On your right wrist you set him there, Then
let him soar in the highest air. On your left wrist
your hawk did take, Then let him soar in search of
drake. (E.Kochumkyl k.) This dream foretells the
arrival or birth of a future hero who will take over
the entire world.
Dream interpretation during ancient times was
centered on the gods and omens. This is because man
even during his infancy, sought to better himself and
sought guidance from higher powers. The same is
still true in our modern world. Dreams are thought
of by some people as signs, communications from
our subconscious mind or even our “inner selves”
seeking attention. Man’s fascinations with dreams
are still going on even with the varied explanations
and studies as to why we dream in the first place.
Cultures in which dreams are taken seriously
accumulate a depth of observations of their dreams,
so their beliefs may be of value to understand
dreaming. How dreams are dealt within different
cultures may be examined from four perspectives:
1.beliefs people hold about the nature of dreaming;
2.conventional systems by which people interpret
particular dreams; 3.the social context in which
dreams are shared (or not shared) and discussed;
4.and the ways in which dreams are used in practice,
especially in curing. In addition, a number of
anthropologists have interpreted dreams psychodynamically, as expressing the dreamer’s inner
wishes, fears, and conflicts.
Some of the most ancient written documents are
about dream interpretation and are direct expressions
29
of the attempt to understand or interpret dreams. The
Chester Beatty papyrus on dreams for instance, dates
from 1250 BC, from Egypt. This contains records
of 200 dreams and their interpretations according to
the priests of Horus.
Most societies, ancient and modern, have
had professional dream interpreters. India had its
Brahmin oneirocritics; in Japan the om myoshi; the
Hasidic rabbis in Europe fulfilled this role; in
ancient Egypt the pa-hery-tep; ancient Greece
had the priesthood within the Asclepian temples
given to dreams; among the Aztecs, dream
interpretation and divination were the prerogative
of the priestly class teopexqui, the Masters of Secret
Things; in today’s world the Freudian and Jungian
psychoanalysts fulfil this role – the author has
worked as resident analyst for television’s channel
four Teletext in the UK, New Zealand Teletext,
London Broadcasting Company, as well as a major
national newspaper.
Dreams reflect the dreamer’s feelings about
events and relationships. If they are understood in
terms of the very private code of expression that
can only be unraveled through the dreamer’s own
associations to the dream, dreams can be used to
get at a person’s unconscious wishes, feelings, and
fantasies about people and relationships. The wishes
and fantasies may be incompatible with the person’s
cultural norms and values, although those values are
not at all irrelevant to understanding the feelings and
why they are repressed. Some of the most sensitive
interpretation of dreams of North American Indians
has been done by the anthropologist Dorothy Eggan.
Eggan got several Hopi Indians to tell their dreams
and their free associations to them. In a series of
finely crafted articles, she uses the dreams to get at
their inner subjective experience of their cultural
beliefs and values.
The Huron and Seneca Indians of America
had a view of the dreams which stands in the
balance between the ancient world and the modern
psychological concept of dreams. They saw dreams
as expressing psychological tension and unexpressed
desires. This was a definite forerunner of modern
understanding.
Considered the father of psychoanalysis,
Sigmund Freud (1856-1939) revolutionizes the
study of dreams with his work The Interpretation
Of Dreams. Freud begins to analyze dreams in
order to understand aspects of personality as they
relate to pathology. He believes that nothing you
do occurs by chance; every action and thought
is motivated by your unconscious at some level.
In order to live in a civilized society, you have a
tendency to hold back our urges and repress our
impulses. However, these urges and impulses must
be released in some way; they have a way of coming
to the surface in disguised forms.
According to Freud, dreams always have a
manifest and latent content. The manifest content is
what the dream seems to be saying. It is often bizarre
and nonsensical. The latent content is what the dream
is really trying to say. Dreams give us a look into our
unconscious. Freud believes that we can chip through
the dream’s manifest content to reveal the underlying
significance and its latent by utilizing the technique
of “free association”. Using this technique, you start
with one dream symbol and then follow with what
automatically comes to your mind first. You continue
in this manner and see where it leads.
To interpret the cryptic images of our dreams,
Freud classified the images into the following
five processes: Displacement- occurs when the
desire for one thing or person is symbolized by
something or someone else. Projection-happens
when the dreamer propels their own desires and
wants onto another person. Symbolization is
characterized when the dreamer’s repressed urges
or suppressed desires are acted out metaphorically.
Condensation is the process in which the dreamer
hides their feelings or urges by contracting it or
underplaying it into a brief dream image or event.
Thus the meaning of this dream imagery may not be
apparent or obvious. Rationalization is regarded as
the final stage of dream-work. The dreaming mind
organizes an incoherent dream into one that is more
comprehensible and logical. This is also known
as secondary revision.
Although S.Freud is popularly thought of as the
founder of modern therapeutic analysis of dreams,
many other people set the scene for him by careful
observation and experiment. Freud encouraged
clients to relax on a couch and allow free association
of ideas arise in connection with aspects of their
dream. In this way he helped the person move
from the surface images – manifest content – of the
dream, to the underlying emotions, fantasies and
wishes – latent content – often connected with early
childhood. Carl Jung used a different approach. He
applied amplification, helped the client explore their
associations, used active imagination, and stuck to
the structure of the dream. Because what arises for
30
the dreamer is frequently still shaped and presented
according to the information and experience of the
therapist, again the dream work might still be largely
verbal and intellectual, rather than experiential.
Modern dream analysis is a very rich technique.
It spans the best of the ancient cultures such as the
use of dreams for help in decision making or healing
of physical health. It incorporates techniques that
enable dreams to be accessed by any intelligent
person in order to be enriched by them. Many tools
are available in this modern eclectic approach, tools
that enable one to mine the various treasures from
ones inner life of dreams. But foremost among the
additions to the jewels of understanding garnered
in the past, is that of insight into ones personal
psychological history and personal traumas.
Dreams and their meanings are as individual as
the people who dream them, but the following is a
list of common dream symbols and some of them
have common dream interpretation.
Fog in a dream can be a manifestation of a lost
or confused waking life. Fog can also mean you are
beginning to explore different parts of your life or
your personality.
A gate can represent an entrance or an exit,
depending on its context. It can also symbolize a
beginning or an end.
Illness - Dreaming about illness can be your
body’s way of telling you there is something wrong.
The subconscious mind can also sense things that the
conscious mind is unaware of. It can also indicate
your fear of something going wrong.
Keys - Dreaming of keys can indicate the
keeping of a secret, or that you have been locking
away your feelings.
Mountain-Dreaming of climbing a mountain
can be symbolic of achieving a goal or reaching
for higher levels of success. Dreaming of coming
down a mountain can mean you have overcome
insurmountable odds, while gazing at a mountain
in a dream can mean you are contemplating a major
life decision.
An owl is thought to be the symbol of knowledge
and wisdom. In addition, the owl is often thought to
represent the subconscious itself. Owls are often used
to deliver important messages to dreamers.
A road in a dream can symbolize the direction
or goal of the dreamer. A straight road may mean
that everything is going smoothly, while dreaming
of a bumpy or winding road can be a manifestation
of perceived problems with your place in life.
Stairs-Dreaming of stairs can indicate a rise or
a reduction in your stature, finances or your spiritual
life. What stairs mean depends on which direction
you are going in your dream.
Underground - Dreaming of venturing
underground can represent a trip to the
dreamer’s subconscious mind, or mean that he or
she is wrestling with issues that need to be faced.
Going underground in a dream may mean that the
dreamer is ready to deal with previously repressed
issues.
Angels are of course a symbol of purity and
goodness, and their appearance in a dream can
often represent the quest for spiritual goodness and
enlightenment. In addition, angels often appear
in dreams as guides or teachers, and many people
take the advice of these angel dream guides very
seriously.
Animals in dreams are often seen to symbolize
base, instinctual actions, emotions and desires. These
base desires are often repressed so that we may live
in a civilized society, but just the same they are there,
lurking in the shadows so to speak. Different animals
have different meanings in dreams. For instance,
dreaming of cats may mean you have been repressing
the intuitive, feminine side of your nature, while
dreaming of lions could mean that you have been
repressing anger. The key to taking meaning from
animals in dreams is to think about the particular
traits each animal represents.
Black - Dreams about black, or black objects
can be signs of evil or darkness.
Blood in a dream can often be a representation
of vitality and power. The meaning of blood in the
dream is dependent on the context. For instance,
violent and bloody dreams can indicate an emotional
upheaval in your life or a loss of control, while
dreams of bloody hands can indicate feelings of
guilt.
Cars can represent a sense of freedom, and of
being in control.
Dancing - Dreaming of a dance can have many
meanings, depending on the nature of the dance and
its context within the dream. Dancing can symbolize
marriage, romance or sex. Dance can also symbolize
the freedom of movement or cooperation.
Eggs in dreams can be symbols of birth or
renewal, or wholeness and fertility. Dreaming of
broken eggs, or breaking eggs in a dream, can
represent a shattered faith, or a breaking out of your
shell, depending on the context.
31
Nevertheless the main sources of modern dream
interpretation lie in the ancient dream interpreters
such as Artemidorus who wrote the Interpretation of
Dreams – in AD 200; in the commentaries on dreams
of Aristotle which so influenced Western thinking;
and in the early criticisms such as we find in Cicero,
in which he says – ‘Even if true interpretations
of dreams could exist, it is certainly not in the
possession of those who profess it, for these people
are the lowest and most ignorant of the people.’ He
reached this view by observing that dreams were
infinitely variable, and one could observe that
different people having the same dream did not
experience the same results.
References:
1. Bourguignon E. 1972. Dreams and altered states
of consciousness in anthropological research. In
Hsu FLK, ed, Psychological Anthropology, 2nd
ed, pp. 403-434. Cambridge, Mass.: Schenkman,
Crapanzano V. 1975. Saints, jnun and dreams: An
essay In Moroccan ethnopsychology. Psychiatry
38:145-159.
2. Dentan RK. 1985. A dream of Senol. Buffalo, N.Y.:
SUNY Buffalo Council on International Studies.
3. Domhoff GW.1985. The mystique of dreams:
Asearch.:for Utopia.through Senoi dream thcrapy..
Bcrkcley. University of California Press..
4. Devereux G. 1951. Reality and dream:
Psycbotberapy of a Plains Indian. New York:
International Universities Press..
5. Eggan D. 1961: Dream analysis. In Kaplan B,.ed,
Studying personality cross culturally, pp 551- 577.
New York: Harper & Row.
6. Gackenbach J, Sheikh A, eds, Dream images: A
call to -mental arms, -pp 103-224.
7. Amityville, N.Y.: Baywood. – Lincoln JS.
1935. The dream in primitive cultures. London:
Cressett.
8. O’Flaherty WD. 1984. Dreams, illusions and other
realities. Chicago: University of Chicago Press:.
9. O’Neil CW. 1976. Dreams, culture and the
individual. San Francisco: Chandler & Sharp.
Stewart K. 1962. The dream comes of age. Mental
Hy giene 46:230-237.
10. Tedlock B. 1981. Quiche Maya dream Interpretation.
Ethos 9(4):313-350.. 1987.
11. Dreaming: Anthropological and psychological
interpretations. New York: Cambridge University
Press.. 1991.
УДК: 811.161.1 (575.2) (04)
Arslanbekova Nasyikat, JSU
Osmonova Kenjebu, JSU
Peculiarities of Kyrgyz national feminine Headdress – Elechek
Особенности кыргызского национального женского
головного убора –Элечек
Аннотациясы: Биздин улуттук кийимдер озуно тиешелуу озгочолукторго ээ. Бул озгочолуктор биздин тарыхый кочмон жашообузду тушундурот. Бул макала кыргыз аялдарынын улуттук
баш кийими Элечектин орду жана озгочолукторун баяндайт. Элечек- турмушка чыккан кыргыз
аялынын эн башкы атрибуту болуп саналат. Ал аялдын жаш курагын, статусун жана материалдык абалын белгилоочу ар турдуу жиптерден жана материалдардан тигилген саймалар менен
кооздолгон.
Негизги сөздөр: Элечек, топу, шокуло, кеп такыя, жоолук, кепин.
Аннотация: Наши национальные одежды характеризуются многими определенными признаками. Это может быть объяснено нашей исторической кочевой жизнью. Эта статья о
кыргызском национальном женском головном уборе – Элечек, сыгравший значительную роль в
нашей жизни. Элечек был абсолютно важным атрибутом замужней женщины. Он украшен
орнаментом из разноцветных нитей и различных материалов, которые определяют возраст,
статус, финансовое состояние женщины.
Ключевые слова: Элечек, топу, шокуло, кеп такыя, платок, кепин.
32
Abstract: Our national clothes are characterised by many definite features. It can be explained by
our historical nomadic life. My article deals with kyrgyz national female headdress – Elechek, which
played a significant role in our life. Elechek was an absolutely nacessary attribute of a married woman.
It is decorated with ornaments of different colored threads and various state material which defines an
age, status, financial state of woman.
Keywords: Elechek, topu, shokulo, kep takya, headkerchief, shroud,
Kyrgyz nomads since ancient times on the key
area of the Silk Road – in the Tien Shan mountains.
Effect of different cultures found on this crossroads
of civilizations, was not in vain: a difficult,
sometimes controversial nature of the ethnic group
has long which attracted attention of researchers. But
if the male archetype nomad Turkistan sufficiently
studied, the image of Kyrgyz women still holds many
mysteries…
Appearance can really tell a lot about a person
and his nation. National clothes of the residents
of Kyrgyzstan is considered as an important
part of the material and spiritual culture of the
nation and is closely linked with the history of
the country. One of the outlets, which give people
an opportunity to rise above everyday life has
always been and remains an integral part of it
– fashion. As we know, in a patriarchal society,
culture of clothing has remained unchanged for
a long enough period of time, which gave the
national phenomenon, the traditional clothes of
people. The Kyrgyz have their own women’s
clothes. They give the view of the national
character of the people. Fine and original details
of dresses of kyrgyz women can tell much about
the nation. I would like to write about Kyrgyz
national headdress-Elechek and its features and
cultural significance.
Ancient Kyrgyz reflected in the appearance
of color and customs of its people. Style of any
traditional clothing associated with the peculiarities
of climate and environmental conditions in the
region, so the Kyrgyz people placed emphasis on
practicality and heat conservation in their national
clothes. Over seven hundred years the traditional
clothes of Kyrgyz women has remained unchanged
over the years and is becoming more valuable and
actual. Let us discuss some of the details of women’s
wardrobe and jewelry arsenal,to begin with, that
according to tradition, women’s national clothes
include three components: the hip swing skirt
– beldemchi, hat and elechek.
National Women’s headdress played a significant
role in the life of the Kyrgyz people. Go bareheaded
gave a sign of disrespect,especially for older people.
And today it gives the sign of free unmarried women.
Throw a headdress on the floor, meant grief of an
owner and to forget or even to exchange headdress
on something else is strictly prohibited.
Kep takyya, shokulo, topu, handkerchief and
elechek are National hats of Kyrgyz women.
Kep takyya is tightly covering the head with
a straight line from the sides of the forehead fell
zhaak and sewn back on top of a long strip laying
on lowered plait. Young girls wore it.
Topu is the headdress designed for women
before marriage that decorated with owl’s [ bird]
feathers.
Shokulo looks like a helmet, and consists of a
conical cap height of twenty five and twenty eight
centimeters.. Shokulo was a bride ‘s headdress.
Cap indispensable attribute of a married woman.
It is decorated with embroidery performing various
types needleworking. The design of an ornament
made with colored threads. Above the cap Kyrgyz
women always wear elechek.
Elechek is the woman’s headdress in the form
of a turban. In full form, it consists of three parts.
First worn on the head with a cap on top of it’s
[nakosnikom ] small rectangular piece of cloth
covering the neck and under the chin stitched on
top of everything from white turban material. The
length of the band reached from seven to twenty five
meters, and defines the social status and wealth of
a woman.
Elechek is used as a shroud of death among
different tribal groups. The Kyrgyz women’s
turban had different forms-from simple to complex
structures cheat.If wrapping made of embroidery that
was a sign of middle status.If the wrapping is made
of precious stones such as gold and silver that was a
sign of wealth and high position in the society.
For the first time Elechek put on the young girl
sending her to her husband’s house for the first time,
thus emphasizing its transition in other age group.
It meant wedding wishing to a young bride saying
<< Let your white Elechek does not fall from your
head>>. It was a wish of endless family happiness.
33
In the minds of ethnic Kyrgyz ancestors key
symbol of the sanctity of a woman – a divine
creation. For several thousand years, hovering
over Asia spirit goddess Umai. Great ancestress
– Mother Umai in the mythology of ancient Turks
– the goddess personifying the feminine, the earthly
beginning and fertility.
Nowadays we can not see girls or women
wearing our national headdresses mentioned
above. They are usually worn only on holidays
like “Nooruz” and “Ayt”. Young generation
doesn’t know the value, meaning and peculiarities
of our national clothes. In my article I tried to
give some differences of national headdresses. I
want to appeal readers to appreciate and be proud
of our culture.
In short, the Kyrgyz anciently revered and
respected women. This is evidenced proverbs
“Kyzdyn kyrk chachy uluu”, “Urgaachynyn zaty
uluu”.
References:
1. Abramson SM Kyrgyz and ethnogenetic historical
and cultural ties / L.: 1971. 404 p. (Pereizd.:
Frunze: 1990 480. ISBN 5-655-00518-2
2. Kyrgyz // Etnoatlas Krasnoyarsk Territory /
Krasnoyarsk Territory Administration Council.
Public Relations; Ch. Ed. RG Rafikov; Editorial
Board.: VP Krivonogov, RD looking surprised.
– 2nd ed., Rev. and add. – Krasnoyarsk: Platinum
(PLATINA), 2008. – 224 p. – ISBN 978-5-98624092-3.
3. A.Yu.Malchik. The history of the Kyrgyz national
applied art: the evolution of the Kyrgyz ornament
from ancient times to the twentieth century. – B.:
Kyrgyz State University. Arabaev, 2005. – 122 p.
UDC 73/76 BBK 85.12
4. “Kyrgyz Ornament” SM Dudin
5. ”The Kyrgyz national fine art” VN Chepeleva,
6. ”Essay on the History of Fine Arts of the Kirghiz
SSR” A. Romm [Dudin 1925 Chepelev 1939
Romm 1941]
УДК: 811.161.1 (575.2) (04)
Bekbalaeva Cholpon, KTMU
Proxemics across Cultures
Проксемика разных культур
Аннотациясы: Бул макалада проксемика вербалдуу эмес коммуникациянын компоненти катары
каралды. Ошондой эле англис жана орус маданиятындагы проксемдик моделдердин салыштыруусу жγргγзγлдγ.
Негизги сөздөр: проксемика, аралык, коммуникациядагы дистанция, прайвеси.
Аннотация: В статье рассматривается тема проксемики как компонент невербальной
коммуникации и проводится сопоставление проксемного поведения в британской и русской культурах.
Ключевые слова: проксемика, пространство, дистанция в общении, прайвеси.
Abstract: The article focuses on the issue of proxemics as a part of non-verbal communication and
considers patterns of distance in the British and Russian cultures.
Key words: proxemics, space, distance in communication, privacy.
Proxemics refers to the study of how space
and distance influence communication. It is the
human use of space within the context of culture.
During the conversation, distance between the two
communicators is a key factor. “The conversion of
distance between you and the people with whom you
communicate is as much a part of communication
experiences as the words you exchange” (Hall, 1974,
p. 95).
Scholars have identified four zones of distance
in communication, which are public, social, personal,
and intimate distance.
34
Public Space (12 feet or more)
Public space starts about twelve feet from a
person and extends out from there. This is the least
personal of the four zones and would typically be
used when a person is engaging in a formal speech
and is removed from the audience. This zone is also
great for general observation of other people without
really interacting with them.
Social Space (4–12 feet)
Communication that occurs in the social zone,
which is four to twelve feet away from our body, is
typically in the context of a professional or casual
interaction. This distance is preferred in many professional settings. It’s the most neutral and comfortable
zone to start a conversation between people who
don’t know each other well. It’s the distance you keep
from strangers that you may have some interaction
with them like: shopkeepers, clerks in the bank and
other sales or service providers.
Personal Space (1.5–4 feet)
Personal zone refers to the space that starts at
our physical body and extends four feet. This space
is reserved for friends, family, and close acquaintances – people you know and trust. It’s an easy
and relaxed space for talking, shaking hands. Much
of our communication occurs in the personal zone,
which is what we typically think of as our “personal
space bubble” and extends from 1.5 feet to 4 feet
away from our body. Even though we are getting
closer to the physical body of another person, we
may use verbal communication at this point to signal that our presence in this zone is friendly and not
intimate. Even people who know each other could be
uncomfortable spending too much time in this zone
unnecessarily. We can easily touch the other person
as we talk to them; briefly placing a hand on his or
her arm or engaging in other light social touching
that facilitates conversation, self-disclosure, and
feelings of closeness.
Intimate Space
As we breach the invisible line that is 1.5 feet
from our body, we enter the intimate zone, which
is reserved for only the closest friends, family, and
intimate partners. If you want to see people lose
their self-control, try invading their personal space.
Compare it with animal behaviour – elephants have
a no-go line of a few feet around them; cross it and
you’ll hear a noisy trunkful or be charged.
Intimate space can be comforting in some
contexts and annoying or frightening in others.
For example, while travelling by bus the invasion
of person’s intimate zone is quite common in our
country for obvious reasons of being in a crowd; one
feels stressed in this situation. Compare it with the
British culture – a driver in Britain would not take
more passengers in case it might cause violation of
personal distance.
We need regular human contact that is not just
verbal but also physical. Being close to someone
and feeling their physical presence can be very
comforting when words fail. There are also social
norms regarding the amount of this type of closeness
that can be displayed in public, as some people get
uncomfortable even seeing others interacting in the
intimate zone. While some people are comfortable
engaging in or watching others engage in PDAs
(public displays of affection).
There is an interesting issue related to rural versus city spatial zones. The amount of personal space
someone needs is relative to the population density
where they live. People raised in sparsely populated
rural areas for example, need more personal space
than those raised in densely populated cities. Watching how far a person extends his arm to shake hands
gives a clue to whether he is from a large city or a
country area. City people typically have their private
18-inch (46 cm) “bubble”, this is also the measured
distance between wrist and torso when they reach
to shake hands.
People raised in a country town with a small
population may have a space “bubble” of up to 36
inch (1m) or more and this is the average measured
distance from the wrist to the body when the country
person shakes hands.
Rural people tend to stand with their feet firmly
planted on the ground and lean forward to meet your
handshake, whereas a city person will step forward
to greet you.
People living in cities, need less personal space
than people living in the country. Country people
tend to come closer or sometimes too close to city
people.
Another topic about proxemics is the issue of
territoriality. Territoriality is an innate drive to take
up and defend space. This drive is shared by many
creatures and entities, ranging from packs of animals
to individual humans and nations.
We claim certain spaces as our own whether it
is a gang territory, a neighbourhood, our preferred
place to sit in a restaurant, our usual desk in the
classroom, or the seat we’ve marked to save while
getting concessions at a sporting event.
35
There are three main divisions for territory:
primary, secondary, and public. A person’s house,
yard, room, desk, or side of the bed could be considered primary territories. Secondary territories
don’t belong to us and aren’t exclusively under our
control, but they are associated with us, which may
lead us to assume that the space will be open and
available to us when we need it without us taking
any further steps to reserve it. This happens in classrooms regularly. Students often sit at the same desk
or at least same general area as they did on the first
day of class. There may be some small adjustments
during the first couple of weeks, but by a month
into the semester, we don’t notice students moving
much voluntarily.
Public territories are open to all people. People
are allowed to mark public territory and use it for a
limited period of time, but space is often available for
grabs, which makes public space difficult to manage
for some people and can lead to conflict. To avoid
this type of situation, people use a variety of objects
that are typically recognized by others as nonverbal
cues that mark a place as temporarily reserved—for
example, jackets, bags, papers, or a drink to mark
the space.
It is important to know the proxemics patterns
across cultures to adequately and effectively contact
with people from various cultures. Proxemics varies
with each country, language, and culture. Let us have
a look at how levels of distance vary in the British
and Russian cultures.
First we need to define culture. Culture is the
way we do things in the family, social groups, and
society as a whole. Cultural values determine patterns of non-verbal communication. Moreover,
culture generates people’s behaviour. Concerning
proxemics patterns in different cultures we see what
values are in the heart of people.
If we look at the British culture, we can see that
personal space is highly valued by the British. The
British keep this non-interfering and non-invading
way of communicating because from an early age
the British children get the idea and understanding
of privacy which is a key factor in determining the
British culture.
In the Oxford Advanced Learner’s Dictionary
(OALD) the word “privacy” is defined as “1. the
state or condition of being free from being observed
and disturbed by other people; 2. the state of being
free from public attention.
The concept of privacy is not an abstract idea but
objective reality; it is spread throughout the British
culture. From babyhood, English children are taught
that other people want their privacy. Other people do
not want to hear about your plans or unhappiness.
It is fine for the family to know, but you should not
“impose” yourself on other people. So the English
hesitate to talk to people whom they do not know
only if they want to talk. Nobody is going to say,
“You must not behave like that!” even if you think
somebody is behaving stupidly, People are tolerant to whatever behaviour is. Two typical English
values are tolerance and fairness. Tolerance is the
quality of allowing other people to say and do as
they like, even if you do not agree. Fairness is the
quality of being reasonable, right, and just. It is a
value which sees individuals in their relationship to
other individuals.
Personal territory is independence. People in
post-Soviet countries have always been dependent,
not independent. For post-Soviet republics privacy
is still a difficult thing to comprehend. In Russian
culture there exists the concept of privacy. Still the
word is hard to translate accurately, because the concept is somewhat strange to the Russian culture.
She was longing for some peace and privacy.
(OALD)
I value my privacy.(OALD)
He read the letter later in the privacy of his own
room. (OALD)
The word “privacy” is translated into Russian
as 1. уединение, уединенность, 2. секрет, секретность, 3. частная жизнь.
Neither of these meanings conveys the
values of the Russians.There are no direct lexical
equivalents to such concepts, as “privacy”
and “personal space” in Russian. “Privacy” is
associated with private life and refers to malefemale romantic relationships. The concept of
“privacy” for Russians can also imply the “inner
world” of a person, one’s soul. Something that
should be kept secretly, for example, the sentence
“Это ваша личная жизнь” sounds rather
disapproving in the Russian culture.
The absence of the concept of privacy in Russia is connected with the concept of collectivism
that used to be dominant in our society in the past.
Russian values are all about cooperation, living in a
society, sharing things and fitting into the common
social requirements. Collectivism reflects the values
that are at the core of the Russian culture.If you maintain from others, it is considered anti-social weird
36
behaviour. You only are a part of a society where
everything is shared and your business is everybody
else’s. In Russian culture it is a norm to inquire, to
interfere, to give a piece of advice whether you are
asked for or not.
However, the situation is changing. The world
has become globalized and people being able to
travel and communicate could acquire and apply
new concepts in a new environment. For example,
the concept of privacy is one of the concepts our
society has been exploring. Russian society has
become more individualist and the word privacy
starts to mean something to people.
References
Altman A. The Environmental and Social
Behaviour. – Monterey, Calif. Brooks/Cole, 1975.
Fillips N.J., Sommer R. Invasions of Personal
Space // School Psy. Problems. – 1966. – N.14,
p.206-214.
Orloff J. Emotional Freedom: Liberate Yourself
from Negative Emotions and Transform Your Life
Random House, 2009
Hall E.T. The Hidden Dimension. – Garden City,
N.Y. Doubleday, 1966.
H a l l E . T. P r o x e m i c s / / N o n v e r b a l
Communications: Readings with commentary. N.Y.,
1974. – p. 205-229.
Dictionaries:
• Oxford Advanced Learner’s Dictionary of
Current English, 7 edition be A.S. Hornby,
• Oxford University Press, 2005.
• Oxford American College Dictionary, G.
P. Putnam’s Sons, New York, 2002
УДК: 811.161.1 (575.2) (04)
Bubusara Ukubaeva, KTMU
Symbolism in Walt Whitman’s poems and their translations
into Kyrgyz language
Символизм в произведениях Уолта Уитмена и их перевод
на кыргызский язык
Аннотациясы: Бул макала белгилүү Америкалык XIX кылымдын Уолт Уитмендин чыгармаларга арналган. Ал биринчилерден болуп XIX кылымдын “vers libre” инновациясын колдонду;
Оксфордук адабий терминдердин сөздүгу төмөнкүдөй аныктама верлибирге берет :”формасы
метрдик композицияга ээ эмес, рифмы”. Уитмендин Верлибри абдан символыкалык жана метафораларга толук. Негизги сөздөр: Символдар,метафоралар, верлибр,концептуалдык,денотативтик. Аннотация: Эта статья посвящена произведениям известного Американского поэта XIX
века Уолта Уитмена. Он был одним из первых, кто использовал поэтическую инновацию XIX
века “vers libre”; или другими словами «верлибр», белый стих который сейчас широко известен
по всему миру. Оксфордский словарь литературных терминов дает следующее определение
верлибру «форма метрической композиции не имеющий рифмы». Верлибр Уитмена чрезвычайно
символична и наполнена метафорами. В статье мы рассматриваем символы как основной идеей
поэзии Уитмена.
Ключевые слова: символы, метафора, верлибр, концептуальный, денотативный, переносный.
Abstract: Our research is devoted to the literary works of the greatest American poet of XIX century
Walt Whitman. He was one of the first poets who used the 19th-century poetic innovation “vers libre”
or another word “free verse” which is now widely spread all over the world. Oxford literary terms
dictionary defines it as “unrhymed verse without a consistent metrical pattern”. Whitman’s free verse
is full of symbolisms as well as metaphors. In this article symbols are studied as the main idea of Walt
Whitman’s poetry.
Keywords: symbols, metaphors, free verse, conceptual, denotative, figurative
37
1. Introduction
Symbols, signs, signification are all the objects
of the study of semiotics. Along with these it includes
metaphor, analogy. In order to determine the role
of symbols in Walt Whitman’s poetry we compare
it with the other semiotic concept metaphor. By
its imagery, allegory the metaphor is similar to a
symbol. Therefore, the notions of metaphoric image
and symbolic image are used with some literary
critics as synonymous concepts.
2. Symbol and metaphor
Nowadays the researches devoted to the study of
metaphors have become more intensive, and quickly
spread worldwide occupying different spheres of life.
Metaphor has become the source of understanding
the human consciousness, his perception of the world
based on specific cultural peculiarities. Metaphor
is omnipresent in different kinds of discourse, and
this lead to the diffusion of the concept metaphor
itself. We’d like to identify the two concepts by
their similarities and differences. However, both
of them are based on the image, they can be more
the object of interpretation than understanding.
According to Avdeenko I.A “the main similarities
of symbol and metaphor are their figurativeness,
allegory, interpretation, meaning transference. As a
result they allow to name something by one word,
whereas it is impossible to describe by many words
thus leading to the enlargement of the meaning.” [1]
But there are also some principal differences which
were mentioned in the works of such researchers
Arutyunova N.D, Losev A.F, Shelestyuk E.V.
According to Shelestyuk E.V “Symbol is a complex
sign, which has minimum two equal kernels of the
meaning- direct denotative and figurative, more
often abstract meaning. Direct meaning presents
image of the symbol and characterized by mandatory
generalization of concrete notion. Symbol’s figurative
meaning may have archetypical, cultural-stereotypic,
subjective- individual, conceptual character.” [2]
Metaphor is – a trope, figure of speech, symbol
is – a language sign. A metaphor is characterized by
its predicative position, so its nature is focused on
the meaning, and possibly implementing it into the
lexical stock of a language. A symbol is not used
in the predication; it is more a form than meaning.
A metaphor is “not asking to be on the paper”,
while symbol “strives” to be a graphic image.[3] In
metaphor two subjects are compared; in the lines “
Ir degen akyndardyn ak boposu, ardaktap kara janin
urop bakkan” words ir and ak bopo are used as a
comparison. It’s English translation goes as follows:
“Verse is the darling baby of the bard, who does
his best to raise him in regard”. Accordingly verse
and darling baby are compared.[4]
In the lines “Ere half my glass of life is run”,
the half of interesting and happy life had passed” is
shown with the metaphorical phrase, in translation
it was expressed as follows: “Jashoomdun
suusun ichtim ten jarymyn” “Jashoonun suusu” is
metaphoric phrase which means the life itself with
all happy and sad moments. [5]
There are cases when the figurative meaning
turns into significant one and it is included into
the dictionary as a separate word. The examples
are given in the article “Metaphors in a Cognitive
Aspect” written by Bibaisha Nurdauletova, Galiya
Abdilova, Sholpan Saparbaikyzy” [6]: the word
“ash kazan” which means in Kyrgyz and Kazakh
Languages a human organ (stomach), its literal
translation is “food digesting pot”. This word is a
metaphor which became a significant word. Here two
subjects are compared: a kitchen utensil in which
the food is prepared and human organ in which the
food is digested.
Symbols do not have dual subjectivity; there is
no comparison, but there is conceptual allegory.
The followings are the examples of symbols
in poetry:
“A flower was offer’d to me,
Such a flower as May never bore;
But I said “I’ve a Pretty Rose-tree,
And I passed the sweet flower o’er.” (“My pretty
rose tree” W. Blake)
Here “rose” symbolizes love.
“ In the spring I asked the daisies
If his words were true,
And the clever, clear-eyed daisies
Always knew.
Now the fields are brown and barren,
Bitter autumn blows,
And of all the stupid asters
Not one knows.” (“Wild asters” Sara
Teasdale)
Spring and daisies symbolize youth. Brown
fields and autumn symbolize advancing age
and the approach of winter (death).
If the semantic need necessitates the conversion
of the image into a metaphor, then its transformation
into a symbol is mainly affected by extra-linguistic
factors, it means that the decisive factor in
38
transforming the image into a symbol are the
functions performed by a single person in religious
and cultural unity and ideological harmony of the
society, state and humanity in general.
3. Walt Whitman’s free verse and symbols
Walt Whitman was one of the first poets who
used the 19th-century poetic innovation “vers libre”
or another word free verse which is now widely
spread all over the world. Oxford literary terms
dictionary defines it as “unrhymed verse without
a consistent metrical pattern”. Whitman published
his first book of poems in 1855, and they were
completely different from those of American poets
of his time. Whitman touched such themes which
were not depicted before, and the most important
of them was post civil war America with young
democracy and everyday problems. Walt Whitman
wanted to open his heart to people and the classical
form of poetry was not free enough to express his
thoughts. So to the reader’s great surprise he opened
“vers libre”. However he discovered the new way
of development for the American literature, and
that’s why many people consider him as a founder
of American free verse. For Whitman free verse is
a special way of self-expression, his perception of
the world. His most popular works are –long poems
consisting of numbered fragments, which have
separate context, but closely connected with each
other on same general idea. Examples are: “Song of
Myself”, “Song of the Open Road” and “Children
of Adam”.
There are several characteristics of Walt
Whitman’s poems:
1. Whitman’s free verse contains a lot of
enumerations:
“... all falls aside but myself and it,
Books, art, religion, time, the visible and solid
earth, and what was expected of heaven or fear’d of
hell, are now consumed,
Mad filaments, ungovernable shoots play out
of it, the response likewise ungovernable,
Hair, bossom, hips, bend of legs, negligent
falling hands all diffused, mine to diffused...
(Children of Adam )
Here we see not only enumerated objects, but
also accompanying enumerative intonation which
creates emotional and logical unity of the poem.
In another poem “A Clear Midnight”
“ This is thy hour O Soul, thy free flight into
the wordless,
Away from books, away from art, the day
erased, the lesson done,
Thee fully forth emerging, silent, gazing,
pondering the themes thou lovest best,
Night, sleep, death and the stars.” (“A Clear
Midnight” )
In this poem we can see enumerations containing
not only nouns (away from books, away from art...)
but other parts of speech: Participle I, (erased, done)
and Participle II (emerging, silent, gasing...).
2. Another favorite characteristic is
–repetition.
Repetitions can be lexical and syntactical.
Syntactical repetitions are similar constructions,
which make the sentences longer. Example: poem
“Song of the Open Road”, creating the image of the
road he simulated the continuity of the movement
by long syntactical constructions:
“ Smile O voluptuous cool-breath’d earth!
Earth of the slumbering and liquid trees!
Earth of departed sunset – earth of the mountains
misty-topt!
Earth of the vitreous pour of the full moon just
tinged with blue!
Earth of shine and dark motting the tide of the
river!
Earth of the limpid gray of clouds brighter and
clearer for my sake!
Far-swooping elbow’d earth – rich appleblossom’d earth!
Smile, for your lover comes.” (Song of
Myself)
This extract shows two kinds of repetitions. First
the lexical repetition; the word “earth” comes at the
beginning of the lines 5 times, in whole repeated
8 times. Second syntactical repetition; sentence
structure beginning with the word earth is the same,
(object and its characteristics), and the first and the
last sentences form such a composition that creates
the effect of expectation. Besides, repetition of the
word “smile” intensifies this effect. The following
extracts from the same poem demonstrates close
contextual unity:
“ I am a poet of the woman the same as the
man,
And I say it is a great to be a woman as to be
a man,
And I say there is nothing greater then the
mother of men.” (Song of Myself) Here Whitman used so many different forms
39
of repetitions. The most important in this extract
is the words “woman” and “man”. He equally
appreciates the role of woman and man, male and
female, that’s why they are inseparable, as in line
“there is nothing greater than the mother of men”
he concludes his thought. Every repetition completes
and intensifies the previous ones and deepens the
general idea of the poem. In this extract we see a lot
of similes with conjunction “as” which is also one
of the characteristics of his poetry. Whitman used
similes in his poems to give the equal importance to
everything that exists. But the conjunction “as” also
expresses the idea of omnipresence and continuity.
The poem “Song of Myself” starts as follows:
“ I celebrate myself,
And what I assume you shall assume,
For every atom belonging to me as good
belongs to you.” (Song of Myself)
“Everything which belongs to me equally
belongs to you” is the main idea of his poetry.
Thus, considering several examples we can
assure that free verse best reflects the poet’s
world outlook; free verse best fits to express free,
independent ideas.
3.1Main symbols
“Leaves of grass” is the name of his first
collection of poems, and it was published in 1855. It
has nine editions and is full of love to people, places.
Some of the famous poems from that collection are:
“Song of the open road”, “Song of Myself”, “I hear
America singing”, “All is truth”, “When lilacs last in
the dooryard bloomed” and others. Walt Whitman’s
poems are full of symbolisms as well as the name of
his book. Grass symbolizes the whole, the unity, and
leaf is “a single, separate”. Whitman sees not only
the unity of all people, but every individual, each
person. Each person is unique as a leaf of grass, but at
the same time a person can’t exist without a society,
hence the grass stands for unity of all people.
1. The symbol of equality, brotherhood is
depicted in the above mentioned poem “Song of
Myself”
“ I celebrate myself,
And what I assume you shall assume,
For every atom belonging to me as good belongs
to you.” (Song of Myself)
Most of his poems were translated into Kyrgyz
language by our prominent poet Suyunbay Eraliev.
The form and style of Walt Whitman was preserved
in his translations and we see the same symbols:
“Men ozumdu danktaim dagy, yrdaimin,
Men emneni kabyl alsam ozumcho, any kabyl
alasynar siler da,
Al antkeni, menin ar bir atomum, silerdin da
atom bolup sanalat ” (S. Eraliev)
Here we see that he appeals to all ordinary
people to the mass, declaring himself people’s
poet. Throughout the poem he transforms into
different characters, experiencing all their sorrows
and joys. His empathy to other people’s feelings
best symbolizes the theme of brotherhood, unity,
equality.
2. The poem “Song of the open road” consists
of fifteen sections, in almost every section there is the
meaning of road as a symbol. It starts as follows:
“Afoot and light-hearted, I take to the open
road,
Healthy, free, the world before me,
The long brown path before me, leading
wherever I choose.” (“Song of the open road” )
“Brown path” that takes him wherever he
chooses, symbolizes the life full of new possibilities.
The song is a merry chant of a wanderer who
embraces all that he meets while traveling on the
open road with optimism and cheer. He has chosen
the road because it is the place where people come
together regardless of status and social rank. The
road is used by both the poor and rich and it is a
chance for different people to associate with each
other. He uses it as a trope to evoke in our minds
the idea of a new way of living and enjoying
existence against a background in which the above
mentioned ideals of universal brotherhood and
equality are fulfilled. The open road charges people
with happiness, sweetness and freshness as they
experience comradeship and contact with each other.
Humanity is pervaded by a sense of happiness felt
through the rambling experience upon the road.
“Joo-jalang, kubanyp chong jolgo chygam,
Erkinmin, denim da sak, bet aldymda but duino,
Ma bul uzun kuron jol, alyp barat men kaalagan
tarapka.”(S. Eraliev)
In Kyrgyz language the word “jol” also
symbolizes “life”, like the name of the book by our
famous poet and writer Mukai Elebaev “Uzak jol”.
Mukai Elebaev meant by ‘uzak jol’ his hard and poor
40
life full of obstacles.
3. Next is the poem “To think of time”
“ Have you fear’d the future would be nothing
to you?
Is to-day nothing? is the beginningless past
nothing?
If the future is nothing they are just as surely
nothing.
To think that the sun rose in the east – that
men and
women were flexible, real, alive – that
everything was alive,
To think that you and I did not see, feel, think,
nor bear our part,
To think that we are now here and bear our part.”
(“To think of time”)
This poem is very emotional; his question has
already an answer. The question “Is today nothing”
is not a question at all, it is a statement that implies
the huge, priceless and unexplained importance of
the day. Rhetorical questions are often used in his
poetry, because they are more emphatic than any
strong statements. His rhetorical question “is today
nothing” has an answer, it is in his next lines: “If the
future is nothing they are just as surely nothing”.
Moreover he made the logical chains, there is no
future, if only there is no present (today) and the past
(beginning less past). But we know that there is a
present and the past, so the future exists with them.
The next part is in the past tense. (Past simple). The
sun rising in the east is the symbol of life, of real
life. The reality of life is depicted in the following
line: “that men and women were flexible, real,
alive”, not only people were alive, but everything
was alive. And the verbs “see, feel, think, bear the
part” metaphorically mean the life. The word “life”
itself he didn’t mention at all, but gave symbolic
characteristics.
So, considering this short poem, we learn the
poet’s position: the time is endless, it doesn’t have
the beginning, it consists of present, past, future;
these three components are not separable. Moreover
“yesterday”, “today” and “tomorrow” are valuable,
and every moment is valuable.
4. Conclusions
Whitman’s poetry is highly symbolic for he
exploits recurrent images in most of his poems
such as the image of the grass, the sea, the bird, the
road…etc until they end up as symbols in his poems.
Therefore, his symbols preach about his ideals and
that his symbols are flexible. They are flexible in
the sense that they acquire new dimensions through
the poem.
So, as a conclusion we summarize that
Whitman’s poetry is innovative for the usage of
free verse which retracted the rhythm of English
Bible, syntactic parallelism and numerous symbols.
The vivid symbols make the poetry more expressive,
that sometimes it is so difficult to identify their
philosophical intenseness. Walt Whitman’s poetry
is popular all over the world. People read it in the
original and in translations in many countries of
the world. He has his own place among the modern
poets-revolutionaries of XIX century thanks to the
special expressiveness of lively poems.
References
[ 1] Avdeenko I.A (2010) Concept,symbol,text:
Moscow
[2] Shelestyuk E.V (2001) Symbol versus trope
Moscow
[3] Losev A.F (1995) Problema simvola realisticheskoe
iskusstvo Moscow
[4] Tenti Adysheva (2008) Shamdai jangan sozdor
Bishkek
[5] Tenti Adysheva (2008) Shamdai jangan sozdor
Bishkek (translated by K. Kalieva)
[6] Bibaisha Nurdauletova, Galiya Abdilova, Sholpan
Saparbaikyzy (2015) Metaphors in a Cognitive
Aspect
41
УДК: 811.161.1 (575.2) (04)
Cetin Oktay, IUK
HEART IN ENGLISH AND TURKISH IDIOMS
Понятие «Сердце» в английских и турецких идиомах
Аннотациясы: Журок адамдын сезимдерин сактоочу жай болуп эсептелет. Ал озунун коптогон
сырлары, иштеши жана ар бир маданиятка таасир бергендиги менен философтордун, лингвистердин, психолоктордун жана акындардын конулун тартып алган. Башкача айтканда, Журок
озундо суйууну да, жаман коруучулукту да сактайт. Бул макалада журок деген создун устундо
салыштырма анализ жургузулгон. Анализде англис жана турк тилдери алынган.
Негизги сөздөр: фразеологизм, англис жана турк тилдери, журок, суйуу, салыштыруу, маани,
урп-адат, маданият.
Аннотация: Как часть тела “сердце” является центром человеческих чувств, которое привлекло внимание лингвистов, поэтов, психологов и даже философов своими тайнами, функциями
и своим действием в каждой культуре. Можно сказать, что это место для любви и ненависти
в организме человека. Эта статья может быть принята в качестве короткого сравнительного
исследования, которое фокусируется на значении слова «сердце» в английском и турецком языках.
Ключевые слова: Фразеологизм, английский, турецкий, сердце, сравнение, любовь, смысл,
образ, традиции, культура.
Abstract: As a body part “heart” is the centre of human feelings which attracted the attentions of
linguists, poets, psychologists and even philosophers with its mysteries,functions and effects in every
cultures. It can be said that it is a room for love and hate in human body. This article may, be accepted
as a short comparative study, which focuses on the meaning of “heart” between the selected English
and Turkish idioms.
Keywords: Idiom, English, Turkish, heart, comparison, love, meaning, image, tradition, culture.
Introduction
Idioms encompass our life from all its aspects.
The different situations of our daily life can
be better communicated and described by the
contribution of the idioms. It means that consciously
or unconsciously, we often use the idioms in the
different steps of social life. It can be said that
idioms are back bone of every languages. When
people speak each other express their feelings by
using a group of words in a fixed order that have a
particular meaning.
Idioms are also considered as a strong bridge
between the past and present and always carry the
old traditions to present day with beautiful, attractive
short and effective expression.In addition, idioms
are inexhaustible treasure for moral and traditional
values. Therefore, it can be said that all nations more
or less learn some historical,cultural and traditional
principles from the idioms. In other words, idioms
may be accepted as important chain of advises for a
nation from the ancestors.
For instance;”hold your horses” advises us to
wait and not to be impatient. The following idiom
“hold your mouth the right way” reminds us to do
something very carefully .Also “keep your nose out
of it” teaches us not to be involved in something or
in someone’s tasks.
Some idioms teach ethical principles to people.
For instance; “Piюmiю aюa soрuk su katmak -pour
cold water in cooked meal “ is a Turkish idiom that
demonstrates the bad behavior of a person who tries
to spoil anybody’s plan, work or business which was
already completed and advises not to do it.”Pire
için yorgan yakmak-To burn whole quilt because of
a little flea”is also a Turkish idiom that teaches not
to harm complete work because of a little problem
“don’t pour oil on the flame”, is an English idiom
Vas Gratian,The Sterling Book of Idioms,Sterling Publishers,
New Delhi, 2006, Page, 72.
Spears Richard , McGraw-Hill’s Dictionary of American Idioms, McGraw Hill Professional, 2006 Page, 236.
Heacock Paul, Cambridge Dictionary of American Idioms,
Cambridge University Press, 2003, Newyork Page, 287.
42
which to. advises not to intensify or escalate the
tension in between the two sides.
An idiom may be defined as follows:
“idiom is an expression that cannot be readily
understood according to the actual meanings of the
words in the expression. İdioms are indispensible to the daily speech
of people and to the language of the books and
newspapers,television and movies.
“Idiom:The mode of language used by a
particular people or by an individual.”
“idiom is a combination of fixed words which,
ease speech and writing and sometimes can not
be understood logically.” “Idiom is a traditional way of saying
something.” “Idiom is a characteristic of native speakers
and can not be understood on the basis of the usual
meanings of the individual words “
Above given definitions prove that, idioms are
not only a simple group of words or kinds of fixed
metaphorical structures but they are also colorful
part of tradition which take place in every steps of
social and cultural life.
Contribution of idioms to the development of
literature, social and ethical values is indisputable.
However, the richness and the metaphorical
structures of idioms prevent even the native speakers
of language from proper understanding of them.
They are not always transparent. At times, idioms
are understood in their literal meaning and at times,
they should be understood metaphorically without
losing the connection of their literal forms.
As a body part “heart” is the centre of human
feelings which attracted the attentions of linguists,
poets, psychologists and even philosophers with its
Wanda Kelly, Teachers Stephanie Buehler,Created Recourses,
America, 2011, page, 36.
Gaines Barbara K., Idiomatic American English: A Step-bystep Workbook for Learning Everyday American Expressions,
Kodansha International press, 1986, Page, vii.
Cunningham W.T. The Nelson Contemporary English Dictionary, Nelson Thornes Publications, 1977, Page, 258
Çotuksöken, Yusuf, Deyimlerimiz,Özgül Yayınları
Eğitim ve Öğretimde Kaynak Kitaplar Dizisi,İstanbul,
1992.
Hirsch Eric Donald, Trefil Joseph F. Kett, James S., The New
Dictionary of Cultural Literacy, Houghton Mifflin Harcourt
Printing, 2002, Page,154.
Carole Sue Bailey, Kathy Dolby, Hilda Marian Campbell, The
Canadian Dictionary of ASL, University of Alberta, Canada,
2002, Page, 326.
mysteries,functions and effects in every cultures.
It can be said that it is a room for love and hate in
human body.This article may be accepted as a short
comparative study which focuses on the meaning of
“heart” between the selected English and Turkish
idioms. In order to indicate the similarities and
differences, first of all, an English idiom was given
on the top as a source,after that either Turkish idiom
or its translation into English was written. Then both
idioms were analyzed with detailed expressions
about the similarities and differences in meanings
and images. Finally, usage of English and Turkish
idioms demonstrated with examples.
Aching heart - Kalp ağrısı -Heart pain
Meaning of English Idiom: “Feeling of pain
because of love”10
Meaning of Turkish idiom: ‘’Aşk nedeniyle
duyulan üzüntü-Feeling pain because of love for
someone ‘’11
From the very beginning of life love became
a very sweet part of human life. Unfortunately,it
always didn’t bring happiness and pleasure to our
life. Sometimes it broughtpain, tear and sadness.
Above given idioms express the pain of heart due
to love for beloved. It can be said that English and
Turkish idioms have the same meaning and same
images. “aching “in a heart shouldn’t be understood
as literal pain that was caused by heart diseases.
Aching is in above given idioms used figuratively to
demonstrate the deeply love for beloved who perhaps
doesn’t put her heart into lover’s love.
English example: “She’s got my love and my
aching heart.“12
Turkish example: “ Yarap ! hele kalp ağrılarım
! » durdu diyordum. His var mı bu âlemde nekahet
gibi tatlı?”13

Break one’s heart-Kalbini kэrmak – Break
somebody’s heart
Meaning of English Idiom: “ Make one unhappy/
sorrow-stricken”14
Meaning of Turkish idiom: “Birini küstürecek
10
Richard A. Spears, McGraw-Hill’s Dictionary of American Idioms and Phrasal Verbs, McGraw Hill Professional, 2006,Page,4.
11
Hamidoğlu Fethi Gözler, Örnekleriyle Türkçemizin
Açıklamalı Büyük deyimler Sözlüğü,Inkilâp ve Aka Kitabevleri,
1975, Page, 229.
12
C. R. Crane,The Empty Room Authorhouse,Bloomington,
Indiana, 2007, Page, 30
13
Orhan Seyfi Orhon, Yahya Kemal Hayatı ve Eserleri, Cumhuriyet Kitap hanesi, 1937, Page,15.
14
Prof. V.N.Sadasiva Rau, Idioms and Phrases, Sura Books,
Anna Nagar, India, 2004, Page, 28.
43
kadar çok gücendirmek, - to m a k e s o m e o n e
sorry”15
Human character has two sides on the one
hand, make people happy on the other hand, make
everybody unhappy and sad. Actually, English and
Turkish idioms deal with unacceptable behavior of
humanbeing. Both idioms figuratively indicates a
rude act that creates cold relations among the people.
Heart is a metonymy which stands for a person. It
can be said that English and Turkish idioms have
similar meaning with similar images.
English example:” There she was, openly
showing her care and love, and all I did was tell
myself that she was Her accomplice and that I had
to get rid of her before she broke my heart”16
Turkish example:” Herkesin yanında arkadaşına
çıkışarak kalbini kırdı.”17
Follow one's heart- Kalbinin sesini
dinlemek - listen to one’s heart.
Meaning of English Idiom: “Act according to
one’s feelings.“18
Meaning of Turkish idiom: “Duygularının
etkisinde kalmak - be under the influence of one’s
feelings.”19
Sentimental people usually act in accordance
with their feelings rather than thoughts. May be it is
a disputable attitudes for realistic people.However,it
is a fact that many people follow their hearts in daily
discourses. Above given idioms demonstrates the act
of man that based only on feelings.English idiom
demonstrates that act with the image of “following
one’s heart” However, Turkish idiom describes the
same act with the image of “listening to heart” In
fact, in Turkish giving an ear to heart or listen to one’s
heart shows the sentimental and gracious character
of a person. Finally, it can be said that both idioms
have same meaning but different images.
English example:”She followed no one, only her
heart.”20
Turkish example: “Kalbinin sesini dinle Ne
olur bana geri dön Hep mutlu yaşayalım Aşkımız
15
KâzımYetiş, SâmihaAyverdi,Türkçenin nakısları: atasözleri, deyimler, tekerlemelerKubbealtı Neşriyâtı, İstanbul,1993,Page,118.
16
Rahel Asghedom,Before She Breaks My Heart, Hdri Publisher
s,Asmara,Eritrea,Page, 171
17
Nejat Muallimoğlu,Deyimler, atasözleri, beyitler ve anlamdaş
kelimeler,Muallimoğlu Yayınları, 1983,Page,308.
18
Zhanna Hamilton,117 Most Common English Idioms and
Phrasal Verbs, Inspired By English.com Page,72
sonsuz olsun Dillerde dolaşalım.”21
Bare one’s heart –Kalbini açmak-open
one’s heart
Meaning of English Idiom: “Make known one’s
deepest feelings.”22
Meaning of Turkish idiom: ”Kalbini açmak,
birine sırlarını söylemek - Open one’s heart to
someone”23
As it is well known that heart is not a simple
organ of human kind but it is a central room for
our feelings and senses. It can be accepted as store
of human secrets.Therefore,a person always tries
to find out a reliable friend to share some secrets
of heart. English and Turkish idioms deal with the
act of sharing some secrets or deepest feelings by
making them known.English idiom expresses that
act with the image of “baring heart”on the contrary
Turkish idiom expresses the same act with the image
of ”opening heart” Heart is used in idioms as a
metonymy which stands for feelings or secrets of
a person. Opening one’s heart to somebody means
in Turkish share everything with someone friendly.
Finally, it can be said that both idioms have same
meaning but different images.
English example:”All she could think of was
how she’d bared her heart and soul to this man in
the early dawn hours.”24
Turkish example:”Sen annamazsın! Bu
benimki derin bi dava! — Yavru Kocakurt, n’olur
kalbini aç bana! “25
One's heart in one's mouth - Yüreği ağzına
gelmek - have one’s heart in one’s mouth
Meaning of English Idiom:”To be afraid26 to be
in trepidation, great fear or anxiety.”27
Meaning of Turkish idiom: “Birdenbire
çok korkmak – to have fear suddenly or scare
suddenly.”28
21
Fehmi Kılıç,Aşkın Tarifi,Cinius Yayınları, 2013, İstanbul,
Page, 91.
22
Vas Gratian,The Sterling Book of Idioms, Sterling Publishers,
New Delhi, 2006, Page, 6.
23
Büyük lûgat ve ansiklopedi, Meydan Yayınevi, 1985,Volume,
6, Page, 817.
24
Abby Green,Secrets of the Oasis,First North American Publications,2011, Page,13
25
Martin Manser,Heinemann English Dictionary,CTPS,China
2001, Page, 467
19
Hatice Şahin, Türkçede organ isimleriyle kurulmuş deyimler,
Uludağ Üniversitesi, 2004,Page,265
27
20
28
Stephanie Sorrell,Nature as Mirror, John Hunt Publishing,
2011,Page, 81.
Ahmet Say,Kocakurt, Milliyet Yayınları,1976,Page, 57.
26
The Chambers Dictionary,Allied Publishers, India, 1998,
Page,742
Bezirci Asım, Deyimlerimizin sözlüğü, Gendaş Yayınevi,
İstanbul,1990, Page, 386.
44
Fearing is a nature of man and occupies a
very important place in our life. Actually fearing
is sometimes beyond the human control.A person
may be afraid of anything. So this situation is
expressed by different ways in different literatures.
Above English and Turkish idioms deals with
scary character of human kind.” One’s heart in
one’s mouth “ figuratively means great fear of
somethingand shows high level of fearing.”Yüreği
ağzına gelmek - (have one’s heart in one’s mouth
“ means great fear and shows sudden fear.It can be
said that both idioms have same meaning and same
images.”Heart” which comes into one’s mouth is a
metonymy that demonstrates fear and scary situation
of a person.
English example:”She had her heart in
her mouth when someone knocked on the door.” 29
Turkish example: ”Mustafa, babasının bu
halini gördüğünde yüreği ağzına geldi.” 30
Have a heart of stone:Taş yürekli -have a
stone heart, stone-hearted
Meaning of English Idiom:” hard-hearted” 31
Meaning of Turkish idiom: “ Acıklı şeylerden
üzüntü duymayan,acımasız. - hard - hearted who
has no mercy “32
English and Turkish idioms depict the
hard,merciless and brutal personalities. Actually,
“stone” is a symbol of hardness and cold nature of
man in many cultures. Forinstance, inTurkish culture
stone used with heart like” taş yürekli - taş kalpli
“reflects the negative personalities. Both above given
English and Turkish idioms have same meaning and
same images. “stone” symbolizes negative nature of
man in English and Turkish idioms.
English example: ”He says she has a heart of
stoneand doesn’t know what it is to be loved or to
love.”33
Turkish example: “Mevlâna’nın dediği gibi ‘taş
yürekli bir zorba gibi bizi sürüklüyor…”34
Have a heart of gold -Altın Yürekli/kalpli
- Have a heart of gold
29
Shori Brig,A.K., Rajpal Dictionary Of English Idioms
&Phrases, Rajalpal Publishing,Delhi, 2003, Page, 279.
30 Zafer Çon,Delice Bir Sevda, Cinius Yayınları, 2014, Page, 97
31 Copper David, Idioms,Lotus Press, New Delhi, 2005,
Page,70.
32 Ömer Asım Aksoy, Atasözleri ve Deyimler Sözlüğü, II,
İnkılap Yayınları, İstanbul, 1988. Page, 915.
33 Shani Mootoo,He Drown She in the Sea, Grove Press, Newyork, 2005, Page, 209.
34 Ahmet Kabaklı, Türk Edebiyatı – Issues, 351-356, Türk
Edebiyatı vakfı, 2003, Page, 71
Meaning of English Idiom:”to be a very kind,
generous, worthy person”35
Meaning of Turkish idiom: “Çok iyi niyetli,
merhametli olmak - have a good intention, be kind
and merciful”36
English and Turkish idioms describe the soft and
merciful personalities. In fact, “gold “ is a symbol of
wealth in many cultures. Because gold is a worthy
element in the world. When the gold is being used
with “heart”the most important part of human body
which manages our feelings, describes good nature of
man. For instance, in Turkish culture gold used with
heart like”altın kalpli -altın yürekli “reflects good
intention, pure nature and helpful personalities. It can
be said that above given idioms have same meaning
and same images.besides, to demonstrate worthy and
gracious nature of man English and Turkish idioms
used “gold”as a metaphor.
English example:”Ah efendim, bilseniz ne altın
yüreklidir komşum.”37
Turkish example: “She has a heart of gold and
loves everything and everyone.”38
One's heart bleeds for somebody - Yüreği/
İçi kan ağlamak - One’s heart bleeds for sb.
Meaning of English Idiom: “one pities or feels
sorry for somebody”39 Meaning of Turkish idiom:
“Üzülmek”40 ”Dıştan belli etmemeğe ç a l ı ş t ı ğ ı
halde içten derin bir üzüntü içinde bulunmak - t o
feel sorry for someone, be sorrowful despite looking
happy “41
Having pity on someone who faces difficulties
is a good nature. English and Turkish idioms shows
the psychological condition of a person who takes
pity and worries for someone’s problems. As it is
known that blood is a sign of sadness and sorrow.
English and Turkish idioms have same meaning
and indicates “worrying for someone” or”sympathy
35
Mc Laren Elizabeth, Kirkpatrick, C. M. Schwarz,The Wordsworth Dictionary of Idioms,Chambers Harrap Publishres,1993,
UK,Page,159.
36
http://www.tdk.gov.tr
37
Adalet Ağaoğlu,Oyunlar, Remzi Kitabevi, 1982,Page,190.
38
Garland Ladd, Return of the Owl, Xlibris Corporation, 2007,
Page, 89
39
Kumar Vijaya, Sterling Dictionary of Idioms, Sterling Publishers, New Delhi, India, Page, 223.
40
Ülkü Yalım, Özcan Yalım,Türkçe de Eş ve Karşıt Anlamlılar
Sözlüğü, Bilgi Yayınevi,Ankara, 1983,Page,598.
41
Hamidoğlu Fethi Gözler, Örnekleriyle Türkçemizin
açıklamalı Büyük Deyimler Sözlüğü, İnklap ve Akakitapevleri,
1975, İstanbul, Page, 200.
45
for another person.”42 ”However, Turkish has got
additional meaning “worrying for someone and for
his individual problems too” “Bleeding heart” in both
idioms symbolize sadness and unhappiness.
English example: “ My heart bleeds for the
victims of the tragedy. “43
Turkish example:”Yüreğim kan ağlıyor;
Yârimi görmeyeli.”44
Steal someone's heart-Gönlünü avlamakTo hunt somone’s heart
Meaning of English Idiom:”to cause someone
to love you”45
Meaning of Turkish idiom: “Onu kendine
aşık etmek. - to make someone love you, to attract
someone’s love”46
English and Turkish idiom focus on a tricky
character of someone who succeeds to gain the
love of opposite gender. Stealing is a bad behavior
however, here it is a natural behavior for a person who
figuratively steals hearts rather than money,wealth
etc.English and Turkish idioms have same meaning.
However,both idioms express the same act differently.
For instance, English idiom expreses the attracting
someone’s lovewith the act of “stealing” on the other
hand, Turkish idiom expresses the same situation
with the act of “hunting”someone’s heart rather
than stealing. Finally, it can be said that “heart”is a
metonymy that stands for love.
English example:”Then he laid eyes on the
captive girl in the parade and she stole his heart.”47
Turkish example:”Senin saçın vefalı âşıklarınıngönlünü avlayan bir tuzaktır.”48
(Have) one's heart sinks - Hayal kırıklığına
uğramak - have one’s dreams broken
Meaning of English Idiom: “to feel disappointed
or to lose hope “ 49
Mehmet Ali Ağakay, Türkçede mecazlar sözlüğü, Doğuş
Matbaası, 1949,Page,8.
Meaning of Turkish idiom: “çok istenilen veya
umulan bir şeyin gerçekleşmemesinden üzüntü
duymak - “to feel disappointed because of failure in expectations”50
Above given idioms figuratively depict the state
of a disappointed person.Both idioms have same
meaning. However, each idioms use different images
in description. For instance, on the one hand,English
idiom describes the disappointed person with the
image of “sinking heart.”On the other hand, Turkish
idiom expresses the same situation with the image
of “broken dreams “without using heart. Finally, it
can be said that both idioms figuratively demonstrate
the disappointed condition of a person by using
different images.
English example: “Maura’s face dropped
and her heart sank when she realised that any
thoughts of picking up where they left off were now
no longer possible.”51
Turkish example:”Hayal kırıklığına uğramıştı.
Hüzünlü ve müteessirdi.”52
To sum up: The comparison between the two
idioms of different languages is a remarkable work.
Of course, it is very hard to find out unlimited/
complete similarities between the idioms that belong
to different languages. No doubt, lifestyle, cultural
and religious backgrounds of the nations cause
differences between the idioms. However, it doesn’t
mean that there would be no any similarities. Cultural
exchange,positive or negative relations, psychology
and logic of mankind independently gave birth to the
similarities between the idioms of different cultures
and languages.
During comparison, despite different language
structures of English and Turkish, two kinds of
similarities have been observed between the selected
English and Turkish idioms.
a. limited similarities: which appear in meaning
only.
It means that the idioms have same meaning but
different images.(SMDI)
b. unlimited (complete) similarities: which
include meaning, image and “rarely”same syntactical
complex. (SMSI)
table shows limited and unlimited/complete
similarities
47
50
42
Ian Stuart-Hamilton,Dictionary of Everyday Expressions, Jessica Kingsley Publishers, 2007,London,Page,116.
43
O’Dell Felicity, McCarthy ‎Michael English Idioms in Use
Advanced with Answers,Cambridge University Press,UK,2010
Page,112.
44
Kızıltuğ Fırat ,Dilbeste, Kubbealti Neşriyat, 2005,Page,105.
45
Heacock Paul,Cambridge Dictionary of American
Idioms,Cambridge University Press,,2003,Newyork Page,180.
46
Radwá Āshūr, William Granara,Granada, Syracuse University
Press, Newyork,2003,Page,59.
48
Ali Nihad Tarlan,Yavuz Sultan Selim Divanı, Ahmet Halit
Kitabevi, 1946,Page,282.
49
Elizabeth Walter,Cambridge Advanced Learner’s Dictionary,
Cambridge University Press, 2008, Page,668
http://ne-demek.net/25.04.2015.
51
Bridie Costello, Home Comforts, Troubador Publishing
Ltd,Leicester, 2010,Page, 77
52
Mükerrem Kâmil Su, Aynadaki kız,Inkılâp ve Aka Kitabevleri, 1962,Page, 36.
46
English idiom
Aching heart
Break one’s
heartFollow
one’sheart
Bare one’s
heart
One’s heart in
one’s mouthHave a heart of
stone
Have a heart of
gold
One’s heart
bleeds for
somebody
Steal
someone’s
heart
(Have) one’s
heart sinks
Turkish idiom
Turkish
Translation into
English
Kalp ağrısı
Heart pain/ache
Kalbini kırmak -
Break somebody’s
heart
Kalbinin sesini
dinlemek
listen to one’s
heart.
Kalbini açmak
open one’s heart
Yüreği ağzına
gelmek
have one’s heart in
one’s mouth
Taş yürekli
have a stone heart,
stone-hearted
Altın Yürekli/
kalpli-
Have a heart of
gold
Yüreği/İçi kan
ağlamak
One’s heart bleeds
for sb
Gönlünü avlamak-
To hunt somone’s
heart
Hayal kırıklığına
uğramak
have one’s dreams
broken
Finally, common sense, psychology, logic of both
nations, cultural interactions, exchanging the social
and scientific experiences, positive and negative
historical and economic relations between English
speaking nations and Turkish people prepared the
ground for limited or unlimited similarities between
Similarity
in
meaning
Similarity
in images
Similarity in
syntactical
complex
+
+
-
+
+
-
+
-
-
+
-
-
+
+
-
+
+
-
+
+
-
+
+
-
+
-
-
+
-
-
the idioms. For instance, above given table shows
that all idioms have unlimited /full similarities
in meaning and limited similarities in images. In
addition, special characteristics and grammatical
structures of both languages left no any room for
syntactical similarities. 47
УДК: 811.161.1 (575.2) (04)
Charles F Carlson, Professor Dr., KTMU
Thomas A. Sebeok and His Contributions to the Field of Semiotics
Томас Себеок и его вклад в область семиотики
Аннотациясы: Бул макала белгилүү венгриялык жана америкалык профессор Томас Себеок
(Себеөк) тарабынан изилденген семиотиканын кээ бир маселелерине арналат. Тактап айтканда,
окумуштуу семиотика илими өз ичине адамзатка таандык болбогон сигналдарды камтыгандыгын
чагылдырып, бул сигналдардын өзгөчө баарлащуу системага ээ деген анын көз карашынан жаралган “зоосемиотика” жаңы терминин киргизген жана ошондой эле когнитивдик лингвистика
илиминин кээ бир маселелерине кайрылып, аларды көтөрүп чыккан. Буларга кошумчалай, бул доклад профессор Себеоктун биосемиотика тармагынын да негиздөөчүлөрүнүн бири болгондугун
ачыктап берүүгө далалат кылат. Себеок, лингвист катары, финн-угор тил тобунун (“черемиси”
аты менен белгилүү болгон) мари тилинин ар түрдүү аспектилерин иликтеп, бир канча макала
жана китептерди жазып жарыкка чыгарган.
Профессор Себеоктун эмгектери антропология, биология, фольклор, лингвистика, психология жана семиотика тармактарын камтыйт. Бул окумуштуу изилдөөнүн жаңы багыттарына
жетүү максатында миф, психолингвистика, стилистика, жаныбарлардын баарлашуусу жана
биосемиотика сыяктуу илимдердин ар түрдүү тармактарында эмгектенген окумуштуу жана
адистерди биргелешип иштөөсүн камсыз кылуу жөндөмдүүлүгүнө ээ болгон.
Профессор Себеок менин Индиана университетиндеги илимий жетекчилеримдин бири болгон.
Ал жерде мен профессордун бир канча курсун алгам. Менин илимий ишимдин темасы семиотика
болгондуктан, мен жогоруда аталган мари тили боюнча курсун тандап алгам.
Негизги сөздөр: белги, зоосемиотика, биосемиотика, семиотик (семиотика тармагындагы
окумуштуу), семиология, семиозис, тубаса (табигый) гипотеза, когнитивдик илимдер.
Аннотация: Доклад посвящен некоторым вопросам семиотики, которыми занимался известный венгерский и американский профессор Томас А. Себеок. В особенности, в статье рассматривается его точка зрения о том, что семиотика включает в себя сигналы, не принадлежащие
человеческому роду и которые имеют свои коммуникационные системы, которые составляют
созданный им термин «зоосемиотика», а также поднимает ряд вопросов, рассматриваемые
когнитивной лингвистикой. Профессор Себеок также числится в ряду ученых, которые являются основателями биосемиотики. Поэтому в данном докладе мы также предпримем попытку
осветить ряд вопросов, касающихся этой области науки семиотики. Как выдающийся лингвист,
профессор Себеок опубликовал ряд статей и книг, посвященных анализу различных аспектов
финно-угорского языка, точнее языку мари (известного как «черемиси»).
Труды профессора Себеок вбирают в себя такие области науки как антропология, биология,
фольклор, лингвистика, психология. Для того чтобы добиться новых вершин в науке, например, в
исследованиях по мифологии, психолингвистике, стилистике, коммуникации животных и биосемиотике, профессор Себеок умел сплачивать специалистов из разных смежных областей науки
для исследований.
Профессор Себеок был одним из моих академических консультантов в университете Индиана,
где я посещал ряд курсов, включая курс по языку мари. Это было связано с тем фактом, что я
выбрал этот курс в качестве темы для моей исследовательской работы по семиотике.
Ключевые слова: знак, зоосемиотика, биосемиотика, семиотик, семиология, семиозис, врожденная гипотеза, когнитивные науки.
Abstract: This paper will address some of the semiotic issues with which the well-known HungarianAmerican Professor Thomas A. Sebeok (Sebők) was involved, particularly his purview of semiotics to
include non-human signaling and communication systems, coining the term “zoosemiotics” and raising
48
some of the issues addressed by cognitive linguistics. Professor Sebeok was also among the founders of
biosemiotics, which this paper will attempt to address. As a linguist, he published several articles and
books analyzing aspects of the Finno-Ugic language, Mari (known as “Cheremis”). Professor Sebeok’s
work spanned the fields of anthropology, biology, folklore studies, linguistics, psychology, and semiotics,
and he had the ability to bring together specialists from neighboring fields of research in order to gain
new perspectives on, for example, the study of myth, psycholinguistics, stylistics, animal communication
and biosemiotics. .
Professor Sebeok was one of my academic advisors at Indiana University where I attended several of
his courses, including the one he taught about the Mari language; it is for this reason that I chose him
as the subject of my paper on semiotics.
Keywords: sign, zoosemiotics, biosemiotics, semiotician, semiology, semiosis, innate hypothesis,
cognitive sciences
On October 4, 1957 the Soviet Union launched
sputnik. This Soviet technological achievement
caught the U.S. government, military, and scientific
community off guard, and their united efforts to
catch up with the Soviets heralded the beginning of
the “space race” and perhaps the beginning of the
cold war. Connected with this was the realization
in the US that Americans were not learning foreign
languages, especially the languages of the USSR.
Hungarian semiotician and linguist Thomas Albert
Sebeok (Sebők) (born Nov. 9, 1920 in Budapest,
becoming a naturalized citizen of the US in 1943,
earning his doctorate at Princeton University)
arrived at Indiana University in 1943 to assist the
anthropologist Carl Voegelin to manage the country’s
largest Army Specialized Training Program in
foreign languages. At Indiana Sebeok created the
university’s department of Uralic and Altaic Studies,
covering the languages of Eastern Europe, Russia
and Asia. At the same time he became the chair of
the university’s Research Center for Language and
Semiotic Studies.
It was Professor Sebeok who both facilitated my
acceptance in the doctoral program at Indiana in 1963
and who recommended me for an NDEA (National
Defense Education Act, Title IV) fellowship to pursue
my studies in Hungarian language and literature, and
Finno-Ugric and Turkic languages and area studies.
(The NDEA program had been established by the
US Defense Department after the launch of sputnik
for the study of the so-called critical languages – the
languages of the Soviet Union and the East Bloc.)
As a founding member of the Department of
Uralic and Altaic Languages, Professor Sebeok
became interested in the preservation of the
endangered languages, including the Mari language
(Cheremis), a Finno-Ugric language spoken by a
relatively small number of people in the Republic of
Mari-El a bit west of the city of Kazan’. His interest
in this language led him to write a grammar of Mari
which he published in the Indiana University Uralic
and Altaic Series that he edited. I had the privilege to
have been one of his students in a course he taught on
the Mari language as well as in several of his other
courses on linguistics. He then served on my Ph.D.
committee several years later.
However, Professor Sebeok will be remembered
for his pioneering work in the field of semiotics. He
continued in the footsteps of Ferdinand de Saussure
in investigating the study of the sign that had been
the major focus of the work of de Saussure and other
scholars beginning in the mid 20th century. Known as
‘semiology’, this study has been pursued by scholars
since the mid 20th century. However, Sebeok
expanded this study known as ‘semiology’ beyond
the cultural world of the human being on which
de Saussure had focused, to include non-human
signaling and communication systems. He was one
of the founders of biosemiotics, coining the term
‘zoosemiotics’ in contrast to ‘anthroposemiotics’ to
emphasize that animals too depend on the actions of
signs within experience.
Thus, Sebeok transformed semiotics back into
a life science, placing it into a larger biological
domain. Much like Chomsky posited with respect
to grammar, Sebeok showed how all animals are
endowed genetically with the capacity to use their
basic signals and signs for survival.
Sebeok rejected the experiments on the linguistic
abilities of apes, assuming the existence of a deeper,
more universal and more meaningful underlying
substratum: the “semiotic function”.
In his article “The Sign Science and the Life
Science” Sebeok views semiotics to be at least
as richly diffused with content as what is today
practiced under the label of ‘cognitive sciences’. He
frames sign science in with life science – all sciences
that have to do with the structures, performances,
49
and interactions of living things. Sebeok referred
to St. Thomas Acquinas who already in the 13th
century recognized that animals make use of signs
both natural and those founded on second nature
and custom. He argued that language emerged as
an evolutionary adaption of over two million years
ago in the guise of a mute semiotic modeling system.
Animals, he writes, have become ‘incomparable
virtuosi’ at semiosis – the phenomenon that
distinguishes life forms from inanimate objects as
they interact among members of their own species
and with members of all other life forms in their
Unwelt, including the plant world. Semiosis can be
defined as the instinctive capacity of all living things
to produce and understand signs.
In his scientific work, Tom Sebeok, as he was
known, provides many examples of the use of signs
in animals, and classifies them on the basis of sign
types. He tends toward the view that the decisive
role in animal behavior belongs to indexical signs.
He then enters into a discussion of language in
animals which he claims is nothing more than a
system of indexical signs, especially with respect
to the ‘language of bees.’
In turning from zoosemiotics to biosemiotics,
Sebeok argued for introducing semiotics into all
forms of biology, all living creatures serving as
objects of semiotics analysis. He emphasized the
existence of semiosic phenomena in non-human
organisms, and attempted to analyze the biological
basis of various sign processes. That is, protists,
plants, fungi, plants, and animals all represent
different basic communication strategies. He thus
divided the study of biosemiotics into phyto- cytoand zoosemiotics, to include the plant world with
which animals have learned to communicate through
the use of signs. He emphasized that nature itself
has a certain hierarchy, a universal characteristic
which life shares with the rest of the cosmos, and
within this totality there is interaction through the
use of signs.
But there are no syntactic structures in animal
sign systems, argued Sebeok. This is in accordance
with Chomsky’s innate hypothesis, where he argues
that only humans have the ability to create novel
utterances.
Sebeok was renowned for his ability to bring
together specialists from different fields in order
to generate perspectives on the study of myth,
psycholinguistics, stylistics, animal communication,
and biosemiotics, among others. It was mainly Sebeok
who promoted the use of the term “semiotics” rather
than semiology to name the general study of signs.
In 1975-76, Sebeok founded the Semiotic
Society of America (SSA), having already been
one of the founding members of the International
Association for Semiotic Studies (IASS) in 1969 and
editor of its journal, Semiotica, from 1969 until his
death in 2001. Sebeok was also the editor of several
book series and encyclopedias, including Approaches
to Semiotics, Current Trends in Linguistics, and the
Encyclopedic Dictionary of Semiotics.
In 1991 the Sebeok Fellow Award was
introduced “to honor his substantial career or lifetime
contributions to semiotics and service to the semiotic
community” through publications developing the
recognition that anthroposemiosis is no more than a
part of the still larger semiosis within the world of
nature itself.
The title of “Sebeok Fellow” is the highest honor
to be given by the Semiotic Society of America.
It is presented only at two- to four-year intervals
followed by the Sebeok Fellow Address at the SSA
Annual Meeting and carries with it life membership
in the SSA.
Bibliography
1. Kull, Kalevi. “Thomas A. Sebeok and Biology:
Building Biosemiotics”, Cybernetics and Human Knowing, Vol 10, no. 1.
2. Sebeok, Thomas A. Signs – An Introduction
to Semiotics, 2nd Ed., University of Toronto
Press, Toronto, 2001.
3. Sebeok, Thomas A. “The Sign and the Life
Science”, Applied Semiotics 3:6/7, 1999, pp.
85-96.
50
УДК: 811.161.1 (575.2) (04)
Chorobaeva Narynkul, Vice rector, NSU
Zhaparova Kosmira, teacher, NSU.
Etiquette of greetings in intercultural communication
Этикет приветствия в межкультурной коммуникации
Аннотациясы: Бул макалада ар кандай өлкөлөрдө учурашуу манералары жана формалары
каралып, алардын окшоштуктары жана айырмачылыктары берилет.
Негизги сөздөр: учурашуу, культуралар ортосундагы байланыш
Аннотация: В этой статье рассматриваются манеры и этикеты приветствия разных стран,
наблюдается, что формы приветствия в различных странах имеют различия и сходства.
Ключевые слова: приветствия, межкультурная коммуникация
Annotation: This article deals with the manners and daily etiquette greeting forms in different countries.It reveals that in different countries greeting forms are variedand however in some countries there
are the similarities.
Keywords: greetings, intercultural communication
Semiotics is the science of signs and sign
systems. This is interdisciplinary science emerged
at the junction oflinguistics theory, information,
psychology, biology, literature and sociology. In
general, there are three distinct sections in semiotics:
Syntactic- the study of the objective laws devices of
sign systems, as well as the relationship between the
elements of the language, the rules of their education,
and combinations thereof.Semantics – the study of
meaning, i.e., the relationship between the characters
and values, rules, symbols and understanding.
Pragmatics – the study of relationships between
subjects using a sign system. By this system, in
other words, we understand the relationship between
language and the user, and the rules of language
use.
Culture Semiotics deals with sign means of
culture; it examines all cultural phenomenon’s
as texts. In this case the necessary component of
any culture is information which always keeps
and transfers with the help of signs. In general
they form a text not only written text, but also any
artifact.Form the semantics’ point of view the basic
structural component of culture is sign systems.
Sign is a material object (event, phenomenon).
There are 6 types of signs: natural, functional,
iconic, conventional, verbal, writing system. Our
theme is conventional signs. Conventional signs are
artificially created signs that people have agreed to
attribute a certain meaning. They may not be quite
similar. And in this article we have tried to consider
various options greetings of different nationalities.
Greeting is the way of welcoming a person.
It is done not only when a guest comes to your
house but also when you meet or are introduced to
someone. In the modern age, with the influence of
“westernization”, greeting is now restricted to hello
and handshake but according to traditional norms;
forms of greeting vary in from country to country.
Daily greeting etiquette and meetingis one of the
important features of social civilization. Manners
and daily etiquette greetings have the similarities
and differences in cultural background and using
appropriate words and phrases. In the process of
intercultural communication it is necessary to know
and to pay special attention to the fact that these
differences are caused by the difference of cultures
and traditions.
In the process of using language in order to
express their ideas and information any people base
on national traditions and thoughts.Ininternational
communication, ifsenderandrecipientcannotenterinto
the framework ofatotalsamecultural background, they
cannot beunderstood byeach other, whichleads to
misunderstandings-communicationbecomes useless,
you cannotestablishthe communication.Thus,
successfulinternational communicationdepends on
a clearunderstanding ofcultural differences.Habits
and customs of greeting in spite of the matter what
language people speak, wherever and whenever to
51
meet friends, they will greet each other. In general,
greetings may be divided into two groups: verbal
and nonverbal. Firstis expressed by phrases and
questions, such as “hello”, “how are you?”. The
second refers to those situations where people meet,
but for some reason cannot greet each other by the
words – then they express a greeting by a nod, a
smile, or other body movements, facial expressions.
Let’s look at different forms of greeting in different
countries.
The mostfamiliar to usis thehandshake. But even
so, there are differences: in Russia, for example,the
man should greet firstandwomanstretchesher hand(if
it isnecessary), and in England there is another.
InTajik family, the owner of the house, taking a
guest, shakes his twooutstretched hand as a sign of
respect.
In Saudi Arabia,in suchcases, afterthe head ofthe
host countryhandshakes, heputs hisleft hand onhis
right shoulderandkissesthe guests on both cheeks.
Iranians, shake hands, then pressed his right
hand to his heart. In the Congo people greet each
other with both hands blowing on them.
The African Maasai: before shaking hands
before they spit on them. Kenyan people are not
troubled by pulling the hand: just spit at each other
in greeting.
As a widespread handshake, in order to check
weapons in hands there is an alternative way in the
traditions of different cultures. For example, Indians
folded hands “Anjali”: palms pressed against each
other in the state thumbs up, so that their tips have
risen to the level of the eyebrows.
Japanese not prefer handshakes, but bows,how
much it is lower and longer, the more important the
person whom they are addressed.
Koreans also anciently bow at the meeting. The
Chinese, who bows traditionally can,easily to pass
greeting by shaking hands, and when
In the Middle East the bow with lowered
head and arms pressed to the body, when the right
hand covers the left means the signs of respectful
greeting.
And what a beautiful ritual greeting in some
North African countries is first they touch with his
forehead, then to his lips and after that- chest. In the
language of gestures that means: I think of you, I am
talking about you, I respect you.
In Zambezi they clap hands with sittings.
In Thailand, the united palmsare applied to the
head or chest, and it can be according to the higher
status ofacclaimed person. Thisgestureisaccompani
edbyacryof “wai”
Tibetans generally do extraordinary: they
remove the cap with righthand from his head, and lay
his left hand behind his ear and put out the tongue.
This proves the absence of bad intentions in greeting.
Polynesians also greet very tender, they sniff each
other, rub noses and treat each other on the back.
In Egypt and Yemen, a welcome gesture reminds
a saluting in the Russian army, only the Egyptians,
putt hand to their forehead, turn it to the side with
whom hello.
South Africathe ritual of clutching little fingers,
shaking their fists and again grip the little fingers,
became common on many streets in the United
States.
All the forms of greeting, no matter how much
interesting or different they are, give the same
message. That is of, love and respect to maintain
good will in the society. Greeting is an expression
which in its own way pleases a person. And in a
variety of greetings international etiquette is the
same. People when meet each other wish goodness
and happiness, health, success, good morning, or
evening. So it is very necessary to know the good
manners of behavior. It consists of major rules:
politeness,naturality, dignity and tact.
Reference
1. Dialogs for everyday use. Julia M.Dobson,
1995
2. What is semiotic?// Rainbow. Gornyi 1996
3. Semantics. Stepanov U.S. Moscow 1971
4. www.rg.ru/../privetstvie -site.html
5. nsknews.info/news/127616
52
УДК: 811.161.1 (575.2) (04)
Davut Ersoy, Turkey
Sembollerin Yunus’un Şiirlerinde Kullanımı
The use of symbols in Yunus’ poetry
Аннотациясы: Баарыбыз билгендей эле – семиотика белгилерди таануучу илим болуп эсептелет. Ал биздин жашоодо абдан коп кездешип келген жана келип жатат. Башкача айтканда
семиотиканын жардамы менен биз коомго кабар бере алабыз. Семиотика бир гана коммуникацияда эмес, адабият менен музыкада да колдонулат.
Сырдуу окуяларды жазган акын Юнус Эмре, озунун ырларында семиотиканы коп колдонот. Ал
семиотиканы озунун турк тилинде суйлогон окурмандарга тушунуктуу болуш учун колдонот.
Негизги сөздөр: белги, поэзия, суфизм, шам, суйуу, нафис
Аннотация: Как мы знаем, семиотика воспринимается как изучение знаков и символов всех
видов и рассматривает, что они означают и как они связаны с вещами или идеями. Мы живем
вместе с этими символами в повседневной жизни, как это было и в прошлом. Другими словами,
они незаменимы, чтобы донести наше послание в обществе. Семиотика имеет широкий спектр
использования. Ее используют не только в общественной коммуникации, но также в литературе
и музыке.
Как поэт-мистик, который использовал символы Юнус Эмре также нашел им хорошее применение в своих работах. Он использовал семиотику для того, чтобы передать исламские знания
простым людям Турции. Таким образом, он использовал все возможные семиотические элементы
в своей поэзии. Он ориентируется на создании образа, который будет понятен для читателей.
Кроме того, символы влияют на читателя и увеличивают интерес к книге.
Ключевые слова: Sembol (символ), şiir (поэзия), tasavvuf (суфизм), Кандиль (свечи), ASK (любовь), Нэфис (Self),
Abstract: As we know semiotics is perceived as the study of signs and symbols of all kinds. Such as,
what they mean, how they relate to things or ideas they refer We have been living together with these
symbols in everyday life as it was in the past. In other words, they are indispensable to get across our
message in the society. Depending on this aspect they have wide range of usages. Not only in public
communication but also from literature to music we make much use of them.
As a mystic poet gained mastery over using symbols Yunus Emre also put them to good use in great
deal. In accordance with his Islamic mission he employed them for the sake of his purpose to give his
message to ordinary people with plain Turkish. Thus, he employed those semiotic elements in his poetry
as much as he can. Since, by virtue of comparison he aimed to create an image in the mind of readers for
better understanding. Moreover, symbols increase the curiosity of readers, affect them in great deal.
Key words: Sembol (symbol), şiir (poetry), tasavvuf (Sufism), kandil (candle), aşk (love), nefis
(self),
Zaman zaman yazarlar ve şairler bazı muğlâk
iradeleri anlatmakta zorluk çeker. Kendisinin
anlamasına rağmen, meramını karşı tarafa aktarmada
zorlanır. Bu durumda mecaz ifadelerden faydalanmak
için başvurulan bir yoldur. Pek tabii ki bu kavramlar
hitap edilen kitlenin kültür seviyesiyle, yaşayış tarzı
ile ve beklentileri ile örtüşür. Böylece bilinenlerden
hareketle bilinmeyen tarif edilmiş olur, hem de
kişinin en iyi anlayabileceği şekilde.
Şurası bir gerçektir ki şiirde sembol ifadelerinin
kullanımı ayrı bir önem arz eder. Özgün sanatçıların
özel bir sitili olduğu gibi yine kendilerine mahsus
özgün benzetmeleri de vardır. Bunlar o kişinin
adeta ikinci bir kimliği gibidir. Başka bir ifade
ile daha ilk satırda, kullanılan bu ifadeler yazarı
ele verirler. Bu ifade tarzı falan şahsın deyip siz
o kişiyi kalemini kullanmasından tanırsınız. İşte,
sembollerin kullanımı da öyle bir şeydir. Özgün
sanatçıların kendi düşünce dünyasından doğan, yine
kendilerine mahsus böyle çarpıcı ifadeleri olur. Bu
53
ifadelerdir ki esere renk verir, ayrı bir tat katar, onu
kendisi yapar.
İmgelerin kullanılmasındaki bir diğer amacı
da, anlatmak istediği kavramları en kısa yoldan en
çarpıcı şekilde bu mecaz ifadeler yardımıyla anlaşılır
kılmaktır. Sembollerin en önemli fonksiyonlarından
biri de budur. Bu özellikle soyut kavramlar için
çok geçerlidir. Yunus Emre’nin ruhu kuşa, Allah’ı
ekinciye, aşığı bülbüle, insan ömrünü bir ipe
benzetmesi bunlardan bazılarıdır. Gerçekten,
Yunus tasavvufi öğeleri de kullanarak anlatımını
zenginleştirdiği gibi kolay ve etkili bir iletişim
yoluna gitmiştir.
Diğer taraftan semboller şiirin gizemini artırır,
okuyucuda merak uyandırıyor. Bu meraktan dolayıdır
ki okuyucu onu defalarca, bıkmadan, usanmadan
okuyor günümüzde. Dahası bu imgeler okuyucular
üzerinde uzun süre kalıcı etkiler bırakıyor. Adeta
onları büyüleyip şiir sarhoşu yapıyor. ‘Mezar taşı’
için Hece taşı’ tabirini kullanması, ‘insan’ için
Elif Mim Dal tabirlerini kullanması gibi. Böylece
okuyucu meraka sevk edilip kafa yorması, dizeler
üzerinde düşünmesi sağlanıyor.
Ayrıca muhteva olarak onun şiirleri çok derindir.
Yunus derin kavramları basit ifadelerle anlatmaya
özen göstermiştir. Diğer bir tabirle basit gibi gözüken
o şiirleri layıkıyla anlamak için Yunus’un bizzat
kendini, Türk tarihini; özellikle onun yaşadığı
dönemi, Kuranı ve İslam tasavvufunu çok iyi bilmek
gerekir. Aksi takdirde onun mesajı yanlış ya da
eksik anlaşılmış olur. Örnek olarak Yunus Moğollar
için ‘Tatar’ tabirini kullanır, cenaze namazına ‘dört
rekâtlık namaz’ der, ‘didar’ ı Allahın yüzü anlamında
kullanır. Derin bir kültür birikimi olmadan bu
tabirleri anlamak oldukça zordur. Böylece mecaz
ifadeler yardımıyla bunları anlamak için okuyucuyu
araştırmaya sevk eder.
Yunus da mecazlı ifadeleri meramını daha iyi
anlatabilmek için kullanmıştır. Bu yönüyle onun
şiirleri sembollerle bezenmiştir diyebiliriz. Hemen
her satırı bu ifade zenginliği ile örülmüş, onun
kalemiyle çarpıcı bir güzellik şeklini almıştır. Seçtiği
benzetmeleri özellikle hitap ettiği kitlenin aşina
olduğu nesne ve kavramlardan seçmiş ki söylemek
istedikleri kolayca anlaşılsın. Bu yolla en girift
kavramları herkesin anlayabileceği, sıradan ifadelere
dönüştürmüştür. Bunu, kıyas yaparak, uygun
semboller kullanarak kısaca anlatmak istediği şeyin
zihinde resmini oluşturarak anlatmayı başarmıştır.
Bunun farkına varan A. Schimmel onun için “ Büyük
bir anlatım ustası idi “ der.
Yunus, sembolleri hayatın değişik kesitlerinden
aldığı gibi eski göçebe dönemine de giderek, kültürler
arasında bir bağ kurup, hem o kültür değerlerini
yaşatmış hem de onları amacı doğrultusunda
şiirlerinde kullanmıştır. Buradan hareketle onun
şiirlerinde göçebe akıncı hayatına ait teşbihler vardır.
Ok, kılıç, çadır bunlardan bazılarıdır. Ayrıca sosyal
hayattan, özellikle yerleşik hayata dair benzetmelere
şıkça rastlanır. “urgan, zincir, hazine, ev pazar, bağ “,
tabiattan alınma “dağ, deniz, umman”. Ayrıca eğitim
hayatı ile ilgili benzetmelere de çokça rastlamak
mümkündür. Bunlar: sebak, kitap, divan vs.
Netice itibari ile Yunus semboller kullanarak,
akıcı, anlaşılır, bir o kadar da gizemli şiirler yazmıştır.
Milletinin öz dilini kullandığı için daha çok kitleye
ulaşmayı başarmış milli bir dil olarak Türkçenin
ebedîleşmesine ciddi katkıda bulunmuştur. Daha
da ilginci dini terimleri sembollerle süsleyerek şiire
taşımıştır. Şu bir gerçektir ki Yunus mecaz ifadelerle
şiirlerini bir dantelâ gibi örmüş, harikulade güzellikte
eserler ortaya çıkarmıştır. Hem sosyal hayattan hem
de tasavvuftan aldığı kültürü imgelerle en güzel
şiirler şeklilinde aktarmıştır. Onun istisnasız her şiiri
muhteva olarak anlam yüklü olup her biri bir ders
niteliğindedir.
Belli bir ölçü ve kafiye düzenine göre yazdığı
şiirleri mesaj yüklü olup süslü ifadelerle akıcı bir
üslup kazanmıştır. Kullandığı semboller muhatabının
aşina olduğu cinsten olup, şiirin muhtevasını
kavramada birer yardımcı öğeler türündendir. O
kadar ki bu mecazi ifadeler okuyucunun zihninde
canlanmış, görüntü haline gelmiş, okuyucunun adeta
gözleri önüne belirmiştir. Bu yönüyle o imgeleri
okuyucunun hizmetine sunmuş, anlatımı kolaylaştıran
unsur olarak onlardan istifade etmiştir.
Şiir söylene yemeyeni söyleyebilme sanatıdır
derler. Fuzuli’nin deyimiyle “ ilimsiz şiir temelsiz
duvar gibidir.” Buradan hareketle şiirde gizemli
bir söyleyiş tarzı vardır. O hem şairin kültür
birikimiyle hem de anlatış kabiliyetiyle yakından
ilgilidir diyebiliriz. İşte bu unsurlar Yunus’ta zirveye
çıkmıştır. O çok geniş bir bilgi birikimine ve şiir
yazma yeteneğine sahiptir. Buna ilaveten o kutsal
kitap kuranı tercüme edecek kadar dini bilgisi ile
tekkeden ve medreseden aldığı dini kültür birikimi
ile hatırı sayılır ilimle donanımlı bir şairdir. O,
yedi tamudan, Rıdvan’ dan, Levhden ve Gayyadan
bahseder.
13. Yüzyılda yaşamış bir mistik şair olan
Yunus’un günümüzde, kendi devrinden daha fazla
54
bir tanınmasında ve sevilmesinde çağdaş düşünce
tarzının olduğu kadar söyleyiş biçiminin de önemli
olduğu muhakkaktır. Çünkü kullandığı işaretlerin ve
mecazi kavramların çoğu şahsına münhasırdır. Aşkın
sembolü olarak Hz Muhammedi, Allaha vasıtasız
ulaşmanın remzi olarak Hz Musa’yı, ilahi aşkı için
tahtını terk eden İbrahim Ehem’i nazara verir. İşte bu
derin bilgi birikimi, ifade gücü ve sembollerle dolu
sufi terminolojisi onu ölümsüz kılmıştır.
Sufi bir şair olarak Yunus amacının hâsıl olması
için özellikle dini motifleri kullanmıştır. Engin
tasavvuf bilgisini işaretler yardımıyla gayet çarpıcı
bir şekilde anlatmayı başarmıştır. Yani kavramların
sözlük anlamının dışında, benzetmelerle soyut
ifadeler şekline dönüştürerek anlatma yoluma
gitmiştir. Böylece her bir dize büyülü sözler şeklinde
kendini göstermiştir. Kullanılan bu sembol ifadeler
daha çok dini terminolojiden ve halkın aşina
olduğu, herkesin bildiği nesnelerden seçilmiştir.
Onların anlamlarına vakıf olmak için derinlemesine
tasavvufi konularına vakıf olmak şarttır. Misal
verecek olursak; ‘Derviş’ deniz kenarında göçen
kuşa benzetilmiştir. Burada dervişin bu dünyada
geçici bir süre için duracağına işaret edilmektedir.
‘Deniz’ ise birliğin remzidir. Muhtelif zamanlarda
kullandığı ‘bulut’ tabiri ile nefis perdesi anlatılmak
istenmiştir. ‘Rahmet’ ile kastedilen su veya göldür.
‘cennet’ birden fazla kelime ile anlatılmıştır. Mesela,
Uçmak, Divan, Behist, Firdevs-i Ala, Sekiz Uçmak
kelimelerinin hepsi cenneti göstermek için kullanılan
kelimelerdir, ‘Cehennem’ için ise Tamu, Nar, Derzan
tabirleri kullanılmıştır. ‘Ulu Hece’ tabiri ile Kuran,
Allah, kısaca tevhit inancı kastedilmiştir. ‘Zahir suya
banmak’ abdest almak demektir. ‘Mihrap’ kamil
insanın manevi yüzü için bir remizdir. ‘Minber’,
ilerlemek, manevi seviye kat etmektir. ‘ Minare’
birin, birliğin, mutlak zatın remzidir. ‘Suçi’ şarap,
namaz, oruç anlamındadır. ‘Şeste/ kopuz’ tespih
ve secde, vahdet zevki yerine geçmiştir. ‘Kabe’
mürşidi kamilin gönlü yada eşiğidir, zatı tevhidin bir
sembolüdür. ‘Başsız/ağaç at’ tabuta işarettir. ‘Azrail’
aslan ya da ecel bekçisi olarak tarif edilmiştir. ‘Ölüm’
aslanın pençesi, şarap kavramlarıyle sembolize
edilmiştir. ‘Yetim’ Hz Muhammed’dir. ‘Ay’ mürşidin
yüzü ( özellkleini ilahi zattan alması itibari ile.)
‘kesvet’ ırmak, dünya, hicap, vücut, duman, nefis
anlamlarındadır. ‘Tur Dağı’ kamil insan gönlüne
benzetilir. Tecelliye uğrar aynen Hz Musa gibi.
‘Can’ kıymeti ve gizliliği itibari ile hazineye işaret
edilmiştir ayrıca esir, sultan, mahbus kandil, bela,
yücelik, hicap anlamlarındadır. ‘Vücut’ kale, ev,
merkep, cübbe tabirleri ile karşılanmıştır. ‘Dünya’
gelin, ihtiyar, kadın. ‘Bülbül’ zikir etmesi, mürşidine
karşı niyazda bulunması ile dervişe benzetilmiştir.
‘Mum’ mürşidin yanağı ya da cemali. ‘Aşık’ dertli,
sayru, zaif, garip anlamlarına gelir.
Görüldüğü gibi Yunusun çok geniş sembol
yelpazesi vardır. O mecaz ifadeleri titizlikle
tasavvuf kültüründen ve gündelik hayattan seçmiştir.
Maksadın tam olarak hasıl olmasında çok önemli yer
tutan bu usulü Yunus ustalıkla kullanmıştır. Diğer
taraftan bu benzetmelerin şiirlere ayrı tat ve özel bir
zarafet kazandırdığı da muhakkak.
Türk tasavvuf edebiyatının en önemli
temsilcilerinden biri olan Yunus Emre kendine özgü
benzetmeleriyle ilgi odağı olmuş, buna ilave olarak
kendine özgü bir kimlik, aşk ve ahlaki felsefe ortaya
koymuştur. Bu yönüyle kendisinden sonra gelen pek
çok şaire ilham kaynağı olmuş durumundadır. Bir
aşk kahramanı olarak tüm insanlığı kardeş saymış,
onları birliğe, sevgiye ve güzel ahlaka davet etmiştir.
Diyebiliriz ki o tasavvufun, halis bir Müslüman
timsali ve dünyalılara gülen yüzüdür. Onun arzuları
dünyayı aşmış, kabri aşmış hattata cennetleri bile
aşmıştır. O Allah’ın cemalini görmek için yanıp
tutuşmaktadır.
Cennet cennet dedikleri / Birkaç kılman birkaç
huri.
İsteyene ver sen onu / Bana seni gerek seni
Mısraları ona aittir. Tüm varlığı Allah için,
karşılık beklemeden sevmiştir. Aşağıdaki mecazlı
mısralar onun bu düşüncesini ne güzel özetliyor.
Ben gelmedüm da’viy için
benim işüm seviy içün
Dostun evi gönüllerdir
gönüller yapmaya geldim
Yunus, mürşide intisap etmeyi ‘erenler eteğini
tutmak’ şeklinde mecaz ifade ile anlatıyor. ‘nur’u
arayışın, saflığın, vahdete gidişin sembolü olan
suya benzetiyor. Tabiatta gördüğümüz rengi, deseni,
şekli Allah’ın değişik sakilde birer tecellileri olarak
algılıyor. ‘Vahdeti’ saf bir suya benzetiyor. Nasıl
ki su bulunduğu kabın şeklini alır aynen öyle de,
Allah da her nesnenin üzerinde sıfatları ile değişik
şekillerde tecelli eder demek istiyor. Başka bir
şiirinde aşıkı, denizde yüzen su kuşuna, yani bahriye
benzetiyor, denizi de vahdete yani birliğin sembolü
olarak görüyor. Zira tüm ırmaklar akar ve neticede
denizle birleşir. Tasavvufta su alçak gönüllülüğün,
mütevazılığın sembolüdür. Ayrıca her şey sudan
yaratılmış olup su nur sıfatına mazhardır. Yunus,
55
insan gönlünü Allah’ın tecelligahı olarak görür.
Ona göre gönül içi idrak merkezi olarak Allah ile
birleşir, buluşur bu yönüyle o kabeye remizdir. Âşık
içten içe yanan kandilin fitiline, aşk ise yağmura,
acı veren oka, madde âleminden mana âleminde
uçan kuşa ve gül suyu kokulu şerbete benzetilir.
Can ateşte kaynatılınca suyu uçan yalnız şekeri
kalan şeker şekerkamışına bir işaret ve bu vücut
mülkünün sultanı olarak ele alınır. Atın eyerlenip
gemlenmesini neslin terbiyesi şeklinde sembolize
eder. Yine Hz Muhammedi (a.s) ışık saçan bir kandil
olarak remze der.
Yukarıda verilen sembol ifadeler tasavvuf
kültüründe şıkça kullanılan ifadelerden sadece
bazılarıdır. Denebilir ki bu sayı düşünüldüğünden
çok daha fazladır. Zira bu benzetmeler genel
kabullere dayanmakla birlikte şaire özgü olanları
da vardır. Her kişinin ayrı bir dünyası ve ifade
kabiliyeti olduğu için bunları sayı olarak sınırlamak
da imkânsızdır. Burada ortak nokta benzetilen ve
benzeyen arasındaki kurulan şekil, renk, tat, oluş
bakımından kurulan yakın bağdır. Başka bir ifade
ile biri diğerine herhangi bir şekilde özellik olarak
çağırışım yapar. Böylece bu ifadeler anlaşılamayanı
anlaşır kılıp akıcı, kalıcı etki bırakır, soyut ifadeler
Bir örnekle yukarıda anlatılanları açıklayalım:
Haber Eylen Aşıklara Haber eylen aşıklara
Go and let it be known to all lovers:
Aşka gönül veren benem I am the man who gave his heart to love.
Aşk bahrisi olubanı I turn into a wild duck of passion,
Denizlere dalan benem
I am the one who takes the swiftest dive.
Deniz yüzünden su alıp From the waves of the sea I take water
Sunuverirem göklere And offer it all the way to the skies.
Bulutlayan seyran edip In adoration, like a cloud, I soar-Arşa yakın varan benem I am the one who flies to heavens above.
Gördüm diyen değıl gören He who says he sees, doesn’t, though he vows;
Bildim diyen değıl bilen That man doesn’t know if he claims he knows.
Bilen oldur gösteren ol
He alone is the One who knows and shows.
Aşka yesir olan benem
I am the man who has become love’s slave.
Deli oldum adım Yunus Yunus is my name, I’m out of my mind.
Aşk oldu bana kılavuz Love serves as my guide to the very end.
Hazrete değın yalınız All alone, toward the majestic
Yüz sürüyü varan benem Friend I walk kissing the ground--and I arrive.
Aşıklar: Allah yolunda olanlar, dervişler, sufiler.
Aşk: Allaha karşı olan aşırı muhabbet.
Aşk bahrisi:aşığın su kuşuna benzetilmesi.
Denizlere dalmak: ilahi aşka kapılmak, birliğe ermek.
Deniz: Birlik, genişlik.
gökler: cennetler.
Bulutlayan: bulut gibi
Arşa: göğün en yüksek katı( cennete delelet)
Aşka yesir: aşk mahkumu
Deli: Allah aşkıyla kendinden geçmiş kişi.
Aşk: Allahı çok sevme durumu.
Hazrete: Allaha
Görüldüğü gibi kelimeler sözlük anlamından
başka bir anlamda kullanılmıştır. Her ne kadar
gerçek anlamla mecazi anlamlar arasında bir yönüyle
ilgi olsa da bu kelimelerin tasavvuf kültüründe
daha farklı bir anlama sahiptirler. Yani bu kültürü
tanımayan sadece günlük anlamlarını dikkate alarak
siiri bütünüyle anlaması mümkün gözükmemektedir.
Anlaşılabileceği üzere şiirin teması ilahi aşktır.
Yunus ilahi aşka tutulmuş ve kendinden geçmiştir. O
kadar ki gayri ihtiyari olarak olağan üstü davranışlar
sergilemektedir. Kuşun kanatları vasıtası ile göklere
yükseldiği gibi o da ilahi aşkla Allaha doğru kanat
çırpmaktadır. Onun bu yolculuğu birlik denizine
doğrudur, yani Rabbine kavuşmayı amaçlamaktadır.
56
Çünkü varlığın yegâne amacı da budur zaten. O
kadar ki o bazen yerde bazen de göktedir. Bazen de
bulutlar gibi gezip cennetlere varmaktadır. Böylece
Allahın birliğini müşahede etmektedir.
Aslında bizim bu dünyada gördüklerimiz ve
bildiklerimiz gerçek değil, onlar sadece asıllarının
birer yansımalarıdır. Gerçek olan sadece Allahtır,
onun haricindeki her şey yalandır. Tasavvuftaki
ifadesi ile kâinatta hiç bir şey yok sadece Allah
vardır. Onun haricîndeki her şey O’nun sıfatlarının
yeryüzünde yansımalarından ibarettir. İnanlar Allah
yolunda yalınız yürürler, herkes kendi hatalarının
sonucunu yaşar. İnsanın, O’nun yolunda yürümesi,
ona yaklaşması ya da ulaşması sadece ilahi aşkla
mümkündür. Yani bu aşk Allaha ulaşmak için bir
kılavuzdur. O öyle bir aşktır ki, çok çilelidir, göz
yaşları ile doludur. Fakat mecazı aşktan farklı
olarak o sahibine doyumsuz bir haz verir, aşıkın
bundan en ufak bir şikâyeti de yoktur. Zaten, O’na
kavuşmanın yolu da bu çileli hayata katlanmaktan
geçer. Anlaşılacağı üzere şiirde kastedilen ifadeler
yüzeyde görüldüğünden çok daha farklıdır. Bu
farklılık, kavramlara özel, yani parçaya göre sembol
ifadeler yüklenmesinden kaynaklanmaktadır. Şiirde
kastedilen manaya vakıf olmak da zaten bunla
ilgilidir. Bu yolla dizeler daha etkin kılınmış olup,
verilmek istenen mesaj dolaylı yoldan, okuyucuyu
biraz da meraka sevkedilerek verilmek istenmiştir.
Ayrıca muğlak ifadeler de semboller yardımı ile
okuyucunun zihninde canlandırılarak onların
anlaşılmaları sağlanmıştır. Tüm bunların ışığında
olaya baktığımızda sembollerin ifade gücünü nasıl
etkilediğini bu şiirle daha iyi idrak etmiş oluyoruz.
REFERENCES:
1 Kabaklı, Ahmet. Türk Edebiyatı 2. Cilt.
İstanbul: Türk Edebiyatı Yayınları, 1994
2 Özbay, Hüseyin ve Mustafa Tatcı.Yunus Emre
( MAKALELERDEN SEÇMELER). İstanbul:
Milli Eğitim Bakanlığı, 1999
3 Tatcı, Mustafa. Yunus Emre Divanı (
İnceleme)1. İstanbul: Milli Eğitim Bakanlığı
Yayınları, 1997.
4 Kabaklı, Ahmet. Şiir İncelemeleri. İstanbul:
Türk Edebiyatı Yayınları, 1992.
5 Yunus Emre/The Great Turkish,Büyük
TürkMutasavvufu, Selected Article, Translsted
by Firat Asya,, Ankara: Kültür Bakanlığı,
1991
6 Özbay, Hüseyin ve Mustafa Tatcı.Yunus Emre
( MAKALELERDEN SEÇMELER). İstanbul:Milli Eğitim Bakanlığı, 1999
7 Kabaklı Ahmet,Türk Edebiyatı Ansiklopedisi
Büyük Eserler Dizisi-1,Cilt-2,Türk Edebiyeatı
Vakfı yayınları,İstanbul,1994
8 www.uga.edu/islam/sufismearly.html
9 Tatlı, İrfan. Özlü Sözler. İstanbul: Papatya
Yayınları, 2005
10 www.amazon.com/sign-our-time-semioticsenvironments/dp/Booo6 EUWB2-17 1k
57
УДК: 811.161.1 (575.2) (04)
Durus Kozuev, Assoc. Prof., PhD, BHU
Evgeny Dronov, BHU
Towards to the Semiotic Typology of Languages
Семиотическая типология языков
Аннотациясы: Биз тилди структуралык системанын ичинде анын символикалык, индексалдык,
жана иконикалык белгилер катары карайбыз. Жалпысынан, алар адамдын конкреттуу суйлоо
кебинде байланыш каражатктары катышат. Суйлоочунун модели негизинен уч коду камтыйт:
конкреттуу жана элестетуучу ситуацияда; суйлоочунун тажрыйбасы менен же анын жоктугу;
угуучунун тажрыйбасы же анын жоктугу. Угуучу маалымат табууучун озунун каражаттарын
колдонот себеби айтылбаган нерсени семиотикалык каражаттар аркылуу жеткирет.
Тил ар турдуу ситуацияны, маалыматты жана тажрыйбаны камтыйт. Демек, лингвистикалык супер тип негизинен томонкулор менен белгиленет: чындыкты коркомдоочу тилдер же
ситуацияны грамматикалык жактан суроттоо; суйлоочунун тили б.а. оузунун тажрыйбасын
грамматикалык жактан тура айтылышы; угуучунун тили грамматикалык жактан жаны же
эски маалыматтарды тура билдириши (угуучу менен айтуучунун салыштырма анализи). Тилдер
негизинен ушул уч типтерине карайт.
Структуралык жактан алар учко болунот: 1) чыныгы ситуацияда ундун катышы; 2) диктордын жана анын тажрыйбасы аркылуу; 3) угуучунун маалымат жыйноосу ошол эле учурда
супертиптин озгочолугу.
Негизги сөздөр: тилдин супертиби, типология, ситуация, тажрыйба, чындыкты коркмдоочуу
тилдер, угуучуга негизделген тилдер, айтуучуга негизделген тилдер
Аннотация: Мы будем рассматривать язык как структурированную систему символических,
индексальных и иконических знаков, которая функционирует в виде общих средств связи и
в качестве создания общей системы координат для людей в данном речевом сообществе в
конкретной ситуации общения.
Модель говорящего состоит из обязательного выбора между тремя типами кода
(грамматического), соответствующих трем направлениям, в которых говорится о текущем
положении дел: ситуации в реальном или воображаемом мире, опыте говорящего или отсутствии
его, или опыте слушающего или его недостаток. Слушатель использует свою модель в качестве
поиска информации для того, чтобы компенсировать те элементы содержания, которые остались
невысказанными путем выбора семиотической ориентации говорящего.
Указывая на ситуацию в реальности, которая является общей для говорящего и слушающего,
с опытом говорящего ситуации или опыта слушающего его по сравнению с говорящим. Язык
может говорить о ситуациях, опыте, или о информации.
Таким образом, лингвистические супертипы можно определить следующим образом: (1)
языки ориентированные на описании реальности, т.е. грамматическое описание ситуации; (2)
языки ориентированные на говорящего, т.е. грамматически говорящие о его или ее собственном
опыте или ситуации; (3) языки, ориентированные на слушателя, что грамматически говорит о
новых или старых кусочках информации, которые являются результатом сравнения говорящего
о своих переживаниях с тем, что есть у слушающего. Языки принадлежат к одному из трех из
этих супертипов, и поэтому пользователи должны выбрать одно знаковое направление из трех
возможных. Входя в тот или иной супертип, язык говорит в своей внешней структуре либо (1)
голосом реальности с участием в ситуациях, (2) либо голосом диктора с учетом его опыта; или
(3) голосом слушателя с участием частей информации известным для него, с учётом того чем
один супертип отличается от другого.
Ключевые слова: лингвистический супертип, типология, ситуация, опыт, языки
ориентированные на описании реальности, языки ориентированные на говорящего, языки
ориентированные на слушателя
58
Abstract: We will be consider language as a structured system of symbolic, indexical and iconic signs
that functions as a common means of communication and as a common frame of reference for people in
a given speech community at specific communication situation.
The speaker’s model consists of an obligatory choice between three types of code corresponding to
the three ways in which states of affairs exist: situations in a real or in an imagined world, the speaker’s
experience or non-experience of them or the hearer’s experience or non-experience of them. The hearer
uses his model as an information seeker in order to compensate for those pieces of content that were left
out by the speaker’s choice of semiotic orientation.
Pointing situations in reality being common to the speaker and the hearer, to the speaker’s experience
of the situation or to the hearer’s experience of it compared to that of the speaker. A language may talk
about situations, or experiences, or about informations.
Thereby linguistic sypertypes can define as follows: (1) reality-oriented languages that grammatically
speak about situations; (2) speaker-oriented languages that grammatically speak about his or her own
experience or of situations; (3) hearer-oriented languages that grammatical speaks about new or old
pieces of information which are results of the speaker’s comparison of his own experiences with those
of the hearer. Languages belong to either of three, because language users must choose among three
semiotic directions. According to supertype memberships, a language speaks in its output structure either
with (1) the voice of reality involving situations, (2) the voice of speaker involving his experiences; or
(3) the voice of the hearer involving pieces of information to him. the private sphere, they differ from
supertype to supertype.
Keywords: linguistic supertype, typology, situation, experience, reality-oriented languages,
speaker-oriented languages, hearer-oriented languages
We will be consider language as a structured
system of symbolic, indexical and iconic signs that
functions as a common means of communication
and as a common frame of reference for people in a
given speech community at specific communication
situation. This situation can be explain as a setting in
which a speaker, a hearer and reality are obligatory
participants, either as near entities as in an oral
dialogues or as distant entities as in written discourse.
Sign types is: (1) Icons where there is relation of
similarity between the expression unit and the image
content (e.g. diagrams or metaphors); (2) indexes
where there is dynamical relation of contiguity
between the expression unit and image content – the
expression unit may point backwards (symptom),
forwards (signal) or ahead (model); symbols where
there is static relation of arbitrariness between
expression unit and the image content – their static
nature makes them impotent, but the same time
omnipotent. Symbols become dynamic by means
of grammar.
The speaker’s model consists of an obligatory
choice between three types of code corresponding
to the three ways in which states of affairs exist:
situations in a real or in an imagined world, the
speaker’s experience or non-experience of them
or the hearer’s experience or non-experience of
them. The hearer uses his model as an information
seeker inorder to compensate for those pieces of
content that were left out by the speaker’s choice
of semiotic orientation.The speaker knows the
potential three-way ambiguity of any symbol and
in order to be able to provide the hearer with an
unambiguous tool that can instruct him as to how
the string of words should understood, there is an
obligatory choice between three type of indexes,
i.e. between three grammatical supertypes, the
function of which is to able to bring symbols to their
target by giving them a semiotic direction, i.e. by
pointing situations in reality being common to the
speaker and the hearer, to the speaker’s experience
of the situation or to the hearer’s experience of it
compared to that of the speaker. Any symbol is
omnipotent and is ready to be brought to the one
of the three targets. But just as a vehicle cannot
drive in the three different directions at the same
time, a grammar cannot point to the situation, the
speaker and the hearer at the same time. A language
may talk about situations, or experiences, or about
informations. Also, superstructure can declared as
consists of (1) a neustics part (I hereby say), (2)
a tropical part (it is true) and (3) a phrastic part
(e.g. ‘X is home’) with communicative functions:
(1) the representative function linked to the third
person; (2) the expressive function connected to
59
first person; (3) the appeal function attached to
second person.
Let us take the lexeme for “book” in three
different languages and let us attach a grammeme
to each lexical unit in order to make the linguistic
symbol dynamic and goal-directed and certain
grammatical meaning occurs: (1) with respect to
nouns: something may be presented as having local
reference, as being experienced by the speaker or
be known to the hearer or the opposite; (2) with
respect to verbs: an utterance may involve a situation
description, a generalization, a characterization or
a hypothesis; or – in the case of state descriptions
– it may involve the speaker’s own’ experience of
an animate or inanimate entity, a categorization of
characterization of it.
For example, Knig-a (‘book-nominative case’
in Russian), kniga-ta (‘book-article’ in Bulgarian)
and the book (‘definite article-book’ in English) all
have exactly the same linguistic content, i.e. all three
evoke the same image and the same idea, i.e. three
lexical expression units mediate exactly the same two
type of content. However, the Russian, the Bulgarian
and the English grammemes make them point in
the different directions. Russian kniga points to a
specific book situated at a certain place in a certain
situations; Bulgarian knigata points to a specific
book in the speaker’s mind; English the book points
to a specific book in the hearer’s mind.
If we substitute the Russian nominative case (i.e.
kniga) for genitive knigi, i.e. semantic opposition,
the specific book automatically removed from
concrete place in a certain situation. If there is no
local reference, you will have to use the genitive in
Russian – you could never use nominative or the
accusative, i.e. so-called direct cases. Therefore
“The book is not here” will be Knigi (Genitive) net
(Negation) – the genitive noun will denote a specific
book and speaker’s and in the hearer’s memory, but
Russian noun is not triggered by that. It is triggered
by fact the model has no local reference at the
moment of speech. The nominative is simply not
possible, because it asserts local reference. If we
substitute the so-called definite article in Bulgarian
(i.e. knigata) for the zero-form, kniga – its semantic
opposition, the specific book in the hearer’s mind is
removed and what is left is what is in the speaker’s
mind (almost equivalent to Bulg. Knigata)
Thereby linguistic sypertypes can define
as follows: (1) reality-oriented languages that
grammatically speak about situations; (2) speaker-
oriented languages that grammatically speak about
his or her own experience or of situations; (3) heareroriented languages that grammatical speaks about
new or old pieces of information which are results
of the speaker’s comparison of his own experiences
with those of the hearer. Languages belong to either
of three, because language users must choose among
three semiotic directions.
Also, these types are distinguished by different
attitude to structure and utterance meaning: (1)
input structure – the speaker’s own contribution to
utterance meaning; (2) output structure – the ordinary
grammar’s contribution to utterance meaning; and
(3) intake structure – the hearer’s own contribution to
utterance meaning. In this context utterance meaning
is the total meaning conveyed by an utterance. It may
be composed of (1) an Assertion, i.e. a foreground
proposition that is claimed to be true or false and
real or an imagined world; (2) a Presupposition,
i.e. background proposition that is true despite the
fact that a foreground proposition is claimed to be
false; (3) a Logical entailment, i.e. a background
proposition that has to be true in order to assert
foreground proposition; a Standard implicature, i.e.
proposition the truth or false of which must always
be determined by the hearer; an Implicature, i.e. an
assumption that naturally follows from an asserted
proposition, and a Presumption, i.e. an Assumption
is a prerequisite for making an assertion, a request
or asking a question.
By saying that there is a determinant category,
i.e. a category that governs the entire system, we
automatically get the idea that some categories
are more important that others. In other words,
determinant category is verbal category that can
be aspect, mood or tense, which forces all other
categories to speak with the same so-called basic
voice – voice that is heard when a grammar has
been applied to its input structure and has turned
it into output structure. If the basic voice involves
situations, its speaker will give a report; if it involves
experiences, its speaker will give a commentary; if it
involves pieces of information, its speaker will give
a message. Here Voice comprehend as Bakhtinian
inspired term (i.e. not used in the sense of the
diathesis). According to supertype memberships, a
language speaks in its output structure either with
(1) the voice of reality involving situations, (2) the
voice of speaker involving his experiences; or (3) the
voice of the hearer involving pieces of information
to him. Irrespective of that, in the input structure
60
the speaker must choose between a principal voice
(the public voice) and secondary voice (the private
voice). Although grounded in the same kind of basis,
the public vs. the private sphere, they differ from
supertype to supertype. The also be subvoices (first
person, second person and third person) within the
principal and secondary voices.
By looking at particular system of a specific
linguistic supertype (e.g. Russian as member of
reality-oriented languages) and by comparing it with
a specific system of another linguistic supertype (e.g.
English as a member of hearer-oriented languages),
we automatically obtain a contrastive framework.
Thus we can explain why, for instance, the Russian
and English languages seem to have few categories
in common. Russian has aspect, but it is differs
fundamentally from English aspect. Russian and
English, however, seem to share tense in that they
both refer concretely to the past and present (activity)
situations (we shall return to that). On other hand,
Russian has a host of formalized categories which
are simply absent in English (such as case, animacy,
mood, subjectless sentences, etc.) just as the English
language has ( such as compound and non-compound
tense forms, definiteness, it- and there-sentences,
it- and there-cleft sentences, etc.). In the same
way, it becomes clear why it is difficult – if not
impossible – for Russian students to learn to speak
and write correct English as well to comprehend oral
and written English discourse, and conversely, for
English students to learn to speak and write correct
Russian as well as to to comprehend oral and written
discourse.
If this is true, it is no wonder why most people
have difficulty when speaking a foreign language
that belongs to another supertype than their mother
tongue. people have to express themselves an a
way they are not used to. At the same time, we may
explain why hearers misinterpret the speaker when
confronted with language that belongs to another
supertype that their mother tongue. These kinds
of misunderstandings become even more serious
when two persons are speaking a language which
not their mother tongue (e.g. English) and their
respective mother tongues belong to two different
supertypes (e.g. Chinese and Turkish). In this case
the communication will often break down. They will
not know what they are actually saying and they will
not use the right decoding strategies. Moreover, if we
assume that they also negotiating a social contract in
the same way they would normally do in their mother
tongue, we can safely say that they will be facing
serious communication problems. It seems to me that
theory such as the theory of linguistic supertypes can
be used as a basis for solving existing problems of
that kind and, last but not least, for preventing new
problems from occurring.
Literature
1. Per Durst-Andersen Linguistic Supertypes:
A Cognitive-semiotic Theory of Human
Communication, Volume 6 in the series Semiotics,
Communication and Cognition edited by Paul
Cobley and Kalevi Kull and published by De
Gruyter Mouton, Berlin, 2011. ISBN: 978-3-11025314-6.
2. Janos J. Sarbo & József I. Farkas. Towards
Meaningful Information Processing: A unifying
representation for Peirce’s sign types. Signs vol.
7: pp.1-44, 2013. ISSN: 1902-8822.
3. Bakhtin, M. M. (1986). The problem of the text in
linguistics, philology, and the human sciences: An
experiment in philosophical analysis. In Speech
Genres and Other Late Essays (pp. 103-131).
Austin, TX: University of Texas Press.
4. Bakhtin, M. M. (1995). Author and hero in
aesthetic activity. In Art and answerability (M.
Holquist & V. Liapunov,Eds; pp. 4-256). Austin,
TX: University of Texas Press.
5. Bakhtin, M. M. (2001). Discourse in the novel. In
The Dialogic imagination (pp. 259–422). Austin,
TX: University of Texas Press.
Appendix
61
УДК: 811.161.1 (575.2) (04)
Ibraimova Gulsaira Ph.D, IUK
Semiotics of Kyrgyz Music
Семиотика Кыргызской Музыки
Аннотациясы: Макала кыргыз музыкасын семиотикалык өңүттөн изилдейт. Кыргыз музыкасына вербалдуу жана невербалдуу белгилери бар татаал лингвистикалык жана семиотикалык
системасы мүнөздүү. Вербалдуу белги аллитерация, ассонанс, метафора, анафора, синтаксистик
парралелдүү конструкция сыяктуу стилистикалык каражаттардан турат. Невербалдуу белги
паралингвистикалык, символикалык жана просодикалык сигналдардан турат.
Кыргыз ырлары жакынкы жана алыскы ыкма менен сунушталат. Дискурстун негизги катышуучулары болуп, угуучу, аткаруучу жана обончу эсептелет. Кыргыз ырларынын максаты- угуучуга
обончунун негизги оюн жеткирүү, дискурстун лингвистикалык-семиотикалык каражаттарын
тандоо. Обончунун ойлору биринчиден угуучунун социалдык абалына жана баалуулук ориентациясына багытталган. Кыргыз ырлары улуттук жана салттык баалуулуктарды конкреттүү
образдар аркылуу, жашоосу жана дүйнө таанымы аркылуу чагылдырылат.
Негизги сөздөр: семиотика, катышуучулар, музыкалдуу, суйуу, каада- салттын баалуулугу,
жашоо ыңгайы,дуйнону оздоштуруу.
Аннотация: Статья посвящена анализу кыргызской музыки с семиотической точки зрения.
Кыргызские песни характеризуются сложной лингво-семиотической системой, которая включает
в себя вербальные (стилистические приемы, такие как аллитерация, рифма, метафора, анафора,
синтаксические параллельные конструкции и т.д.) и невербальные знаки (паралингвистические,
символические и звуковые сигналы).
Кыргызскую песню можно представить двумя способами: в прямым и дистантным способом.
Основными участниками песенного дискурса являются слушатель, исполнитель и автор песни.
Целью кыргызских песен является оказание влияния на слушателя, передача слушателю намерений
автора, которое требует выбора лингво-семиотических средств дискурса. Намерения автора, в
свою очередь, направлены на создание социальных позиций и ценностных ориентаций слушателя.
Кыргызские песни отражают национальные и традиционные ценности через конкретные образы,
образ жизни и самобытности мировосприятия.
Ключевые слова: семиотика, устные и невербальные признаки, участники, музыкальный,
любовь, национальные и традиционные ценности, конкретные образы, образ жизни, восприятие
мира.
Abstract: The paper analyses the Kyrgyz music from the semiotic perspective. Kyrgyz songs are
characterized by their complex linguistic and semiotic system which includes verbal and non-verbal signs.
Verbal signs include various stylistic devices such as alliteration, assonance, metaphor, anaphors, syntactic
parallel constructions, etc. Non-verbal signs include paralinguistic, symbolic and prosodic signals.
A Kyrgyz song can be presented in two ways: face-to-face and distant ways. The major participants
of song discourse are listener, performer and author of the song. The aim of Kyrgyz song is to make an
influence on the listener, to transfer the author’s intention to the listener which demands the choice of
linguistic and semiotic means of discourse. The author’s intentions, in its turn, are aimed at establishing
social positions and valued orientation of the listener. Kyrgyz songs reflect national and traditional values
through specific images, lifestyle and originality of the world perception
Key words: semiotics, verbal and non-verbal signs, participants, musical love, national and traditional
values, specific images, lifestyle, world perception.
Musical semiotics is quickly establishing itself
in the 21st century as an independent discipline,
along with historical musicology. The growing
importance of this field of investigation concerning
itself both with theory and analysis can be explained
in the light of different developments. The changing
62
of our musical understanding plays an important
role. Since music became a product of technical
reproduction, pieces of different historical periods
are more readily accessible to us as listeners, and the
musical experience of the past is continuously being
recreated by new interpretations, which update the
“meaning” of individual works and musical styles.
I can’t but mention the Finnish musicologist,
Eero Tarasti (Tarasti 2002: v), whose contribution
to musical semiotics is vivid and great. He was the
first to give the definition of musical semiotics in
the preface to the book Signs of Music: A Guide to
Musical Semiotics. The book contains a commentated
history of musical semiotics, an overview of new
topics and areas of semiotic research being carried
out by Tarasti himself and other authors, as well as
some practical applications. By reading this book,
one follows the process of emergence, development
and diversification of a new discourse about music
as a sign and as a communicative practice. The
book consists of three parts. In the three chapters
of the first part – “Music as a Sign” – Tarasti
presents the foundations and perspectives of musical
semiotics. It begins with two important references,
the linguistics of the Swiss Ferdinand de Saussure
(1857-1913) and the philosophy of the American
Charles S. Peirce (1839-1914). Saussure developed
a theory of language as a sign system whereby signs
are to be understood as the relationship between
signifier (sound) and signified (sense). In the
phenomenology of Peirce, the sign is designated
as a representamen which stands in relation to both
an object and an interpretant. According to Peirce,
signs can represent everything that we perceive and
imagine. Linguistics and structuralism shaped by
the linguistics and semiotics of Peirce dominated
the first steps of the research on music and signs in
Europe and North America, which are commented
upon in the first chapter. Lithuanian linguist A. J.
Greimas (1917-1992) at the beginning strongly
influenced Tarasti’s musical semiotics. An interesting
part of this chapter concerns the question of the
understanding / misunderstanding of musical signs.
Tarasti postulates fourteen theses about processes of
musical understanding in order to clarify the manifest
relation between music and sign. In the second
chapter, Tarasti analyzes the development of music
from the Renaissance to contemporary music from
a semiotic perspective. The music of the Classical
and Romantic eras receives special attention here,
as is also the case in Tarasti’s Theory of Musical
Semiotics. Most examples come from the music
of Beethoven, Wagner, Chopin, Mahler, Scriabin,
Schumann, Berlioz, and other Romantic composers
– and of course, also from the works of Sibelius,
the most well-known Finnish composer. Tarasti also
shows how semiotic approaches are to be found in
the thinking of traditional music scholars like the
Austrian Heinrich Schenker (1868-1935), the Swiss
Ernst Kurth (1886-1946), the German Hugo Riemann
(1849-1919) and the Russian Boris V. Asafiev (18841948). He outlines the connections between historical
musicology and semiotics and shows clearly how and
why the question of musical meaning became so
important. Finally, the chapter presents an historical
overview of the current tendencies and issues of
musical semiotics in the world, including references
to authors and recent publications. After presenting
the main lines and perspectives of the research field
musical semiotics in the first part of Signs of Music,
Eero Tarasti elaborates on some topics of his own
semiotic thinking in the second and third parts.
In the second part, he raises and analyses some
aesthetic questions from a semiotic point of view.
The semiotic investigations move through a subtle
network of conceptions and references to classic
authors of musicology, philosophers or artists. Tarasti
is convincing not only through the connections he
makes between different approaches and scientific
domains, but also through the commentated examples
from the music of Beethoven, Sibelius, Chopin,
Strauss, Wagner, Mozart, Webern, Stravinsky, etc.
But musical semiotics does not deal exclusively
with aesthetic subjects and analysis of works from
the past. The third part of the book treats aspects
of musical and social practice. An entire chapter
is dedicated to the voice, dealing with subjects
including the meaning of the individual voice as a
sign of existence, the function of orality in music,
singing as social and national identity, and the voice
in relationship to genre and education.
As it was mentioned semiotics of music in
general, and semiotics of Kyrgyz music in particular,
is very topical today. Kyrgyz songs are characterized
by their complicated linguo-semiotic system that
includes verbal and non-verbal signs.
Verbal signs include various stylistic devices
such as alliteration, assonance, metaphor, anaphors,
syntactic parallel constructions, etc.
Non-verbal signs include paralinguistic,
symbolic, toponymy, color and audio signs, etc.
Paralinguistic signs include mimes, gestures. They
63
can be divided into phatic, appealing, signs for
attracting audience’s attention, greeting, warm-up
setting, thanking, hit-set, roll-call/ singing along,
saying goodbye, etc. Toponymic signals include
names of clubs, stadiums or any other places where
concerts take place: Philharmony named after
Satylganov, Sports Palace named after Kojomkul,
Ala Too Club, etc. Color signals include various
floodlight projectors, footlights, different colors that
also some semiotic meaning depending on the songs.
As for symbolic signs, they may include national
clothes, dress-up, threads, togs, trags, rags, thugs. If
it is a popular modern song representing teenagers’
lifestyle, then there may be jeans jacket, jeans,
T-shirt, sneakers, leather bicker jacket, waistcoat,
pants, mittens, loose long hair or tail.
Kyrgyz song can be presented in two ways:
face-to-face and distant ways. The major participants
of song discourse are listener, performer and author
of the song. The aim of Kyrgyz songs is to make
an influence on the listener, to transfer the author’s
intention to the listener which demands choosing
linguo-semiotic means of discourse. Author’s
intentions, in its turn, are aimed at establishing
social positions and valued orientation of the listener.
Kyrgyz songs reflect national and traditional values
through specific images, lifestyle and originality of
world perception.
Below there is a Kyrgyz national song and it’s
semiotic analysis. I will not provide non-verbal
signals of the song that are constituents of linguosemiotic system. The focus will be made on verbal
signs in the song.
Алтынчы куну кечинде Composer:
R.Abddykadirov.
Ал мезгил менин эсимде,
Али да сонун сезимге.
Ар дайым күтүп барчумун,
Алтынчы куну кечинде.
Сүйүү оту жанса көзүндө,
Сүйүнүч турчу өзүмдө.
Сабактан бошоп сырдаштык,
Алтынчы куну кечинде.
Чырдашпай келип чечимге,
Чыгарбай сырды эч кимге.
Аттестат алдын сөз бердин,
Анда да Алтынчы кyну кечинде.
Эртелеп барсам бешимде,
Экзамен бүткөн мезгилде.
Ашыкпа дедин, той болот, Анда да Алтынчы куну кечинде.
This is an old Kyrgyz song. It is a nostalgic
song about school years. The boy fell in love
with the classmate and he was recalling every
detail in their school years starting from their
junior classes till the years of their leaving school
and up to their marriage life. When they were
schoolchildren they used to meet each other on
Saturday evenings. This was really pure, innocent,
virgin love. Unforgettable days that was very dear
for both of them!
In order to show that atmosphere, their feelings,
pure love, the author of the song used a number of
stylistic devices.
The repetition of the phrase Алтынчы куну кечинде (on Saturday evening) shows how both of them
looked forwarding to this day, and how this event was
important for them. The song is rich in alliteration
“м”, “к”, “ч”, “д”, “т”, assonance “ө”, “ү”, “e”,
etc. that have some semiotic meaning. The author of
the song used a number of metaphors to show his
feelings, his love: Сүйүү оту жанса көзүндө, etc.
By using the phrase Аттестат алдын сөз бердин,
Анда да Алтынчы куну кечинде, the author wanted
to underline that they finally left school and became
adult and can be together in terms of getting married.
I can’t but mention poetic meter and rhyme used in
the song. The author used trochee and tail rhyme in
the song.
To summarize, I wanted to say that currently
Kyrgyz musical semiotics is being studied. And I
do believe that it’s study will contribute to the study
of semiotics in Kyrgyz language in particular, and
in Kyrgyz culture, literature, philosophy, etc. on the
whole.
Reference:
• Bart R. Selected Works. Semiotics. Poetics.
Moscow: Progress Publishers, 1994.
• Eero Tarasti. Signs of Music: A Guide to Musical
Semiotics. 2002.
• Karaeva Z.K.
• Ала Тоо таншыйт. Фрунзе басмаканаcы 1992;
64
УДК: 811.161.1 (575.2) (04)
Isabaeva Yrysgul, JASU
THE SEMIOTIC ANALYSES OF THE TRANSLATION OF THE FAIRY TALE
“FIRE-BIRD”
СЕМИОТИЧЕСКИЙ АНАЛИЗ ПЕРЕВОДА СКАЗКИ “ЖАР-ПТИЦА
Аннотациясы: Бул макалада Алтын куш жомогунун которомосуна жургузулгон семиотикалык
анализ каралган жана анализдин мисалдары берилген.
Негизги сөздөр: алтын куш, семиотикалык анализ, сейрек, укмуштуудай, фольклорист.
Аннотация: В этой статье рассматривается семиотический анализ перевода сказки «Жарптица» и имеются примеры анализа.
Ключевые слова: жар-птица, семиотический анализ, утонченный, великодушие, фольклорист.
Abstract: This paper deals with the semiotic analyses of the translation of the fairy tale “Fire-bird”
and here are given examples of analyses.
Key words: fire-bird, semiotic analyses, sophisticated, generosity, folklorist.
The fairy tale has a place in the training of
children which common sense and a sympathetic
attitude toward childhood will not deny. Some rigid
philosophers, who see no more of life than is to be
found in logical science, condemn the imaginative
tale. They regard the teaching of myths and stories
as the telling of pleasant lies, which, if harmless, are
wasteful. What the child acquires through them, he
must sooner or later forget or unlearn. The fairy tale,
like every other literary production, must be judged
by the fitness of its emotional effects, Fairyland is
the stage-world of childhood, a realm of vicarious
living, more elemental and more fancy-free than
the perfected dramas of sophisticated adults whose
ingrained acceptance of binding realities demands
sterner stuff. The tales are classics of a particular
kind; they are children’s classics, artful adaptations
of life and form which grip the imaginations of
little folks. While the fairy tales have no immediate
purpose other than to amuse, they leave a substantial
by-product which has a moral significance. In every
reaction which the child has for distress or humor
in the tale, he deposits another layer of vicarious
experience which sets his character more firmly in
the mould of right or wrong attitude. Every sympathy,
every aversion helps to set the impulsive currents
of his life, and to give direction to his personality.
Because of the important aesthetic and ethical
bearings of this form of literary experience, the fairy
stories must be rightly chosen and artfully told. In
no other way can their full worth in education be
realized. They are tools which require discrimination
and skill. Out of the wisdom of one who knows both
tales and children, and who holds a thoughtful grasp
on educational purpose.
Translation is one of the oldest human practices
both in its written and oral forms. Without a doubt,
translation is essential for making communication
between people of different cultures possible. As
far as if it should be centered on formal aspects of
the text or on its content, the debate should take into
account the purely functional character of translation.
Thus the theory of translation is studies the eternal
problems of communication.
The translation of Russian and Kyrgyz literary
fairy tales into English is connected with both
linguistic and cultural difficulties, especially this is
relevant for the translation of Literary Fairy Tales in
verse. These difficulties can be dealt with through
the linguo-cultural adaptation of Russian and Kyrgyz
culture-loaded words in their translation into English.
Adaptation of the texts of the Russian and Kyrgyz
tales also concern other language levels besides
lexical one – phonological and structural-semantic,
as well as their written form, cultural context.
Problems in translation are:
– to define a fairytale as a literary genre;
– to study different classifications of fairytales
and show their difference;
– to identify national and cultural features of a
65
Russian and Kyrgyz literary fairy tales in verse;
– to analyze the difficulties of translation of
Russian and Kyrgyz literary fairytales;
– to identify the principles of linguo-cultural
adaptation
Translation of fairy tales is a complex
multidimensional process that begins with recording
the words of the narrator. This is followed by an
interpretation of the recorded text. It was only
after all this begins translation in a typical sense
of the term, i.e., reproduction of text in another
language tale. In turn, listening and writing the
words of the narrator implies the simultaneous
interpretation and evaluation of the characteristics
of the speech, not only words, but also gestures
and pauses. Roman Jacobson calls this type of
translation “paraphrasing”, implying that the term
“interpretation of verbal signs by means of signs of
the same language.” Paraphrasing, the components
of which are understandable to the listener, are the
kind of Interlingua translation.
And when the tales are usually available in
oral form, are recorded or printed, we are talking
about inter semiotic translation, even for the same
language: after oral reproduction it is a semiotic
system. However, the translation can be Interlingua
– if strange lexical items or grammatical structures
to transfer funds language.
When the interpreter translated fairy tales
have to solve a very important issue and the choice
of a particular style in the target language. But,
fortunately, this natural process, and the decision
of the interpreter takes almost unconsciously in the
perception of the original. At the same time many
of the original dialect often replaced the archaic
vocabulary of the target language, which helps to
significantly improve the quality of translation in
terms of its lexical composition. Semiotic analysis
of fairy tales has been done and the most frequently
translation methods have been defined.
Semiotics is the science of communication
and sign systems, in short, of the ways people
understand phenomena and organize them mentally,
and of the ways in which they devise means for
transmitting that understanding and for sharing it
with others. Although natural and artificial languages
are therefore central to semiotics, its field covers
all non-verbal signaling and extends to domains
whose communicative dimension is perceived only
unconsciously or subliminally. Knowledge, meaning,
intention and action are thus fundamental concepts in
the semiotic investigation of phenomena. Research
into sign systems began with the ancient Greeks
and in the course of Western history many writers
and scholars have studied the various processes by
means of which signification is produced. In the
modern world the major areas which have been the
object of semiotic study are literature, environmental
and social structures, visual arts, ritual, myth, and
gesture. Consequently, semiotics is very much an
interdisciplinary science as germane to Anthropology
as it is to English, to Philosophy as it is to Art History,
to sport as it is to media studies. Semiotics is closely
related to the field of linguistics, which, for its part,
studies the structure and meaning of language more
specifically. In this paper we have found semiotics
in the fairy tale Firebird
The Firebird is described as a large bird with
majestic plumage that glows brightly emitting red,
orange, and yellow light, like a bonfire that is just
past the turbulent flame. The feathers do not cease
glowing if removed, and one feather can light a
large room if not concealed. In later iconography,
the form of the Firebird is usually that of a smallish
fire-colored peacock, complete with a crest on its
head and tail feathers with glowing “eyes”. . The story of the firebird comes in many forms
and it is translated in many languages. Some folk
tales say that the Firebird is a mystical bird that
flies around a king’s castle and at night swoops
down and eats all the king’s golden apples. Others
say that the firebird is just a bird that flies around
giving hope to those who need it. Some additions to
that legend say that when the firebird flies around,
his eyes sparkle and pearls fall from his beak. The
pearls would then fall to the peasants, giving them
something to trade for goods or services. So, here
firebird is a semiotic sign of everything such as
health, wealth and food. Also, Russian folklorist
Alexander Afanasev explained the Fire-bird as a
fire, light and shining. Fire-bird ate golden apples,
giving youth, beauty and immortality and when it
sung pearls fall from his beak.
As it said that, Fire-bird may exist in several
versions. In Russian version of the fairy-tale, a Tsar
commands his three sons to capture the firebird that
keeps flying down from above and eating his apples.
The golden apples are in the Tsar’s orchard and give
youth and strength to all who eat them. The sons end
up barely missing the bird, but they catch one of his
feathers that glows in the night. They take it to a dark
room and it lights the room completely.
66
There is no English version; it has only translation
form from Russian variant, because there was given
the same meaning in both fairy tales. A king’s apple
tree bore golden apples, but every night, one was
stolen. Guards reported that the Firebird stole them.
The king told his two oldest sons that the one who
caught the bird would receive half his kingdom and
his heir. They drew lots to see who would be first, but
both fell asleep: they tried to claim it had not come,
but it had stolen an apple. Finally Ivan Tsarevich, the
youngest son, asked to try: his father was reluctant
because of his youth but consented.
In Kyrgyz version a firebird flies to the poor old
man’s yard at night who had a son and an apple tree,
which gave only one fruit and firebird ate that apple
from there. And next year old man stored it and slept
in the middle of the night. So, again somebody had
stolen an apple. Third year, he ordered his wife to
look after it, but she also slept and again somebody
had stolen. Fourth year, his son stored it and suddenly
he saw a firebird had eaten an apple on tree. He
couldn’t catch the firebird but caught only one
feather, and he said to his father he would find it.
So, there is difference between king and poor
man, king’s sons and poor man’s only son, golden
apples and only apple, and shooting the firebird and
catching it by the tail.
Example:
English: Ivan Tsarevich remained awake the
entire time, and upon seeing the Firebird, tried to
catch it by the tail, unfortunately Ivan only managed
to grasp one feather.
Kyrgyz: Баласы уктабай карап жатса, кандайдыр алтын куш учуп келип, алмага конуп жей
баштады. Бала жаа менен атып, бир тал канатын
тушуруп калды.
Russian: Видит Иван царевич: летит Жар-
птица, он притаился под деревом, птица подлетела и села на сук,только хотела яблочко
склевать, как Иван царевич подкрался и ухватил
ее за хвост.
The word “apple” is to be said semiotic fact,
because it explains the youth and strength and wealth
in Russian version. In Kyrgyz version apple means
also youth, health and long life. And feather may
also be semiotic; it means light and life, because
it gives warm and further life. In Kyrgyz version,
here, apple is a symbol of youth, because every year
his father ate an apple, and became younger and
stronger. At the end of the story while finding the
firebird poor old man’s son found his happiness and
married to princess, king’s daughter. “Firebird” is
said to be semiotic too, because through it he found
his happiness.
Translation of fairy tales is a complex procedure
and interpreters have to give definite and original
translation to the foreign readers. The tale is sufficiently fantastic to make no demands on belief, nor
to constitute a promise. But it is a truth, dare one say,
that disinterested kindness and generosity are often
rewarded, if only by internal satisfaction, and communities, like individuals, do well to foster goodness and
kindness. One feels not only amused but the better for
reading or hearing this story.
References:
1. Alexander Afanasyev “ Narodnye russkie
skazki”.
2. Barhudarov L.S. Язык и перевод М.1975
3. Русские народные сказки. – М., Просвещение,
1993.- 320с.
4. Федоров А.В. Основы общей теории перевода.
М, 1983
5. Кыргыз эл жомоктору. –Бишкек, 2002.
67
УДК: 811.161.1 (575.2) (04)
Djumalieva Gulnura, assoc.prof., KTU Manas
Analysis of Nonverbal Semiotic Signs in Hemingway’s
“The End of Something”
Анализ невербальных семиотических знаков в рассказе
Э.Хемингуэя
“Что-то кончилось”
Аннотациясы: Макала Э.Хемингуэйдин “ Бир нерсенин аягы” аттуу кыска чыгармасынын
майда –чүйдөлөрүнө жана кыймыл-аракеттик семиотикалык белгилерине чейин карап чыгууга
багытталган. Каармандардын ар бир жаңсоо, денесинин кыймыл- аракети сөздөрүнө караганда
окурманга дагы да терең маанини түшүндүрүп бере алат себеби дене кыймыл-аракетинин тили
өтө чечен келет. Австралиялык дене тилинин автору жана эксперти Аллен Пиздин айтуусуна
ылайык, көптөгөн психологдор оозеки канал маалымат менен бөлүүшүдө колдонулса, кыймыларакет каналы адамдардын өз ара мамилелерин талкулоодо, кедээ оозеки билдирүүнүн ордуна
да колдонулат деген ойдо. Кыймыл-аракеттик билдирүүлөр мамилени куруп жана бекемдей
алуу менен бирге жайына коюп же жок кылуу сапатына ээ..Хемингуэйдин романдарын жана
чыгармаларын окуп жаткан мезгилде кыймыл-аракеттердин жөнөкөйлүгүнүн артында өздүк
жана ошондой эле адамдар арасындагы мамилелердин тааталдыгынын бар экендигин түшүнө
билүү керек. Хемингуэй өзунүн өзгөчө жазуу ыкмасы менен белгилүү, бул анын майда-чүйдөлөргө
чоң көңүл буруусу.Анын каармандары көп сүйлөшпөйт,кыска сүйлөмдөрдү колдонушат, башка
сөз менен айтканда жазуучу кереги жок түшүндүрүп берүүлөрдүн арылууну туура көргөн. Ал
өзүнүнүн минималисттик стилин сактап келген, элементтердин үстүнөн гана токтолуп, мазмундун тереңинде жаткан маанилерди талкууга алган эмес. Хемингуэй чыгарманын терең мааниси
даана көрүнбөшү керек, бирок кандайдыр бир жаркыроо күлүңдөө болуп туруш керек эсептеген.
Жазуучу өзүнүн чыгармаларын айсберге салыштырган: “Айсбергдин кыймылда болуусунун себеби, суу үстүндө болгону сегизден бир бөлүгү гана көрүнүп туруусу.” Ошол себептүү бул макала
ушул ыкманы ичине камтуу менен бирге купуя сезимдердин кыймыл-аракет аркылуу берилүүсүн
үйрөнүп билүүгө арналган. Окурман дененин (кыймыл-аракетитинин) жардамы менен (айсбергдин
көрүнгөн бөлүгү- адам), суу астында көрүнбөгөн бөлүгү, ички дуйнөсүн тушүнүп биле алат.
Негизги сөздөр: кыймыл-аракеттик семиотикалык белгилер, дене (кыймыл- аракет) тили,
кыймыл-аракеттик билдирүүлөр, айсберг теориасы
Аннотация: В статье анализируются детали и невербальные семиотические знаки в рассказе
“Что-то кончилось» Э. Хемингуэя. За каждым жестом, движением тела героев Хемингуэя читатель может обнаружить глубокий смысл, который является намного выразительным, чем это
можно выразить словами; язык тела полон красноречия. Как отметил австралийский автор и
эксперт языка тела Аллен Пиз, большинство психологов разделяют идею, что словесный канал
используется для передачи информации, в то время как невербальный канал применяется для
“обсуждения” межличностных отношений, а в некоторых случаях заменяет устное сообщение.
Невербальные сообщения могут как устанавливать и поддерживать отношения, так и разрушить их. Читая рассказы и романы Хемингуэя, надо понимать, что за простыми движениями и
жестами кроется сложность личных и межличностных отношений. Хемингуэй известен своим
уникальным стилем письма, где он уделяет большое внимание деталям, его герои не многословны,
и они используют короткие предложения, иными словами писатель избавляется от ненужных
разъяснений и объяснений. Эрнест Хемингуэй сравнивал свои произведения с айсбергами: «Они
на семь восьмых погружены в воду, и только одна восьмая их часть видна». Статья посвящена
исследованию одной из составляющих этого принципа, это передача тайных глубоких чувств
с помощью языка тела. С помощью тела (видимая часть айсберга – человек), можно получить
представление о внутреннем мире – невидимый “подводной” части.
Ключевые слова: невербальные семиотические знаки,язык тела, невербальные сообщения,
теория айсберга
68
Abstract: The paper focuses on the details and on the nonverbal semiotic signs in the short story “The
end of something” by E. Hemingway. Behind every gesture, body movements of his heroes a reader can
reveal deep meaning that are more expressive than their words; their body language is full of eloquence.
As Allen Pease, an Australian body language expert and author, noted, most psychologists share the idea
that verbal channel is used to transfer information whereas nonverbal channel is used to ‘discuss’ interpersonal relations and in some cases replaces verbal message. Nonverbal messages may both establish
and keep relationships and destroy and dissolve them. While reading Hemingway’s stories and novels,
one should understand that behind the simple motions and gestures there is complexity of personal and
interpersonal relations. Hemingway is known for his unique style of writing, where he pays much attention
to details, his characters are not wordy, rather they use short sentences, in other words the writer gets
rid of unnecessary clarification or explanation. “He retained this minimalistic style, focusing on surface
elements without explicitly discussing underlying themes. Hemingway believed the deeper meaning of
a story should not be evident on the surface, but should shine through implicitly”. The writer compared
his works with icebergs: “The dignity of movement of an ice-berg is due to only one-eighth of it being
above water”. Therefore the paper studies one of the components of this principle that is transmission
of secret deep feelings through body language. With the help of the body (the visible part of the iceberg
is a human) one can get an idea about the inner world – the invisible “underwater” part.
Key words: nonverbal semiotic signs, body language, nonverbal messages, iceberg theory
Ernest Hemingway is the greatest representative
of the so-called “lost generation”. His experience
varied; he participated in the First World War, the
impression of which was his first life “university”
and the impact on all his work (many, especially his
early works, contain autobiographical moments).
Hemingway worked as a journalist for a long time,
witnessed great economic crisis and other GreekTurkish wars, and visited many different countries.
Ernest Hemingway is of great interest in our times.
The themes of his works are eternal. He reveals
the issues of human dignity, morality, personality
formation through his own way of narration. His
tries not to describe, rather he tries to depict. “When
writing a novel a writer should create living people;
people not characters. A character is a caricature. If
a writer can make people live there may be no great
characters in his book, but it is possible that his book
will remain as a whole; as an entity; as a novel. ….
If a writer of prose knows enough about what he is
writing about, he may omit things that he knows and
the reader, if the writer is writing truly enough, will
have a feeling of those things as strongly as though
the writer had stated them. The dignity of movement
of an iceberg is due to only one-eighth of it being
above water” (Hemingway). Readers of his fiction
have come to understand that “his writing style is
only “the tip of the iceberg”: that is, seven-eighths of
the story’s meaning lies submerged while only oneeighth is visible on the surface”. (Werlock, 2000).
And this is the style of writing of the writer.
Thus, one of the components of the principle is
to reflect the heroes’ covert feelings through depict-
ing their body movements. The body movement is
said to be visible part, while the inner world of heroes
lies submerged. “Body language of Hemingway is
very eloquent. It is much more expressive and open
than words.” (Панова).
The paper analyzes nonverbal semiotic signs in
Hemingway’s short story “The End of Something”.
The story is about a sudden break in relationships
between Nick and Marjorie. Hemingway does
show this through nonverbal communication of
these heroes. The story reflects the tints of mood
and feelings of the characters. And this is described
through mentioning some objects, like Horton Bay
that used to be a prosperous one with mills working,
castle, boat, fishing, and description of landscape as
well as Hemingway’s well known journalistic style
– short dialogues. All these descriptions are given
on purpose, to show emotional atmosphere in the
story, past feelings of two young people, Nick and
Marjorie, about their relationship that was coming
to an end.
The writer does not give direct description of
what troubles Nick and Marjorie. The reader sees
them through their motions, non-verbal channels.
“Then Marjorie rowed the boat out over the channelbank, holding the line in her teeth, and looking
toward Nick, who stood on the shore holding the rod
and letting the line run out from the reel.”
Sitting in the boat and passing “the big mill
that stood deserted in the acres of sawdust that covered the swampy meadow by the shore of the bay”
Marjorie tells Nick that it looks like a castle:
“It seems more like a castle,” Marjorie said.
69
Nick said nothing. They rowed on out of sight
of the mill, following the shore line.
This is significant as Marjorie sees the castle
as something romantic whereas Nick does not give
any response. Like words and gestures, silence,
too, communicates important meanings and serves
important functions (Johannesen, 1974; Jaworski,
1993).
As Joseph De Vito states, before messages of
intense conflict, as well as before those confessing
undying love, there’s often silence. Again, silence
seems to prepare the receiver for the importance
of these future messages. We often speak of giving
someone “the silent treatment.” After a conflict, for
example, one or both individuals may remain silent as
a kind of punishment. Silence used to hurt others may
also take the form of refusing to acknowledge the
presence of another person, as in disconfirmation…;
here silence is a dramatic demonstration of the
total indifference one person feels toward the other
(Joseph A. DeVito, 2002). Thus, giving to Marjorie
a silent reply bears a semiotic meaning of the ruined
relationship between them. It is clear that for Nick
there is no sense for maintaining any relationship.
The ruined mill is just the remains of the past tender
feelings. Like the eyes, face, and hands, silence
can be used to communicate emotional responses
(Ehrenhaus,1988). One of the functions of silence
is when “you simply have nothing to say, when
nothing occurs to you, or when you don’t want to
say anything” (Joseph A. DeVito, 2002). James
Russell Lowell expressed this best: “Blessed are
they who have nothing to say, and who cannot be
persuaded to say it.” Silence may also be used to
avoid responsibility for any wrongdoing (Beach,
1990–91 as cited in Devito, 2009).
As sufgested by De Vito, sometimes silence
communicates a determination to be uncooperative
or defiant; by refusing to engage in verbal
communication, you defy the authority or the
legitimacy of the other person’s position. Silence is
often used to communicate annoyance, particularly
when accompanied by a pouting expression, arms
crossed in front of the chest, and nostrils flared.
Silence may express affection or love, especially
when coupled with long and longing stares into each
other’s eyes (Joseph A. DeVito, 2002). Unfortunately,
for Nick love comes to an end. He does not want to
look into the eyes of Marjorie. He is trying to avoid
any eye contact with her. When Nick and Marjorie
were sitting on the beach by the fire he “was afraid
to look at Marjorie. Then he looked at her. She sat
there with her back toward him. He looked at her
back” (Hemingway). The movements of the heroes are so tightly
described that it somehow intensifies the atmosphere
and a reader feels tensed. The use of body language,
i.e. eye contact, describing Nick who is afraid of
looking at Marjorie tells us about the intention of
Nick to break up with her. Eye contact can serve
a variety of functions. The quality of eye behavior
communicates meaning, especially interest level and
such emotions as surprise, fear, and disgust. And in
this very case we can suppose that Nick just lost
interest in Marge:
“It isn’t fun any more.”… She didn’t
say anything. He went on. “I feel as though
everything was gone to hell inside of me. I
don’t know, Marge. I don’t know what to say.”
He looked on at her back. (Hemingway). This proves that he does not enjoy telling her
what he feels, but he feels he has to do this step
now. Some critics suggest this is significant because
it points out a degree of cowardice within Nick.
Eye avoidance can also signal lack of interest—in
a person, a conversation, or some visual stimulus
(Joseph A. DeVito, 2002).
As far as Marjorie’s reaction to the break up,
here Hemingway also employs some signs. A reader
sees that Marjorie understands what is going on and
does not even try to reveal the reasons for their break
and save their relationships. Having heard that “love
isn’t fun anymore” she tells Nick that she will take
the boat while he can walk back around the point:
“She was afloat in the boat on the water with
the moonlight on it. Nick went back and lay down
with his face in the blanket by the fire. He could hear
Marjorie rowing on the water.” (Hemingway)
Nonverbal messages are often used to accent
or emphasize some part of the verbal message.
Marjorie’s physical movement, of rowing away from
Nick may also be important as it signifies that she
is leaving Nick to move on with her own life. For
Nick the whole situation is hard either. Hemingway
made this clear by using an expression like “Nick
lay down with his face in the blanket”. Researchers
in kinesics, or the study of nonverbal communication
through face and body movements, identify five
major types of movements: emblems, illustrators,
affect displays, regulators, and adaptors (Joseph A.
DeVito, 2002; Ekman & Friesen, 1969; Knapp &
Hall, 1992).
70
Affect displays of the body movement of Nick
when he ‘lay down with his face in the blanket’
signifies the tension of his body thus communicating
his emotional state. Affect displays, as De Vito
says, are often unconscious; you smile or frown,
for example, without awareness. At other times,
however, you may do it consciously, trying to convey
the mood (Joseph A. DeVito, 2002). Lying down with
the face in blanket, Nick displays his state of being
ashamed of his behavior toward Marjorie. He does
not want to talk even to his friend Bill asking him
to go away and leave him alone. The question still
remains whether or not he regrets about his action,
or there are some circumstances that make him break
up with Marge.
The analysis can be considered as an attempt
to analyze signs and symbols as a significant part
of nonverbal communications used by the heroes in
Hemingway’s short story “The end of something”.
We may conclude that nonverbal signs are used to
reveal the deep meaning of emotional state of heroes.
Hemingway does not directly describe what troubles
heroes, what they intend to do rather communicates
them through nonverbal signals. These signs and
symbols help enhance the perception of the text by
the reader.
References:
1. DeVito, J. A. (2009). Human communication: the
basic course. (11th ed.). Array Boston: Allyn &
Bacon/Pearson.
2. Ehrenhaus, P. (1988) Attributing Intention to
Communication: Information as the Interpretation
of Interaction. In B. Ruben (Ed.), Information
and Behavior (Vol. 2). New Brunswick, NJ:
Transaction Press.
3. Ekman, P., & Friesen, W. V. (1969). The repertoire
of nonverbal behavior: Categories, origins, usage,
and coding. Semiotica.
4. Hemingway, E. The end of something from http://
www.repeatafterus.com/title.php?i=8752
5. Hemingway, E. Death in the afternoon from http://
www.ereading.club/book.php?book=131938
6. Johannesen, R. L. (1974). The functions of silence:
A plea for communication research. Western
Journal of Speech, 38, 25-35.
7. Johnson, F. L. (1996). Closeness in the dialogue:
Women’s friendships. In J.T. Wood (Ed, Gendered
Relationships: A Reader (pp. 79-94). Mountain
View, CA: Mayfield.
8. Knapp, M. L., & Hall, J. A. (1992). Nonverbal
communication in human interaction (3rd ed.).
Fort Worth: Harcourt Brace Jovanovich.
9. Werlock, A.H.P. (2000) The Facts on file companion
to the American short story. Checkmark Books
10. Панова (Сурова) О.Ю. Человек в модернистской культуре retrieved from http://forlit.philol.
msu.ru/lib-ru/panova-article1-ru]
71
УДК: 811-114 (575.2) (04)
Dzhailobaeva Zarina, KTMU
Rendering peculiarities of English taste perception adjectives
into Kyrgyz
Передача особенностей английских прилагательных,
обозначающих вкусовые восприятия на кыргызский язык
Аннотациясы: Рецептордук кабыл алуунун фундаменталдуулугуна жана бардык жерде
кездешүүсүнө карабай тил илиминде бул маселе жетиштүү изилденилбей келет, өзгөчө кызыгуу
жараткан контрастивдүү лингвистикада. Кеңири мааниде, контрастивдүү лингвистика изилденип жаткан тилдердин ортосунда социалдык жана маданий байланыштын болуусуна жол
берсе, кууш маанисинде бул жөн гана структуралаштыруу деңгээли жогору кичине группалардын
салыштырма изилдөөсү болуп эсептелет, башкача айтканда, мындан ары биз лексикалык жана
семантикалык талаалар менен иш алып барабыз. Ушуга байланыштуу, берилген иштин изилдөө
маселеси болуп англис жана кыргыз тилдеринин рецептордук даам татымды туюндурган сын
атоочторунун лексикалык жана семантикалык талаасын лексиканын, семантиканын, синестезиянын, семиотиканын жана котормонун шарттарында карап чыгуу эсептелет.Англис жана
кыргыз даам татым сын атоочторун изилдөө маселелерин карап чыгуу, алардын ортосундагы
айырмачылыктарды аныктоо, аларга мүнөздүү өзгөчөлүктөрдү түшүндүрүү жана аларды мисалдар аркылуу бекемдөө ишибиздин максатын түзмөкчү. Берилген иш контрастивдүү лингвистика
менен лексикалык жана семантикалык анализ үчүн негиз гана болбостон, ал интралингвистикалык
жана экстралингвистикалык факторлордун ачык мисалы да боло алат. Макалабызда биз жогоруда сөз болгон эки тилдин даам татым сын атоочторунун семантикасынын параметрлерин
аныктоо жана маданий контекстеги өзгөчөлуктөрүн кароо менен бирге алардын ортосундагы
окшоштуктарды жана айырмачылыктарды табууга аракет жасайбыз.
Негизги сөздөр: сенсордук же рецептордук кабыл алуу, даам татым кабыл алуусу же перцепциясы, лексикалык жана семантикалык талаа, социалдык жана маданий байланыш, семиотика,
синестезия, котормо теориясы, контрастивдик лингвистика,интралингвистикалык жана экстралингвистикалык факторлор, маданий контекст.
Аннотация: Несмотря на фундаментальность и вездесущность рецепторного восприятия и
ощущения, проблема в лингвистике все еще остается недоизученной, особенно в контрастивной
лингвистике, что и представляет огромный интерес. В широком смысле, контрастивная лингвистика предполагает наличие социокультурной связи между изучающимися языками и в узком смысле,
термин контрастивная лингвистика применяется для сравнительного изучения небольших групп
с высокой степенью структурирования. Следовательно, мы имеем дело с лексикосемантическим
полем. В этой связи, предметом обсуждения данной работы является лексикосемантическое
поле восприятия вкуса и вкусовых представлений в английском и кыргызском языках на основе
лексики, семантики, синестезии, семиотики и переводоведения. Цель нашей работы заключается
в изложении проблем изучения английских и кыргызских прилагательных вкусового восприятия,
определении существующих различий между ними, объяснении их характерных особенностей и
пояснении примерами. Так как эта работа предоставляет наглядную основу и для контрастивной лингвистики и для лексикосемантического анализа, она может служить ярким примером
интралингвистических и экстралингвистических факторов. В этой статье мы предпримем
попытки определить общее и различное между вкусовыми прилагательными двух языков наряду
с определением их семантических параметров и их особенности в культурном контексте.
Ключевые слова: сенсорное или рецепторное восприятие, вкусовое восприятие, лексикосемантическое поле, социокультурная связь, семиотика, синестезия, теория перевода, контрастивная лингвистика, интралингвистические и экстралингвистические факторы, культурный
контекст.
72
Abstract: Regardless of the fundamental and ubiquitous nature of sensory perceptions and experiences
the subject still remains under explored in linguistics, especially in contrastive linguistics which provides
a great interest. In broad meaning contrastive linguistics supposes the existence of socio-cultural link
between the languages investigated and in narrow meaning it is used for comparative studies of small
groups with a high degree granularity. Hence we deal with lexical semantic field. Consequently, the subject
matter of the given work is lexical semantic field of sensory perceptions of taste and taste experiences in
English and Kyrgyz in terms of lexis, semantics, synesthesia, semiotics and the translation issues. The
given work is aimed at developing a sensitive feeling of what kind of problems can be approached within
taste perception adjectives in English and Kyrgyz, defining overall differences, explaining characteristics
and demonstrating examples. As this work provides the descriptive basis for both contrastive linguistics
and lexical semantic analysis it can serve as a vivid example of intralinguistic and extralinguistic factors.
In this work we try to define similarities and dissimilarities of taste adjectives in two languages besides
defining their semantic periphery lines and peculiarities in cultural context.
Key words: sensory perception, taste perception, lexical semantic field, socio-cultural link, semiotics, synesthesia, theory of translation, contrastive linguistics, intralinguistic and extralinguistic factors,
cultural context.
As our subject matter is so vast that it can cover
such fields in linguistics like comparative typology,
semantics, translation and consequently semiotics,
and a lot more, we try to define all these terms first
before starting our research. Being a linguistic subject
of typology based on the method of comparison and
a constituent part of the given work comparative
typology can serve here as a starting point.
Comparative typology aims at establishing the
most general structural types of languages on their
dominant or common phonetical, morphological,
lexical and syntactical features. The subject matter
of it is classification of the main essential features
of languages, the most important characteristics and
regularities. Comparative typology may equally
treat dominant or common features only, as well
as divergent features only, which are found in
languages of the same structural type (synthetic,
analytical, agglutinative, etc) or in languages
of the different structural types, (synthetic and
analytical, agglutinative and incorporative, etc) in
our case analytical English and agglutinative Kyrgyz
languages. In this connection, establishing the most
general structural types in lexical semantic features
of English and Kyrgyz taste perception adjectives and
observing their correlative realization are the aims
of our work. Consequently the subject of our further
discussion is the study of lexical semantics which
deals with the classification and decomposition of
lexical items, the relationship of lexical meaning to
sentence meaning and syntax and the differences
and similarities in lexical semantic structure crosslinguistically.
The origin of the field theory of semantics is
the lexical field theory introduced by Jost Trier in
the 1930’s, although according to John Lyons it has
historical roots in the ideas of Wilhelm von Humboldt
and Johann Gottfried Herder. Historically, lexical
semantic fields were defined as lexical category by
ones and a semantic field theory of metaphor by
others and even frame semantics by another scientist.
In linguistics, a semantic field is a set of words
grouped semantically, referring to a specific subject
which are not necessarily synonymous, but are all
used to talk about the same general phenomenon1. A
meaning of a word is dependent partly on its relation
to other words in the same conceptual area2. The
kinds of semantic fields vary from culture to culture
and anthropologists use them to study belief systems
and reasoning across cultural groups3. Semantic field
theory has informed the discourse of Anthropology
as Ingold (1996: p. 127) relates: “Semiology is not,
of course, the same as semantics. Semiology is based
on the idea that signs have meaning in relation to
each other, such that a whole society is made up of
rationally held meanings. But semantic fields do
not stand in relations of opposition to each other,
not do they derive their distinctiveness in this way,
nor indeed are they securely bounded at all. Rather,
semantic fields are constantly flowing into each
other. I may define a field of religion, but it soon
becomes that of ethnic identity and then politics and
selfhood, and so on. In the very act of specifying
semantic fields, people engage in an act of closure
whereby they become conscious of what they have
excluded and what they must therefore include”4.
We will consider later the abovementioned issues
like cultural variety, ethnic identity when we deal
73
with translation issues and semiotics.
Meanwhile it is necessary to define the semantic
field of taste, through metonymic displacement
of the natural to the cultural, the cultural to the
cultivated (socially recognized practices), and more
and more, from the cultivated to the culturalized
(socially differentiated practices). This allows us to
appreciate the full semantic range of taste perception
adjectives of the Kyrgyz and English languages.
From a starting point thus defined we will outline
an approach to taste its foundation both sensory and
logical in terms of semantics. According to Oxford
Advanced Learners Dictionary5 the word “taste” has
the following meanings: Flavour 1. The particular
quality that different foods and drinks have that
allows you to recognize them when you put them in
your mouth: a sweet\salty\bitter taste; I don’t like the
taste of olives. This dish has an unusual combination
of tastes and textures. The soup has very little taste.
The similar meaning can be found in the dictionary
Кыргыз тилинин сөздүгү6 Даам 1. Бир нерсени
жегенде, ичкенде, татканда тил аркылуу сезилген
татыгы, татым. Тамактын даамын киргизген, Татыта турган туз болот (Осмонкул). Алмаңдан
бирди ыргытчы, Даамын татып көрөйүн (Маликов). Sense 2. The sense you have that allows you
to recognize different foods and drinks when you put
them in your mouth: I’ve lost my sense of taste. As
for Kyrgyz language we can confirm the existence of
the word taste – даам as a gustatory sense, besides
the other four- sight (visual), hearing (audial), smell
(olfactory) and touch (tactile) abilities. E.g. Сасык
тумоологондо даам сезүү начарлайт. Small
quantity 3. A small quantity of food or drink that you
try in order to see what it is like: Just have a taste
of this cheese. The phrase from the abovementioned
source Даам сызуу – тамак ичүү, ооз тийүү; Кимдин даамын сызсаң,миң күнү салам берип, ошол
кишини сыйлап жүр (“Жомоктор”) can be an
analogue of it. Next meaning is Short experience
4. A short experience of something: This was my
first taste of live theatre. Although we didn’t know
it, this incident was a taste of things to come. Then
he knew the taste of freedom in another country. As
for such meaning in Kyrgyz we suggest indirect or
metaphorical meaning – өтмө маанисинде Маани,
маңыз, мазмун, мазе, кызыктуулук Сөздөрүңүн
даамы жок, Күүлөрүңдө маани жок. This meaning
can be vividly described by a metaphorical phrase
Даамын татуу Кандайдыр бир нерсенин, иштин
кынуусун алуу, анын пайдалуу, жакшы, жагым-
дуу экенин билип, кызыгып калуу, кыныгуу.
Андай бекер оокаттын даамын таткан неме ал
жерден оңой менен кетпейт (“Чалкан”). Ability
to choose well 5. A person’s ability to choose things
that people recognize as being of good quality
or appropriate: He has very good taste in music.
They’ve got more money than taste. The room was
furnished with taste. In the Kyrgyz language it is
impossible to render the same meaning with the
same word “даам”, and then there comes the word
“табит”- 1. Physical desire for food as in phrases
табити ачылуу, тамак ашты жакшы ичүү, ичтейи
ачылуу 2. Presence or absence of a strong desire for
something as in табити тартпоо, табияты\пейили чаппоо, көңүлдөнбөө, бир нерсеге көңүлү
келбөө, табыты келбөө Эч нерсеге табиятым
тартпайт (“Ала Тоо”). Тамакка да табиятым
чаппады (“Чалкан”). Табыты келбеген соң эмне
ичет (“Кыргызстан маданияты”). 3. Having a
good taste or showing that the person who chose
something can recognize good things – көркөмдүктү
түшүнүү сезими Ойлой ойлой бейтааныштын
кебете кешпирин өз табитине ылайыктап
жасап алды кыз (Стамов). Having outlined the
meanings in two languages under consideration we
can define three main things about taste. The first
is closely connected with the senses: along with
smell, touch, sight and hearing, taste is one of the
five perceptual senses. The second refers to aesthetic
judgment, taste is thus a manifestation of the
idiosyncratic prejudices of the subject for an object,
whence the well-known Latin proverb De gustibus
non disputantum est – There is no accounting for
tastes. The third refers to a truly social dimension:
here taste signifies a preference specific to a certain
group, or a more widespread collective tendency
(eg. The tastes of a certain period or social class). In
accordance with Giorgio Grignaffini’s definition of
taste, which outlines the semiotician’s approach both
the distance between and the interaction between the
aesthetic dimension of taste (linked to perception)
and its cognitive dimension in terms of value and
categorization it is possible to make a very accurate
semiotic research.
Taste perception and smell play an enormous
role in human’s life. Taste experience influences a
person stronger than smell and defines his condition
more than sounds, as physiological need for food
makes taste more important and necessary for a man,
consequently it makes him get more pleasure.
In modern linguistics taste perception adjectives
74
become the subject matter of many researches.
Despite this fact they still remain under explored in
linguistics in terms of structure and classification.
In this connection we consider as fruitful the
classification of A.V.Kutsenko 7, based on the
characteristic features conveyed by adjectives. She
distinguishes six groups based on the Russian and
English languages: 1. adjectives denoting a norm of
simple taste- sweet, sour, bitter; 2. adjectives denoting
a norm of complex taste- bitter-sweet, sweet-sour;
3. Adjectives denoting a norm of differentiated
taste- acerb; 4. Adjectives denoting undifferentiated
complex taste- pungent; 5. Adjectives denoting
or having a quality to a small extent-bitterish; 6.
Adjectives denoting high extent – luscious.
In our work taste perception adjectives with the
main meaning of taste indication are in the centre of
the lexical semantic field united on the basis of the
seme “taste”. Scientists usually distinguish four types
main taste experience: sour, sweet, bitter and salty.
The other adjectives which are on the first, secondary,
third, etc. periphery circles are formed around these
four main types. According to researchers taste
is expressed not by objective description of the
experience, it is expressed by the indication of some
pattern bearer of the taste (prototype bearer). On
the basis of it the structure of the main meaning is
predictable: Taste domain+N+(Evaluation+Intensi
ty): N is a pattern bearer, eg. Sour- having a bitter
taste like the taste of a lemon, vinegar, cranberry or
of fruit that is not ripe. It is very important to note
that every nation, every culture has its own idea of
sweet, sour, bitter or salty and etc. connected with a
certain pattern bearer and depending on their cultural
identity . The following example can be cited here,
Kyrgyz people associate bitter taste with a common
wormwood Artemisia absinthium, English people
associate it with the taste of orange peel, others
with the taste of chili or curry, etc. That’s why it is
very difficult to consider taste and evaluation apart
from each other, as it is hard to form the idea of taste
without qualitative and evaluative attitude of the
speaker towards the object.
Let us show the following adjectives sour,
sweet, bitter, pungeant, delicious, savoury and
distasteful in brief outlines. The adjective sweet
in English comprises more than 8 main meanings
both direct and indirect\metaphorical and numerous
derivatives and phrases like sweeten, sweetener,
sweetheart, sweetie, sweetish, sweetly, sweetness,
etc. Let us present a larger repertoire of positive
taste adjectives: amazing, appealing, appetizing,
delectable, delicious, delightful, divine, enjoyable,
enticing, excellent, exquisite, extraordinary,
fantastic, finger licking, heavenly, lip smacking,
luscious, marvelous, mouthwatering, palatable,
pleasant, pleasing, satisfying, scrumptious, superb,
tantalizing, tasty, terrific, wonderful, and yummy.
These adjectives are on the peripheries of their main
domain sweet and some of them can be synonyms of
the adjective. As for Kyrgyz adjective таттуу the
following meanings are presented 1. кантка, балга
ж.б. мүнөздүү даам, татты. Апам дүкөндөн кант,
набат. Мейиз жана ушуга окшогон таттуу нерселерди сатып келди. 2. This meaning is metaphorical.
Уккулуктуу, жанга жагымдуу, сүйкүмдүү. Эл
таттуу уйкуда жатышат. Кичи пейил, шамдагай,
Сөзү таттуу курч эле (Токомбаев). Алакандай
чымчык жеп чокугандай, Колуңдан жегем таттуу
талканынды (Байгазиев). 3. Ынак, ынтымактуу
It also comprises such derivatives таттуулаш, татттуулук, татты, татуу, татык, татымсыз, etc. On
the peripheries of the word таттуу we can see such
words like балдай- honey, ширин-sweet, шекерлүүsugary.
The adjective bitter: 1. having a sharp, pungent
taste or smell-; not sweet raw berries have an
intensely bitter flavour; (of chocolate) dark and
unsweetened – ачуу кара шоколад. The same
meaning can be found in the Kyrgyz language
ачуу- даам сезүү органдарын дүүлүктүрүүчү
даам, таттуунун карама- каршысы Даамы ачуу.
Ачуу менен таттуунун Даамын таткан ким
экен (Тоголок Молдо) 2) feeling or showing anger,
hurt, or resentment because of bad experiences or a
sense of unjust treatment I don’t feel jealous or bitter,
she wept bitter tears of self-reproach In Kyrgyz
жини, кыжыры келгендик, каар Ачуу- душман,
акыл- дос(proverb). 3) painful or unpleasant to
accept or contemplate today’s decision has come as
a bitter blow She knew from bitter experience how
treacherous such feelings could be (of a conflict,
argument, or opponent) full of anger and acrimony
a bitter five-year legal battle The same meaning can
be followed in the Kyrgyz example as a wish for a
married couple Турмуштун ачуу таттуусун бирге
таткыла that is being together in happiness and
difficulties of life 4) (of wind or weather) intensely
cold a bitter February night. In Kyrgyz the same
meaning жандан өткөн шамаал also can be found.
In this meaning we see the synesthetic use of taste
adjective bitter applied to the definition of tactile
75
Dictionary of Current English, Oxford
University Press, 6 the ed. 2004, p.1330
3. Eco, Umberto; Sebeok, Thomas A., eds.
(1984), The Sign of Three: Dupin, Holmes,
Peirce, Bloomington, IN: History Workshop,
Indiana University Press, ISBN 978-0-25335235-4
4. Jaakko Hintikka, Aspects of Metaphor,
Springer, 1994, p. 41. ISBN 0-7923-2786-1
5. Ingold, Tim (1996) . Key debates in
anthropology. Routledge. ISBN 0-415-150205, Sunday May 2, 2010, p. 127
6. Кыргыз тилинин сөздүгү, Avrasya Press,
Бишкек, 2011
7. Лечицкая Ж. В. Дисс. Прилагательные вкуса в современном русском языке (в аспекте
номинации), Москва, 1985, 103 стр.
8. Куценко А. В. Диссертация на тему: Сопоставительный анализ прилагательных
вкусообозначения в английском и русском
языках- Москва, 1979г.
9. Лаенко Л.В. Перцептивный признак как
объект номинации//Вестник ВГУ, 2004,
№2
10. Мерзлякова А.Х. диссертация на тему
References:
“Типы семантического варьирования
1. Adrian Akmajian, Richard A. Demers, Ann K.
прилагательных в поле “Восприятие”: На
Farmer, Robert M. Harnish, Linguistics, MIT
материале английского, русского и франPress, 2001, p. 239. ISBN 0-262-51123-1
цузского языков”-Уфа, 2003 -363 с.
2. A. S. Hornby Oxford Advanced Learner’s
sense. The other example of such metaphorical shift
is with the adjective pungent -The pungent, chocking
smell of sulphur filled the air – Taste-Smell shift
and in the next example with savoury something
that is not savoury seems unpleasant or morally
unacceptable: This hotel doesn’t have a very savoury
reputation” (Бул мейманкананын абройу төмөн).
The less savoury episodes in her past.
The aforementioned four main taste adjectives
can comprise a lot of primary, secondary, etc.
periphery circles with low and high intensity of
meanings. And it is very difficult to consider all
of them in our work. As the translation reveals
important mechanisms of the performance of culture
and taste can be subject matter of cultural identity
through semiotic iinterpretation. The theory of
translation, introduced by the number of scientists
beginning with R. Jakobson8 and including U. Eco
who put together interlinguistic, intra-linguistic,
and inter-semiotic translations, so crucial for the
further understanding of culture speaks for itself.
Thus the given piece of work determines the further
challenges and researches in the same branches in
linguistics.
Adrian Akmajian, Richard A. Demers, Ann K. Farmer, Robert M. Harnish, Linguistics, MIT Press, 2001, p. 239. ISBN
0-262-51123-1
2
Jaakko Hintikka, Aspects of Metaphor, Springer, 1994, p. 41. ISBN 0-7923-2786-1
3
Adrian Akmajian, Richard A. Demers, Ann K. Farmer, Robert M. Harnish, Linguistics, MIT Press, 2001, p. 239. ISBN
0-262-51123-1
4
Ingold, Tim (1996) . Key debates in anthropology. Routledge. ISBN 0-415-15020-5, Sunday May 2, 2010, p. 127
5
A. S. Hornby Oxford Advanced Learner’s Dictionary of Current English, Oxford University Press, 6 the ed. 2004,
p.1330
6
Кыргыз тилинин сөздүгү, Avrasya Press, Бишкек, 2011
7
Куценко А. В. Диссертация на тему: Сопоставительный анализ прилагательных вкусообозначения в английском
и русском языках- Москва, 1979г.
8
Лечицкая Ж.В. Дисс. Прилагательные вкуса в современном русском языке (в аспекте номинации), Москва, 1985,
103 стр.
1
76
УДК: 811.161.1 (575.2) (04)
Zhoroeva Gulbara, JASU
Semiotic meaning of animals and plants in telling weather
Семиотическое обозначение животных и растений
при указании на погоду
Аннотациясы: Бул макалада ата-бабаларыбыздын жаныбарлардын жана бак-дарактардын
жардамы менен аба-ырайын божомолдоп айткандары тууралуу жазылды.
Негизги сөздөр; аба-ырайындагы корунуштор, семиотикалык мааниси, энтомология, сезгичтик.
Аннотация: В этой статье рассматриваются народные предсказания о погоде, связанные с
поведением животных и наблюдением над растениями.
Ключевые слова: явление при погоде, значение семиотики, энтомология, чувствительность.
Abstract: This paper deals with the semiotic meanings which are given both to the appearance and
behavior of animals and plants influencing to the weather.
Key words: weather phenomena, semiotic meaning, entomology, sensibility.
People from different cultural backgrounds
worldwide look at the elements of nature as
significant signals to predict a great range of
situations. The behavior of animals and the
appearance or characteristics of plants has guided
the first observations and deductions human beings
have had about the weather and other day-to-day
and white ants as indicators of the arrival of rains,
while in the northeast of Tanzania the changes in the
behavioral patterns of birds, insects and mammals
are important sign (Prendergast 1999) . In Japan,
the names of invertebrates are used metaphorically
as synonymous of the seasons. Different names of
arthropods, such as flea, housefly, mosquito, firefly,
spider, and cicada are meant to be synonymous of
summer (Dunn 2000).
Traditional knowledge about sensibility of
animal species to the approach of bad or good times
has been handed down by word of mouth throughout
generations. It is very probable that a meteorologicalsensibility allows certain animals to react to
atmospheric variations and then indicate important
weather phenomena. Insects serve as crucial
examples in the listening of these phenomena.
In this paper I want to share how our ancestor
knew about the weather. By behavior and appearance
of animals and plants they told what kind of weather
is going to be.
The science of semiotics refers to the study
of signs and symbols in various fields, especially
language (Thompson 1995) . Considering animals,
their images and transmitted signals are frequently
transformed into perceived meaningful sign sand
then can be investigated through a semiotic approach.
The semiotic significance of animals was studied
by Marques (2002) from the point of view of the
ethno ecology who said the semiotic approach
assumes that the cultural/informational web is
formed by intermingling not only the knowledge
which is generated through the direct interactions
between human experience and the stimuli of the
environment, but also the feelings, beliefs and
behaviors that human beings express.
The present paper aims to record the semiotic
meanings that are given both to the appearance
and/ or behavior of animals and birds and plants
according to the ethno entomological knowledge of
the inhabitants of Kyrgyzstan.
Here some examples:
When apple tree bloomed in August again,
autumn will be long.
When the wind blows the tree leaves such that
they turn over there is a storm approaching. Перевод: Когда ветер дует так, что листья деревьев
переворачиваются, – приближается шторм.
When the leaves on a tree curl or show the underside it is going to rain. Перевод: Когда листья на
дереве скручиваться или показывают нижнюю
сторону, это собирается дождь.
When the rowan tree has a lot of berries in the
77
autumn there will be not much snow the following
winter – and the opposite way, very much snow after
an autumn with no rowanberries.
•
•
•
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•
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•
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•
•
BIRDS – приметы по птицам
If crows fly low wind is going to blow (will blow
meaning) . Перевод: вороны низко летают – к
ветреной погоде.
If the goose honks high, fair weather; if the goose
honks low, foul weather. Перевод: Если гуси
кричат громко – к ясной погоде, а если тихо
– к непогоде.
Birds flying low, expect rain and a blow. Перевод:
птицы низко летают – ждите дождь с грозой.
If the lark flies high, expect fair weather. Перевод:
если жаворонок летает высоко, то ожидайте хорошую погоду.
If the rooster crows on going to bed, you may rise
with a watery head. Перевод: если услышали
пение петуха перед сном, то проснетесь с
“тяжестью” в голове.
If the raven crows, expect rain. Перевод: если
ворон каркает – жди дождя.
When geese cackle, it will rain. Перевод: если
гуси гогочут – к дождю.
When ducks quack loudly, it's a sign of
rain. Перевод: утки громко крякают – это
признак дождя.
The hooting of the owl brings rain. Перевод:
сова ухает – к дождю.
If the sparrow makes a lot of noise, rain will
follow. Перевод: если воробей много шумит,
то будет дождь.
When parrots whistle, expect rain. Перевод: когда попугай насвистывает, ждите дождь.
INSECTS – приметы по насекомым
Crickets are accurate thermometers; they chirp
faster when warm and slower when cold.
Cockroaches are more active before a storm.
Locusts sing when the air is hot and dry.
Before a rain, ants are very busy, gnats bite,
crickets are lively, spiders leave their nest; and
flies gather in houses.
When spider’s webs in air do fly, the spell will
soon be very dry.
If garden spiders forsake their webs, it indicates
rain.
If spiders are many and spinning their webs, the
spell will soon be very dry.
• Spiders enlarge and repair their webs before bad
weather.
ANIMALS – приметы по животным
• When a cow endeavors to scratch his ear, it means
a rain shower is verynear. When he thumps his
ribs with an angry tail, look out for thunder,
lightning and hail.
• If a dog pulls his feet up high while walking, a
change in the weather is coming.
• Cats scratch a post before wind; Wash their faces
before a rain; and sit with backs to the fire before
snow.
• Cats with their tails up and hair apparently electrified indicate approaching wind.
• Horses run fast before a violent storm or before
windy conditions.
• Pigs gather leaves and straw before a storm.
• If the bull leads the cows to pasture, expect rain;
if the cows precede the bull, the weather will be
uncertain.
REPTILES/AMPHIBIANS – приметы по
земноводным
• The louder the frog, the more the rain. Перевод:
Если лягушки квакают громко, будет
дождь.
• If frogs make a noise during cold rain, warm
dry weather will follow. Перевод: Лягушки
квакают во время холодного дождя – к
теплой сухой погоде.
PLANTS/TREES – приметы по растениям,
деревьям, цветам
• Open crocus, warm weather. Closed crocus, cold
weather. Перевод: Крокусы открылись – к
теплой погоде, если закрылись – к холоду.
• Tulips open their blossoms when the temperature rises; they close again when the temperature falls. Перевод: Когда температура
поднимается, тюльпаны открывают цветы;
и снова закрывают, если температура
падает.
• The daisy shuts its eye before rain. Перевод:
Перед дождем ромашка закрывается.
• If the marigold should open at six or seven in the
morning and not close until four in the afternoon,
we may reckon on settled weather. Перевод:
Погоду можно считать устоявшейся, если
ноготки раскрыли бутоны в шесть или семь
часов утра, а закрыли до четырех часов дня.
78
• Flowers smell best just before a rain. Перевод:
Непосредственно перед дождем цветы
пахнут лучше.
• Dandelion blossoms close before a rain. Перевод:
Перед дожд ем цветы одуванчика
закрываются.
• When the milkweed closes its pod, expect
rain. Перевод: Если молочай закрывает
стрючок – ожидайте дождь.
• The pitcher plant opens wider before a
rain. Перевод: Если саррацения (pitcher plant
– пер. растение кувшины) открылась шире,
то будет дождь.
• Chickweeds close their leaves before a
rain. Перевод: Звездчатки перед дождем
закрывают свои листья.
•
•
•
•
•
•
•
•
•
•
BIRDS
If the goose honks high, fair weather; if the goose
honks low, foul weather.
Birds flying low, expect rain and a blow.
If the lark flies high, expect fair weather.
If the rooster crows on going to bed, you may
rise with a watery head.
If the raven crows, expect rain.
When geese cackle, it will rain.
When ducks quack loudly, it’s a sign of rain.
The hooting of the owl brings rain.
If the sparrow makes a lot of noise, rain will follow.
When parrots whistle, expect rain.
INSECTS
• Crickets are accurate thermometers; they chirp
faster when warm and slower when cold.
• Cockroaches are more active before a storm.
• Locusts sing when the air is hot and dry.
• Before a rain, ants are very busy, gnats bite,
crickets are lively, spiders leave their nest; and
flies gather in houses
• When spider’s webs in air do fly, the spell will
soon be very dry.
• If garden spiders forsake their webs, it indicates
rain.
• If spiders are many and spinning their webs, the
spell will soon be very dry.
• Spiders enlarge and repair their webs before bad
weather.
MAMMALS
• When a cow endeavors to scratch his ear, it means
•
•
•
•
•
•
•
•
a rain shower is very near. When he thumps his
ribs with an angry tail, look out for thunder,
lightning and hail.
If a dog pulls his feet up high while walking, a
change in the weather is coming.
Cats scratch a post before wind; Wash their faces
before a rain; and sit with backs to the fire before
snow.
Cats with their tails up and hair apparently electrified indicate approaching wind.
Horses run fast before a violent storm or before
windy conditions.
Pigs gather leaves and straw before a storm.
If the bull leads the cows to pasture, expect rain;
if the cows precede the bull, the weather will be
uncertain. REPTILES/AMPHIBIANS
The louder the frog, the more the rain.
If frogs make a noise during cold rain, warm dry
weather will follow.
PLANTS/TREES
• Open crocus, warm weather. Closed crocus,
cold weather. Tulips open their blossoms when
the temperature rises; they close again when the
temperature falls.
• The daisy shuts its eye before rain.
• If the marigold should open at six or seven in the
morning and not close until four in the afternoon,
we may reckon on settled weather.
• Flowers smell best just before a rain.
• Dandelion blossoms close before a rain.
• When the milkweed closes its pod, expect rain.
• The pitcher plant opens wider before a rain.
References:
1. Даль В. И. «О поверьях, суевериях и предрассудков русского народа»
2. Забылин М. Русский народ, его обычаи, обряды, предания, суеверия и поэзия. — М.:
Издание книгопродавца М. Березина, 1880.
— 607с.
3. Кулькова, Мария Александровна «Семантика
и прагматика немецких и русских народных
примет: Лингвокультурологический подход
4. Сахаров И. П. «Сказания русского народа»
5. Стрижев Александр «Народные приметы»
6. Снегирёв И. Русские простонародные праздники и суеверные обряды. (Выпуск 1-4) . — М.:
Университетская типография, 1837-1839.
7. Prendergast 1999
8. Dunn 2000
79
УДК: 811.161.1 (575.2) (04)
Kasieva Aida, P.h.D., KTMU
Cognitive-Semiotic Approach to some Kyrgyz Lingua-cultural
Concepts
Когнитивно-семиотический подход при исследовании
кыргызских линвокультурных концептов
Аннотациясы: 20-кылымдын аягы жана 21-кылымдын башындагы лингвистика илиминин
мүнөздүү өзгөчөлүгү болуп лингвистикалык кубулуштарды жана категорияларды, б.а адамдын
активдүү ролун анын менталдык жана кеп ишмердүүлүгүн изилдөө объектиси катары антропоцентрикалык өңүттөн иликтөө тенденциясынын кеңири жайылышы менен белгиленген. Мындан
улам, заманбап лингвистикалык изилдөөлөр көбүнэсе когнитивдик багытта өнүгө баштаган. Бул
изилдөөлөрдүн көңүл чордону болуп, адамдын билимге ээ болуу, аны топтоо, чогултуу жана колдонуу менен биргеликте анын акыл-эсинде болуп жаткан менталдык процесстер болуп саналат.
Бул теорияларды эске алуу менен, мен айрым кыргыз лингва-маданий концепттердин когнитивдик-семиотикалык иликтөө жолун көрсөтүүнү туура чечтим. Бул изилдөөгө кайрылуумдун себеби
(актуалдуулугу) : биринчиден, тилдин когнитивдик аспектерин изилденилүүсүнүн маанилүүлүгү,
өзгөчө сүйлөп жаткан адамдын билиминин структурасынын когнитивдик чечмеленүүсү; экинчиден, белгилүү бир улуттук-тилдик материалдын негизинде изилдөө жүргүзүү муктаждыгы
менен түшүндүрүлөт. Бул изилдөө, ошондой эле, тилдин функцияларды аткаруусундагы жана
эволюциясындагы тил илиминин маданиятка, этно – маданиятка, этно – психологиялык факторлору менен болгон байланыштарын да камтыйт. Учурда талкууланып жаткан көйгөйдүн
контекстинде, атайын тандап алынган концепттердин анализдери тил жана маданиятты байланыштырган негизги бөлүм катары кызмат кылат. Лингвистикалык формалардын көмүскөсүндө
калган тилдик чагылдыруунун когнитивдик структураларын белгилөөгө, тилдик бирдиктердин
функцияларынын менталдык процесстеринин көз карашынан түшүндүрүүгө мына так ушул
кубулуш аркылуу жетишсе болот.
Айрым маданий концепттердин когнитивдик-семиотикалык анализин жүргүзүү максатында,
мен кыргыз маданиятынын белгилеринде, символдорунда, салттарында, үрп-адаттарында жана
ырым-жырымдарында чагылдырылган кыргыз маданий кубулуштарын чечмелөөдө негизги каражат катары семиотиканын механизмдерине кайрылууну чечтим. Бул түшүндүрмөлөр, белгилүү
бир деңгээлде кыргыз маданиятын, анын символдорун, кыргыздын бөтөнчүлүгүн жана ошондой
эле баарлашуусун терең таанууга багытталган. Мындан улам, маданият бул – концепцияланган
жана баамдалган жолу өзгөчө маани берген негизги кызыкчылык деп эсептейм. Ошондуктан мен
маданиятты эң маанилүү объект катары эсептейм, анткени ал маданияттын концептуализациялануу жана кабылдоо жолдоруна басым жасайт.
Негизги сөздөр: кыргыз маданияты, когнитивдик семиотика, когнитивдик лингвистика, маданий концепттер, концептосфера, символикалык маданият, таксономия, беелгинин объектиси,
репрезентамен, интерпретант.
Аннотация: Характерной чертой лингвистической науки конца ХХ и начала XXI века была
ознаменована широким распространением антропоцентрического подхода к лингвистическим
явлениям и категориям, то есть к активной роли человека как субъекта ментальной и речевой
деятельности. Следовательно, современные лингвистические исследования начали приобретать
более когнитивный характер, центральное внимание которого было направлено на процессы приобретения, накопления и применения знания человеком, также как и те ментальные процессы,
происходящие в её/его уме и мышлении.
Учитывая всю теорию, касаемо данной темы, я предприняла попытку провести когнитивно-семиотисеский анализ некоторых кыргызских лингвокультурных концептов. Актуальность
обращения к данной теме обусловлено следующим: во-первых, значимостью изучения когнитивных
аспектов языка, особенно когнитивной интерпретацией структур знаний говорящего; во-вторых,
80
необходимостью проведения исследования на материале конкретно взятого национального языка.
Статья, таким образом, предусматривает лингвистическое исследование в тесной взаимосвязи
с культурой, этнокультурой, этно-психологические факторы в функционировании и эволюции
языка. В контексте настоящей работы нами были отобраны и проанализированы отдельные
концепты, которые служат центральным звеном связывающим язык и культуру. Именно это
звено, являясь объектом данной статьи, делает возможным определить когнитивные структуры лингвистических репрезентаций, которые остаются на заднем плане лингвистических форм,
которые помогают определить функции лингвистических единиц с точки зрения ментальных
процессов.
Для проведения когнитивно-семиотического анализа некоторых культурных концептов, я
решила обратиться к механизмам семиотики как к главному инструменту для интерпретации
кыргызских культурных явлений, которые воплощены в его знаках, символах, традициях, обрядах
и ритуалах. Эти интерпретации должны внести определенный вклад в более глубокое понимание
кыргызской культуры, её символов, кыргызской идентичности, а также коммуникации. Поэтому
я считаю, что культура является центральным объектом, так как именно она придаёт формы,
которыми она концептуализируется и воспринимается.
Ключевые слова: кыргызская культура, когнитивная семиотика, когнитивная лингвистика,
культурные концепты, концептосфера, символическая культура, таксономия, объект знака,
репрезентамен, интерпретант.
Abstract: The characteristic feature of the linguistic science of the end of the XX and the beginning
of the XXI century has been marked with a wide broadening of anthropocentric approach towards linguistic phenomena and categories, i.e. to man’s active role as a subject of mental and speech activities.
Consequently, contemporary linguistic studies have been moving towards a more cognitive-oriented
character. The central focus of which are the human processes of acquiring, accumulating and applying
knowledge, as well as the mental processes that take place in his/her mind.
With all these theories in mind, I am intending to present Cognitive semiotic analysis for some Kyrgyz
lingua-cultural concepts. The topicality of addressing to the study is caused: first, by the importance of
studying cognitive aspects of language, especially the cognitive interpretation of the structure of speaker’s
knowledge; second, the need for conducting research on a particular national-language material. The
research also considers language study in its relation to culture, ethno-cultural, ethno-psychological
factors in the functioning and evolution of language. In the context of the present problem, the analysis
of the selected concepts serves as a central section that links language and culture. It is the very phenomenon by means of which it is possible to signify the cognitive structures of linguistic representation
that remains at the back stage of the linguistic forms, explaining the functions of linguistic units from the
point of view of mental processes.
For the purpose of conducting cognitive-semiotic analysis of some of the cultural concepts, I decided
to address to mechanisms of semiotics as an essential tool for interpreting Kyrgyz cultural phenomena
that are manifested in its signs, symbols, traditions, customs, and rituals. These interpretations are intended to a definite extent to contribute to better understanding of the Kyrgyz culture, its symbols, Kyrgyz
identity, and communication as well. Therefore I consider culture is of central interest as it emphasizes
the manner in which it is conceptualized and perceived.
Key words: Kyrgyz culture, Cognitive semiotics, Cognitive linguistics, cultural concepts, conceptosphere, symbolic culture, taxonomy, object of a sign, representamen, interpretant.
Cognitive Semiotics is the study of how to
employ and integrate the methods and theories of
meaning-making as developed in the cognitive
sciences as well as in the human and social sciences,
notably in semiotics, linguistics, psychology, cognitive
science, computational modeling, anthropology, and
philosophy. This is all connected with conceptual
and textual analyses as well as experimental and
ethnographic investigations. Cognitive semiotics
has many sources and involves the study of thought,
learning, and mental organization. The subject
area of cognitive semiotics is human meaning
construction, the relationship between languagethought-perception and the physical properties of the
brain and human cognitive abilities. CS is defined
as an interdisciplinary matrix of disciplines and
81
methods, focused on the multifaceted phenomenon
of meaning or as an emerging field with the goal
of “…integrating methods and theories developed
in the disciplines of the cognitive sciences with
methods and theories developed in semiotics and
the humanities, with the ultimate aim of providing
new insights into the realm of human signification
and its manifestation in cultural practices” (www.
cognitivesemiotics.com).
In discussing the so-called “(sub-parts of) ” and
the combination of methods and levels of analysis
in CS, J. Zlatev, (Centre for Cognitive Semiotics
at Lund University), states the following: “So…what
are the “(sub-parts of) the disciplines” involved?
Judging from the background of CS practitioners,
one can single out (1) semiotics (whether or not it
should be seen as a single discipline), (2) linguistics
(approaches viewing meaning as the essence of
language), (3) psychology (mostly developmental,
but also cultural, cognitive, and comparative),
(4) anthropology (biological and, hopefully,
cultural, despite its deeply ingrained resistance
to “biologism”), (5) enactive cognitive science
(including the neuroscientific and dynamic modeling
approaches), and (6) philosophy (above all, in the
phenomenological tradition) ” (J. Zlatev) .
1. The cognitive ‘breakthrough’
The characteristic feature of linguistic science
of the end of the 20th century and beginning of
the 21st has been marked with a wide broadening
of the anthropocentric approach towards linguistic
phenomena and categories, i.e. to man’s active
roles as subject of mental and speech activities.
Consequently, contemporary linguistic studies have
been moving towards a more cognitive-oriented
character, the central focus of which are the human
processes of acquiring, accumulating and applying
knowledge, as well as the mental processes that take
place in his/her mind. The main aim of cognitive
linguistics is the study of the interrelationship of
different kinds of knowledge in the process of the
speech activity, which has been accumulated by
man and available to him at the relevant moment
of speech communication. Thus, language, along
with perception, thinking, and memory relates to
cognitive structures that are challenged to explain the
processes of acquiring, processing and rendering the
knowledge. In connection with all these, cognitive
science considers language as one of the leading
fields for studying the nature and types of interaction
of knowledge on different levels of generalization
by means of the language.
With all these theories in mind, I intend to
present a Cognitive semiotic analysis of some
Kyrgyz lingua-cultural concepts in the framework
of the current study. The topicality of addressing this
study is influenced first of all by the importance of
studying cognitive aspects of language, especially the
cognitive interpretation of the structure of a speaker’s
knowledge; second, the need for conducting research
on particular national-language material. The
research also considers language study in its relation
to culture, ethno-cultural, and ethno-psychological
factors in the functioning and evolution of language.
In the context of the present problem, the analysis of
the selected concepts serves as a central section that
links language and culture. It is the very phenomenon
by means of which it is possible to signify the
cognitive structures of linguistic representation
that remain at the back stage of linguistic forms,
explaining the functions of linguistic units from the
point of view of mental processes.
The leading role in describing interrelationships
between a language and national culture belongs
to the achievements of cognitive linguistics, which
is needed in describing one’s imagination of the
world and its realization in linguistics, and as a
science “of knowledge and cognition, the results
of human perception of the world, and subjectcognitive activity that has been accumulated in the
form of intelligent and systematized data, which
are somehow represented into our consciousness
and serve as a basis for our mental and cognitive
processes” (Kubryakova, 2007: 8-16) .
2. Kyrgyz Lingua-Cultural concepts
2.1. Core concepts of Kyrgyz Linguistic
culture
Among the most wide-spread core concepts
of Kyrgyz ethnolinguistics, are 25 concepts that
predominate in the Kyrgyz culture and make up the
Kyrgyz national conceptosphere: komuz (national
musical instrument), bozuy (a basic nomadic
dwelling, a cylindrical felt tent), mountain, child,
horse, happiness, ak-kalpak (a man’s felt cap),
Word, Woman, Rituals, Life, Death, Feast, Relatives,
Consciousness, Humanity, Fate, Harmony, ‘Kut
– ‘a spiritual term that means ‘good’, ghost, arman
– ‘a dream that was not realized’, bata – ‘blessings’
(Derbisheva, 2012: 29-30) .
82
For the purpose of conducting a cognitivesemiotic analysis of some of the cultural concepts,
I decided to address the mechanisms of semiotics
as an essential tool for interpreting Kyrgyz cultural
phenomena that are manifested in its signs, symbols,
traditions, customs, and rituals. These interpretations
are intended to a large extent to contribute to a
better understanding of the Kyrgyz culture, its
symbols, Kyrgyz identity, and communication as
well. Therefore, I consider culture to be of central
interest as it emphasizes the manner in which it is
conceptualized and perceived.
Moreover, culture and communication are
the two concepts essential to an understanding of
semiotics because they are vital for understanding
human behavior: “The subject matter of semiotics,
it is often credited, is the exchange of any messages
whatsoever, in a word, communication. To this it
must at once be added that semiotics is also focally
concerned with the study of signification. Semiotics
is therefore classifiable as that pivotal branch of an
integrated science of communication to which its
character as a methodical inquiry into the nature
and constitution of codes provides an indispensable
counterpoint” (Sebeok, 1986a: 36) .
Consequently, in this paper I focus on
definite Kyrgyz cultural concepts that are vivid in
representation. More specifically, the study covers
Kyrgyz symbolic culture which is manifested in such
signs and symbols as: “yurt”, “kalpak”, and some of
the wedding rituals such as: putting golden earrings
on the bride’s ears; covering the bride’s head with a
white scarf; the ritual of bride kidnapping/stealing.
I also tried to provide a semiotic analysis of the
symbols and traditions of the Kyrgyz culture. The
reason for addressing Kyrgyz symbolic culture can
be explained by the fact that it presupposes more than
the ability to learn and transmit behavioral traditions
from one generation to the next; symbolic culture is a
domain of objective facts whose existence depends,
paradoxically, on collective belief. The concept
of symbolic culture draws from semiotics, and
emphasizes the way in which distinctively human
culture is mediated through signs and concepts.
In other words, symbols and rituals are the
tangible or visual aspects of the practices of a
culture. The true cultural meaning of the practices is
intangible; this is revealed only when the practices
are interpreted by the insiders. Therefore, in order
to interpret these cultural meanings, I focus on
some theoretical moments of the componential
structure of signs and symbols and how they are
decoded according to their meanings through both
the Saussurean dyadic tradition and the Peircean
triadic model.
It is well-known that meanings are made through
our creation and interpretation of ‘signs’. And
according to Peirce, ‘we think only in signs’ (Peirce,
1931-58, 2: 302) . In other words, ‘nothing is a sign
unless it is interpreted as a sign’, says Peirce (ibid. 2:
172) . Thus, anything can be sign as long as someone
interprets it as ‘signifying’ something – referring to
or standing for something other than itself. And as
been noted by Daniel Chandler: ‘We interpret things
as signs largely unconsciously by relating them to
familiar system of conventions. It is this meaningful
use of signs which is at the heart of the concerns of
semiotics’ (Chandler, 2007:13) . Similarly, signs in
any culture are interpreted differently depending on
the familiarity with the culture. For the purpose of
describing some interpretations of cultural signs in/of
the Kyrgyz culture, I will refer to two of the most
dominant models developed by the Swiss linguist
Ferdinand de Saussure and the American philosopher
Charles Sanders Peirce, whose models represent
the best way of describing a sign: The Saussurean
Model of the sign in the dyadic tradition and the
Peircean triadic model that consists of three parts
(representamen, interpretant, and object) .Thus, in
the framework of this study we will try to describe
the most commonly known and accepted signs and
symbols in/of the Kyrgyz culture by applying these
models. However, the interpretation of the selected
and analyzed signs can be made quite differently
by people who are not aware of the traditions of the
Kyrgyz culture.
As the most vivid example of Kyrgyz symbols,
I have selected two objects: a yurt and ‘a kalpak’a national hat. A yurt is a circular tent of felt on a
collapsible framework, used by nomads and which is
a masterpiece of nomadic architecture. A white yurt
is the national architectural symbol of the country.
It is far more than a house for the Kyrgyz as it is
the essence of life itself. Everything happened here
– birth, marriage, life, and death. It is not just an
example of construction but its internal decoration is
an example of national originality where each item
has a specific role and place. Even the hearth, which
is considered sacred for the Kyrgyz people, has its
own place and meaning in the yurt. Thus, every item
of the yurt reflects the culture of the Kyrgyz. For
example, the yurt’s crown the ‘tunduk’ – a dome,
83
a wooden circle with four beams has for many
centuries been the symbol of the unity of the family
and all the people. Taken from the perspectives of
the Saussurean model, in which the sign is the whole
that results from the association of the signifier with
the signified (Saussure, 1983: 67), the ‘tunduk’ is
the material form of a signifier, whereas its function
and interpretation in the Kyrgyz culture is a signified
concept which symbolizes the sun with the four
parts of the world. Thus, the relationship between
the signifier (‘tunduk’ as a material object) and
the signified (its function and interpretation) is
conventional.
One of the other symbols of the Kyrgyz culture
is ‘ak kalpak’ – ‘a white hat’, which symbolizes vital
energy. Worldwide, only Kyrgyz men wear kalpaks.
Since ancient times ‘ak kalpak’ has never changed its
form, and it is still considered as a symbol of Kyrgyz
identity. According to the Peircean triadic (threepart) model, the material object ‘ak kalpak’ can be
considered as a sign. The process of semiosis, or
decoding of this sign can be described as follows:
1. “Ak kalpak” – a national hat is a representamen
since it takes the form of a sign, or a ‘sign
vehicle’.
2. The object of this sign is ‘ak kalpak’ which
belongs to the Kyrgyz culture and stands for one of
the most vivid national items of high value among
the number of other cultural symbols.
3. ‘Ak kalpak’, symbolizing the height of the
Kyrgyz snow-covered mountains, is an interpretant
of the sign since it reflects elevated thoughts, the
spirit and the union of the people.
Every element of ‘kalpak’ bears a special
meaning. For example, the brush should be in front
as it symbolizes the juniper, which is associated
with eternity. As there are many legends about the
ornaments on a ‘white kalpak’; every curl has its
own history and meaning. The Kyrgyz people give
the white ‘kalpak’ only to men who are guests of
distinction or honor because since ancient times
a ‘kalpak’ has symbolized friendship and unity
between peoples. According to Kyrgyz history,
fighting tribes very often gave each other ‘white
kalpaks’ as a sign of reconciliation. The color of the
hat is also paradoxical itself, because ‘ak’-‘white’
– figuratively means abstract feelings, which are
sacred and high.
Moreover, there is a great number of Kyrgyz
cultural concepts dealing with Kyrgyz cultural
traditions, such as weddings, a child’s birth, death,
etc. Like in any culture, the wedding procedure of
the Kyrgyz is a complex event and consists of many
rituals that are carefully planned and organized,
and yet readily accessible to semiotic analysis by
means of signs and codes. However, the process of
decoding these signs is complicated because it is
important for someone to be aware of the cultural
moments in order to reveal the object of a sign which
is hidden. With all these in mind, it is worth noting
that it is even hard to analyze such cultural events as
weddings due to the fact that they consist of several
symbolic stages.
The Kyrgyz wedding ceremony or ‘Kelin aluu’lit.: ‘bride’s arrival’ is a mixture of ancient rituals
of wedding and Muslim traditions. As can be seen
from the scheme above, there are three ways how
young people come to a wedding, and this consists
of several rituals: golden earrings are attached to the
bride’s ears by the groom’s mother; bride’s arrival
at the groom’s house; putting on a white kerchief on
the bride’s head; scattering ‘chachyla’- candies on
her way to the house; bride’s bow; ‘kalym’- ‘dowry’;
presenting a cow to the bride’s parents, etc. In fact,
there are more rituals dealing with weddings in
the Kyrgyz culture. However, within this study I
decided to select and provide a semiotic analysis of
the most important rituals of the Kyrgyz culture of
wedding.
To qualify cultural objects and traditions as a
sign, I resort to the conventional model of analyzing
the sign where all three elements are essential (object,
representamen, interpretant) . According to this
model: the sign is a unity of what is represented (the
object) ; how it is represented (the representamen)
; and how it is interpreted (the interpretant) .Thus,
for example the ritual of attaching golden earrings
to the bride’s ears by the groom’s mother has a
symbolic meaning. Here, the golden earrings are a
representamen of a sign since symbolically it means
that that the young couple is engaged from this very
moment, and thus it stands for the object of a sign.
The sense made is that the golden earrings are a
precious gift to be given to a special girl, who will
become a new member of the family:
1. Golden earrings – is the object of a sign;
2. Golden earrings are represented as a symbol
of engagement and as the groom’s mother’s gift to
the bride (representamen) ;
3. Golden earrings are interpreted as an invitation
to a family as a new member (interpretant).
One of the other integral rituals of the wedding is
84
covering the bride’s head with a white kerchief. The
object of the sign here is a white kerchief which is put
on the bride’s head upon her arrival to the groom’s
house as a kind tradition to continue the family.
1. The object of the sign here is a ‘white
kerchief’.
2. The representamen of the sign is the action of
covering the bride’s head with a white kerchief on the
threshold of the groom’s house upon her arrival.
3. The meaning of this action is that the white
kerchief is the sign of virginity and the bride who just
arrived is a virgin. Secondly, the meaning of white
in the Kyrgyz culture is associated with purity and
good wishes. Thus, this is the interpretant of the sign
‘white kerchief’.
One of the indispensable conditions of the
Kyrgyz wedding ritual is ‘kalym’- a bride ransom.
It is a sum of money that the groom’s side pays out
to the bride’s parents for their daughter (bride’s
price) .
1. The object of a sign here is the ‘kalym’ – the
amount of money paid to the bride’s parents by the
groom’s side.
2. When the parties have agreed on their
children’s decision to live as a family, or in case
when even the groom had kidnapped the bride, or
the marriage had taken place by mutual agreement of
both parties, the groom’s side must pay the ‘kalym’a bride ransom, ‘bride’s price’. Thus, this is the
representamen of the sign ‘kalym’.
3. Symbolic interpretation of this sign means
that the bride from that moment is considered to
belong to the new family since the price for her has
been paid out. Also, this means that the groom’s side
wishes to reimburse the expenditures that her parents
invested in their daughter by the time of marriage.
From a foreigner’s point of view, it can be
considered that the bride’s parents just sell their
daughter. However, it is still a cultural moment,
which is ambiguous as it deals with money matters
between two parties whose children decided to
marry.
One of the most interesting and hotly-disputed
issues in/of the Kyrgyz culture is bride kidnapping.
It has been from time immemorial that a man can
kidnap a young girl he loves or knows. Although
technically against the law, this custom still exists.
Bride kidnapping rituals are not very common in
Kyrgyzstan, but nevertheless, it randomly takes place
among the Kyrgyz. It deals with the kidnapping of
the girl without her agreement. The paradox here is
that the groom steals a girl with the aim to develop
a happy family life, which is logically hard to be
explained.
In conclusion, it is worth noting that almost
all traditions and customs in the Kyrgyz culture is
associated with a chain of events, celebrities. Almost
the whole life of a Kyrgyz is full of signs and symbols
that must be decoded or interpreted.
Thus, with all these in mind I suggest the idea
that cultural moments, i.e. traditions, customs, rituals
can also become the objects of semiotic analysis.
Also, I suggest the idea that not only the concepts,
representing an object, but also cultural traditions,
rituals, that consist of chains of events can be subjects
for cognitive semiotic analysis.
References:
1. Kubryakova, E.S. and Demyankov V.Z. 2007. “К
проблеме ментальных репрезентаций [To the
problem of mental representations].” Tambov.
Tambovsky gos. universitet imeni Derzhavina.
2. Derbisheva, Z. 2012. “Ключевые концепты кыргызской лингвокультуры [Core concepts of the
Kyrgyz linguoculture]. Bishkek: 176: 29-30
3. Sebeok, Th. A. 1986a. The doctrine of sign. In J.
Deely, B. Williams, & F.E. Kruse (Eds.), Frontiers
in semiotics (pp. 35-42) . Bloomington: Indiana
University Press.
4. Peirce, Ch.1931-58. Collected Papers (8 vols: vol.
2, Elements of Logic, ed. Charles Hartshorne and
Paul Weiss, 1932) . Cambridge, MA: Harvard
University Press.
5. Chandler, D. 2007. Semiotics: The Basics (2nd
edn). New York: Routledge.
6. Saussure, F. 1916/1983. Course in General
Linguistics (trans. Roy Harris) . London:
Duckworth.
85
УДК: 811.161.1 (575.2) (04)
Kasymbekov Nurdoolot
IUK, IFL
Non verbal communication and Semiotics.
(paralinguistical and extra linguistic aspect of communication)
Аннотациясы: Бул макалада негизинен турдуу маданияттагы жана турдуу системада суйлогон адамдардын баарлашуу ыкмаларын изилдейт. Андан сырткары адамдардын семиотикалык
белгилер менен бирге турдуу кыймыл аракеттер менен баарлашууларын да камтыйт.
Негизги сөздөр:вербалдуу эмес баарлашуу, паралингвистика, экстралингвистика, семиотика
и семиология, баарлашууда колдонулган турдуу кыймыл аракеттер.
Аннотация: В данной статье рассматривается проблемы не вербальной коммуникации как
в разносистемных языках так и в разных культурах. Кроме того данная статья описывает как
люди разных культур используют не вербальные коммуникации и как это используется в лингвистике.
Ключевые слова: невербальная коммуникация, паралингвистика, экстралингвистика, семиотика и семиология, язык тела.
Abstract: This article deals with the communication problems in different system languages as well
as in different cultures. It also describes how people use body language and semiotic units in different
sytem cultures.
Keywords: non verbal communication, paraliguistics, extralinguistics, semiotics and semiology, body language.
Non verbal communication is the kind of
communication when people talk without vocal
speech. One of the main researches about non verbal
communication belongs to Ch. Darvin and his work
“The expression of the emotions of the human being
and animals” that was published in 1878. This
research deals with the non verbal communication,
specially with the body language and his theory is
very important even now. In the 70-th non verbal
communication was researched by A. Peez, the
author of the book “Body language” and it was
researched in the center Pease Training Corporation,
Australia.(1994) Researchers define that while
speaking we use body language from 50 to 90%
including semiotic means. The main functions of the
non verbal communication: 1) addition and exchange
our oral speech; 2) regulation of the interpersonal
relations; 3) representation of the emotional state;
4) exchange of the rituals 5) regulation of the self
presentation; 6) expression of the semiotic system of
the nation; There are some factors that influences to
the non verbal communication. They are a) national
peculiarities; b) the state of the personalities’) the
profession of the person; d) the lever of the person’s
culture, it expresses about the person’s etiquette,
and where he or she was brought up; e) status of the
person, – if the person is in higher position he uses
body language less, their body language is more
aristocratic; f) if the person refers to the definite
group; g) some people can play with the body
language well, they might be excellent actors and the
speaker’s age also influence to the communication.
Sometimes non verbal communication shows the
speakers inner world. Non verbal communication
are divided into: according to analyses; eye contact
(зрение); acoustical (слух); tactile (осязание);
olfactory (smell) ; kinesthetic (другие виды ощущений и эмоций); по модальностям (способ обработки информации) :visual (зрительные образы) ;
audial (слуховые образы) ; discredit system of the
world view from the logical point of view may be
given through schemes, tables, numbers and many
others.
Now we will speak about the acoustical system
of the non verbal communication. Acoustical system
of the speech is divided into: 1) Paralinguistic system
(prosody) -the system of vocalization that includes
the pitch, range, the level, tone, duration and volume
of the person’s speech; 2) extra linguistic units of the
speech includes pause and different physiological
cases of the speaker like cuffing, laugh, crying,
whispering, deep breath. Pause might be of different
86
types as the expressive means of the speech on
the base of the logical demand, the length of the
pause may not be standard, they may be in different
duration. When we change the pause we can regulate
the expressiveness and the nature of the speech.
In the person’s speech we often use the stress
that means tonal accent that may be put on the
word during the speech.One of the important point
is melody of the speech that may be expressed by
means of the changing of the voice and its tone, tonal
rise and fall in the process of our speech.
Timbre or musical quality of the speech may be
expressed by means of the different voices. Sound
intensity of the different speakers might be differently
like weak or strong. According to the speech and its
analyses high, shrill, loud, and trembling voice may
show the state of the person who is very worried.
The change the rhythm, quickness of the speech,
the lost of the pauses, elevation of the breath, burst
of laughter expresses stress of the speaker. People
speak quickly when they are in emotion.
The structure of the speech includes these
qualities: a) the exact use of the words and words
combination for the definite purposes; b) correct
pronunciation of the sounds; c) expressiveness of
the speech; d) following the grammar rules for all
the speakers of the world, but in different cultures
there are different qualities of the non verbal
communication. These qualities that we are going
to discus not so much typical for everybody, but
while speaking and meeting them for the first time
you may orient to these qualities.
Тhe national style of the communication is
commonly spread and typical with its special
peculiarities of the national thought and behavior.
It doesn’t refer to all the members of the nation, but
it will be useful when you meet the foreign people
for the first time. American style is characterized by
these features:
• open mindedness and friendly relations;
• they don’t want to be official in negotiations;
• they value jokes and answer with the jokes;
• they respect when the people follow their
directions;
• they are good specialists in their field and had
a good competency in talking;
• they are more selfish then others;
• стремятся реализовать свои цели на переговорах;
• they like to bargain;
• they use papper based information sending
different information by the post mail or by emails;
• they like to print information. As to the Jana
style of non verbal communication we can see quite
different features then others;
• they never use threat in the communication;
• they didn’t want to discus in conflict, they are
peaceful
• they respect and pay a lot attention to their
partners to develop them;
It takes a long time to come to the definite
conclusion and they are very keen to the social
opinion like the Kyrgyz nation. Kyrgyzes have
such traditional sayings “What the people will say
if you behave like this one or if you will have some
different manners that are not typical for the nation
”.In old times the words of the old people like the
law that all the people followed it. British people
are very practical, hard working, persistent, and
businesslike. They like to make if compromises.
They are disposed to conservatism and coolness, they
are sure in their activities. They are very flexible. The
main feature in communication we have to focus that
they are unsociable. There are some cultures that are
quite different from western cultures. For example,
Arabic people will contact with those people whom
they trust with somebody, it is very difficult to
contact with them while they see and believe in
something. If they promise to do something they
will fulfill anyway. They are very optimistic, hard
working, but they can’t restrain their emotions and
they prefer to speak beautifully, a lot of tolerances,
hospitable, communicable, unforgiving, loftiness
are typical features for the Arabic culture. They are
very superstitious. Arabic people think about the
own, individual honor.
If we analyze communicative behavior of the
Azerbaijani people we see that they are hot tempered,
quick minded, they are fond of freedom, Jewish
people differ with their purposefulness, they are able
to adapt to any difficulties, creative minded, very
good improvisers complaining to ups and downs
all the time.There is an other group of people like
Chinese that have special peculiarities in the process
of communication. They have a special system of
communication: a) to define the position of the
speakers and their clothes and general view of the
communicators and their manners; в) discussion
about the problem; c) the end of the discussion. They
prefer to discuss the problems not officially but in
home based situation. These features are typical
87
for the Chinese culture: they are hard working,
tolerant, modest, collectivism, punctuality, coolness,
keeping national traditions and customs. Kyrgyz
people respect elder people when they speak young
people should listen to them attentively and do the
directions given by them. They are strong willed
and morally stable.They respect their parents very
much. The most communicable nation is Lithuanian
people as they were closely connected with Slavonic
people. Among western cultures Germans differ from
others for their punctuality, accuracy, honesty, hard
working, but no initiation, as to the Russians they
are open minded, simplicity, they are ready to help
to anybody, and very communicable.I would like to
focus on some peculiarities of the Kyrgyz people
that are quite different from other nations: a) they
are open to everybody despite of any condition, close
friends, relatives may communicate any time they
prefer, they can visit without any invitation to their
relatives even at nights. Country people can viisit
their relatives all the time without informing about
their visit beforehand. b) if you are on the way to a
far away places you may call for any house and they
will serve you with the meals for free, at least they
can serve you with the bread and tea or whatever
they had in the house; c) all the delicious meals of
the family are kept for their guests all the time, if
unexpected, respected people can come they should
serve them with those delicious meals, that ‘s why
they family should be ready for that; d) they are not
punctual, if you are invited for the seven o’clock
even for the wedding party they may come one or
two hours later for the party it is natural, nobody
will surprise that guests are late. In other cultures
the people send invitations the exact time is written
there, visitors can see they will come in time, but
Kyrgyzes will see the date and the exact time and
they can come any time of that day depending on the
condition. And the last difference from other cultures
Kyrgyzes value good speakers, stylistically colored
words and beautiful oral presentations.
Semiotics and semiology focus our attention
on how people generate meanings--in their use of
language, in their behavior (body language, dress,
facial expression, and so on), and in creative texts
of all kinds. Everyone tries to make sense of human
behavior, in our everyday lives, in the novels we
read, in the films and television shows we see, in
the concerts we attend, in sports events we watch
or participate in--humans are meaning-generating
and meaning-interpreting animals, whatever else
we are. We are always sending messages and always
receiving and interpreting the messages others send
us. What semiotics and semiology do is provide
us with more refined and sophisticated ways of
interpreting these messages-and of sending them. In
particular, they provide us with methods of analyzing
texts in cultures and cultures as texts.
The list of reference.
1. Sebeok, T. A. (1976). Contributions to the doctrine
of signs. Lanham: University Press of America.
2. Jakobson, Roman. Essais de linguistique générale.
Paris: Les Éditions de Minuit, 1963.
3. Биркенбил В.: Язык интонации, мимики, жестов. — С.-П.: «Питер», 1997. — 176 c.
4. Горелов И. Н.: Невербальные компоненты коммуникации. — М.: «Наука», 1980. — 238 с.
5. Конецкая В. П.: Социология коммуникации.
— М.: МУБУ, 1997. — 164 с.
6. Лабунская В. А.: Невербальное поведение
(социально-перцептивный подход) . — Ростовна-Дону: «Феникс», 1988. — 246 с.
7. Морозов В. П.: Искусство и наука общения:
невербальная коммуникация. — М.: ИП РАН,
89 с.
88
УДК: 811.161.1 (575.2) (04)
Kasimov Baiysh, senior teacher, IUK
The Semiotics of Advertising
Семиотика рекламы
Аннотациясы: Жарнаманын максаты товар менен кызматтын максатын байланыштыруу,
жана брендге карата таасирин бекемдөө.
Бул макала жарнамаларды изилдөөнүн практикалык жолу катары семиотикалык Жарнама
берүүчүлөр жарнаманын ийгиликтүү болушунун өтө маанилүү жолу болуп сүрөттүү түрүн
колдонуу болуп эсептелет. Элестүү сүрөт, сөз, түс жана башка белгилер жарнаманын жалпы
ийгилигинин маанилүү бөлүгү болушу керек деп эсептешет,
Негизги сөздөр: жарнаама, семиотика, сурөттөр, сөздөр,
Аннотация: Цель рекламы состоит в связывании желаний с товарами и услуг, а также укрепить чувства положительного влияния на бренды.
Эта статья о семиотике в качестве практического подхода к изучению рекламы. Рекламодатели считают, что в успешной рекламе очень важным способом является использование фотографического стиля. Изображения, слова, цвета и другие знаки должны быть важной частью
общей успешности рекламы.
Ключевые слова: реклама, семиотика, изображения, слова,
Abstract: The purpose of advertising is to associate desire with commodities and services, and to
cement feelings of positive affect to brands.
This article takes semiotic as a practical approach toward the study of advertising. Advertisers believe
that a very crucial way to a successful advertisement is the use of photographic style. Images, words,
colors, and other signs should be an important part of the overall successfulness of advertisements.
Keywords: advertising, semiotics, images, words.
Semiotics is a cornerstone of brand equity
management, since symbolic communication
ties consumer needs, wants, and behaviors to the
form of brand communication in advertising,
packaging, and logo design. Semiotics enables
the ethnographer to understand the role of
consumption to satisfy consumer needs for
identity, community, and meaning.
Semiotics are frequently used in advertising to
signify an advertiser’s message through the use of
signs or symbols. A sign can be better understood as
a signifier, or a symbol that signifies something else.
In some cases, the sign can be an exact representation
of the thing being signified, while in other cases, it
may be a symbol associated with it.
The intent of advertising is to associate desire
with commodities and services, and to cement
feelings of positive affect to brands.
To achieve this, advertisers must construct texts
that are recognizable to viewers as ads; moreover,
they must produce texts that are sufficiently
compelling that viewers are motivated to decipher
them. Still, the ads cannot mean anything on their
own. Ads require viewers to complete their meaning,
to make the necessary turns of meaning that premise
giving value to a brand or a logo.
Advertisements are everywhere. Ads affect or
relate to almost every aspect of our lives. We all
know about the message of ads: this product makes
you look cool, sexy, younger, older, more attractive,
richer. It goes on. Do we listen, are we fooled? Most
people think other people are persuaded by ads yet
they are immune. Yet studies following up on ad
campaigns find that people literally perceive ads as
targeted to them in terms of age, gender and interests
and tune into those ads and not ones they perceive as
targeted to a different group. So presumably there is
a sensitivity to messages we believe are for us. And
we understand and presumably respond positively
to these messages. A question is why? Why is it so?
Why does someone telling us that a particular drink
will give us more life and happiness mean everyone
buys that drink? A number of understandings have
come from the field of semiotics.
89
Once ads were mostly reliant on the written
text, with the words explaining or complementing
the visual; a person speaking a message that is
emphasized by the pictures. This has changed
radically. Contemporary advertising can be a mini
drama, a continuing story or a montage of images.
The growing use of visuals in ads has enhanced the
ambiguity of meaning embedded in the message
structure. The function of the text has moved away
from explaining the visual and toward a more cryptic
or coded form where the text is a key to the visual.
The aim is to make the ad more ambiguous and
thereby enhancing its effectiveness by linking the
product to a broad and subtle range of associations.
Decoding what is happening in these complicated
message structures requires the use of a method such
as semiotics. Semiotics is a method for examining
textual material. A text in this context is anything we
can read or understand as having meaning: images,
sounds, words. In semiotics, the science of signs, we
derive meaning from reading and interpreting signs
in combinations. The French theorist Roland Barthes
was one of the first to study advertising from this
perspective. A precursor was the literary and media
critic Marshall McLuhan. McLuhan anticipated what
has become a major area of interest in advertising
from the perspective of its relationship with media
systems and popular culture.
The semiotic analysis of advertising assumes
that the meanings are designed by their creators
to shape and lend significance to our reality. We
are encouraged to see ourselves, the products and
the services advertised and aspects of our social
world in terms of the mythic meanings that the ads
promote. Myths and narratives play an important
role in generating and maintaining social beliefs and
identity. For example Barthes analysed a front cover
of the magazine Paris-Match in terms of the ways
in which the signs and codes were used to represent
French colonial rule as natural and self-evident.
The photograph worked to support the ideological
position that colonialism was normal, natural and
uncontroversial by showing a black man in a French
uniform saluting the French flag. The semiotic
analysis of signs and codes within advertisements
reveals the mythic structures of meanings that the
ads work to communicate. It has also been argued
that ads not only draw on structures of meaning but
also create structures of meaning themselves. These
meanings then contribute to our ways of seeing
ourselves and the world.
Many contemporary ads do not directly ask
us to buy a product. Often they seem to be more
concerned with amusing us, presenting us with a
puzzle or demonstrating their own sophistication.
The aim of this development in advertising is to
engage us in their structure of meaning, to encourage
us to participate by decoding their linguistic and
visual signs, codes and social myths, and to enjoy
this decoding activity. At the same time as we
are decoding the signs we are participating in the
structures of meaning that the ads represent.
Examples of Advertising
Images
One of the most frequent symbols used in
advertising is the visual image of the product being
sold. For instance, a restaurant that sells fancy
desserts in addition to their main entrees may take
out a billboard advertisement strategically placed
two to three miles away from the freeway exit
where the restaurant is located. Placing something
as simple as a picture of a dessert on the sign may
be just enough to pique the curiosity or perhaps
the appetite of the passerby. Some images don’t
even have to be of what’s being promoted. Instead,
a commonly associated symbol will suffice. For
example, a picture of a skull and crossbones next to
a pack of cigarettes could be used to advertise the
harmful nature of cigarette smoking.
Text
Text can also be used to serve as a symbol in
advertising in the same way that an image is used.
Frequently one word will convey a message with the
same effectiveness as an entire picture. For example,
the word “communist” might be flashed on the screen
during a political advertisement designed to disparage
the policies or political views of an opponent. In this
case, the word would signify a left-leaning approach,
which can also be symbolized by words such as
“socialist.” Similarly, a positive message can also
be conveyed to endorse a political candidate, using
words such as “bravery” or “conservative” to set the
candidate apart from his opponents.
Sound
Symbols do not have to be visual in nature.
They can be audible, as well. Music, for example,
is a sort of universal language that advertisers use
to convey the mood of their message. The actual
content of the music itself can also be a symbol for
an advertised product or message. For example, a
catchy jingle may be used to advertise a particular
90
place of business on the radio. From time to time,
the words of the song may include the phone number
of the business. The jingle is meant to stick in the
memory of the target audience and be there as an
easy symbol to recall when needed.
Process
The use of semiotics in advertising is in many
ways a process. Just because an advertiser chooses a
lizard to represent its business by serving as its logo
and mascot does not mean that every time consumers
see a lizard they will think of that company. Instead,
semiotics employs the use of repeated symbols
that eventually come to signify the product. The
message’s effectiveness can still be instantaneous,
but the branding that takes place by introducing
such a symbol will generally take months, if not
years, to establish. Advertisers do this, not only
through repetition, but also through the combining of
symbols, bringing words, images and music together
into one meaningful and coherent composition.
Examples for the Hairdressing Business
As a hairdresser, it is vital to be able to attract
new clientele to your business. There are several
examples of advertising for the hair dressing business
that can be modified to help you promote your own
salon. Whether you have a small one-person shop
or a large salon, finding the right marketing angle is
the key for your success.
Word-of-Mouth Advertising
By far, word-of-mouth advertising is the most
necessary form of marketing for a hair dressing
business. If your clients love their hair, they are
going to talk about it. To encourage word-of-mouth
advertising, set up a loyalty system with your current
clientele. For example, for every five people they
refer to your salon, your clients could receive a free
haircut. For ten, a free coloring job. Make it worth
their time to talk about your salon to their friends
and family.
Partner With Other Businesses
Hairdressing is a big part of fashion and your
services will integrate well with this marketplace.
If you have a local fashion store that holds fashion
shows, network with it and offer to supply free
hair styling and cuts for the models in the show.
In exchange, the fashion store can advertise your
hairdressing business. If you don’t have anything
like this in your area, contact local stores or your
chamber of commerce and organize an event that
will benefit both the store and your business.
Examples of Advertising Objectives &
Strategies
Direct Advertising
In addition to traditional advertising techniques
such as radio, print and yellow pages, hairdressers
can also utilize direct mail or even door hanger
advertising opportunities. Put together a special offer
for new clients and send out your advertisement
to locals. For a door hanger campaign, print up
special cards that can be left on doors in your local
neighborhood. If the costs for these advertising
methods are too high, consider going into a co-op
with another related business, such as a clothing
store. You can share the expenses and the ad space.
Appeal To Your Customer Base
To successfully advertise a hairdressing business,
you must find new and unique ways of reaching your
customer base. Birds Barbershop in Austin, Texas
has a primarily edgy clientele who are involved
heavily in the Austin music scene. To appeal to this
customer base, the barbershop offered a certificate
for a free beer with every haircut. Keep in mind your
target market and what they enjoy doing and use this
as inspiration to offer free gifts or coupons that will
appeal to your market.
In order to study ads closely in semiotic terms
we need to separate ads from their environment.
We need to identify the visual and linguistic
signs in the ad, to see how the signs are organised
paradigmatically and note how the signs relate to
each other through various coding systems. We
need to identify which social myths the ad draws
on and whether or not the myths are reinforced or
challenged. We also need to recognise that all codes
are potentially ambiguous and that different readers
have the potential to decode the signs differently.
We can assume that anything that carries meaning
to us in an ad is a sign. So linguistic signs (words)
and iconic signs (visual representations) all act as
signs adding to the cumulative code and meaning.
These signs can simply denote something, an object
or people that they represent, or they can carry
connotations, meanings that have social and cultural
relevance. Some of these we recognise consciously,
others unconsciously. A model in an ad can denote
the particular individual or a young woman in a given
situation but can also carry the connotation of the
mythic ideal of feminine beauty. The ad presents us
with a sign, a young woman and this sign signifies a
concept or a range of concepts. The ad works because
the signs are easily readable. What is denoted has
91
meaning in as far as it leads the reader to comprehend
the mythic connotations, the overall message about
the meaning of the product.
Bibliography:
1. DUNN, I., BARBAN, A., KRUGMAN, H. &
REID, P. 1990. Advertising: its role in modern
marketing. 7th ed. Orlando: The Dryden Press.
2. KELLNER, D. Towards a critical theory of
advertising. http://www.uta.edu/english/dab/
illuminations/kell6.html
3. KIM, S. H. 1995. The influence of multinational
advertising on cultural identity. http://www.usd.
edu/cfa/MassComm/mcom.html
4. LEISS, W., KLINE, S. & JHALLY, S. 1986. Social
communication in advertising: persons, products,
and images of well-being. New York: Methuen.
5. SOLOMAN, J. 1996. Masters of Desire: The
Culture of American Advertising.
УДК: 811.161.1 (575.2) (04)
http://sparc20-1.unixlab.virginia.edu/~ams4k/
enwr101/soloman.html
6. VESTERGAARD, T. & SCHRØDER, K. 1985.
The language of advertising. Oxford: Basil
Blackwell Ltd.
7. Sebeok, Thomas A. 2001. Signs: An introduction
to semiotics. 2d ed. Toronto: Univ. of Toronto
Press. Bouissac, Paul, ed. 1998. Encyclopedia of
semiotics. Oxford: Oxford Univ. Press.
8. Beasley, Ron, and Marcel Danesi. 2002. Persuasive
signs: The semiotics of advertising. Berlin: Mouton
de Gruyter.
9. Leiss, William, Stephen Kline, and Sut Jhally.
1990. Social communication in advertising:
Persons, products and images of well-being. 2d
ed. London: Routledge.
10. Williamson, Judith. 1978. Decoding advertisements:
Ideology and meaning in advertising. London:
Boyars.
Kinalieva Meerm, KTMU
Note-taking and symbols as means of minimizing semantic loss
in oral translation
Знаки и символы, средства минимизации семантических потерь
в устном переводе
Аннотациясы: Макалада ырааттуу которуу учурунда кыскартып жазып алууда колдонулган
белги жана символдордун колдонулушу, алардын мааниси жана чечмелениши, жана ошондой эле
кыскартып жазып алуудагы алардын орду изилденген. Оозэки котормодо ар кандай символ жана
белгилерди колдонуу котормо сапатын жогорулатат, жана так туура которууга өбөлгө түзөт.
Котормо процесси курч жана аналитикалык ой жүгүртүүнү, тилдик компетенцияны, мыкты
эске тутуу жөндөмдүүлүктү жана, албетте, котормо чеберчилигин талап кылган өтө татаал
баарлашуу акты. Котормонун негизги максаты түпнуска тилинде берилген маалыматты котормо тилине которууда, сөздүн лексикалык жана семантикалык маанисин сактап туура жана
так которуп берүү болуп эсептелгендиктен, ар түрдүү символдордун жана атайын белгилердин
колдонулушу котормо сапатына кепилдик берет жана семантикалык жоготууларды минималдаштырат. Ушул себептен улам, оозэки котормо практикасында символдордун колдонулушу котормо
процессинин багытын дээрлик өзгөрттү. Котормочу символдордун жардамы менен көлөмдүү
мааалыматты кагаз бетине түшүрүп кыска убакыттын ичинде ассоциативдүү ой жүгүтүүнүн
жардамы менен деталдуу түрдө түпнүска тилинде бере алат. Окумуштуулар котормо сапатына
таасирин тийгизген жана аны арттырган факторлорду изилдеп келишкен. XIX кылымдын экинчи
жарымында гана кыскартып жазып алууда колдонулган символдорду классификациялоо жана
колдонулушу жагынан топторгоо бөлүү иш аракеттери орун алган.
Негизги сөздөр: котормо, символ, кыскартып жазып алуу, түпнуска/котормо тилдери,
жөндөмдүүлүк
92
Аннотация: В статье рассматриваются знаки и символы используемые при устном последовательном переводе, их значения и интерпретация, а также их роль в переводе. Использование
символов и знаков способствует качеству перевода и его адекватности. Процесс перевода – это
сложный коммуникативный акт, требующий глубокого мыслительного процесса и аналитических навыков, языковой компетенции, отличной памяти и, несомненно, навыков перевода. Так как
основной целью перевода является передача языковых единиц исходного языка на язык перевода,
при котором немаловажно сохранить лексическое и семантическое значение слов, использование
символов и знаков способствует полноте перевода и его адекватности, при котором семантические потери сводятся к минимуму. Именно по этой причине, использование символов и знаков
в устном переводе, значительно изменили подходы и технику в переводе. Символы стали неотъемлемой частью устного перевода, позволив переводчику использовать минимальное время, но
добиться максимальной передачи информации на языке перевода, и воспроизвести конечный
продукт – перевод, с помощью ассоциативного мышления. На протяжении многих лет учёные
и лингвисты изучали различные факторы влияющие на качество перевода. И только во второй
половине XIX-века имело место систематизация и классификация знаков и символов, используемых в устном переводе.
Ключевые слова: перевод, символы, переводческая скоропись, язык источник\язык перевода,
переводческие навыки
Abstract: This article investigates signs and symbols used in note-taking techniques during consecutive
translation, the meaning of symbols and their interpretation, and the role of symbols in note-taking as well.
The use of special signs and symbols promotes achieving translation adequacy and quality in the process
of translation. Translation process is a complex communicative act which requires acute mental activity
and analytical skills, language competence and good memory and, certainly, translation skills. Since
the main objective of translation is rendering language units of source text into target one preserving its
lexical and semantic meaning, the use of symbols and signs in consecutive translation ensures adequate
translation with maximum preservation of the Source text units, and minimum semantic loss. Therefore
the usage of symbols and signs and introduction of note-taking techniques in translation has drastically
changed the translation course. Symbols have become an indispensable tool in consecutive translation
and has made possible for an interpreter to use minimal time but have maximal output, restore details
of the source utterance, and reproduce the final product relying on associative thinking. It requires
special writing skills or note-taking skills. Scholars and linguists have been studying factors influencing
translation quality and adequacy from different prospective. And only in the second half of XIX century,
the attempts were made to systematize and classify symbols used in note taking.
Key words: translation, symbols, note-taking, SL/TL, translation skills
Oral translation has always been considered as
consuming type of translation hence it requires excellent memory skills, perfect public speaking skills
and professional translation competence. Translation
requires acute mental activity, analytical and translation skills, language competence and good memory.
Since the main objective of translation is rendering
language units of source text into target one with
maximum preservation of its lexical and semantic
meaning, there is no doubt that the use of symbols
and signs in consecutive translation ensures adequate
translation and minimum semantic loss.
The study of signs and symbols and their use or
interpretation – Semiotics, defines symbol as a sign,
which presupposes the use of its primary meaning
or denotatum as a means to generate more abstract
and general meaning. Any sign may be considered
as a symbol if it is figurative, that is if it has a sense
and reflects the meaning of objects and phenomena
of reality; if it is motivated – general, concise and
observable to a highest degree; if it is polysemantic
– may have different meanings in different contexts
and conventional – association of a symbol with
definite notion or meaning generated in the mind
of an interpreter (Alikina, 2007; Shelestyuk, 1997;
125-142) .
Therefore the usage of symbols and signs and
introduction of note-taking techniques in translation
has drastically changed the translation course. The
first person to advance a theory on the application of
symbols and notations in translation was J. Herbert,
a representative of Geneva school of interpreting.
According to him notations and symbols used in
note-taking ensures detailed reproduction of a source
93
utterance in target language, serving as language
markers employed for better retrieval of information
(Herbert, 1952; 34-37) . J. Herbert in his Practical
manual for interpreters (Manuel de l’interpréte)
divides interpretation process into 3 stages: understanding, transmission and production; emphasizes
the significance of note-taking in consecutive interpretation and offers the individual types of symbols
used in various fields of human activities, like mathematics, physics etc. (Siantova, 2015; 45)
J.Herbert’s theory was further developed by
Danica Seleskovitch in which she emphasizes the
difference between the meaning and the sense of
individual words they acquire in a definite contextual situation. In order to choose a correct notation
an analysis of a discourse should be done, since the
context and situation impact the choice of translation
unit or an equivalent. D. Seleskovitch distinguishes
two kinds of notes – concretely translated or not
translated word or association to source utterance.
According to her, symbols in notation should be fully
automatized and interpreters should not be limited
by a number of symbols, but use abbreviations and
arrows to note links and relation as well (Siantova,
2015; 2) .
According to the scholar who had made a great
contribution to consecutive translation techniques –
Miňjar-Beloručev – the text preserves its originality
only partially due to the interaction of two different
languages and cultures, and presumably the problem of information losses arises. He distinguishes
3 stages of interpreting: 1) active listening analysis
and comprehension; 2) memorization of informa-
Subject
KG PM
tion and note-taking; and 3) decoding the notation,
or in other words reproduction in target language.
Miňjar-Beloručev considers note-taking technique
as a memory pillar and suggests basic principles
of note-taking emphasizing on: 1) rendering of an
idea using minimum expressive means, that is to
say discourse elements that are difficult to store in
memory or remember and they become supporting
memory points during reproduction; 2) shortened
notation of words relying on theory of redundancy in
language; 3) vertical layout of notation with regard
on syntactical relations; 4) maximal use of symbols
and abbreviations with invariant meaning which
substitute several concepts (Miňjar-Beloručev, 2005;
110-115) .
Representatives of Russian school of interpreters – Chuzhakin A. P. and Spirina S. G. have made
a great contribution to the further evolvement and
practical application of note-taking techniques. They
consider note-taking as means of interpreting or “universal cursive” but flexible and purely individual tool
used by each interpreter during translation process.
As stated by authors, note taking impacts translation
adequacy, reduces memory stress, and enhances
reproduction (Chuzhakin, Spirina 2007; 63-66) .
They suggest diagonal SPO structure, referring to
the vertical layout of notes introduced by Rozan J.F.
(Alikina, 2007; 13), where the notes are taken from
the left to the right, and from the top to the bottom,
that is, the subject group is written in first line on
the left, the predicate group is noted in the middle,
second line, and the object group in the third line,
on the bottom, as given below:
Predicate
= d offic vzt
JK
If we decode notes, we will have the following
sentences: Prime Minister of the Kyrgyz Republic
paid an official visit to Russian Federation in
March 2014 and Parliament of the Kyrgyz Republic
(Jokorku Kenesh) approved a draft law on granting
equal rights to men and women in Southern regions
of country consequently.
OK
Object (direct/indirect)
Ru, March ‘14
draft law,
♂&♀= in South
Rozan J.F. based his note-taking on linguistic,
semantic and cognitive analysis of the source
text and stressed the importance of abbreviating
intelligently using sufficient number of symbols.
According to him, interpreter should translate the
meaning, not word by word, use abbreviations, note
the sequence of ideas and the links between them,
94
money, capital, means, ≠ for isn’t or not
equal, × for war, conflict, □ for more, □
for less, ∑ for total sum/amount, ≈ for
approximately etc);
• figures and symbols (’15 – for 2015, 1’5
– for the middle of a year, 15’ – for the
end of a year, & – for and, : – for say, →
– for next, subsequent, ↔ – for both sides,
bilateral, reciprocal, └ – for tomorrow,
┘– for yesterday, ┴ – for today, present,
♀ – for woman, girl, ♂ – for man, boy,
□ – for nation, country, PM – for Prime
Minister, P – for president, project, ad – for
advertisement, b4 – for before etc) and the
following symbols:
always note the negation, use emphasis, and take
notes vertically (Gerard, et al, 1996; 71) .
There are the variety of signs and symbols
commonly used in note-taking:
• shortenings: omission of vowels (cnfrnc
for conference, ppl for people, rprdctn for
reproduction etc) ;
• standard shortenings ( p – for page, info –
for information, ex – for for example etc);
• substitution of prefixes (θ for -tion, λ for logy, ϕ for -philo, Ψ for phsyco, t for -ment,
g for -age, d for -ed, η for –ing);
• abbreviations (UN, WHO, ABR, NASA
etc);
• mathematic signs (% for percent, $ for
95
Each symbol and notation generates a definite
association in the minds of interpreters. Due to the
association each of them encloses and depicts, it is
possible to retrieve information hidden in this sign
or encoded in it. If we refer to the definition of an
association, it says that it “is a more or less regular
connection established between the given and the
other mental concepts in the minds of a language
speakers” (Miram, et al, 2006; p.10) . Therefore, there
should be drawn a division line between denotation
and contextual meaning of an utterance encoded in
symbol. Decoding of a sign and choice of lexical
equivalent depends on situation and context the
word has been used in, and translation competence
of an interpreter as well. Symbols and notations are
used to restore information and reproduce source
utterance in the target language in details, so we
may say that it ensures detailed reproduction of the
source message and prevents information loss. The
problem of translation ambiguity and translation
loss may undoubtedly lie in polysemantic nature of
the language signs either. Generating this idea we
may say that, one may associate W with work, the
other one with war, the third person with weapon,
or ψ with agriculture, and the other with field
works or equipment etc. The number of regular
well-established associations is rather limited and
individual, so that any interpreter may have his/her
own system of symbols and signs that initiate definite
mental concept. Moreover, we should not forget that
the number of associations might be different in
different languages.
Note-taking is closely associated with
comprehension and memory, which are two
indivisible elements in cognitive perception and
that makes rendering of the source message possible
without any semantic loss. Memory plays a great
role in interpretation and the basis of transference
of source language units into the target language.
J. McShane distinguishes two types of memory
– episodic and semantic. He describes episodic
memory as memory for personal experience and
semantic memory as a memory for facts, concepts
and notions, whilst in consecutive interpreting,
names and titles, figures, signs and symbols, dates
and time should be stored in interpreter’s memory,
so that they might be used during translation process
for adequate rendering (Ji Kangi, 1995; 7) .
We can, conditionally, decompose translation
into mental operations: an interpreter perceives
information, then the information is selected and
retained in cognitive system, encoded in symbols
and is retrieved to produce a final product. In other
words, an interpreter perceives information in
source language, analyses it, memorizes meaningful
components, encodes information, synthesizes the
translation model, verifies the semantic, grammatical
and stylistic contexts, and finally, reproduces it in
target language. In oral translation details are traced
back through our short-term memory. It is highly
important to note a core message, in other words,
invariant information, since an interpreter transforms
a source text mainly focusing on it.
Let’s consider few examples:
We can encode a sentence “A shortage of water
leads to poverty, social strife, growth of ethnic
tensions and to the outbreak of armed conflicts”
(L.Visson; 119) by the following way:
Lack H2O
→
pvrty, soc strife, ↑ ethnic tenθ, start Wd X²
It is clearly seen that several types of notation
were used – lack is a synonym of shortage, deficit;
H2O stands for water; → symbol means further,
lead to; pvrty – poverty; soc – shortening of social; ↑
symbol means up, rise, high; tenθ stands for tensions;
start is a synonym of outbreak; Wd means armed; X
means conflict, confrontation; mathematic symbol
of power ² denotes plural form of a word it is used
in, consequently conflicts.
The sentence “Moreover, mortality in Russia
from infectious diseases is mainly to tuberculosis,
from 70 to 90 % among men, and from 40-70%
among women” (L.Visson; 128) may be encoded
as: + death Ru
=
TB, 70-90% – ♂, 40-70% – ♀
Where + symbol is used to denote in addition
to; death is used for mortality rate; Ru – shortening
of Russia, Russian; = – to be, present simple; TB
stands for tuberculosis; underlining means main or
importance; ♂ – man and ♀- woman.
Next example “…The Treaty on the NonProliferation of Nuclear Weapons is one of the
most outstanding events in strengthening of the
regime for the non-proliferation of weapons of mass
destruction.” (L.Visson; 70) may be encoded as:
NPT
=
an event (!), strngtη W WMD’ regime
96
And let’s interpret symbols used in the sentence
– NPT – short form for non-proliferation treaty; = –
verb to be, in present simple; (!) – exclamation mark
means the most important; strengtη – strengthening;
W – w stands for arms, weapon, consequently w
– disarmament; WMD – acronym for weapons of
mass destruction; apostrophe ’– means possession,
stands for preposition of;
There is no need to overemphasize the
importance the symbols and signs used in notetaking, since symbolization and notation has
become a unique tool in consecutive translation
practice to retrieve source information in details
with minimum time waste and maximum translation
adequacy and output. Strong associative thinking
and memory ensure translation quality, relevant
and timely reproduction of source message, and
promote professionalism. The situation, context,
and translation competence of an interpreter,
background knowledge of both an interpreter, on
the one hand, and of participants of communication
act, on the other hand, should also be considered
as factors influencing translation quality.
Bibliography:
1. Alikina E.V., Perevodcheskaya semantographiya.
Zapis pri ustnom perevode, Moscow, 2007;
2. Chuzhakin A.P., Spirina S., Ustnyi perevod,
istoriya, teoriya, praktika, skoropis, Moscow,
2007;
3. Chuzhakin A.P., Osnovy posledovatelnogo
perevoda i perevodcheskoi skoropisi, Moscow,
2010;
4. Gerard Ilg, Silvie Lambert, Teaching consecutive
interpreting, Interpreting, Volume 2, Issue 1,
1996;
5. Herbert J., Manuel de l’interprete, Geneva,
1952;
6. Ji Kangi, Cohesion, script and note-taking in
consecutive interpretation, Beijing, 1995, http://
eric.ed.gov/ED398726.pdf;
7. Miňjar-Beloručev R., Kak stat perevodchikom,
Moscow, 1999;
8. Miňjar-Beloručev R., Zapisi v posledovateľnom
perevode, Moskow, 2005;
9. Miram G.E., et al., Basic Translation. A course
of lectures on translation theory and practice
for institutes and departments of international
relations, Kyiv, 2006;
10. Rozan J.F., 7 Principles of Note-taking, Interpreter
Training Resources, http://interpreters.free.fr/
consecnotes/rozan7principles.doc;
11. Shelestyuk E.V., O lingvisticheskom issledovanii
simvola// Voprosy yazykoznaniya, Vol.4, 1997;
12. Siantova G., Consecutive Interpretation and NoteTaking from the Perspective of Some Translatology
Schools and Researchers, International Journal of
Scientific Research and Innovative Technology,
Vol. 2 No. 1, January 2015;
13. Visson L., Praktikum po sinhronnomu perevodu
s russkogo yazika na angliyskiy, Moscow, 2006.
97
УДК: 811.161.1 (575.2) (04)
Kochkorbaeva Lailikan, JASU
SEMIOTICS IN KYRGYZ FOLK SONGS
СЕМИОТИКИ В КЫРГЫЗСКИХ ФОЛЬКЛОРНЫХ ПЕСНЯХ
Аннотациясы: Бул статяда кыргыз элдик ырларындагы семиотикалык изилдөө, окутуу жана
үйрөнүү проблемалары каралат. Ошондой эле көптөгөн белгилер жана символдор Кыргыз маданиятынын терен, бай жана маанилуу экендигин көрсөтөт.
Негизги сөздөр: маданият алмашуу, табылга, кара ниет, айланып өтүү, кызыктыруу, өсүпөнүгүү, үй-жаныбарлары.
Aннотация: Это статья рассматривает вопросы исследования семиотики в кыргызских
фольклорных песнях. Имеется огромное количество знаков и символов в кыргызских фольклорных
песнях, с помощью которых мы можем понять, на сколько богата, глубока и значима кыргызская культура.
Kлючевые слова: обмен культурами, обнаружение, злоумышленник, обхитрить, искушение,
процветание, домашний скот.
Abstract: This paper deals with the questions about the studying, teaching and learning of semiotics
of Kyrgyz folk songs. There are huge amount of signs and symbols in Kyrgyz folk songs, the revealing
and understanding of which could lead how deep and meaningful the Kyrgyz culture is.
Keywords: cross-cultural, disclosure, detractors, circumvent, temptation, prosperity, livestock
Study of semiotics is multilateral and relevant
today. Interest in semiotics is increasing day by day
and attracts attention of scholars, researchers and
also students. The usage and researches of semiotics
and it’s area will promote the mutual understanding
and can be as a bridge of globalization and human
relationship. Some researchers have widely
recognized the importance of signs, integrated
theories, and developed educational programs in
semiotics.
The mission of this paper is to deal with the
questions about the studying, teaching and learning
of semiotics of Kyrgyz folk songs. And Its relevance
is to introduce how Kyrgyz people are rich in signs
and symbols of culture. It is also important to be
aware of them especially in the process of crosscultural communication and relationship.
Many prominent semioticians have made their
great contribution to different branches of semiotics
as linguistics, literature, arts and culture. Among
them is French philosopher and semiotician Roland
Barthes who gave clear definition: “The science
of sign is called semiotics. Also semiotics seeks
to include a disclosure of any system of signs,
regardless of their nature and limitations; images,
gestures, musical sounds, objects, and their complex
interaction, which forms content of ritual, regulation
or public presentation. Thus, semiotics- a means
of consideration of symbols and signs and their
systems.
But in order to realize the object as a sign to
understand its essence and value- you must think
of it as a sign and take it as a sign.
Therefore, symbols and signs one sees something
of their own, private; carries on the value of the
object of his soul, their thoughts and desires”.
Indeed, the entire world that surrounds us is
full of signs and symbols. It is only necessary to be
able to understand and see the simple and everyday
solution to complex question of life and mysteries
of existence.
There are huge amount of signs and symbols in
Kyrgyz folk songs, the revealing and understanding
of which could lead how deep and meaningful the
Kyrgyz culture is.
To learn about the peculiarities of semiotics in
Kyrgyz folk songs lets analyze the examples of the
brightest and most famous creations of Kyrgyz folk
songs like “Bekbekey” and “Op Maida”.
As you know Kyrgyz people an ancient nation.
And they used to live in the mountains because
of their cattle. Kyrgyz people were nomads and
98
the livestock was the basis of life for them and
their protection was a priority for the survival and
prosperity of the tribe. And, therefore, to protect
livestock from cattle-lifter and wild animals such
as wolves and jackals, tribal residents, especially
young people gathered at night in djailoo and sang
songs like “Bekbekey” etc. On the one hand, songs
were fun and joy, on the other hand these songs were
preventive in nature.
For example:
-Укуругум долоно – палка моя колючая – my
stick is prickly
-Ууру-бору жолобо – стой вор и волк – stop
the thief and the wolves
-Камчымдын сабы долоно – мой камчы сделан из долоно- my kamchy is made of dolono
-Каапыр ууру жолобо – стой неверный вор
– stop unbelieving thief
-Бетин айра муштайбыз – разобьем тебе лицо
-we hit in the face
-Тобого чаап айдайбыз – заставим убегать
– we make them go away
-Тоого чиркеп байлайбыз – привяжем к
верблюду – we bind them to the camel and force
it to run
-Койдун суту коргошун – молоко овцы из
свинца – sheep’s milk is plumbum
-Кой уурдаган онбосун – пусть страдает овцекрад – suffer sheep thieves
-Эчкинин суту эрменде – молоко козы из
сочных трав – goat’s milk from grass
-Эчки уурдаган шерменде – стыдись укравший козу – shame on goat thieves
-Жылкынын жуну жылтырак – шерсть коня
сверкает – horse hair is shiny
-Жылкы уурдаган куу-туяк – страдай от
одиночества конекрад – horse thieves suffer from
loneliness
-Тоонун жуну улама – шерсть верблюда полезна – camel’s wool is useful
-Тоо урдаган сулама – нет пощады ворам
верблюд – camel thieves will be punished brutally
Over times, this song became the protection
and the Bekbekey became a symbol of courageous
defense of cattle from detractors. For everyone who
heard the theme song Bekbekey he received sign of
circumvent these pastures away in order to avoid
the temptation of gaining profits from another’s
livestock and incur severe punishment for it.
Next example illustrates the gathering much
crop. It is the song “Op Maida”. In old times Kyrgyz
people also used to farm. Due to the fact that the
technique was practically absent, the peasants had
to till the ground manually using livestock. Song
“Op Maida” used to serve as a call to collect the
harvest:
-Бекер журсон жан багып, – кто не работает-if
you mess around
-Таба албайсын эч пайда- тот не ест – you
will not gain anything
Also, rich harvest can serve as a sign in this
song:
-Орой орой басканым-За твои труды – for
your labors
-Ороо толсун оп майда – Пусть склады твои
будут полны еды – full of food in your stocks
-Орокчунун балдары – Дети крестьян – Let
peasants’ children
-Нанга тойсун оп майда – Пусть насытятся
хлебом – Be full of bread
-Эгиндери бизге пайда – Зерна нам – Grains
for us
-Самандары сизге пайда – Сено вам(для скота) – Hay is for you(for cattle)
As you know grains and crops are the symbols
of satiety and prosperity in many cultures. And it is
not by chance that in many cultures around the world
people attach great importance to the collection of
harvest arranging holidays and dedicate sings and
dances like Thanksgiving day and the in the USA,
Octoberfest in Germany, and TushumMairamy in
Kyrgyzstan.
The translator used the free translation, because
the folk songs are rich of cultural concepts, which
can be met only in Kyrgyz traditions. We tried to
give the Russian and Kyrgyz translation for the
source language. We tried to pay attention to the
cultural units in order to give the adequate variant
of the target language.
In conclusion we want to add that in spite of
difficulties which are faced while translating the
folk songs, the folk songs are translatable. The
difficulties will course when the cultural concepts
and traditional units are translated to the target
language. Problems lie not only on the words and
their meaning but also on figurative language,
culture, diction, rhyme, sound, beat, feel and even
length of words. To solve the problem related to the
translating poetry a workable model is needed as it
shown in the translation of two folk songs.
Almost every piece of literature, whether poem
or story or song, has a theme. This is the main idea,
99
or main meaning, behind the piece. Usually the
meaning is more important, that is why we first of
all paid attention to the meaning, not on the rhyme
or sound. There are cultural words which are not
translated neither English, nor Russian. We tried
to give their explanation or definitions with its
synonyms. The different variants of the central ideas
of phrases (matrices) were traced in the songs. By
using symbols and indirection, the songs express
the ideas and emotions and the hidden meanings
behind the signs, and take the reader on fascinating
journeys to the world of translation and semiotics.
The analysis of song’s use of symbols revealed
the cultural meaning of each song. These two
songs support the idea that symbols, images and
indirection provide vital semiotic clues to translator’s
significance. It was also shown that the translator
adopts different stances towards traditional Kyrgyz
УДК: 811.161.1 (575.2) (04)
cultural material, like metaphor, irony, exaggeration,
nostalgia and celebration. The analysis of these two
songs has the scientific and methodological value,
which are useful and important in translation theory,
semiotics and stylistics.
Bibliography:
1. Barthes Roland-Semiotics, Poetics-Mythologies
1957
2. Barthes, Roland ([1964] 1967) . Elements of
Semiology
3. Caesar, Michael (1999) . Umberto Eco: Philosophy,
Semiotics, and the Work of Fiction.
4. Wiley-Blackwell. p. 55. 5. Encyclopedia of Kyrgyz folk songs –“Bekbekey”:
page 28-40,
6. Encyclopedia of Kyrgyz folk songs-“Op-Maida”:
page 64
Kudaiberdiev Aybek, IFL, IUK
Semiotics in Chingiz Aitmatov’s Works
Семиотика в произведениях Ч.Айтматова
Аннотациясы: Макала Чынгыз Айтматовдун чыгармасында семиотикалык белгилерге арналды. Ал жазуучу дүйнө салттуу кыргыз фольклор жана заманбап Евразия адабият менен
ортолордо байланыш курду. Бугу-эне жөнүндө легендасы “Ак кеме” чыгармасында адам жана
табияттын ортосундагы байланыш жана биримдик идеяны көрсөтөт. Бугу-эненин образы бул
жакшылыктын жана адамкерчиликтин символдору. Негизги сөздөр: Чынгыз Айтматов, “Ак кеме”, Момун ата, Нургазы бала, Бугу-эне.
Аннотация: Моя статья о семиотических признаках работы Чингиза Айтматова. Он почитается за строительство моста между миром традиционного кыргызского фольклора и современной Евразийской литературы. Легенда о Рогатой матери-оленихе из повести “Белый пароход”
раскрывает идею единства, неразрывной связи между человеком и природой. Образы рогатой
мать-оленихи, Момуна, мальчика и Орозкула выявлены и сталкиваются друг с другом. Рогатую
мать-олениху дед Момун считает священной. Это символ для него – доброты и сочувствия.
Ключевые слова: Чингиз Айтматов, “Белый пароход”, старик Момун, мальчик Нургазы,
мать-олениха.
Abstract: My article is about semiotic signs of work Chingiz Aitmatov. He is revered for building a
bridge between the world of traditional Kyrgyz folklore and modern Eurasian literature. The legend of the
Horned Mother Deer from the story “The White Ship” reveals the idea of unity, inseparable relationship
between man and nature. With relation to the Horned Mother Deer revealed and confronted each other
Momun images, boy and Orozkul. Horned Mother Deer grandfather Momun considers sacred. It is a
symbol for the him- kindness and sympathy “- Deers! Deers! – Beside himself with fear cried grandfather
Momun – Oh, Blessed Mother, Horned Deer! It was she who saved us! You’ve seen? These children
Horned Mother Deer. She returned our mother!”.
Key words: Chingiz Aitmatov, “The White Ship”, The old man Momun, The little boy Nurgazy., Horned
Mother Deer, Orozkul.
100
Abdyldazhan Akmataliev was researched, wrote
article and about creation of Chingiz Aitmatov.
Abdyldazhan Akmataliev gave some explains about
the novel “The White Ship” of his work “Chingiz
Aitmatov: Man and the Universe”.
He wrote of his article if we consider the
“Kodzhozhash” M. Baijiev in terms of subject matter
protection of nature, it is easy to note that this work
is in tune with the story of Aitmatov “White Ship”.
This fact give up writer himself. Thus, it is apparent
commonality between symbolic images Horned
Mother Deer and Sur Echki. You can compare
the images and Kodzhozhash and Momun. And
the very problems the two works – showing the
eternal responsibility and duties of man to nature
– is similar.
For the sake of the human race Horned Mother
Deer and Sur Echki help people. They interfere with
their daily lives, giving them strength in the difficult
struggle for survival. Greatness and goodness Horned
Mother Deer and Sur Echki extolled in legends and
fairy tales that are passed down from fathers to their
children. They bequeathed to take good care of these
holy animals and their offspring.
The White Ship novel of Chingiz Aitmatov was
published in Kyrgyz in 1978, and Russian in 1970.
The first story was called “The after fairy ” then has
been changed into The White Ship.
The White Ship was translated into English by T.
Feifer. The main idea of this novel story one Kyrgyz
tribe “Bugu” and story about Horned Mother Deer.
The main heroes the old man Momun and the
little boy Nurgazy.
And yet, The White Ship—written chiefly from
the view-point of a lonely, imaginative child—reveals
precisely these evils. It also reveals nobility of spirit,
love, kindness, and selfless dedication.
In a difficult moment asks for help from the
Horned Mother Deer “Horned Deer Mother, bring
aunt Beckey cradle on the horns! I beg you, bring
them to the cradle. Let it be a child they brought
them to the cradle horns! Grant that our grandfather
did not cry, do so that my uncle did not beat Orozkul
aunt Beckey. Make it so that a child was born to
them. All I will love and will love Uncle Orozkul
only give him her child. Bring them to a cradle on
the horns!”.
On the day told Momun boy tale, he began
to worship tenderness and justice Horned Mother
Deer live in a fairy tale world. Horned Deer Mother
embodied in the soul of the boy in the ideal of calling
people to live in justice, looking to the future and
not for the good people pitying. “And I am your son,
mother-Horned Deer!”.
“Умай Эне” (Umai (Ymay) – the oldest female
deity of the Turkic peoples, is second only to Tengri.
Among the modern Turkic peoples known in Altai,
Bashkir, Kirghiz, Khakassia and others.
V.V. Bartold also believed Umai female deity
and patron of children.
Umai – especially female deity revered earth,
friendly (Bayan) spirit, patron of children and
pregnant women. Before birth, protecting the mother
and baby, Umai was located at the entrance on the
left side of the yurt is considered pure.
Personally seeing red deer, descended from the
forest to the watering, the boy believes in fairy tale
has irrevocably. Today this river is called Yenisei,
but then its name was Enesai. And that is why there
is a song that goes like this:
Энесай, сендей жайкын озон барбы,
Энесай, сендей жайкын мекен барбы,
Is there a river wider than you, Enesai,
Is there a land more beloved than you, Enesai,
Энесай, сендей жайкын озон болбос,
Энесай, сендей жайкын мекен болбос,
There is no river wider than you, Enesai,
There is no land more beloved than you,
Enesai,
Their lives were hard because they were always
at war with each other. Many enemies surrounded
the Kirghiz tribe. It was attacked by one enemy, then
by another.
Yet now hosts of enemies, who had stealthily
surrounded the encampment of the sorrowing
Kirghiz tribe during the night, rushed out of their
hiding places on all sides, and not a man had time
to mount his horse or seize his weapons. A frightful
carnage followed. Everyone was killed. The enemy
had planned it so, in order to put an end to the proud
Kirghiz tribe forever.
The enemies were leaving with rich booty and
never noticed the two children, a boy and a girl,
coming home from the forest. Mischievous and
disobedient, they had run off into the woods that
morning to strip bark for baskets.
Hearing the din and noise of the attack, they
rushed back, but found nobody alive—neither their
fathers, nor their mothers, nor their brothers and
sisters. The children remained without kith or kin.
They ran, crying, from one burnt yurt to another,
but did not find a single living soul. In one hour,
they were turned into orphans, alone in the whole
world.
“Wait, big wise woman, do not kill the innocent
children.” “I am the Mother Deer, “ she answered.
101
“And I speak in human words because you will not
understand me and will not obey me otherwise.”
“What do you wish, Mother Deer?”
“Let the children go, big wise woman. I beg you,
give them to me.”
“Men killed my twins, my two fawns. I am
looking for children.”. “They are human children.
They will grow up and kill your fawns.” “I shall
lead the children away into a distant land where
nobody will find them. At last the Horned Mother
Deer brought her children to Issyk-Kul.
Time flowed quickly. The boy became a strong
man, and the girl, a grown woman. They married and
lived as man and wife. And the Horned Mother Deer
had not left Issyk-Kul; she lived in the surrounding
woods. “This cradle, “ said the Horned Mother
Deer, “is for your firstborn. You shall have many
children—seven sons and seven daughters.”
They named their firstborn Bugubai, in honor
of the Horned Mother Deer. Bugubai grew up and
took a beauty of the Kipchak tribe as his wife. And
the clan of Bugu, of the Horned Mother Deer, began
to multiply. The Bugan clan on Issyk-Kul increased
in strength and numbers, and the Bugans revered
the Horned Mother Deer. Over the entrance to their
yurts, the Bugans embroidered the horns of a deer,
so that all who approached would know that the yurt
belonged to the Bugan clan. So it was until the death
of a certain very rich, very important Bugan. He
had owned a thousand thousand sheep, a thousand
thousand horses, and all the people around were his
shepherds. His sons arranged a great funeral feast.
The sons of the rich man decided to do their
father this unheard-of honor, and nothing could
hold them back. They did as they said. They sent out
hunters. The hunters killed a deer and chopped off
his horns. And that was the beginning. Great trouble
came to the descendants of the Horned Mother Deer.
Almost everyone began to hunt the white deer in
the forests. Every Bugan deemed it his duty to set
deer’s horns on his ancestors’ graves. This came to
be considered a good thing, a token of respect for the
memory of the dead.. People began to trade in deer
horns, to stock them up for the future. There were
even some men of the clan of the Horned Mother
Deer who made it their livelihood to kill deer for their
horns and sell them for money. It was an evil time
for the deer in the Issyk-Kul forests. There was no
mercy for them. And there were no more deer. The
mountains became deserted. There was no sound of
deer at midnight or at dawn. No longer could men
see, in woods or clearings, deer grazing, leaping with
their horns thrown back, crossing abysses like flying
birds. Men were born who had never seen a deer in
all their lives. They only heard old tales about them
and saw the horns on ancient graves.
The Horned Mother Deer went up onto the
highest mountain, said goodbye to Issyk-Kul, and
led away her last remaining children over the great
pass, to other regions and other mountains. Such are
the things that happen on earth. And this is the tale.
Believe it or don’t believe it, as you will. And when
the Horned Mother Deer was leaving, she said that
she would never return.
The views define the characters in the story it
works. Shot in a horned doe mother meant to collapse
Momun cherished by himself tales. Shot Momun
horned mother doe tantamount to the murder of his
son Hunter Kyrgyz poem “Kara-hum bot.” Now
what he will say to the boy? Will he justify to the
spirit of their ancestors? And to their conscience?
After the shot he did not dare look into the eyes of a
boy and wants to pour vodka grief, fell to his lot. A
Orozkul in front of Momun and boy destroys them
sanctuary – chopping ax miracle, with a bell Beshik,
horn Mother doe on which it is to bring the cradle.
Only a boy cannot be reconciled with impotence
grandfather Orozkul mockery. Transformed into a
fish, he swims to his second tale.
Conclusion
Therefore, in the works of Chingiz Aitmatov
White boat again and again raised the issue of
combating the old with inhuman rites, with the
humiliating attitude towards nature.
The legend of the Horned Mother Deer from
the story “The White Ship” reveals the idea of unity
inseparable relationship between man and nature.
So, all the above we can conclude Aitmatov’s
own words: “A person should appreciate nature,
admire and enjoy it. He must realize that he is only
a particle and its earthly firmament is intended not
only for its existence, and the life is given only once.
Therefore, the ability to gently treat nature – an
effective business.
Bibliography:
1. The book by Chingiz Aitmatov translated by Mirra
Ginsburg
2. Abdyldazhan Akmataliev. “Chingiz Aitmatov:
Man and the Universe”. Publisher “Ilim” 2013
Internet resources:
1. http://www.briefly.ru/aitmatov/belyi_parohod/
2. http://www.aitmatov-academy.org.uk/
102
УДК: 811.161.1 (575.2) (04)
Kurmanova Gulbubu,
The Diplomatic Academy MFA KR
Semiotics of Cultural Diversity
Семиотика культурного разнообразия
Аннотациясы: Бул макалада семиотика жана белгилер түшүнүктөрүнүн маданияттагы көп
түрдүүлүгү каралган
Негизги сөздөр: семиотика, маданияттын коп турдуулугу, белгилер
Аннотация: В статье рассматривается понятие семиотики, знаков в культурном разнообразии.
Ключевые слова: семиотика, культурное разнообразие, знаки
Abstract: This article considers notion of semiotics and signs in cultural diversity.
Keywords: semiotics, cultural diversity, signs
In every culture, there will be certain actions,
which will be symbolic. If the action is simply
translated literally, it may result in a wrong meaning. Social relationships are also a cultural element.
In some cultures people used to live with their
extended families which eventually resulted in a
need to address each relative. For this reason, those
people have different words to refer to each relation. Customs and traditions are parts of a culture as
well. Be it a marriage, funeral or festival, the story
and the significance or hidden symbolism behind it
becomes a stumbling block for the translator. Beliefs
and feelings change from culture to culture. While
dragon is kind and protective in Chinese, it is evil
in English. For mourning the English wear black,
but the Chinese wear white The colour white may
represent purity and black evil in some cultures,
but it may not be the same in another culture. What
is considered a good omen, whether an event, an
animal or a bird, may not symbolize the same thing
in another culture. For example, one would do well
in India to avoid zero and numbers ending in zero.
In English the number 88 recently has taken an offensive connotation in England because it is thought
to be related to a terrorist gang. In communication
situations body language plays an important role, but
the signs and gestures are not universal. In Vietnamese there are thirty ways to smile. In Korea a bow is
an acknowledgement or greeting. In China a laugh
may express sympathy even at some devastating
news. Using the left hand is not acceptable in many
Islamic countries….the list is endless.
Speakers of different languages do not divide
the spectrum of colours up in a natural consistent
way. We would never hesitate to affirm the importance of the difference between red and orange. Another language employs a set of basic colour terms
very similar in application to our own, and does not
have separate forms to indicate these two colours.
As a result that language does not have separate
meanings for red and orange. Religious elements,
myths and the like are major components of any
culture as well. In America, jokes from the pulpit are
usually acceptable in fact, some of the best preachers regularly elicit laughs from their congregations,
but in Europe similar language in the pulpit would
generally be regarded as at least inappropriate if not
decidedly uncouth.”
Geographical and environmental elements are
also part of one’s culture. While Eskimos and Finnish
have different units for different states of snow, in
Saudi Arabia there are different words for different
kinds of camel Europeans as well as Iranians have
only one word for each.
Simple formalities can be confusing. In a language, for example, ” thank you” can be translatedin
several different ways depending on the situation as
thanking someone for a gift, for a service, etc. Articles of dress, ornaments and values can also present
problems for the translator. To give another example:
the very flavour behind a food or its significance is
untranslatable to an audience who has never heard
of it. Even the gestures and certain actions will be
symbolic in different cultures; for example, the vari103
ous movements of the head are symbolic in most
languages.
In most English speaking countries, a person
points to himself with his finger towards his chest
when saying “I”, but this is not true for a Chinese
who puts his finger on the side of his nose when
saying “I”.
In sum, the things people say and do, their social
arrangements and events are products or by-products
of their culture as they apply it to the task of perceiving and dealing with their circumstances, all meaning
is culturally conditioned, and the response to a given
text is also culturally conditioned. Each society will
interpret a message in terms of its own culture.
Each country (and city) has its own colour and
mood, both shaping and reflecting the local culture
and behaviours. Colour is packed full of meanings
(both obvious and hidden), and is arguably the richest
of all the sensory signs in terms of cultural as well
as personal symbolism.
As an example, purple is an interesting colour
which appears relatively infrequently in nature (a
few fruits and vegetables, flowers, fish) . However,
the colour is not popular in China, is considered
soothing in India, was once prohibited at Japanese
weddings, symbolises homosexuality in Mexico (and
more recently many other countries) and stands for
bravery in the US (Purple Hearts) .
Thus, colour (and all the other sensory experiences in the world) is rich in personal and cultural
meanings which are primed implicitly through association with the sensation of that experience. Signs
are all around us. It is no accident that red is perhaps
the most popular colour for country flags, whereas
purple only appears in two. Red is the easiest colour
to make as a dye and usually the first colour (apart
from white and black) to have a specific name (sign)
in any language. Red is of course rich in meaning
and of particular significance in nature and all our
lives.
One of the first people to write persuasively
and intelligently about cultural differences was the
anthropologist Edward T. Hall, identifying three
important dimensions of difference in terms of context sensitivity, time and space. He found that while
some cultures need a great deal of background and
oral information for communication to be successful,
other cultures were much more heavily socialised
and could infer much more from context requiring
much less information in oral (verbal) communication and relying more on non-verbal signals. He also
found differences in the use of interpersonal space
and interpretation of time which we will explore
further
Firstly, we all have a biological clock which
reflects the changing seasons and the fluctuation
between night and day, and this varies tremendously
depending on where we live in the world. Our personal experience of time also differs from person to
person. Each culture has its own ‘beat’ with a different rhythm and feel as you can experience if you
move between countries in Asia. Some cultures have
a much more linear perception of time, focusing on
the importance of deadlines and schedules and the
compartmentalisation of time into units, whereas
other cultures have a much more open and flexible
view of time.
Edward Hall wrote extensively about the differences between monochronic time and polychronic
time, by which he meant the perception of time as
organised and methodical (‘one thing at a time’)
versus the perception of time as more open and
flexible, which is typical of Arab, Latin and Asian
cultures. Of course, these differences are not either
and many cultures share different perspectives in
different contexts. The third dimension which Edward Hall investigated was space. We all know that
different cultures have different levels of comfort
with interpersonal space. You prefer to work: in a
separate office by yourself, in an office with at least
one other person or in a group in which the desks are
arranged so that everyone sees one another?
Japanese office workers tend to prefer option
4, whereas European office workers tend to prefer
option1. Even in Europe there are differences though,
as in France it’s typical for the manager to have an
office in the centre of the building, whereas in Germany the office is more likely to be in the corner but
still closed off from others.
Cultural differences throw a fascinating light
on how different cultures behave and also on how
signs and symbols are so important to understanding
individual cultures and how they will react to different styles of communication and especially the
specific message content of those messages. Every
message (signal) contains meaning which changes
depending on the culture.
Culture comprises all activities people practice,
what they eat, how they dress, etc. Cultural diversity makes our country richer by making it a more
interesting place in which we to live. Just think how
boring a meal would be without Chinese, Mexican,
104
Japanese, Italian, French, Turkish or Indian food! If
we all thought alike imagine how boring the world
would be! Cultural diversity also makes our country
stronger and better able to compete in the new global
economy.
We should focus on the students’ own culture
and compare the cultures of the others countries to
their own, point out the cultural contrasts. Here students expand their cultural knowledge by learning
about all cultures of the world.
Students will benefit by gaining solid knowledge
of the different world cultures and they must also
develop the ability to compare their native culture
to other cultures, to evaluate critically and interpret
the results of such comparisons, and to apply this
knowledge successfully in both verbal and nonverbal communication for both transactional and
interactional purposes. In many countries, there is
still much intolerance towards and prejudice against
other nations and cultures. Intensive intercultural
education seems to be a good way to sow the seeds
of tolerance, acceptance, understanding, and respect.
By exploring foreign and their own culture, students
acquire the vocabulary with which to describe values,
expectations, behaviours, traditions, customs, rituals, forms of greeting, cultural signs, and identify
symbols familiar to them. The aim of these activities
is to widen learners’ perspectives by getting them to
know the cultures of the English-speaking countries
and to compare those cultures to their own. We cannot simply judge which culture is better, because
each culture has its own advantages and features.
For students who go abroad for education, travel-
ling, working if they can combine positive culture
elements from two different cultures to their selfdevelopment, it would be a competitive advantage
in their whole career.
So, from country to country, social taboos, politics, and religious, traditions and values differ. These
cultural variables need to be respected if students are
to benefit from new experiences. The goal is for students to become aware that norms of behaviour are
culturally defined and varied and to foster a certain
degree of understanding of culture.
Across cultures, we differ in our language, our
monetary systems, our sports, even which side of the
road we drive on. But beneath these differences is our
great similarity- our capacity for culture. This shared
capacity for culture enables our striking group differences. Human nature manifests human diversity.
Bibliography:
1. Alison Savage Cross cultural communication.
University of Surrey Education Liaison 1996
2. Examining cultural behaviour. Oxford University
press 1998 p.84-87
3. FORUM volume37#3 1999 p.2-5
4. Ж. М Оспанова Национально-культурная специфика языковых картин мира Вестник КазНУ
им Аль-Фараби №1 (131) 2011 с285
5. А.Мельникова Язык и национальный характер
М., 2003 с13
6. Е. В.Ашмарина Проблемы межкультурной
коммуникации в современных условиях КНУ
2008 с76.
7. Internet resources.
105
УДК: 811.161.1 (575.2) (04)
Makhsudinova Aijarkyn, teacher, IUK
Gratitudes in Kyrgyz culture
Слова благодарности в кыргызском языке
Аннотациясы: Томонку статья кыргыз тилиндеги ыраазычалык создордун англис тилине
которулушу жана кыргыз салтары тууралу. Мен окурмандын конулун кыргызча ыраазычылык
создордун англис тилиндеги котормолордун аздыгына бургум келет жана которууну оноюраак,
тагыраак кылууну коздодум.
Негизги сөздөр: ыраазычылык создор, котормо, урп-адат
Аннотация: Данная работа представляет собой обзор переводов кыргызских слов благодарностей на английский язык и их связь с кыргызскими традициями. Я хотела бы обратить
внимание на отсутствие точных переводов некоторых слов благодарностей, облегчить перевод
и сделать его более точным.
Ключевые слова: слова благодарности, перевод, традиции
Abstract: This article presents a review of translations of Kyrgyz gratitudes into English and Kyrgyz
traditions. I would like to draw attention to lack of accurate translations of some gratitudes, to facilitate
translation and make it more accurate.
Keywords: gratitudes, translation, customs
Introduction
Social practices, rituals and material culture of
Kyrgyz people passed a complicated way of historical
development. Formation of the basic characteristic
features occur in close relationship with the TurkicMongol ethnic and cultural environment. There
were exchange of information, cultural values,
work skills, cross-fertilization of crops and domestic
technology. At each stage of development of material
culture, customs and ceremonies occurred significant
changes.
The whole culture, lifestyle, ideological
representations were in a state of constant renewal
and improvement. It shows constant desire for
novelty, for the collection of ethnic and cultural
achievements of the tribes and people. Kyrgyz people
say: “Элуу жылда эл жанырат”, it means that after
50 years people and its culture is updated. The main
complex customs, ceremonies, material culture of
Kyrgyz people is an organic part of the culture of our
people in modern industrial civilization form. In the
20th century Kyrgyz people met with revolutionary
changes. Now people do not use many customs and
rituals, but many aspects of material culture were
preserved. All customs and rituals can be roughly
classified as follows: matchmaking, engagement,
wedding, funeral and memorial cycle, calendar,
migrations, material culture and other objects.
Gratitudes and wishes
Kyrgyz for each holiday congratulate each other.
In this article, we’ll tell you about such holidays
as “Kiz uzatuu” (Seeing of the bride) and “Beshik
toy”(Cradle feast) and we consider especially the
translation of gratitudes from Kyrgyz into English.
Customs and rituals are associated with
matchmaking, betrothal and wedding of the Kyrgyz
that are a unique phenomenon of culture of the
Kyrgyz nation.
“Kiz-uzatuu” (Seeing of the bride)
Seeing of the bride is usually celebrated on Fridays, and the groom’s wedding will be next day. On
that day, the girl’s parents are sad and happy. They
rejoice that they grew a beautiful, intelligent and
worthy daughter, but they are sad because they do not
want to part with their daughter. On this holiday the
groom comes with matchmakers to girl’s house. The
bride says goodbye to his home, his parents, sisters,
brothers before she leaves her home. The youth sing
songs. During the maintenance the bride must not
look back. According to the traditions, the bride can
visit her parents only after a year, because she gets
used to the groom’s house. During “Kiz-uzytuu”
girl’s parents and relatives congratulate her and say
wishes, gratitudes for her. Let’s look at our example,
and see how we translate them into English:
The brides do different things in different re106
Wishes for a bride:
«Кыргыз салтын сактагын, “Observe Kyrgyz traditions,
Эчкимдин атынын айтпагын. Do not call your relatives by names.
Алкыш алып ар дайым, Get thankfulness from people,
Эне сутун актагын. Meet mother’s expectation.
Эшик шыпыр эртелеп, Do household chores,
Журо бербей эркелеп Don’t piddle
Кандай келин дешпесин, They mustn’t say that you are a bad bride,
Иши арыбаган темселеп They mustn’t say that you are a goon
Келген жерден бактапкын, Find your happiness there
Эрте туруп кеч жаткын. Get up early and go to bed too late.
Кайненендин колунан Do everything at home
Ишин алып нан жапкын». Be happy, my daughter!”
gions. In Yssyk Kul the brides bow to elder people
every day, in Osh the brides get up early and sweep
the yard, in Batken the brides bow when they give
a cup of tea.
“Beshik toi”(Cradle feast)
Beshik toy (Cradle feast) – a holiday dedicated
to the first day of the baby in the cradle. Beshik is a
wooden cradle for children. According to custom,
the child is put in the cradle by an old woman.
Usually cradle is made of two wooden arches with
two holes. Amulets of various animals and birds
protect the children from evil spirits, sewn to the
cradle or a child’s clothing. All traditions in honor
of the newborn suggest that the main concern of the
Kyrgyz families is considered the preservation and
multiplication of posterity. Childbirth is an ineffable
joy and the greatest holiday for Kyrgyz People like
for other people in the world. In this holiday many
guests are invited. People poleax, make the table,
they prepare “boorsok” (a Kyrgyz national food
from flour) and they cook meat in large cauldrons.
Also they play “komuz” (a national instrument),
sing songs.
According to custom, the bride’s parents must
prepare utilities for the cradle. After that they oil the
Cradle and do rituals with a juniper. Grandmothers
take left and right knuckle bones, they put them into
the cradle, move it from one side to another side
and say:” On bol” (be successful) . Then they say:
“Mother beshik, hold tight, mother Umai, let the
dream” (Umay – female mythical creature guarding the baby) and they make the bed with different
blankets and bedcovers. Then, the cradle is handed
into the child’s mother. She holds the cradle, goes
to an other room and begins to bow to the guests.
Invited guests bless the child and her mother.
Wishes for a newborn:
Тилиң кызыл болсун,
Тилегиң узун болсун.
Бак карасын башыңа,
Кызыр даарысын ашыңа.
Куру сайыңа суу аксын,
Элиңе ишиң жаксын,
Берекет берсин ашыңа,
Кызыр келсин кашыңа,
Узун өмүр жаш берсин
Бала-чака башыңа!
Шыбагалуу баш берсин
Берекелүү аш берсин
Ырысың журттан ашсын,
Көңүлүң толкуп жатсын,
Эчнерседен кем болбо!
Be master of the word,
The best intentions.
Be pleased,
Be lucky!
Abundance in your life,
Serve your people that they love you,
Be successful,
A great peace of luck,
Live along life!
Have a lot of children!
Have a kind couple,
Be well.
Be happy and wealthy,
Have a good mood every time,
Have no need!
107
A happy mother thanks them and says the first
lulling words “«Алдей-алдей ак бёбёк, ак бешикке
жат боёк», (Bye, my sweaty baby, sleep well on
your cradle) .
Now let’s see the luli song for the child with an
English translation:
Luli song
Өөлай-өөлай, акбала,
Ак бешикке жат, бала.
Бешигиң кептүү болсун,
Ата-энең эптүү болсун.
Өмүрүң узун болсун,
Өрүшүң жайык болсун,
Тукумун журттан ашып,
Тууганың канат болсун.
Жети мучөл жашагын,
Тартпа жоктун азабын,
Билектүүдөн күчтүү бол,
Баатыр болсоң жөлөк бол,
Баарыбызга өбөк бол!
Өөбай-өөбай, ак бала
Ак бешикке жат, бала!
We didn’t translate this Kyrgyz luli song word
for word, we chose an alternative song in English.
Сonclusion
In conclusion we can say that the Kyrgyz culture
is rich, varied, and of course it is different from the
European culture. This article discusses the features
of ceremonies of the Kyrgyz people, as well as we
planned to translate the words of gratitudes and requests from Kyrgyz into English. Of course we did
Hush, little baby, don’t say a word,
Mama’s going to buy you a mockingbird.
If that mockingbird won’t sing,
Mama’s going to buy you a diamond ring.
If that diamond ring turns brass,
Mama’s going to buy you a looking glass.
If that looking glass gets broke,
Mama’s going to buy you a billy goat.
If that billy goat won’t pull,
Mama’s going to buy you a cart and bull.
If that cart and bull turn over,
Mama’s going to buy you a dog named Rover.
If that dog named Rover won’t bark,
Mama’s going to buy you a horse and cart.
If that horse and cart fall down,
You’ll still be the sweetest little boy in town.
So hush little baby, don’t you cry,
Daddy loves you and so do I.
not translate word for word, we searched synonyms
of these words in English. Some gratitudes and
wishes were translated according to the function.
Bibliography
1. Ymyrkai uulga // Kyrgyzstan-93. Bishkek.1992.
2. Kyz uzatuu //Nookat Tany. Nookat. 2014.
3. Website “Soros-Kyrgyzstan”.
4. Karasaev Husein. Nakyl sozdor.- Bishkek.1995.
108
УДК:81-22 (575.2) (04)
Mambaeva Saltanat, PhD, assoc.prof., KTMU
The language of advertisement and creolization
of the Kyrgyz language
Язык рекламы и креолизации кыргызского языка
Аннотациясы: Жарнаманын тили адамга жана адамдын кыймыл аракетине абдаан таасирин
тийгизет, бул нерсени маркетингтен жана жаранаманын өзүнөн көрө алабыз. Бир билдирүүнү
адамзатка конкретүү таасирлүү берүү үчүн тил тандоо керек. Визуалдык контент жана дизайн
жарнамада эң негизги ролду ойнойт жана керектөөчүгө өз таасирин тийгизет, бирок продукцияны идентификациялоодо жана элге жеткирүүдө тилдин мааниси чоң.
Ааламдашуу учурунда тилөадамдардын оротсундагы коммуникациянын же карым катнышты жасоонун эң негизги куралы катары кызмат кылат. Бул макалада биз төмөнкүлөргө көңүл
бурдук:
- эки тилдүү адамдга жарнаманын тийгизген таасири;
- ала адамдын ой жүгүртүүсүн кандайча өзгөртөт?
- Бир эле билдирүүнүн башкача ассоциацияланышы тилдердин өзгөрүшүнө байланыштуубу?
Негизги маселе? Жарнамачылар тилди стратегиялык бөлүк катары колдоно алабы? Эки
тилдүү адамдардын ойөжүгүртүүсүнө таасир бере алабы?
Макала қз ичине жогорудагы нерселерди иликтөөнү максат кылат
Негизги сөздөр:жарнама тил, котормо, креолизация, социо-семиотикалык талдоо
Аннотация: Язык имеет мощное влияние на людей и на их поведения. Это особенно очевидно в
области маркетинга и рекламы. Чтобы передать конкретное сообщение с целью влияния на людей
жизненно важным является выбор языка, . Визуальный контент и дизайн в рекламе имеют очень
большое влияние на потребителя, но именно язык помогает людям идентифицировать продукт и
запомнить его. При глобализации язык становится одним из наиболее необходимым инструментом
общения между людьми, а торговля помогает увеличить территорию для использования того
или иного языка. В данной статье рассматривается вопрос: влияет ли выбор языка в рекламе
на билингвов, на тип мыслей у них в ответ на рекламу. Другими словами, для билингва, может
ли одно и тоже самое сообщение в зависимости от различных ассоциаций, зависеть от языка,
в котором реклама представлена? Основной вопрос в том, смогут ли рекламодатели использовать язык исполнения в качестве стратегической величины, с которой возможно генерировать
определенные типы ассоциаций, которые могут способствовать убеждениям. Считается, что
этот вопрос рассмсатривается больше с точки зрения социального познания. В качестве гипотезы можно отметить, что если реклама на родном языке, легче выявить самостоятельно-референтные мысли о семье, друзьях, дома или о родине, которая в свою очередь, может привести
к более позитивным мерам отношения и поведенческие намерения, а эффекты воздерживаются
в контексте потребления, представленной в рекламе
Ключевые слова: язык рекламы, перевод, креолизация, социо-семиотический подход
Abstract: Language has a powerful influence over people and their behavior. This is especially true
in the fields of marketing and advertising. The choice of language to convey specific messages with the
intention of influencing people is vitally important. Visual content and design in advertising have a very
great impact on the consumer, but it is language that helps people to identify a product and remember
it. In the time of globalization language becomes as one of the most necessary tool of communication
between people and the trade helps to enlarge the territory for the usage of one or another language.
This article considers whether the choice of language in advertising to bilinguals influences the types
of thoughts they have in response to an advertisement. In other words, for a bilingual, can the exact
same selling message cue different associations depending on the language in which it is presented? The
underlying issue is whether advertisers can use language of execution as a strategic variable with which
109
to generate certain types of associations that may facilitate persuasion. It is considered that this issue
from a social cognition perspective. As a hypothesis it can be noted that a native-language advertisement
is more likely to elicit self-referent thoughts about family, friends, home, or homeland, which in turn may
lead to more positive attitude measures and behavioral intentions, and the effects are moderated by the
consumption context presented in the advertisement.
Key words: language of advertisement, translation, creolization, socio-semiotic approach
Last two or three decades, developments in the
fields of grammar, general and contrastive linguistics,
semantics, information theory, anthropology,
semiotics, psychology, and discourse analysis etc.
have exerted great influence on general translation
theory, enabling the discipline to broaden the areas
of investigation and to offer fresh insights into the
concept of correspondence on transference between
linguistic and cultural systems. The traditionally
much debated dichotomy between literal and free
translation has been replaced by various linguistically
informed modern distinctions, like Nida’s “formal”
versus “dynamic” [1]correspondence, Catford’s
“formal correspondence”[2] versus “textual
equivalence, ” or Newmark’s “semantic”[3] as
opposed to “communicative” translation.
In connection with the development of different
fields of language we can say about the changes
which are brought the usage of advertisements and
their translation into our everyday usage of language.
So this article is a trial to attract the attention of
this conference’s participants to the translation of
advertisement from English and other languages
into Kyrgyz and how our native language starts
to be creolized when some words in the chosen
advertisements are not translated but starting
to be used as it is in the language where was an
advertisement created.
Kyrgyz advertisement and English advertisement,
which are not only written in different languages,
but also represent different cultures, differ greatly
in terms of linguistic, literary and cultural-social
conventions. We shall not only pay special attention
to certain peculiar ways in which language generates
aesthetic effects in Kyrgyz and to the methods used by
translators to achieve expressive identity in English
but also give insights concerning the cultural-social
values in translation of an advertisement. However,
both literary-stylistic and linguistic approaches
have failed to recognize the nature of advertisement
translation. At present the best approach to studying
translation of advertisement is the sociosemiotic
approach, which has been found to address all aspects
of advertisement translation. This paper intends to
discuss the necessity of introducing the sociosemiotic
approach to translation of advertisement.
What is the sociosemiotic approach? Eugene
A. Nida, a famous American translator of the
Bible, is well known for his works in semantic
structure and translation theory. His comments on
sociosemiotics are quite positive and throw some
light on the nature of the sociosemiotic approach:
“Perhaps the most pervasive and crucial contribution
to understanding the translation process is to be
found in sociosemiotics, the discipline that treats
all systems of signs used by human societies. The
great advantage of semiotics over other approaches
to interlingual communication is that it deals with all
types of signs and codes, especially with language
as the most comprehensive and complex of all
systems of signs employed by humans. No holistic
approach to translating can exclude semiotics as a
fundamental discipline in encoding and decoding
signs.”[4 ] (Nida, 1993) . The sociosemiotic approach
helps one understand better not only the meanings
of words, sentences and discourse structures, but
also the symbolic nature of distinguishing between
designative and associative meanings. It also
emphasizes the fact that everything about a message
carries meaning. Halliday emphasizes the unity of the
text (language), context (linguistic or non-linguistic),
and social structure and advocates that language
is a unique system of signs with a social function,
capable of expressing the meaning of all the other
sign systems.
Kyrgyzstan is considered as a bilingual country
and all papers at present are being published in
both of the languages Kyrgyz and Russian. But
from everyday practice we can notice that most of
the urbanized population of Kyrgyzstan use more
than two languages, and nowadays it is the usage
of the English language, as it became the most
common language in a globalized world. English is
becoming the most widely used language not only
on internet, mass media, but even in everyday usage
thanks to advertisement. When targeting bilingual
consumers, advertisers have a choice to advertise
in a bilingual’s native language or in the country’s
110
dominant language.
But we can see that in most of the cases the
traders do not translate some advertisements or use
the foreign words which are not known for most part
of population and those who knows those words they
are starting to use, and weather those who does not
know want or not they also starting to use foreign
words and the language of those people becomes a
creolized one. From the everyday speech of young
people you can hear the following:
F.e:
1.Мага да бир Бургер биг можешь взять!-Can you get me Big Burger also.
2. Интеренеттен мага Гуччи же Валентинонун жаңы сумка модельдерин даунлоуд сделай.-- Can you download the new models of Gucci
or Valentino bags!
Here you can see the sentence in which three
languages are being used, so we can say that the
Kyrgyz language is being creolized by the usage
of foreign words. And at present it is becoming as
a nor of speech among youth and even a little bit
older people too
One way in which advertisers adapt language
to their own use is to take compound words and use
them as adjectives. These compounds often later
become widely used in normal situations. Examples
of these compounds which have become part of the
English language are: top-quality, economy-size,
chocolate-flavoured, feather-light and longerlasting.
In the Kyrgyz Language we can notice the
following phrases which are creolizing our speech:
F.e: 1. Maybe she’s born with it, Maybe it’s
Maybelline
Все в восторге от тебя, А ты – от «Мэйбеллин»
Баарын сен таңгалдыртсанг.А сени болсо
«Мэйбеллин» ( Newspaper ad)
2. Супер унаа издесең – Бизден гана табасың
«Тойота центр» Бишкек.(billboard)
3. Wiskie «Johny Walker» – taste life -«Джони
Уокерменен» жашоонун даамын тат.(billboard)
The language of advertising is, of course,
normally very positive and emphasizes why one
product stands out in comparison with another.
Advertising language may not always be “correct”
language in the normal sense. For example,
comparatives are often used when no real comparison
is made. An advertisement for a detergent may say
“It gets clothes whiter”, but whiter than what?
To ADVERTISE is – to pay for an advertisement
with the intention of reaching new or existing
customers for a product or service.[3]
ADVERTISEMENT – is paid, non-personal,
public communication about causes, goods and
services, ideas, organizations, people, and places,
through means such as direct mail, telephone, print,
radio, television, and internet. An integral part
of marketing, advertisements are public notices
designed to inform and motivate. Their objective is
to change the thinking pattern (orbuying behavior)
of the recipient, so that he or she is persuaded to
take the action desired by the advertiser. When
aired on radio or television, an advertisement is
called a commercial. According to the Canadian-US
advertising pioneer, John E. Kennedy (1864-1928),
an advertisement is “salesmanship in print.”[4]
In contrast to the western concept of advertising,
the local understanding of advertising is wider- it
includes exhibition events, business seminars,
packaging, printed materials, distribution of gifts
and other means to promote trade activities. The
role of advertising is to remind people about the new
product and to persuade them to buy their product.
For example on TV, radio and internet we can find
different ways of advertising Pepsi Cola or Coca
Cola.
F.E:
Ask For More — Бери от жизни все (Pepsi)
– Бул жашоодн баарын ал!
Have a break, have a Kit-Kat! — Есть перерыв,
есть Кит-кат! (Kit-Kat) . – Убактың болсо Кит
Кат жэ!
Barkhudarov L.S in his “Language and
translation” gave the following definition for
Advertising – this is the type of activity or produced
in its resulting product, the aim of which is an
implementation of marketing or other purposes of
industries, service companies and public organizations
through the dissemination of information to their
paid formed so as to provide increased exposure to
mass or individual consciousness, causing a given
reaction selected consumer audience.[5]
A feature of the social realities of modernity
becomes an increasing role of popular culture in
general and advertising in particular, and the impact
of these phenomena on the formation of mass and
individual consciousness. Regardless of human
desire or unwillingness phenomenon advertising
111
aggressively penetrate the private and public life and
is an objective and unavoidable reality. Modern man
as a consumer finds himself involved in an advertising
environment and must constantly come into contact
with it. The study of such a multi-dimensional
phenomenon, as advertising relevant, because it
allows you to deeply investigate the causes, methods
and ways of influencing a promotional product to the
consumer, as well as to maximize the effectiveness
of this action.
Advertising is a special kind of message, which is
unique due to the fact that it combines three structural
components: verbal text, visuals and sound. As one
of the functional tools of the economic process, the
advertising message has a huge psychological impact
on society and its individual members.
Advertising has an impact on people’s behavior,
creating a certain lifestyle. It enshrines in the
consumer’s mind a set of values, ideals, attitudes and
preferences, and thus provides the regulatory impact
on the lives of different social groups.
Today, advertising as an object of study has
a powerful magnet. Economists, sociologists,
psychologists, historians, linguists consider
advertising “their” subject of study, subject to
further research that highlights the complexity and
diversity of advertising as a phenomenon, located at
the intersection of several disciplines.
The aim of this article is intended to broaden
and deepen students’ knowledge in a field related to
the functioning of advertising as a landmark, social
and aesthetic phenomenon and translation of the
advertisements.
Semiotics – the science of signs, which is
the fundamental base for exploring all aspects
of advertising, since the landmark nature of any
advertisement is not in doubt. The study of such basic
concepts of semiotics as text, sign interpretation,
character, and so on, serve as preparation for the
competent copywriter, and for an adequate reading
of the finished product advertising.
Semiotics working with the advertising text,
is closely related to the aesthetic component of
advertising. Since the aesthetic function is introduced
into advertising through its symbolic function, so
semiotics and aesthetics in this case are inextricably
linked as two sides of the same phenomenon. In other
words, semiotic component covers a wide area of our
operations, and we constantly use its properties and
terminology, often without realizing that it relates to
a special science called semiotics. The definition of
semiotics in general terms can be given as follows:
semiotics – the science of signs and sign systems,
which analyzes the nature, properties and functions
of signs classifies sign indicating the way of their
development.
In the life of all living beings – both man
and animals – the signs are very important, they
are based all human activity, and many forms of
animal behavior. That is why many sciences deal
with characters – these are linguistics, psychology
and mathematics and cybernetics, and so on. For
example, linguistics deals with the natural signs
of national languages, psychology explores the
development of iconic situations in ontogenesis
(in child development), signs in math function as
abstract entities, and so on.
A sign function in the modern world of
advertising associated with the establishment of
effective promotional activities and its impact on
the consumer. However, none of these and other
areas not covered overall, holistic problem sign in
abstraction from its specific characteristic of this
science properties.
Bibliography:
1. Nida’s
2. Cattford
3. Newmark
4. (Nida, 1993)
5. Barhudarov L.S “ Language and translation” M.:
International Relations, 1975..
6. http://www.businessdictionary.com/definition/
advertise.html#ixzz3UciZLTVM
7. http://www.businessdictionary.com/definition/
advertisement-ad.html#ixzz3UcjWDthu
112
УДК: 811.161.1 (575.2) (04)
Muratbekova Elnura IFL, IUK
Semiotic Analysis of the Epic “Manas”
Семиотический анализ эпоса «Манас»
Аннотациясы: Эпос “Манас” кыргыз этнониминин өзгөчөлүктөрүнүн чагылдырган, улутубуздун балыйгы болуп саналат. Бул эпос эл-журтубуздун рухун, акылмандыгын жана маданий
байлыктарын өзүнө камтыйт. “Манас” эпосунун котормосу бул изилдөөнүн ири аймагы болуп
саналат. Котормо баардык маанини, ошондой эле түп нуска текстинин байлыктарын окурманга
маданияттын өзгөчөлүктөрү жеткиликтүү болгудай чагылдырышы зарыл.
Негизги сөздөр: семиотика, котормо, анализ, белги, сүрөт, Түп- нуска текст, которулган
текст, Мета тил, семиотикалык мектеп.
Аннотация: Эпос «Манас» является сокровищем нашей нации, в котором описаны особенности кыргызского этнонима. Эпос отражает духовность, мудрость и национальные ценности
нашего народа. Перевод эпоса «Манас» это огромная сфера для исследований. Перевод должен
содержать в себе и отображать все значения и ценности исходного текста, таким образом,
чтобы читателю были понятны все особенности культуры. В этой статье мы рассмотрим
семиотический анализ перевода эпоса «Манас».
Ключевые слова: семиотика, перевод, анализ, символ, образ, исходный текст, текст перевода,,
Мета язык, семиотическая школа.
Abstract: The epic “Manas” is a treasure of our nation, which describe the peculiarities of Kyrgyz
ethnology. This epic reflects the spirit, wisdom and national values of our nation. Translation of the
epic “Manas” is a huge area for study. Translation should consist and reflect all meaning and values
of original text in a way that target reader should understand the peculiarities of source culture. In this
article, we will deal with semiotic analysis of the target text.
Key words: semiotics, translation, analysis, sign, image, TT, ST, Meta language, semiotic school.
We have chosen this topic, because the epic
“Manas” is the part of our culture, it keeps and
transfers information about our nation. We could
found all answers for all our questions in this golden
creation. In this article, we will concerns with the
cultural signs of the source text and their transferring
into target language.
The subject of this study is the semiotic signs,
they reflect information by means of denotative
and connotative meanings, and transferring these
meanings into TL is a matter of our research. The
aim of this research are to reveal the importance of
adequate translation of the semiotic signs of the epic
“Manas” into the target language, to define the ways
of successful transformation of the lexical units, to
analyze signs in both texts.
Semiotics is the science about signs and
symbols. Swiss linguist Ferdinand de Saussure and
American philosopher Charles Pierce were pioneers
of semiotics. Pierce called his study semiotics, which
is wildly used for the science of sign. Ferdinand
de Saussure’s semiology is differ from Charles
Peirce’s semiotics in some respect, despite these
both of them concerned with a signs. Ferdinand
de Saussure divided signs into two components,
the signifier (sound-image) and (concept), and his
suggestion that the relationship between signifier and
signified is arbitrary were of crucial importance for
the development of semiotics. On the other hand,
Charles Pierce focused his attention on the iron,
indexical and symbolic dimensions. From these two
points was born a new direction of science, important
work was done in Russia and Prague early in the
XIX century.
The Tartu- Moscow School is one of the
biggest school of thought in the field of semiotics
(Tartu is a town in Estonia) . This scientific school
was formed in 1964 and led by Yuri Lotman.
Representatives of The Tartu- Moscow School
– B.Uspenski, V. Ivanov, B. Toporov, M. Gasparov,
A. Pyatigorski, I. Revzin. The scientists of this
school published journal “Sign System Journal”
113
in 1964, the oldest semiotics journal in the world.
Russian semiotician, A.B. Vinogradov introduced
the terms like “disembodiment, arbitrariness and
singularity”.
American School of Semiotics included
American researcher, Charles Morris found up
“Extensional sight of sign”(широта знаков), every
sign may mean different cases and different field.
Ch. Morris paid his attention to the denotative
meaning of the sign. According to his theory, every
sign is connected with denotative meaning and
only than express a connotative meaning. Morris
researched the sign from the semantic structure.
The most outstanding representatives of French
Semiotic School are Umberto Eco, Deride Jay, S
Tudor, Roland Bart and Levi Strauss. The most
famous members of the Prague Semiotic School
are Mukarsheva, Moenova and Yakobson.
Professor of Philology Zina Karaeva is a pioneer of Semiotic Study in Central Asia, established
the Kyrgyz Semiotic School. This school deals
with a translation of Kyrgyz literature into English directly, without using meta language, which
promote the quality and adequacy of translation.
In this article, we give Semiotic Analysis of some
passages from the epic Manas.
1.
Бала болсун мал менен,
Let’s have our herds and our children
indoors.
Аргымак болсун жал менен.
(S.O., 30)
Let’s long-maned horses run on the plain.
(W.M., 490-500)
In Kyrgyz culture the concept “мал”, which
denotation is “cattle”, has a wide connotative
meaning. The concept mal “cattle” is a semiotic
image of Kyrgyz culture. Kyrgyz people are nomads and they value cattle very much, because at
the ancient time without cattle there was no life.
The cattle was a source of meat and milk, also
it was vehicle for nomads. Kyrgyzs bred cattle
and multiply it from ancient time until nowadays.
The cattle, “мал” is a sign of prosperous life, every rich man has a great number of cattle. Kyrgyzs use expressions like “malduu, janduu kishi”,
which means “a rich one”.While greeting they ask
“mal jan amanby?”, “how is your cattle?”
Jakyb said this in order to explain that he is not
going to spend his wealth in vain and be a bit thrifty.
“Бала болсун мал менен” translated as “let’shave
our herds and our children indoors”. In the English
version, we can notice some addition as “indoors”,
the translator added these words in order to transmit
the full meaning of the ST. “Аргымак болсун жал
менен” translated as “let’s long-maned horses run
on the plain”. The word “аргымак” is translated as
“horses”, “жал” is translated as “long-maned”. The
stylistic devices as rhyme “мал, жал” and repetition as “болсун, менен” are used by the author. In
the ST there is not such word combination as “run
on the plain”. Thus the translator added this word
combination in order to make it more understandable
for the target reader.
2.
Кытай алса бекер деп, Кызыр бизден кетер деп,
Каңгай алса бекер деп,
Касиет бизден кетер деп.
(O.S., 83) The race was arranged during the feast and
riders from all tribes participated in this race. Every
tribe or nation wished to win the first place and all
of them pray for it. The author used this saying to
show and explain the grace of Kyrgyz people.
We don’t want the Kitais to win!
Prophet Kizir turns away his eyes!
We don’t want that kangars get the prize!
Send us down your strength, if you can!
(W.M., 2480)
According to the legends, the word “кызыр”
i.e. “holy Kysyr” is an old man with white beard,
who provide spiritual support to Kyrgyz nation.
In our culture people belief in “patron spirit, they
call it “koldoochu” and “holy Kysyr” one of them.
114
“Holy Kysyr” is a spiritual protector, who gives
support to people. The word “касиет” means the
power, holiness and the virtue of a nation. Kyrgyz
people use adjectives “касиеттүү”, which means
powerful and holly. Both of these notions are the
semiotic images of Kyrgyz people and they are
afraid to lose them in their life.
The stylistic devices as alliteration-“кы,
ка”, repetitions-“алса, бизден, бекер, кетер,
деп” and rhyme “бекер, кетер” are used in
the ST. However in the TT only repetition of
the words “don’t want” is used. The translator
managed to translate the idea of the message
adequately.
3.
Бешик боосу бек болсун,
Кундагың боосу кут болсун!
(O.S., 70)
Kyrgyz people usually used this saying for newborn babies wishing a long and happy life.“Beshik”
is a cradle, which is used since nomadic times, as
nomads Kyrgyzs always moved from one pasture
to another and “beshik” was very comfortable for
moving. There are used no nails or other sharp metal
objects in manufacturing “beshik”, that is why
“beshik” is considered as a unique cradle of nomads.
In the Kygryz culture “beshik” is a symbol of child,
parents, and especially mothers and grandmothers
treat “beshik” with a great trepidation as a sacred
thing. “Beshik” is a semiotic image that symbolized
an infant child. Unused “beshik” stored in a dry
place, often in the upper part of the room and is kept
up until the next child is born. There is a tradition and
special ceremony of the baby’s first putting to the
cradle. Usually old women from around the village
singing lullabies and slightly shrouded by smoke of
archa tree to drive out evil spirits.
Jakyb Bay used this saying as a good wish for his
son. Alliteration as “б”, “к” and repetition “болсун”
are used in the ST. The expression “Kut bosun”
often use in Kyrgyz speech, it means a good wishes,
happiness and prosperity, well-being life, however,
in TT it is given as “long life”.
The translator also used repetition as “may”,
“the” and “be”, alliteration as “c” and rhyme as
“strong, long”.
Conclusion
The epic “Manas” contains great number of
semiotic images. These semiotic signs are legacy
of the Kyrgyz nation, which reflects the culture,
mentality, live experience and history of Kyrgyz
people. We have looked though theoretical points
of view concerning semiotics history and pioneers
of semiotics.
The differences of the semiotic images of two
May the cradle cord be strong!
May the baby is life be long!
(W.M., 2010-2020)
languages have been signified: they come from cultural peculiarities, differences in lifestyle, national
values, traditions and customs.
The analyses of the semiotic image and their
translation have conducted in this article. During
our analyses we can divided semiotic images into
two parts: typical for Kyrgyz nation and universal
semiotic images. The concepts “мал”, which denotation is “cattle”, “patron spirit, “holy Kysyr” and
“касиет”, which means “the power” are typical for
Kyrgyz nation. The concept “бешик”, which means
cradle-universal semiotic image, in all culture it is
symbol of a baby.
The meaning of semiotic imaged do not
translated adequately, because the epic Manas was
translated by means of Meta language, which is
Russian. Unfortunately, the majority of fiction works
are translated by means of Meta language. During
this kind of translation, the idea of the ST is distorted.
In our country the condition of the direct translation
of English literature into Kyrgyz or Kyrgyz literature
into English is very poor.
Bibliography:
1. АБДУВАЛИЕВ И., АКМАТАЛИЕВ, КАДЫРМАМБЕТОВА А., КАСЫМГЕЛДИЕВА
М., СЕМЕНОВА Ж., (2010), Кыргыз тилин
сөздүгү.
2. МАМБАЕВА, С., (2009) “Англис тилинин
стилистикасы”
3. ЮДАХИН К. (2000) Русско-киргизский словарь.
4. ОРОЗБАКОВ С. (1978) Манас
English sources
1. MAY WALTER(1995) Manas.
Internet sources
2. http: //www.bizdin.kg (Manas)
115
УДК: 811.161.1 (575.2) (04)
Musaeva Tolkun,
Acting Assoc. Prof., PhD, KTMU
“The reflection of Kyrgyz culture through national symbols”
Отражение Кыргызской культуры через национальные символы”
Аннотациясы: Бул макала кыргыз элинин маданиятын, адабиятын жана ишенимдерин ар
түрдүү символдордун бай булагы катары көрсөтүүнү аныктоого арналат. Бул символдор «Манас»
эпосунун тексттеринде, боз үй образында жана колөнөрчүлүктүн ар кыл түрлөрүндө өзгөчө
чагылдырылган. Филология илимдеринин доктору белгилүү манастаануучу Р.З. Кыдыр- баеванын пикирине ылайык «Манас» эпосунда кыргыз элинин тарыхы гана берилбестен, анын ар кыл
жашоосун чагылдырган чыныгы эпикалык турмуштук драмасын, салт – санаасын, моралдык
– нравалык дөөлөттөрүн, эстетикасын, этикасын, анын коңшулаш башкаэлдер менен, табият
менен болгон карым – катышын, айлана чөйрөнү духовный жактан кабылдоосун, астрономия,
география боюнча терең билимин да көрсөтөт.
Боз үй – көчмөн кыргыз элинин көчүп–конуусуна өтө ылайыкташтырылган үйү. Анткени зарыл учурда аны чечүүгө да, тигүүгө да өтө жеңил, оңой. Кыргыз эли үчүн боз үй – бакыт жана
тилектин орундалышы жөнүндө кылымдан кылымга келе жаткан ыйык символ, ал эл тарыхынын
белгиси, муундан муунга берилген ыйык мурасы, балалыктын образы. Боз үйдүн ар бир жасалгасы,
оорду өзүнчө мааниге ээ. Алсак, эшиктин оң жагы эпчи жагы деп аталат да, ал аялдарга тиешелүү
болуп, тамак-аш буюмдары коюлат. Ошондой эле каза болгон аялдын сөөгү да коюлганга чейин
оң ыптага жаткырылат. Ал эми эшикттин сол жагы эр жак деп айтылат да, ал жакка кереге
башына эр кишинин малчылыкка, аңчылыкка тиешелүү жабдыктары, буюмдары илинет.
Негизги сөздөр: «Манас» эпосу, Манас, түш, боз үй, мамлекеттик желек.
Аннотация: Настоящая статья посвящена исследованию показывающую кыргызскую культуру, литературу, верование как богатый источник различных символов. Эти символы ярче всего
отражены в текстах эпоса «Манас» а также в образе юрты и различных видах прикладного
искусства. Согласно мнению известного манасоведа доктора филологических наук Р.З. Кыдырбаевой в эпосе «Манас» воспеваются не только история кыргызского народа но и его правдивая
эпическая жизненная драма, символизирующая все аспекты жизнедеятельности, традиции,
обычаи, морально-нравственные ценности эстетику, этику, его взаимоотношение с другими
соседствующими народами, природой, духовное восприятие окружающего мира, глубокие познания в области астрономии и географии. Боз үй или юрта – жилище кочевого кыргыза, которое
является очень удобным при транспортировке, так как его легко можно установить а так же
разобрать при необходимости. Для кыргыза «Боз үй» – это прошедший сквозь века символ мечты о счастье, исполнение желаний, знак истории народа, реликвия семьи и образ детства для
каждого кыргыза. Каждая деталь убранства юрты имеет свою значимость. Например, правая
сторона – «эпчи жак» предназначена женской половине, где расположена вся кухонная утварь. А
также тело умершей женщины располагают в правой половине юрты перед погребением. А вот
левая половина – «эр жак» является мужской. Здесь на кереге висят сбруя, все вещи и предметы,
необходимые для занятий мужчины – скотоводством, охотой, ремеслом.
Ключевые слова: эпос «Манас», Манас, сон, боз үй, государственный флаг.
Abstract: This article is devoted to the research showing that Kyrgyz culture, literature and belief
are fount of symbols. The brightest example is the monumental epic Manas. According to a well-known
Kyrgyz scholar of Manas studies, R.Z. Kidirbaeva: “The epic Manas is not only the history of the Kyrgyz
people, it is a true epic drama which symbolize all the aspects of their life: i.e., their ethnic composition,
economy, traditions and customs, morals and values, aesthetics, codes of behavior, their relationship
with their surroundings and nature, their religious worldview, their knowledge about astronomy and
geography, and artistic oral poetry and language.” Another example is “Boz uy” which is comfortable
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for transportation since it can be easily set up and taken to pieces. To a Kyrgyz it is a symbol of dream
about happiness and fulfillment of desire, his people’s history, a family relic, and an image of their childhood. Every single detail in boz uy has its own significance. For example, its right side is “epchy jak”
a female part where you can see all kitchen appliances. Moreover, her dead body will be placed there
before interment. Boz yu’s left side is “er jak” a male part. Harness, all things and articles, necessary
for male occupations: cattle breeding, hunting, craft are hung on kerege here.
Keywords: The epic Manas, Manas, dream, boz yu, state flag.
In spite of the fact that our ancestors led the
nomadic life which did not make it possible to keep
the evidences about all the stages of the nation’s
forming and development completely the Kyrgyz
is one of the most ancient nations of Asia which is
universally recognized by the historical all over the
world. All times the Kyrgyz nation who traveled a
long-suffering and glorious way treated their history
and culture with the great care that is reflected in
the works of folklore and centuries-old decorative
art. It is beyond of any doubt that Kyrgyz culture,
literature and belief are the rich fount of different
symbols. The brightest example of rich fount of
different symbols is the monumental epic Manas
– a poetic account of the literature, culture, and the
art of the Kyrgyz people including the conceptual
frame of Kyrgyz thought which encompasses
Kyrgyz social mores, struggle for independence
and national consciousness. Despite the fact that
the Kyrgyz had no written language they excelled in
oral composition, which they artistically employed
in their traditional poetry and epic songs. Once
one of our internationally renowned Kyrgyz writer
Chingiz Aitmatov noted: “If other people/nations
displayed their past culture and history in written
literature, sculpture, architecture, theatre and art,
the Kyrgyz people expresses their worldview, pride
and dignity, battles and their hope for the future in
epic genre.” According to a well-known Kyrgyz
scholar of Manas studies, R.Z. Kidirbaeva: “The
epic Manas is not only the history of the Kyrgyz
people, it is a true epic drama which symbolize all
the aspects of their life, their ethnic composition,
economy, traditions and customs, moral and values,
aesthetics, codes of behavior, their relationship with
surroundings and nature, their religious worldview,
their knowledge about astronomy and geography,
and artistic oral poetry and language.” As S. Musaev
said “Everything the people had learned, created,
experienced for many centuries was preserved in an
oral artistic form. Folklore became the memory of
the people, the keeper of all its achievements, ideas
and conceptions, knowledge and reminiscence – all
the facts about its historical development.”
Although the Kyrgyz people naively boast that
their Manas is twenty times longer than the Homeric
Iliad (15693) and Odyssey (12110) taken together
and two and half times the length of the Indian
epic Mahabharata, the world would know nothing
if there were not “Manaschis” – the epic singers
or tellers. The Manaschis sing Manas without an
accomplishment of any musical instrument but it
involves acting as well. The way how the Manaschi
sings Manas depends on the nature of the stories. For
example, if the Manaschi describes a tragic scene or
some heroes’ death, he does it by singing laments
and crying with actual tears. If he is describing
battle scene, his body is alive with different gestures
recreating that scene. Vivid acting out is not the only
requirements another is vocal presences. His voice
becomes to act like instrument, playing with rhythm,
diction, stress, volume and tone. The Manaschi’s
visualization is so powerful that he actually enters
the world of the story, and it is hard to come back.
The teller’s relationship with their characters seems
to be at the heart of this experience. By embodying
the story the teller makes the hero appear. Once Ch.
Aitmatov compared Saiakbai’s singing to a symphony
orchestra: “Saiakbai was not only an oral poet, but a
great artist and composer. Like a symphony orchestra
he varied and changed his voice a thousand times.
He moved from tragedy to lyrical songs, from lyrics
he moved to drama, then within a short time he
burst into tears, then became joyful, then tired, then
became energetic again. Sometimes he sounded like
a teeming army of solders, sometimes he became as
calm as a lake, sometimes he became like a fast and
strong wind, and rushed like a river.”
“From the father to the son
From the oldest brother to the younger
From one to the other
This word (oration) was told”
Not everyone but those who had a delicate
emotional constitution and poetic talent from the birth
could be a Manaschi. Becoming a great Manaschi
involved some kind of spiritual transformation of the
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singer who had a vision by seeing a special sign, a
dream in which he was visited by the hero Manas
himself or by other main characters in the epic. The
dream experienced by Urkash Mambetaliev: ” …
One day… later in the morning I strongly wanted
to sleep. In my dream I was by the river Tup,
somewhere in a hurry to. Suddenly appeared to me
surprisingly beautiful, as white as gull yurt, the size
of six panel kerege (folding wooden cells which form
the bottom of the frame of the yurt) . The door of the
yurt was open. Thirst forced me to go inside. At the
place of honor sat an old man in a white high-kalpak
with wide, the entire breast, white-silvery beard. His
healthy, rosy face radiated kindness and generosity.
He beckoned me, as if to say: “Come, my son.” I
guess it was a wise parent of Kyrgyz Bakai ata. A
young, white-faced, statuesque woman came out
of the kitchen part of the yurt, fenced off by woven
twigs with beautiful ornaments. She lay a small
tablecloth and put a thin white bread, a small wooden
bowl full of honey and a cup of kumyz. I realized that
it was Aichurek, the daughter of Bakai. With a huge
difficulty overcoming the confusion, I sat down near
the tablecloths and tried the offered treat. Suddenly,
in one instant, all those vivid visions vanished, as if
there had never been before…” Another well-known
Manaschi Saiakbai Karala uulu also connected his
ability to sing Manas with a visionary dream which
is described in the following way: “On his way from
Semiz – Bel to Orto –Tokoy, he saw a white yourt in
place of an old big black rock. ne became very scared
from the loud noise that came from the sky and
fainted. He then woke up and entered the yurt where
he was offered food by Kanikei, the wife of Manas.
When he came out from the yourt he met a man who
told that he was happy that they encountered him on
their way to Beijing:
Causing a great calamity in the world,
With about forty or fifty tümön of army
We are going on a war campaign
To the far away and hazy Beijing.
He then told him: “ I am that Bakai who finds
the way in the dark and words of wisdom when
necessary. I want to give you the gülazik of Manas,
open your mouth.” He then introduced some of the
forty companions of Manas.” Bakai’s putting food in
Saiakbai’s mouth symbolized the idea of receiving the
gift of singing from the wise man Bakai. These two
great Manaschis were singing Manas by visualizing
all the scenes. They did not need to learn anything
by heart. Usually the Manaschis say “the soul of
Manas stands with you and helps you tell. You see
it in your mind.” This is how Urkash Mambetaliev
described the process of singing Manas: “At the start
of my performance, for the first five minutes, I see
the public, then they disapper….then I see it [the
story] in my ‘eyes’, it’s like I am inside the war. I
do not see the people anymore.”
According to the psychologist J.J. Gibson cited
in S.P. Clayton “Visualization is a distribution of
energy on a sensory mosaic” but by S.P. Clayton’s
own experience of visualization is that it is layered
and multi-sensual, encompassing emotions, desires
and histories. It is a physical experience, involving
the body and one’s body of memories.” Another
person who contributed a lot to “Manas” epic is
Jusup Mamay. It took him eight years to learn by
heart all eight parts of Manas (eight generation of
Manas) which is more than 200, 000 lines from
his brother Balbai who passed all his recorded and
compiled collection of Manas to his younger brother.
Whenever he was asked to tell how he mastered
the skill performing the epic he never denied the
great influence of his bother Balbai who taught him
performance skills, instructed him to use particular
gestures and facial expressions and to modulate
tones according to the development and changes of
the plot in the epic. Also he insisted on the role of
“dream” like other Manaschis:1 “One morning when
I was thirteen, I slept and dreamed that five mounted
men appeared with their backs to me. I went up to
the last of them and saw he was riding without a
saddle. He told me that the hero Manas was first
and that he was followed by Old Man Bakay, who
in turn was followed by the hero Almaibet, whowas
closely followed by great general Chuwak. Behind
Chuwak was Ajbay, the man who was speaking to
me. Without finishing his speech he disappeared. I
woke up from the dream feeling restless. My parents
asked whether I had had a dream, and I told them
everything. they instructed me to remain silent about
the dream and not mention it before reaching the
age of forty. Since that dream I have been able to
remember the lines of Manas upon my first reading
of them.” After analyzing these three examples of
dreaming we can make a conclusion that the first
two Manaschis got their inspiration from their dream
where they were given food to eat which symbolized
the idea of receiving that gift of singing epic Manas.
Meanwhile Jusup Mamay like other Manaschis was
118
visited by the main characters of the epic but was not given anything to eat. This does not say that Jusup
Mamay’s version is not practically noteworthy; on the contrary it is unique as his eight-part epic Manas,
Saimaitaiy, Saiytek, Kenenim, Saiyt, Ashbaqa and Bekbaqa, Sombirek, and Qigtaiy1 is the complete written
story of the eight generations of Manas existing today.
He is from gold and silver
He is merging of the sun and the moon
As he support between the Sky and the Earth
Having thickened primary of Tengir
These lines come to the mind when we imagine one of those legendary heroes fighting with external
enemies and reunited all his scattered people. Manas was not an ordinary Kyrgyz, the son of Jakip and
Chïyïrdï, but a hero of tremendous power whose eyes turn red like fire the moment he was filled with
rage and looked as if he wanted to drink human blood. Possibly, this was the reason for using one of the
traditional epithets “kankor” (bloodthirsty) which Manas has.
Кан ичип жүрүп катыгат, He’ll become strong by drinking blood,
Бет алганды мерт кылып, By killing those who oppose him,
Өзү канкор Манас аталат. He’ll be known as blood-thirsty Manas
Кара көкжал шер болот, He’ll be a grayish black-maned lion,
Besides “kankor” (bloodthirsty) and “kökjal” (black-maned) Manas has other epithets as “kabilan”
(tiger) “sher” (lion) symbolizing the ancient “totemic” religious worldview of Kyrgyz people.
Каканчынын Бээжинге No brave man will be left to resist him
Калайман салчу шер ошол, He will be the lion who will
Топон суу жүрбөс Бээжинге Bring misfortune to the Kakachin in Beijing
Тополон салчу эр ошол. He will be the man to create chaos
Кабылан Манас уул келди The lion Manas, a boy has arrived.
Manas is always accompanied and protected by the spirits of animals which have supernatural powers
to defeat enemies. They are a lion and black-striped tiger which are by his side and the black bird Zimirik.
Supernatural powered animals protecting and accompanying Manas symbolized that the Sun and the Moon,
the Sky and the Earth and Tengir support and protect Manas.
Жаратып мындай жан болбос, No one was created like him,
Бир мүчөлүн карасаң At one glance he resembled
Комдонуп жаткан көк жолборс. A gray tiger getting ready to attack.
Кара чаар кабылан Black spotted panther
Капталында чамынып, Was ready to attack at his side,
Чолок көкжал арслан A lion with a short, gray mane
Оң жагында камынып, Stood ready to strike at his right side,
Асмандан алп кара куш – Зымырык From the sky, the giant black bird Zimirik
Азыр эңип кетчүүдөй Thrust his long legs and talons
Арбайтып бутун салыптыр. As if to seize his prey.
Колдогону бир тогуз, He had nine protective guardians
Коржоктотуп Манасты Who had been blessing
Колдоп жаткан кези экен. Manas with great care.
According to some scholars in the epic there are some interesting themes which are considered to be
the prototype of the moments from the great Mongolian epic “The Secret History of the Mongols.”
119
The dream motif.
In my last night’s dream,
I settled down on the upper Ala-Too
And caught a young eagle.
When I took him hunting,
The sound of his flapping wings was heard;
Unable to withstand his wrath,
All the animals fell over in fright.
He flew high above the world,
The black-eared panther
Looked like a mouse next to him.
When I pulled off his hood,
He wreaked such havoc,
He tore into shreds
The black-striped tiger and boar.
He spared no animals,
All the birds submitted to him
Offered themselves up.
When I lifted him
He was restrained by eighty-four strings,
Wherever the eagle turned was set ablaze,
Then I took him to the east
For hunting,
I sealed the doom
Of all the predator birds,
Not sparing any of them
I had him kill them.
When I got caught up by the hunt,
I shed so much red blood
That it filled a gorge.
What does this mean?
In the dream that I saw,
Out of nowhere in my hand
A zulkupor sword appeared.
With it, I cut through
The black cliff which blocked my way,
Thus I defeated the black cliff.
With one blow the cliff shattered,
Unable to withstand my sword’s power,
The black cliff crashed down,
I felled the strong mountain,
Everything that I struck
I made fall to the ground like powder,
I destroyed the rocks and made a road,
I leveled down
All the thick forests,
I destroyed many cliffs,
I made the river dry up,
I burned everything which I came across,
I set afire the grassy steppe,
I turned the cliff into a plain
And made myself a khan.
The places where I wandered were strange
wilderness.
Wherever my sword struck was set afire.
Reaching with my right hand,
I grasped the sun for myself.
Reaching with my left hand,
I caught the moon for myself.
My right hand held the sun,
My left hand held the moon,
I took the sun
And put it in place of the moon,
I took the moon
And put it in place of the sun.
Together with the sun and moon,
I flew high into the sky.
The interpretation of Bay Jakip’s dream.
If you found a sword in your dream,
Oh, Jakïp, my foal,
That means that you will have a son,
Whose name will be Manas,
Who will cut through rocks and turn them into
roads,
Who will defeat many people and unite them,
Who will blacken a river with blood,
Who will smear the plains with fat,
Who will capture and destroy
Those who enrage him.
If you held the moon and sun,
Your son will be famed as a hero.
My hero Jakïp, listen carefully,
You will seize control
Of the eighteen thousand worlds
120
Birth of Manas
Holding black blood in his right hand.
That means if there are enemies to fight
He’ll shed their blood
Like that dripping black blood.
That he came out holding
Yellow gold in his left hand
Means he’ll cut them off at the roots
They’ll wither and yellow, like yellow gold.
When your son came out from the womb,
His ear tips were pierced,
It is beyond of any doubts that these two epics
can have common moments. As great Manas and
Chingiz Khan were not ordinary men. Moreover, the
dream motif and the way how they were born proves
that they are true “baatirs”.
Look at her beauty!
White as, snow she was,
Not from felt, from cloth it was,
Trellised wall varnished was,
And a mat, made from chii
With silk braided was,
Ropes round the yurt
Of quaint beauty were.
When Manas came in the yurt
By luxury and beauty he
Deeply surprised was.
These words are devoted to “Boz uy” which
is comfortable for transportation since it can be
easily set up and taken to pieces. To a Kyrgyz
it is a symbol of dream about happiness and
fulfillment of desire, his people’s history, a family
relic, and an image of their childhood. Every
single detail in boz uy has its own significance.
For example, its right side is “epchy jak” a female
part where you can see all kitchen appliances.
Moreover, her dead body will be placed there
before interment. Boz yu’s left side is “er jak”
a male part. Harness, all things and articles,
necessary for male occupations: cattle breeding,
hunting, craft are hung on kerege here.
The state flag of the Kyrgyz Republic is red panel
with a sun disk in the center. Surrounding the sun,
forty golden rays stretched outward. A tunduk, the
He was already circumcised.
Those who saw him were scared,
Oh, my Jakïp, think about it,
Your son who came out from the womb
Showed such great signs.
When the boy came out crying
Dust arose from the place where he dropped,
When that boy cried
Our hearts leapt and our souls departed
top part of the Kyrgyz yurt, is portrayed in the center
of the disk. The flag’s symbols have no political
meaning. The life giving sun is a symbol of eternal
life, the tunduk represents not only the stability of
home, familiar ways of living, and centuries-old
popular traditions, but the deep philosophical unity
of heaven and earth. If I had an opportunity to change
our state flag, I would change it totally. Everybody
knows that one of the main part of our traditional
yurt is tunduk. If you look at our flag, it looks as if
tunduk were burning and forty golden rays were the
body of the flame. Perhaps, changing of the state flag
will bring the changes in the life of our republic!
Bibliography:
1. Aitmatov Ch., Beaming height of ancient Kyrgyz
spirit. Encyclopedic phenomenon of the epic
2. “Manas”. –B.: Encyclopedia, 1996.
3. Bakirova A., Exploring and deciphering the
phenomenon of the “Manaschi” and their
visions.
4. Манастаануу: Азыркы абалы жана түйүндүү
маселелер.
5. Jainakova A., “Manas” Bishkek 1995.
6. Kuchumkul kizi E., The Kyrgyz epic Manas.
2005.
7. Lang Ying. The Bard Jusup Mamay. Oral Tradition,
16/2(2001) .
8. Musaev S., The Epos “Manas”. 1995. Bishkek.
9. Niyazov F., Jamgirchiev S.. The Kyrgyz Pattern.
1998.
10. Sally Pomme Clayton Telling the images.
Experiences of visualization on the storytelling
performances of Kyrgyz Manaschi. E.L.O. 910(2003-4)
121
УДК: 811.161.1 (575.2) (04)
Naimanova Cholpon, Prof. Dr., KTMU
Semiotic Approach to Literary Analysis (based on Hemingway’s story
“Cat in the Rain”)
Семиотический подход к литературному анализу
(на основе рассказа Э. Хемингуэй «Кошка под дождем»)
Аннотациясы: Макала адабияттык талдоодо семиотикага өз салымын кошкон, Хемингуэйдин
жеке өзүнө гана таандык, белгилүү “айсберг” стилин талдоого арналган. Э.Хемингуэй өзүнүн
чыгармачылык ишмердүүлүгү айсбергди элестетет деп эсептейт. Адам баласы айбергдин болгону
30 пайызын гана көрө алат. Калган бөлүгү суунун астында жашырылган. Хемингуэй сюжети
ачык көрсөтүлбөй, негизги бөлүгү жашыруун болгон кыска, маңыздуу проза жазууга умтулган.
Ал эч качан эмоцияларды сүрөттөбөйт, бирок каармандарды белгилүү бир кыймыл-аракеттерди жасоого түрткү берген окуяларды чагылдырып берет. Окурман өз кезегинде суйүнүч же
көңүлүздүк же таң калуу сыяктуу түркүн сезимдерге туш болот. Ал каармандар менен бирге
убайым тартат. Бул ошол учурдагы чыгарма жазуунун өзгөчө бир ыкмасы эле.
Э.Хемингуэйдин “айсберг” аттуу адабияттык принциби шарттуу белгилер, символизм,
аба-ырайын сүрөттөө, каармандар ортосундагы пикир алышуусу, ошондой эле синтаксикалык
түзүлүштөрдү колдонуу менен бирге (асиндетон (байламталарсыз), полисиндетон (көп байламталуу) ж.б.), окурманга түшүнүктүү болгон жөнөкөй тилди колдоно билүү сыяктуу көптөгөн
ыкмаларды колдонуунун артынан толук ачылып, адабияттык талдоодо семиотикага өз салымын
кошууда. Бирок дале бул жөнөкөйлүк анын чыгармаларынын семантикалык маанилеринин татаалдыгына алып келет. Окурманга чыгарманын өзүн гана окубастан, саптардын ичинде эмнелер
камтылганын да түшүнө билүүсү абзел. Мындан тышкары бул сыяктуу окуу окурмандын көңүлүн
бурдуруп, кызыгуу жаратат. Бул анын ойлонуусуна түрткү болуп берет. Автор окурманды чырмалышкан окуялар менен беттештирип, окурман өз учурунда чыгарманын күбөсү болуу менен
бирге өзүн катышуучу катары да сезе билуу мүмкүнчүлүгүнө ээ болот.
Э.Хемингуэйдин “Жамгырдагы мышык” чыгармасында “айсберг” аттуу адабияттык ыкмасы
өзгөчө чеберчилик менен колдонулган.
Негизги сөздөр: айсберг, шартуу белгилер, символизм, аба–ырайынын сурөттөлүшү, диалог
(пикир алышуу), ыргак, көп байламталуу (полисиндетон), байламталарсыз (асиндетон), кайталануу
Аннотация: Статья посвящена анализу индивидуального стиля Хемингуэя, известного как
“айсберг”, которая вносит свою лепту в семиотику при литературном анализе. Э. Хемингуэй
считает, что его творческая деятельность напоминает айсберг. Человек может увидеть
только около тридцати процентов айсберга. Оставшаяся часть скрыта под водой. Хемингуэй
стремился написать краткую, сжатую прозу, где основная часть сюжета больше завуалирована.
Он никогда не описывает эмоции, но воспроизводит события, которые сподвигают его героев
на определенные действия.Читатель, в свою очередь, испытывает восторг или удивление или
депрессию. Он страдает вместе с персонажами. Это был довольно необычный способ написания
произведений в то время.
Литературный принцип Э. Хемингуэя «айсберг» может раскрываться посредством ряда
приемов, которые вносят лепту в семиотику при литературном анализе, среди них, такие как,
символизм, описание погоды, диалог между персонажами, а также использование синтаксических конструкций (асиндетон (бессоюзие), полисиндетон (многосоюзие) и т.д.), использование
простого языка, вполне понятного читателю. Однако эта простота приводит к сложности
семантического значения его произведений. Читателю нужно прочитать не только сам рассказ,
но и понять, что написано между строк. Кроме того, такое чтение привлекает внимание читателя и вызывает его интерес. Он начинает думать. Автор ставит читателя в гущу событий
и последний чувствует себя свидетелем и участником произведения.Литературный принцип Э.
122
Хемингуэя «айсберг» мастерски реализован в рассказе “Кошка под дождем”.
Ключевые слова: айсберг, символизм, описание погоды, диалог, ритм, полисиндетон, асиндетон, парцелляция, повтор.
Abstract: The topic to be discussed deals with the Hemingway’s individual style known as an “iceberg”
which contributes to the semiotics in literary analysis. E. Hemingway assumes that his creative activity
resembles an iceberg. A person can see only about thirty percent of it on the surface. The remaining part
is hidden under the water. Hemingway aspired to write tense, economical prose where more is left out
than put in. He never describes emotions but reproduces the events which cause his characters to experience them. The reader in turn feels the elation or wonder or depression. He suffers with the characters.
This was a quite unusual way of writing at that time.
E. Hemingway’s literary principle of an iceberg can be revealed through some devices that contribute
to the semiotics in literary analysis, including, symbolism, weather depiction, dialogues between characters, syntactical constructions (the use of asyndeton, polysyndeton, etc.), a simple, primitive language,
quite understandable to the reader. However, the simplicity results in a complexity of the semantic value
of his works. The reader should be able to read not only the story but one should be able to understand
what is written between the lines. Moreover, such reading attracts the reader’s attention and arouses his
interest. He begins thinking. The author puts the reader in the thickness of the events and the latter feels
a witness and participant of them.
E. Hemingway’s literary principle of an iceberg is masterfully realized in the story “Cat in the
Rain”.
Keywords: iceberg, symbolism, weather depiction, dialogues, rhythm, polysyndeton, asyndeton, parcellation, repetition.
The topic to be discussed deals with the Hemingway’s individual style known as an “iceberg” which
contributes to the semiotics in literary analysis.. E.
Hemingway assumes that his creative activity resembles an iceberg. A person can see only about thirty
percent of it on the surface. The remaining part is
hidden under the water. Hemingway aspired to write
tense, economical prose where more is left out than
put in. He never describes emotions but reproduces
the events which cause his characters to experience
them. The reader in turn feels the elation or wonder
or depression. He suffers with the characters. This
was a quite unusual way of writing at that time.
These are his principles which he used in writing:
“If a writer of prose knows enough about what he
is writing about he may omit things that he knows
and reader, if the writer is writing truly enough, will
have the feeling of those things as strongly as though
the writer had stated them. The dignity of an iceberg
is due to only one-eighth of it being under water”
(Death In the Afternoon, Scribner’s, 1932, Chap. 16,
192.) “I always try to write on the principal of the
iceberg. There is seven-eighths of it under water for
every part that shows. Anything you know you can
eliminate and it only strengthens your iceberg... It
is the part that doesn’t show.” (Ernest Hemingway,
1958) .
E. Hemingway’s literary principle of an iceberg
can be revealed through some devices, including,
symbolism, weather depiction, dialogues between
characters, syntactical constructions (the use of
asyndeton, polysyndeton, parcellation, etc.), a
simple, primitive language, quite understandable
to the reader. However, the simplicity results in a
complexity of the semantic value of his works. The
reader should be able to read not only the story but
one should be able to understand what is written
between the lines. Moreover, such reading attracts
the reader’s attention and arouses his interest. He
begins thinking. The author puts the reader in the
thickness of the events and the latter feels a witness
and participant of them.
E. Hemingway’s literary principle of an iceberg
is masterfully realized in the story “The Cat in the
Rain”.
E. Hemingway uses a number of symbols in
the story which are also signs in semiotics. The
story begins with the description of the hotel where
the couple stayed in and its colorful surroundings.
The use of such symbols as war monument, empty
square, the motor cars were gone from the square,
cat, rain, table show the relations between the husband and the wife, the lack of understanding, tense
atmosphere in the family. The word war monument,
which was mentioned three times in the story, was
used to symbolize a conflict to be expected. The
123
words empty square, the motor cars were gone from
the square show how lonely and unhappy the wife
was. The word cat symbolises the American wife,
who is unhappy in the rain. At the beginning of the
story the cat was even described as she, although
we cannot define its gender, so association between
the cat and the female gender in the story is created
immediately. As a central symbol, the cat reveals
the psychological state and emotional desires of the
woman, whose emotional state is nearly to be drowning under drops of rain. The words pools, sea belong
to the semantic field water. One can easily feel that
the rainy weather made coldness and dampness all
around. Moreover, this watery description made the
cat feel cold, lonely and unprotected. The word rain
symbolises the husband who makes the wife suffer,
makes her feel unsafe; and the word table symbolises
the hotel keeper who protects the cat from the rain,
i.e. protects the woman from her husband, making
her feel very small and at the same time really important. He made her feel like a lady.
As it was mentioned above, weather depiction also contributes to the semiotics in the literary
analysis. There are universal symbols in weather
depiction, like winter and snow depicting pureness
and coldness at the same time; summer and heat
depicting freedom and love adventures; autumn and
rain depicting the end of love and nostalgia; spring
and rain and first flowers depicting something new,
romantic relations, new life, new feelings, new love,
etc. However, these universal symbols and weather
depiction may have additional or opposite meanings
in some particular texts. For example, an American
woman writer, Ann Beattie, in her story “Snow” by
using the image of snow as a symbol, shows that love
as snow can be white, i.e. pure love; it can be warm,
i.e. warm relations between people. However, like
snow, some love stories have an ending; like snow
that can melt in spring, love is not always forever.
Then spring comes. As a universal symbol, spring
is something new: new life, new love. Usually in
spring, the Nature awakens from its long winter
sleep. The trees are in blossom. Countless sparrows
start twittering in the eaves. The tops of trees are
aquiver with the new spring life. The delicious breath
of the spring is in the air. The ground is covered
with beautiful flowers. It looks like a Persian carpet:
white, brown, red, purple, yellow colors. However,
in this particular story, spring represents a different
symbol; it is a symbol of the end of their fascinating
love. With years passed away, the sense of respect
remains, but Love is gone. Therefore, the weather
depiction plays one of the important roles in the story,
since it reveals the character’s inner state, emotions,
state, and the atmosphere in general. Rain symbolizes
here sadness, loneliness, unhappiness.
To depict the worsening of their relations, the
tense atmosphere in the family relations, the author
uses the following weather depiction: She laid the
mirror down on the dresser and went over to the
window and looked out. It was getting dark. “I want
to pull my hair back tight and smooth and make a
big knot at the back that I can feel, “ she said. “I
want to have a kitty to sit on my lap and purr when
I stroke her.”
“Yeah?” George said from the bed. “And I
want to eat at a table with my own silver and I want
candles. And I want it to be spring and I want to
brush my hair out in front of a mirror and I want a
kitty and I want some new clothes.” “Oh, shut up
and get something to read, “ George said. He was
reading again.
His wife was looking out of the window. It
was quite dark now and still raining in the palm
trees.”Anyway, I want a cat, “ she said, “I want a
cat. I want a cat now. If I can’t have long hair or
any fun, I can have a cat.” George was not listening. He was reading his book. His wife looked out
of the window where the light had come on in the
square. Using the colour symbol dark in weather
depiction E. Hemingway masterfully reveals the
feeling of tension and her husband dominance and
indifference to her.
In revealing the iceberg Hemingway uses
dialogues. Dialogues are considered to be a type of
indirect characterization, which can also contribute
to the semiotics in literary analysis. In the story
under analysis the author’s narration is interrupted
by dialogues of the characters; inner thoughts of
some character are imperceptibly interwoven with
narration.
As was mentioned above, E. Hemingway’s
literary principle of an iceberg can be revealed also
through syntactical constructions (the use of parcellation, polysyndeton, etc.) .
Rhythm plays a great role in his stories. And it
is clearly expressed in the syntactic structure. The
creation of rhythm is achieved by such syntactic
means as polysyndeton and parcellation.
Polysyndeton is a specific type of connection
between the sentence components by one and the
same conjunction which gives some rhythm to the
124
utterance and makes the speech more melodic:
“And I want to eat at a table with my own silver
and I want candles. And I want it to be spring and I
want to brush my hair out in front of a mirror and I
want a kitty and I want some new clothes.” The use
of polysyndeton in the story “The Cat in the Rain”
creates a description of the relations between the
husband and the wife. On the one hand, George was
a neglectful husband. He denied his wife’s many of
her wants, needs, and desires. When she starts telling
him all the things she desires, he just tells her to shut
up. She seems to be very spoiled like a child for him.
He did not understand her, and made no efforts to
make her feel loved, wanted, to make her feel like a
real woman. As for his wife, she wants to be cared,
to be protected or at least to be paid attention to. The
woman just wanted to be treated like an adult, like a
lady. On the other hand, there are the types of women
who, no matter how much attention they receive from
any particular source, still demand more. And this
was the case with his wife. Moreover, E. Hemingway
repeats the word the American wife, which can also
reflect his thoughts of his wife, Hadley Richardson,
a wealthy young woman several years older than he.
Immediately after their marriage, E. Hemingway and
his wife moved to Paris, where he wrote this story.
In the story, the American wife seems a rather silly,
childish woman. However, these wishes can also
symbolize concrete, tactile human need with which
we can sympathize. She does not need something to
read, she needs something to feel.
Parcellation is a specific syntactic stylistic device which is characterized by the deliberate parting
of a single syntactic structure in two or even more
isolated parts. Parcellation produces clipped sentences. It emphasizes the detached part of a sentence.
Parcellation is found very often in Hemingway’s
prose. It makes the utterance more expressive and
sometimes shows the emotional state of a character.
“The rain dripped from the palm trees. Water stood in
pools on the gravel paths. The sea broke into a long
line in the rain and slipped back down the beach to
come up and break again in a long line in the rain.
The motor cars were gone from the square by the
war monument. Across the square in the doorway
of the cafe a waiter stood looking out at the empty
square. The use of parcellation here creates a sad,
cold and unfriendly atmosphere, which reflects the
state of the couple’s relationship.
In most of Hemingway’s stories repetition defines his style. It is a frequent case when repetition
exposes this “underwater part» of an iceberg, i.e. the
implication, showing the emotions of the speaker.
Repetition is found nearly in every Hemingway’s
stories. She liked the way he wanted to serve her. She
liked the way he felt about being a hotel-keeper. She
liked his old, heavy face and big hands. The repetition of the pronoun she and the construction She liked
the way implies her feelings. The hotel keeper was
the man who made her feel very small and at the same
time really important. She had a momentary feeling
of being of supreme importance. She admires his will
to serve her. He made her feel like a lady.
The author uses repetition I get so tired the following sentences “I get so tired of it, “ she said. “I
get so tired of looking like a boy.” to show that the
American wife was tired of her routine, she doesn’t
say directly that she is not satisfied with her family
life, but the reader can see it in the context.
The repetition of the phrase I want to reveals
the typical way of a child to want something. Really, the woman was childish. The repetition gives
some rhythm to the utterance and makes the speech
more melodic. “I want to pull my hair back tight and
smooth and make a big knot at the back that I can
feel, “ she said. “I want to have a kitty to sit on my
lap and purr when I stroke her.” “Yeah?” George
said from the bed. “And I want to eat at a table with
my own silver and I want candles. And I want it to
be spring and I want to brush my hair out in front
of a mirror and I want a kitty and I want some new
clothes.”
The wife found her husband reading a book
when she was back from the street, and actually
speaking about the husband the author constantly
uses repetition of these words like read and book,
which reveals the tiredness of his wife and even
maybe his indifference to her, but nevertheless he
showed his curiosity asking if she got the cat.
I cannot but mention the role of nonverbal
communication in semiotics in the story “Cat in the
Rain”. Non-verbal communication of Hemingway’s
characters helps to reveal iceberg principle. Among
nonverbal communication, there are gestures, mimes,
voice, etc. Non-verbal signals have some semiotic
potential that perform a certain function in the story.
Unnecessary gestures pass through from the text into
the under text, i.e., between the lines, and those left
gestures carry certain semantic loading. Hemingway
pays a lot of attention to non-verbal communication
of his characters. Most Hemingway’s characters
belong to Lost Generation whose main characteristic
125
feature is indifference. The man is indifferent to
the world, and the world is indifferent to the man.
Staying among people, his character is very lonely,
and the surrounding world is hostile towards him.
Interlocutors hear each other, but do not listen to
each other. They do not focus their attention to the
person. They look at something else, read a book,
and eat; they do everything except looking at the
person and understanding his problems. Hemingway
does not describe emotional sufferings of his
characters directly. He just describes their non-verbal
communication which are semiotic signals of their
feelings, sufferings, inner world, psychological state,
etc.
In the story “Cat in the Rain” Hemingway describes the husband as lying in the bed and reading
a book. The author repeats this action several times
throughout the story. This shows that he was indifferent to his wife and her problems. “…The husband
went on reading, lying propped up with the two pillows at the foot of the bed. …She opened the door of
the room. George was on the bed reading. …Wonder
where it went to, “ he said, resting his eyes from reading. ….George was reading again. …..”Oh, shut up
and get something to read, “ George said. He was
reading again. … George was not listening. He was
reading his book. His wife looked out of the window
where the light had come on in the square.
Hemingway paid a lot attention to his characters’
eye look which is somehow a mirror of the
characters’ soul, their inner world. Through the
characters’ look one can judge about their feelings
that are usually indifferent and that is characteristic
of Lost Generation. George shifted his position in
the bed. He hadn’t looked away from her since she
started to speak.
In the below-mentioned episode the author
describes the hotel owner who bowed to the woman.
This gesture is repeated two times to show the way
the woman felt at that particular moment. The hotel
owner made her feel very small and at the same time
really important.
The wife went downstairs and the hotel owner
stood up and bowed to her as she passed the office.
His desk was at the far end of the office. He was an
old man and very tall. They went back along the
gravel path and passed in the door. The maid stayed
outside to close the umbrella. As the American girl
passed the office, the padrone bowed from his desk.
Something felt very small and tight inside the girl.
She had a momentary feeling of being of supreme
importance. She went on up the stairs. She opened the
door of the room. George was on the bed reading.
One more moment to be mentioned in this
episode is the location of the hotel owner’s desk
which was at the far end of the office that is also a
semiotic signal describing a lack of misunderstanding
of the woman and the surrounding world.
To resume, Hemingway’s individual style
known as an “iceberg” contributes to the semiotics in literary analysis. E. Hemingway’s literary
principle of an iceberg, masterfully realized in the
story “Cat in the Rain”, revealed through some
devices, including, symbolism, weather depiction,
dialogues between characters, syntactical constructions (the use of polysyndeton, parcellation, etc.), a
simple, primitive language, quite understandable to
the reader and non-verbal communication. All the
above-mentioned devices are semiotic signals that
help the reader understand the feelings, sufferings,
inner world, psychological state of his characters.
Bibliography:
1. Hemingway E. Selected Stories. M., 1976.
126
УДК: 811.161.1 (575.2) (04)
Omurkanov Mirlan, KNU
Semiotics of dream peculiarities of the small epic “Janysh-Baiysh”
and their interpretation
Семиотика особенностей снов в малом эпосе “Жаныш-Байыш”
и их интерпретации
Аннотациясы: Макалада Жаныш, Байыш эпосун башка тилдерге которуудагы белгилери
жана семиотиканын эң негизги бөлүктөрү тилде кандай роль ойнойт жана алардын күнүмдүк
жашоодогу орду каралган.
Негизги сөздөр: семиотика, туш, кан, чоролор, интерпритациалоо
Аннотация: В статье Жаныш-Байыш рассмотрены знаковые системы эпических произведений при переводе с одного языка на другой
Ключевые слова: семиотика, сны, кровь, воины, мост, интерпретация
Annotation: The article of Janysh, Baiysh is about sign system of epic works in translating from one
language into another
Keywords: semiotics, dreams, blood, warriors, bridge, interpret
What is your dream? Will you achieve your
dream in your lifetime? I’m certain that you desire to.
I’m sure you hope you will. But will you actually do
it? What odds would you give yourself? One in five?
One in a hundred? One in a million? How can you
tell whether your chances are good or whether your
dream will always remain exactly that—a dream?
And are you willing to put it to the test? The questions,
“Why do we dream?” or “What is the function
of dreaming?” are easy to ask but very difficult to
answer. The most honest answer is that we do not
yet know the function or functions of dreaming. I
do not believe this is the most fruitful approach to
the study of dreaming. Would we be satisfied with
the view that thinking has no function and is simply
an epiphenomenon--the kind of mental activity that
occurs when the brain is in the waking state? From a
long time ago until present day, dreams have always
been important to people in society. Some people take
the occurrence of a dream as a sign or symbol for some
happening in the near future (almost like a prophesy)
. They believe that a dream holds a power that can not
only affect the dreamer, but also the people around
them. There are many dreams that occur in the epic
to represent the power given to a dream. The notion
that dreams stem not from our bodies, nor from our
psyches, but from a force beyond our self may be
marginal in the Netherlands, in Kyrgyzstan it is a
common explanation of the phenomenon of dreaming.
I found this out early in my 1990s field research in the
post-Soviet Central Asian republic. While researching
the social settings of the oral Manas epic, I stumbled
upon many dream stories. Many Manas narrators told
me a story of a calling dream they had received around
the age of 12. In this dream, they met the characters
of the epic, who offered them something to eat and
drink and requested them to become reciters of the
epic. On waking up, the epic chant would flow out of
their mouths effortlessly. During their lifetime, most
Manaschïs continue to receive dreams in which they
learn new episodes of the tale. Without dreams, Manas
recital becomes hard work and one can never achieve
the intensity of ‘real’ dream-inspired narration.[7]
In Kyrgyzstan, dreams are of great significance
as sources of omens and divine revelations.
This article will explore the meanings of dream
omens, focusing more particularly on the complex
relationship between belief in fate and belief in
the free will as expressed in Kyrgyz practices of
dream interpretation and sharing and, thus, on
the complexity of the imprints of dreaming in
Kyrgyz society. Dream omens embody peoples’
fears about, and hopes for, how their lives may
develop.
When Baiysh and the daughter the khan Aziret
were avoiding from China they had been on the
way for three months and they were very tired,
stopped and they had slept in the forest three days
without waking up and he dreamed horrible dream
and said to Jelkaiyp:
127
Түндөгү көргөн түшүмдө, Карчыга учпас зоокага, Карга айланып конуптур.
Көпүрөнүн башына
Калдайып кытай толуптур;
Where is the hawk can’t fly.
A crow caught around in the place.
To the head of the bridge
There were many the warriors of china;[14]
To see birds flying are very unlucky; it denotes
sorrowful setback in circumstances. Poor persons may
become better especially if they hear birds sing. The
symbolic crow is associated with the sun, longevity,
beginnings, endings, change, bad luck, prophecy,
Christian solitude, and death. Among ancient Greeks
and Romans there were some who considered the
crow a bad omen and the raven a good one. In the
telling of myths and legends, the crow frequently took
the place of the raven. In classical mythology, this bird
is an attribute of Cronus or Saturn and Athena, the
goddess of wisdom, victory, and the arts.
Finally, the crow is associated with motherly
love and spiritual strength. It was believed that fairies turned into crows in order to cause trouble. In
Калың кытай жоо менен, Кармашар күнүм болуптур.
Түндөгү көргөн түшүмдө, Түздөгү душман түрүлгөн
Таршый түшүп турушту, Таңдын алды. бүгүндөн..
Жол муунаган жоо болсо, Соо калбаймын бүгүн мен, Айланайын Желкайып
Жооруп көрчү түштү сен;
Көпүрө жолу бекиген
Көп кол тоскон бетимден, Сап-сап болуп турушкан, Салышып жылдыз урушсам.
Сандап жаткан көп кошун, Салышып жүргөн мен турмак, Сага да зыян болбосун.
Түндөгү көргөн түшүмдө, Түштөгү көргөн ишимде, Калган көңүл калтаарып
Түндөгү көргөн түшүмдү ук.
Аккүргүндүн жээгине
Алты сан кытай толуптур.
Алдыңдан чыккан жоо менен, Алышар күнүм болуптур.
Жаралуу болгон эт жүрөк
Жамандыктан жалтанып.
Качырып кирип бара албай
Карап турдум тамшанып, Качсам дагы өлдүм деп
Egypt, two crows, like two doves, were the sign of
monogamy. But dreaming of a hawk, foretells you
will be cheated in some way by intriguing persons.
To shoot one, foretells you will surmount obstacles
after many struggles. For a young woman to frighten
hawks away from her chickens, signifies she will
obtain her most extravagant desires through diligent
attention to her affairs. It also denotes that enemies
are near you, and they are ready to take advantage
of your slightest mistakes. If you succeed in scaring
it away before your fowls are injured, you will be
lucky in your business. To see a dead hawk, signifies that your enemies will be vanquished. Dreaming
of shooting at a hawk, you will have a contest with
enemies, and will probably win….
It was high time with about masses of army China,
To fight with Chine army.
Enemies were coming to from the bottom field
I was surrounded by them
Beginning from today it was the dawn
If chinese will meet with me,
I’ll not be alive today,
Oh, my dear Jelkaiyp(the name of the girl)
Interpret my dream, please
The road of bridge was locked
Many arms blocked my way,
They were standing row upon row
If I fight with them.
All the people who are there,
I was fighting only me,
If you don’t injure.
I saw this in my dream
It disappointed me and disturbed me
Listen to me in my last night’s dream, On the shore of lake Akkurgon
There were settled many chine’s warriors
If we meet the enemy on the way,
I will fight with them
My heart was wounded
I was afraid of bad things
I couldn’t attack to warriors of China
I look at them with enjoying the scene
If I avoid that I would die anyway[6.315c]
128
It means fight (ing): Anger and frustration,
a release of pent-up energy, violent resolution, or
just fighting for something such as your honor
or autonomy. And according the text the word
army/military means to interpret dreams either
internal or external conflict. Are you gathering
your forces? Defensiveness, or aggressiveness, or
your disciplined nature, or need for discipline. In
some cases this image could be symbolic for control
Адырма-адыр куушуп, Кызыл кан менен жуушуп, Кырылышып урушуп;
Кылкылдаган кол менен
To drive from hills to hills
Washing with the red blood
I fought with them like killing cats
Million warriors of China [6.310 c]
The word blood means to lose blood is to lose
energy and aliveness. Losing blood can also be
a symbol for depression. To dream that you have
one eye indicates your refusal to accept another
viewpoint. It suggests that you may be one-sided
in your way of thinking. To dream that you have a
third eye, may symbolize inner vision, insight, or
instinct. Perhaps you are seeing what others cannot.
Or perhaps you should start looking within yourself
and trust your instincts. To dream that your eyes
are injured or closed, might suggest your refusal
to see the truth about something or the avoidance
of intimacy—You may be expressing feelings of
sympathy, pain or hurt. Blood is a life giving force,
and the life injecting force that gives us animation
and energy. It represents life, love and passion.
On the opposite side of this, it also can represent
— Айланайын жалгызым, Түндөгү көргөн түшүңдү.
Ондоптур кудай ишиңди.
Түшүрө саят экенсиң
Түбөлүк кектүү кишиңди.
Түндөгү көргөн түшүңдө, Калың кол чыкса жолуңдан
Катары менен жыгылып, Кыйрайт экен колуңдан.
Атам да баатыр эр болчу, Аянбаган шер болчу
Эңе албаса алты күн
Колдоптур сенин периштең.
Ак ала зоонун боорунан, Ак шумкар учуп келгени;
Ак шумкардай чамынып, Агаң келе тургандыр.
Аманыңа кубанып, Агаңды көрүп бел байлап, and domination. (see soldier/warrior and attack)
Things, ideas, or people we are in conflict with. It can
mean a confrontation, challenge, or being extremely
defensive regarding something inside yourself or
in the waking world. War: Violent resolution...
are there parts of you in conflict? In as much as
dreams can also provide information on healing,
attention to dream patterns could also be helpful to
the therapeutic process.[2]
disappointments. Symbolically, blood represents
our emotional wakening. If you see words written
in blood, it may refer to some situation in your life
that is permanent and cannot be changed, such as an
agreement or a sign. Blood is the spiritual connection
to our sense of self and a power greater than our
own. It is associated with anger. Unconscious anger
toward someone in our waking life. [1]
He saw in his last night’s dream, the huge hero
man he met and fight on (naiza) spears. Both of
heroes (baatir) had fought for six days they were
very tired and exhausted for fighting, they couldn’t
win each other. Suddenly appeared the eagle kicked
on back. He asked to Jelkaiyp what does it mean?
How do you interpret in my last night’s dream?
Than Aziret’s daughter Jelkaiyp interpreted in his
night dream.
Oh my only son,
In your last night’s dream
The God made lucky your work
You can strike dying on spear
If you revenge that person
In your last night’s dream you saw
If you meet a number of warriors on the way
They will fall rank by rank
You destroy with your hands
My father was a hero man too,
He was also a brave person
You hadn’t won for six days
Your angel helped you
From the snowing flank of hill
The eagle flew to us
Liking to race the white eagle
Your brother will come
He is happy that you are alive
You will become when you see your bother
129
Акырекке минипсиң.
Ак болот кылыч колуңда, Алкымынан тилипсиң.., Jelkaiyp stopped to interpret in his night’s dream.
They go on their way and exceed the mountain of
Akmunar. When showing the shore of Akkurgon,
the hero Baiysh looked through a telescope; He
saw really in his last night’s dream. There are full
of number chine’s warriors. He rode his horse for
fighting toward to chine’s warriors.
Keeping the same number of syllables in each
verse line was impossible in English. I was mainly
concerned with conveying the original meaning of
the verse lines. There are many old terms, fixed
expressions, proverbial sayings and names of
objects which are hard to translate into English.
Similes, metaphors, fixed epithets, parallelisms and
repetitions are important devices in Kyrgyz epic
poetry. In addition, it is filled with other genres
of Kyrgyz oral literature such as laments, curses,
blessings, humor, and examples of fairy tales. In
struggling to translate these features I have tried to
remain as truthful as possible to the original text. By
doing that, I may not have been kind to my English
readers who expect a poetic text to sound poetic.
But I hope they appreciate my genuine effort to give
them the feeling of the language and unique style of
Janysh-Baiysh in which the beauty and richness of
the Kyrgyz language is. After all, the epic JanyshBaiysh was not meant to be read, but be recited
out loud with the synchronization of voice, facial
expressions, and gestures. Those who read JanyshBaiysh or any other traditional poetry in Kyrgyz will
believe that Kyrgyz is truly the language of artistic
oral poetry.[3]
However, dreams do not only play important
roles in the lives of epic characters and specially
gifted people, but also in the lives of many ordinary
people. This is also the case in Bishkek, although
the city has the reputation of being thoroughly
You sat on a his back
The white damask sword in the hand
You cut his throat [6.317стр.]
(K. Akiev. Bishkek. The translation is mine)
secularized, although many Kyrgyz are of the
opinion that life there has been fundamentally altered
by the “russification” and “modernization” that came
to characterize it through the twentieth century when
Kyrgyzstan became part of the Soviet Union and,
thus, part of a massive project of social engineering
aimed at radically modernizing and secularizing
society
This is my first translation of a Kyrgyz epic into
English. Readers should be aware that I consider
it to be a draft, not a finished product. The current
translation still needs to be polished and refined.
My English speaking readers can help me with
suggestions for improvement. Moreover, readers will
undoubtedly have questions regarding some of the
Kyrgyz customs and practices, beliefs and rituals,
and socio-cultural issues mentioned in the epic which
will require that I provide additional comments and
annotations.
Список литературы
1. Фрейд З. Введение в психоанализ. Лекции. – М.
Наука, 1989;
2. Фрейд З. Толкование сновидений. – Ереван,
1990;
3. Малкольм Н. Состояние сна. – М., 1993;
4. Боснак Р. В мире сновидений. – М., 1992;
5. К.Г. Юнг. Воспоминания. Размышления. Сновидения. – М., 1994;
6. Жаныш, Байыш А. Акматалиев, Б. Кебекова
Бишкек. 1998
7. Manas. Vol 1/ Walter May.- Moscow; Bishkek,
1995.
8. http://www.booksite.ru/fulltext/slo/var/cul/tur/rud/
nev
9. http://www.nm.md/daily/article/2002/12/06/0907.
html
130
УДК: 811.161.1 (575.2) (04)
Omurkanov Mirlan, KNU
The Kyrgyz epic «Janysh-Baiysh» and literary style by K. Akiev
Кыргызский эпос «Жаныш-Байыш» и литературный стиль
К. Акиева
Аннотациясы: Макалада Калык Акиевдин айтуусу боюнча жазылып алынган Жаныш, Байыш
эпосун башка тилдерге которуудагы бир өзгөчөлүктөрүнүн эң негизги бөлүктөрү жана чет тилдеринде кандай роль ойнойт жана алардын которуудагы ыкмалары.
Негизги сөздөр: акын, урп-адат жана каада-салт, каарман, эр-журок, колом.
Аннотация: В статье рассматриваются кыргызского эпоса «Жаныш, Байыш» даётся краткий обзор произведений К.Акиева при переводе с одного языка на другой и как он играет важную
роль при переводе метода.
Ключевые слова: барды, традиции и культура, герой, смелый, распространенный, объемы.
Annotation: In the article review is given the bard K.Akiev’s work of Kyrgyz small epic «Janysh, Baiysh»
translates to another languages, what kind of roles play and their using methods for translation.
Keywords: bards, traditions and cultures, hero, brave, widely-spread, volumes
The Kyrgyz epic is rooted into the depth of
ages and narrates about the life and heroic deeds
of Kyrgyz baatyrs and portentous events in history.
Polished and enriched during many ages the Kyrgyz
epic reached a high expressiveness, originality, and
national aesthetic integrity. The following small
epics became from the time immemorial famous:
“Er Tyushtyuk”, “Kodjodjash”, “Er Tabyldy”,
“Oldjobaiy and Kishimjan”, “Sarynji – Byekei”,
“Janyl Myrza”, “Kurmanbek”, “Janysh-Baiysh”,
and “Kedeikan”. Janysh, Baiysh is a Kyrgyz small epic tale
that has been told for centuries. The Kyrgyz are an
ancient Turkic tribe from Central Asia. Although
there is evidence that the ancient Kyrgyz had a
runic alphabet, epic tales such as this were never
written down. They were passed from generation
to generation orally. These epic tales chronicle
the history of the Kyrgyz people; they highlight
the importance of heroes and showcase the battles
between internal and external enemies. These tales
are the only sources of ancient Kyrgyz history. The junior epic Janysh-Baiysh widely-spread
as a traditional epic poem of Kyrgyz people.
Nowadays there are four variants of the writing
forms in the literature. The first version Miftakov
K (Мифтаков) wrote from Moldobasan Musulmankulov in 1922. Second version also Miftakov
K wrote down from Jusupaly Janaev in 1923. Third
version wrote down from Orozbai Urmanbetov
in 1961. The fourth version was published by the
famous bard Kalyk Akiev in 1939. The epic Janysh-Baiysh with their versions and contents are
divided into two parts. It would be accurate to say
that the variants of Moldobasan Musulmankulov
and Jusupaly Janaev are as same Kalyk Akiev and
Orusbai Urmanbetov directions.
For instance: M. Musulmankulov and J. Janaev
described the events of the epic that Janysh-Baiysh
went to Kalmak and fought, the king of Kalmak
Shumurut caught Baiysh. The name of the places
and even heroes are same. Only their difference
is between volumes of works. Janaev Jusupaly
published 36 paged, and Moldobasan Musulmankulov published only 129 pages. But both of
bards told with the form of songs. Kalyk Akiev and
O.Urmanbetov’s variants are really large for their
volumes and contents. Their volumes are given
completely, of Kalyk Akiev’s variant is really
better and more for his volumes. The beginning
of small epic Janysh and Baiysh goes to Kalmak
for revenging to give back their place Akgurgon
and avoiding of their taxes. Every year they give
to Kitai forty one girls and thousand otters that’s
why they object their tax. The monumental epic
Janysh-Baiysh is the most treasured expression of
the national heritage of the Kyrgyz people. Composed and sung entirely in oral form by various
131
bards throughout the centuries, Janysh-Baiysh is
regarded as the epitome of oral creativity. It is the
largest epic from in small epics. It is not known
when and by whom the epic Janysh-Baiysh was
composed originally. More than millennia ago, it
was one of the world’s longest poems consisting
more than half a million lines. It has never been
translated into Russian and English. That is why
the translation is difficult as a poem partly because
of its size.[4]
A bard - story-teller of epics – performs the
epic by singing without using any musical instrument. The melody of the epic consists of various
recitative intonations. The singer keeps changing
the tempo and dynamics of narration and intonation, makes accents depending on the content
of that or other fragment of epic. The rhythm of
melody is integrally connected with a syllabic
structure of the wording and frequently depends
on it. Patters alternate with heroic intonations in
melodies of epic. The performance of epic gathered a large crowd and might last several days and
even weeks and was celebrated by people as an
important artistic event. For instance, the famous
singers (manaschi) are Jaisan-yrchy, S. Orosbakov,
Togolok Moldo, S. Karalaev and others.[5.64c]
The epic Janysh-Baiysh has equally expanded
all regions in Kyrgyzstan although sung to Kyrgyz
people who lived in Chine. Originally we couldn’t
say that which bard created the epic “JanyshBaiysh”. The Janysh-Baiysh was recorded by the
largest bards Balyk, Esenaman, Jenijok, Toktogul
and Kalyk Akiev. When Kalyk was 14 years
old. He began composing songs about the bit-
ter fate of his people. Akiev’s poetry was influenced by Toktogul Satylganov. He also recorded
and published the folk tale “Ach karyshkyr”
(“Hungry Wolf”), the epic poems of “Kurmanbek“, “Djanysh-Baiysh.” [7]
The poem begins with the ancestry and birth
of the hero, which is first prophesized and surrounded by unusual portents. His father was an
aged wealthy and generous leader but he had
neither son nor daughter. He visited a holy place,
prayed for a son and after some time his wife became pregnant. Aziret khan’s son was Nurhan. He
was neither a hero nor a worrier, Nurhan did not
look like as his father, he only managed his people
reach fully. Nurhan had two sons – Janysh Baiysh,
When Janysh and Baiysh were born Aziret khan
died. Grandfather of Janysh is granny take and
bring him up. Kulukan, (Aziret is wife) became
pregnant, she longed for tiger heart strongly, she
gave a birth for a son. The son was named Baiysh.
When Baiysh was 9 years old he had thrown the
camel, caught foot on his hand, the camel had
dropped far from there. His parents said to stop
as he was very young, his enemies would die– not
annoyed to take care of him.
Janysh was married to the girl of Kulboskhan
who was name Kumushai. Kumushai was a very
beautiful girl. Janysh-Baiysh had a rest in summer and hunted with their eagle in autumn: There
were rivers Bash Kol and Orto Kol. When they
were drinking kymyz, eating the meat and playing
with their forty warriors on the bank of the river
Orto Kol, the hero Baiysh began to say his brother
Janysh:[1.148c]
Айланайын эр Жаныш,
Сөзүмдү жаман көрбөсөң,
Көөдөксүнтүп жемелеп,
Менде бир кайгы, санаа бар,
Пейлиңди жазып жөндөсөң.
Абалы кудай жаратып,
Адам кылып койгонсоң;
Акылым жетет, ал жетпейт,
Ар убакта ойлонсом.
Уктасам кетпей түшүмдөн,
Оюмда турат ойгонсом.
Ойдогуга жетпесе,
Курусун оюн, тамашаң.
Оолуктурат жүрөгүм
Ойлоп турат санасам.
Аргасы кандай болот деп,
Акылымдан адашам.
Oh my dear my hero Janysh
Don’t hate my words
Don’t accuse me of naughtiness
I have some grief and worries
You are to be more generous.
God created this situation
God made us human being
I have the wit but I have no energy
Even thinking constantly.
When I sleep, it won’t leave my dreams
When I wake, it’s in my thoughts.
If it is not as good as we thought,
Stop your joke and gun
My heart is pounded
Thinking when I worry.
Thinking about whose fate,
I lost my mind[1.148c]
132
Kalyk also pays attention the character of The epic reflected the strong of Baiysh believed
heroes of epic and for hero of Baiysh. When he his gather strength. The character of Baiysh rewas a child he had thrown the camel, caught foot membered this epic:
on his hand, the camel had dropped far from there.
Ар кыялы бар болчу,
Ачуусуна чыдабай,
Атасын көзгө илбеген.
Агасы менен тартынбай,
Алганындай тилдеген.
The epic Janysh-Baiysh likes many epics.
The epic rouse a fantastic adventure story. The
poetic language, with its rhythm and repetition, its
foreshadowing of coming events and descriptions
of those impossible events are meant to draw the
reader into the story and make the reader believe, if
they are only for the purposes of enjoying the tale.
Western observers are knowledgeable of the tale that
have agreed that the poetry is reasonably complex:
each line is seven to eight syllables, with end rhyme
and internal alliteration.[3. 78c]
The presentational style of the bards are partially
conventionalized, a trait is more common in Asian
theatre than Western. Many sources describe the
bards as speaking in a strongly rhythmic tone for
the dialogue portions and a rapid, declamatory tone
for the narrative. However, the bards are also ex— «Ассалоомалейкум, Салам бердим сиз жакка, Алик алгын биз жакка.
Кайры шаардын беги элең, Кайдан түштү бул капа — Алдо үй!
Өтө жаман карыпсың, Өлөр жерге барыпсың, Карып болуп карганда, Кайыр сурап калыпсың.
Алың кетип бул күндө, Акылыңдан таныпсың — Алдо үй! Мен сурайын сырыңды, Жашырбай айткын чыныңды
Кишиликтен кетирип, Ким тапты сенин ыгыңды.
Ким кетирди сыныңды —
Алдо үй, алдо үй!
Ким ээледи калааңды?
Дүнүйөң кимге таланды?
Карыганда кор болгон, Карып Сарбан аманбы?
Айтчы бирден угайын, Башыңдан өткөн заманды.—
Алдо үй, алдо үй!
His character was difficult
He cannot tolerate when he gets angry,
He doesn’t notice his father,
He was afraid of his father
Even he argued with his father[1.149c.]
pected to improvise if they are to be remembered as
“masters” of their art. They embellish the story with
extra description and explanation, and even answer
questions from the audience without breaking their
poetic structure.[3.56c]
Bards use the poem to comment on the modern politics; the fall of Soviet Union, an important
event for the poem, has crept into the lines of many
versions. During the Soviet Period, the poem and its
performance were censored as “bourgeois nationalist.” Officially, it was presented only in short fragments with commentary comparing the forty tribes
to the peoples of the USSR and how they should
be unified. However, the poem survived in private
homes, and most people today say that they know of
Janysh-Baiysh through the stories their grandparents
or parents told them.
Assalamyalleikum, (How do you do!)
I am asking your health
Please answer my questions.
You were a lord the city Kiry
Why are you so sad? –aldo ui
You became very old man
You got a feeble old man
When you get old,
You are begging alms.
You aren’t a strong today
You get a crazy-, aldo ui!
I ask your secret,
You tell me the truth
Fired your from place
Who tortured you like
Who made you such kind of situation
Aldo ui, aldo ui
Who managed your city?
Who destroyed your estate?
Who humiliated you became old?
Are you good, old Sarban?
Tell me I listen to you now,
All the bad cases you had
Aldo ui, aldo ui [1.159c
133
Today, the small epic of Janysh-Baiysh
continues to pass from generation to generation
in the traditional way. Performers, called dastanchi,
learn the epic by heart and are generally taught
by their grandparents or older relatives. Dastanchi
are traditionally men, although in recent years
women have also started to take on this role.[5]
“We are very happy about the decision to include
the big epic of Manas on the UNESCO list. More
resources and more support will be put towards
further research, study and dissemination of the epic.
In the future, the world will know about the small
epic of Janysh-Baiysh.”
Алдо үй- аллах үй (кудай ушу) - the home of
God(this is God)
Bibliography:
1. Жаныш, Байыш А. Акматалиев, Б. Кебекова
УДК: 811.161.1 (575.2) (04)
Бишкек. 1998
2. Караева З.К. Перевод и семиотика: Многоязычное бытие эпоса «Манас»
3. L o t m a n , J u . M . P r i m a r y a n d s e c o n d a r y
communication modeling system. In:Soviet
semiotics. Ed. By Daniel P.Lucid. Baltimore: The
Johns Hopkins University Press.1977.
4. Morris, Ch. Foundation of the Theory of Signs.
Chicago, 1938.
5. Saussure, F. de. Course in general linguistics. Ed.
By Roy Harris. Lnd., Duckworth.1983.
6. «Манас»: Эпосу.4 кит./ С.Орозбак уулунун
варианты боюнча. 1-китеп.-1978. 296 б.; 2-китеп.-1980.-449 б.; 3-китеп.-1981.-346
б.; 4-китеп.-1982.-366 б. Фрунзе:
Кыргызстан, -1982.
7. Manas. Vol 1/ Walter May.- Moscow; Bishkek,
1995.
Orozbaeva Gulbarchyn,
P.h.D, assoc.prof., JASU
Metametasemiotic aspect of translation of B.Alykulov’s poems
Аннотациясы: Бул макаланын актуалдуулугу Б.Алыкуловдун ырларынын котормосуна лингвосемиотикалык иликтоо жургузуу болуп саналат. Макаладагы жыйынтыктардын илимий баалуулугу бар. Автор ырлардын котормосунун иликтоолорун семиотикалык, метасемиотикалык,
метаметасемиотикалык денгээлде берууго аракет жасаган. Ырлардын негизги идеясын беруучу
маданий белгилерге да терен иликтоо жасалган. Бул макала берилген идея жана мисалдар менен
айырмаланат.
Негизги сөздөр: котормо теориясы жана практикасы, семиотика, лингвистика, ырлырды
которуу.
Аннотация: Актуальность этой статьи заключается в том что, проведение лингвосемиотического анализа перевода стихов Б.Алыкулова является важным в сравнительной типологии.
Полученные результаты, в статье являются ценным научным достижением в лингвистике. Автор
попыталась дать детальный анализ стихов на трех уровнях: семиотическом, метасемиотическом и метаметасемиотическом. Культурные концепты, которые способствуют пониманию
основных идей в стихах Б.Алыкулова, были проанализированы. Работа отличается приведением
идей и примеров.
Ключевые слова: теория и практика перевода, семиотика, лингвистика, перевод стихов.
Abstract: The actuality of this research paper is linguosemiotic analysis of the translations of the
B.Alykulov’s poems. The results obtained in the article have scientific value. The author tried to give
detailed analysis of the poems on semiotic, metasemiotic and metametasemiotic level. There is considered
in detail the cultural concepts that convey the main ideas of the B.Alykulov’s poems, expressed in three
levels. Reviewed work is distinguished by a number of ideas and examples.
Key words: translation theory and practice, semiotics, linguistics, poetry translation.
134
Literary works due to their specific values,
aesthetic and expressive features are more difficult
to translate than other types of text. Poetry is a means
of expressing one nation’s feelings and attitudes.
Translating poetry is more difficult than other genres
in literature. Problems lie not only on the words and
their meaning but also on figurative language and
culture. Despite the difficulties, excellent translations
of masterpieces of poetry have been presented.
Today the focus of translation has shifted from stable
aspects of texts to dynamic aspects. Such a focus
requires close attention to the semiotic level of the
text in translation which in turn leads to considering
semiotic as well as textual aspects of a text. The
semiotic analysis is fruitful because it represents a
radical break from the traditional hide-bound stances
using the free terminology. B.Alykulov’s poems have
not been translated nor analyzed semiotically
This article is going to examine poetry translation
according to extra-textual factors. Extra textual
analysis of poetry is to examine the pragmatics
of the source and target texts, with a focus on the
cultural aspects of the text, including the semiotic,
metasemiotic and metametasemiotic analysis. The
article suggests a comprehensive semantic and
cognitive approach to textual concepts research
in B.Alykulov’s poems at semantic, metasemiotic
and metametasemiotic levels. This study is the first
experience of systems analysis in English translation
studies, because Kyrgyz poet B.Alykulov’s poems
have not been translated into English yet. This
article is devoted to the study of B.Alykulov’s
poems translation from Kyrgyz into English. The
importance of the study in this aspect is a necessity
of solving both practical and theoretical problems
of literary translation, and semiotics namely the
translation of poems. The general characteristic of
translations of B.Alykulov’s poems into English
and its semiotic analysis are given in the article.
The author analyzed some specific features of
lexical, stylistic transformations in translation of
B.Alykulov’s poems into English as well as some
basic issues related to equivalence, trying to show the
levels that equivalence is attainable. The novelty of
the results is a new research in the field of translation
of the Kyrgyz language via the examples of their
translations. Such research tends to improve the
quality of translation of this genre.
Poetry, as the savior of so many civilizations
is something used to express emotions and touch
the feelings of its readers and listeners; as a literary
genre, it is more difficult to translate due to the use
of so many literary devices such as rhyme, rhythm,
meter, metaphor and specific expressions. So, it is
a hard job on the part of the translator to convey
all the meaning and the devices used in a piece of
poetry into a target language. Here, raises the issue
of translatability and untranslatability of poetry.
Leaving poetry untranslated deprives people from so
many poetic masterpieces. Translating the poetry, of
course, has its steps and methods. By reading poems
we are able to understand that they are described by
signs that express ideas and emotions of the poet. The
hidden words or meaning of a poem can be revealed
by symbolic signs which express the meaning of
the hidden words. To express something in another
“language” is a way of understanding it.
Symbols are words objects and even customs
that carry a particular meaning which are only
recognized by those who share the culture. Semiotics
has taken a number of turns, leading us through
understandings of moral, pragmatic, symptomatic,
cultural, symbolic, social and psychological
theoretical frameworks of interpretation. Semiotics
(the science investigating the general properties of
sign systems) distinguishes the following types of
relations-semantic (sign to object), syntactic (sign
to sign), pragmatic (sign to man) . One of the most
essential requirements, imposed on translation is that
the 2 texts (the original and its translation) should be
semantically equivalent. In other words they should
be characterized by equivalent sets of relationships
between the linguistic signs and their referents. The
goal of translation is to produce a text bearing the
same relation to the extra linguistic situation and the
original. Semantic equivalence of messages does
not necessarily imply the semantic identity of each
linguistic sign. Semantically equivalent utterances
include not only those, made up of the semantically
identical signs. As distinct form semantic relations,
syntactic relations are important only at the stage
of analysis since relations between linguistics signs
are essential for their semantic interpretations.
But although they may be occasionally preserved
in translation, the translator does not set himself
this goal. Very often syntactically non-equivalent
utterances prove to be semantically equivalent.
Pragmatic relations are superimposed on semantic
relations and play an equally portent role in analyzing
the original text and in producing an equivalent text
in the TL. Semantically equivalent messages do not
necessarily pragmatically equivalent. The pragmatic
135
problems involved in translations arise from 3 types
of pragmatic relations. The relation of the source
language render to the original message, the relation
of the target language receptor to the TL message &
the relation of the translator to both messages.
Literary translation is so problematic in
comparison with other field of translation. Part of
these difficulties is related to the nature of literary
work and the function it has in its own language.
Poetry is often seen as a literary form that retains a
certain degree of untranslatability for it is governed
by a unique logic of mutual meaningful relationships
between the signifier and the signified. To put it
with Roman Jakobson: “[…] poetry by definition
is untranslatable. Only creative transposition is
possible” (Jakobson 1966 [1959]: 238) .
A poem establishes a system of significance,
generated by processes such as accumulation and
the use of descriptive systems.
Poetic structure includes the plan of the original
poem as a whole, the shape and the balance of
individual sentences in each line. Metaphor is related
to visual images created with combinations of words,
which may also evoke sound, touch, smell, and
taste. While sound is anything connected with sound
cultivation including rhyme, rhythm, assonance,
onomatopoeia, etc. A translator cannot ignore any
of them although he may order them depending on
the nature of the poem translated.
To understand the idea and aesthetic values of
the poems they should be analyzed more deeply.
To analyze deeply we should have two methods
lingiopoetic and linguostylistic. These two methods
propose analyzing in three levels: semantic,
metasemiotic and metametasemiotic.
Semantic level of analyzing is a preparation to
the linguistic research of the text, here the denotative meaning of the words are investigated. On
the metasemiotic level is researched the connotative meaning of the words. On the third level, the
metametasemiotic level as states Karaeva Z.K.
– “Основной единицей данного уровня являются
все языковые и неязыковые, то есть контекстуальные средства различных уровней языковой
иерархии. Начиная от фонетико-фонологического до текстового и экстралингвистического
уровней основная идея текста выражается на
данном уровне простые слова, словосочетания и
лингвистические единицы помогают основную
идею определенного произведения”. (Караева
З.К. 278) . (Beginning from phonetic-phonology
level till textul and extralinguistic level, the main
idea of the text is revealed on this level through the
word, phrase, and linguistic units) .
While analyzing it should be paid attention to
the function of aesthetic value.
B.Alykulov’s poems are powerful inspiration
because they are embedded in social, historical,
cultural and ethical ways of life. For example,
reading a poem “A good girl” requires that readers
know the meaning of the symbols in the Kyrgyz
tradition.
Source text
Cайраган жайкы булбул
Гүлдүн көркү
Жаркырап жайнаган кыз
үйдүн көркү
Сулуу кыз суктандырган
Төрдүн көркү
Далида сындап өргөн
Кара чачы
Мандайга келишимдүү
Кара кашы
Жакшы кыз – жайкы тандай
үйдүн куту ( Barpy. P.34)
Target text: A singing spring nightingale,
Is the beauty of flower.
A smiling pretty girl,
Is the beauty of a house
A charming attracting girl
Is the object of respect
A nice looking plait of black hair
On her shoulders
And her black eyebrow
Is attractive on her face
A good girl is like a summer morningIs a goodness of the family.
The Kyrgyz phrase ‘Щйдщн куту’ was translated like” all the goodness”, it means all the best
things in the family including material and spiritual
values like: welfare, prosperity, wealth, luxuriance,
friendship, security, generosity form nature. This
word is so valuable for Kyrgyz people and concerned
to culture. The exact translation of the noun «кут береке» is not met in literature of other nations; hence
there are explanations which can give the meaning.
In these words the main idea and authors intention is
revealed. So a good girl will become a good woman
in the family being a mother, a good wife keeping
all the welfare of the family.
136
The stanza “A nice looking plait of black
hair
On her shoulders” is typical for Kyrgyz girls.
In Kyrgyz culture a beautiful girl is symbolized with
long hair which is braided on her shoulder. These versions share a common feature: beauty. The semiotic
sign can be explained through this phrase.
Lets analyze other examples. Source language:
«жакшы аялдын белгиси, чалкыган кёлдёй
кен болот» (Б.Алыкулов «Аялдын жакшысы»)
Target text:
“A good women is
She will be as fruitful as te free elements”
The phrase “чалкыган кёлдёй кен болот” was translated like “She will be as fruitful
as te free elements”, because in the translation
there is a connotative meaning like “made as generous like basic nature”. The translation is considered adequate and it coincides to the original semantically and functionally. The original phrase
“чалкыган кёлдёй кен болот” is a folk simile
and its word-for-word translation is “like a large
lake”. The word “lake or water “was not used in
the translation, because in many comparison of
literature of other nations it is used negatively.
The sea or lake is typical in British literature
where the sea and ocean monsters, beasts live.
The metasemiotic aspect analyses words in the
connotative meaning.
In conclusion, it is desirable to add that translating literary works is, perhaps, always more difficult
than translating other types of text because literary
works have specific values called the aesthetic and
expressive values. The aesthetic function of the
work shall emphasize the beauty of the words (diction), figurative language, metaphors, etc. While
the expressive functions shall put forwards the
writer’s thought (or process of thought), emotion.
And the translator should try, at his best, to transfer
these specific values into the target language (TL)
. In a poem, the beauty is not only achieved with
the choice of words and figurative language like in
novels and short stories, but also with the creation
of rhythm, rhyme, meter, and specific expressions
and structures that may not conform to the ones of
the daily language. In short, the translation of poetry
needs ‘something more’ than translating other genres
of literature. This simple writing will present in
brief some considerations in translating poetry. The
translator should understand where the beauty of a
poem really lies. If it lies more on the sounds rather
than on the meaning (semantic), the translator cannot ignore the sound factor. The cultural differences
can also cause problems in translation. In spite of all
difficulties poems are translatable. Bibliography:
1. Ахманова О.С.Словарь лингвистических терминов. -М., 1966
2. Барпы. Бишкек 1994
3. Караева З.К. Перевод и семиотика. – Бишкек
2006
4. Конурбаев М.Э. Библия короля Иакова в лингвопоэтическом освещении. --М.:Диалог
– МГУ, 1998.-69с.
5. Jackson, R (2003) . From Translation to Imitation.
Retrieved March 12.2003 from the Worldwide
Web: http://www.utc.edu/~engldept/pm/ontransl.
htm
137
УДК: 811.161.1 (575.2) (04)
Osmonova Kenzhebu, senior teacher, JSU
Arslanbekova Nasyikat, senior teacher, JSU
The meaning of color and clothes in Kyrgyz culture
Значение цвета и одежды в кыргызской культуре
Аннотациясы: Адамдын сырткы келбети ёзщ жана анын улуту жёнщндё айтып турат.
Кыргыз элинин салтык кийим кечелери улуттун руханий маданиятын жана эъ бир маанилщщ
экенин жана ёлкёнщн тарыхы менен да тыгыз байланышта экенин билдирип турат. Бул макалада
кыргыздын улуттук кийим-кечеси жана анын маданий мааниси жёнщндё айтылат.
Негизги сөздөр: баш кийим, Ак калпак, Элечек, эркек кишинин салтык кийим-кечеси,
аялдын салтык кийим-кечеси, тон, чапан, белдемчи, чепкен, чыптама.
Аннотация: Внешность человека может рассказать многое о человеке и его народе. Традиционная одежда Кыргызского народа очень важная часть материи и духовной культуры нации
и связана с историей страны. Это статья о национальной кыргызской одежде, ее чертах и
культурном значении.
Ключевые слова: Головной убор, Ак Калпак, Элечек, традиционная одежда мужчины, традиционная одежда женщины, тон, чапан, белдемчи, чепкен, чыптама.
Abstract: Personal appearance can tell a lot about a person and his nation. Traditional clothes of the
Kyrgyz people is important part of material and spiritual culture of the nation, and it is closely linked
with the country’s history. This article is about Kyrgyz national clothes, about its features and cultural
significance.
Keywords: Headdress, Ak Kalpak, Elechek, traditional men’s costume, traditional women’s costume,
ton, chapan, beldemchi, chepken, chyptama
Kyrgyz culture has been greatly influenced by
their nomadic heritage. It is reflected in the way a
household was run, in customs and rites. Because
of their nomadic lifestyle, Kyrgyz people moved
from place to place. Today most of the Kyrgyz
are settled, moving to larger cities, but there are
still traditional villages in the mountains and rural areas. Traditional clothing of the Kyrgyz has
undergone many changes during its development.
As other aspects of material culture, the Kyrgyz
clothes clearly show distinctive features that were
peculiar to individual tribal and territorial groups,
it is also distinguished by the unique typical for
the nomads. In common use was clothing made
of coarse woolen cloth of domestic manufacture,
made from animal skins, felt, leather and wild
animals. Personal appearance can tell a lot about
a person and his nation. Traditional clothes of the
Kyrgyz people is important part of material and
spiritual culture of the nation, and it is closely
linked with the country’s history. In this articleI
want to tell about Kyrgyz national clothes, about
its features and cultural significance.
The mountains exert a strong influence over
every aspect of Kyrgyz life. That is true also about
their traditional national costume. Even though
the country experiences a continental climate, that
means summers can be very hot with temperatures rising into the forties, nomadic life in the
high meadows (jailoo) meant that temperatures
could change dramatically during the course of
the day – and nighttime temperatures could fall
below zero. The main emphasis in the creation of
Kyrgyz National clothing is the heat preserving.
Winter clothing was made on the basis of cotton,
furs of wild animals and felt. It is known that Kyrgyz people have worked on the land since ancient
times, but most of them led nomadic life, so the
traditional Kyrgyz clothing is inherent features of
nomad’s clothing.Outdoor clothes is mainly was
made of wool pets, but the most popular clothing
was made of raccoon, sable and fox skin. There
138
was a difference between ordinary people and rich
people. Clothing of poor people was made from
calico, while the clothing of rich people was made
from silk, velvet and brocade.
Since ancient times the Kyrgyz people reflected the nation’s coloration and traditions in their
appearance. Any traditional style of clothing is
closely connected with the peculiarities of climate
and natural conditions of the region, so the Kyrgyz
people were focused on practicality and heat retention in their national dresses. Traditional costume
of the Kyrgyz men and women has remained
unchanged for hundred years. Moreover, with the
passing of the years it becomes more valuable and
popular. Even the Kyrgyz fashion designers and
fashion houses increasingly use national patterns
and the Kyrgyz ornament in their collections.
Female and male headdress played a significant role in the life of Kyrgyz people. It was strictly
prohibited to go bareheaded, to throw the headdress on the floor, to forget it or even to exchange
it on something else. The most popular Kyrgyz
headdress is Ak Kalpak. All round the year has
been worn white wool hats Ak-Kalpak-Kyrgyz
National hat. Even now days Kalpak is being the
most popular national male hat in Kyrgyzstan.
Light-colored felt hat, embroidered with patterns
in contrasting colors – it is the ancient Kyrgyz
conical hat which was made of four wedges expanding downward. When ready to use the edges
usually bend up, so it keep the eyes from the sun
and face from the rain and snow. White, light
wool keeps the head warm in wintertime as well
as reflect runrays in hot summers. Kalpak reminds
pyramidal shape of mountain peaks of Tien-Shan
mountain kingdom. Black or colourful edges, various patterns, tassel, decorated the cone of Kalpak,
displays the fantasy of people who make Kalpaks
in larger numbers. According to Kyrgyz traditions
it is allowed to wear Kalpak indoors, eat or even
pray. Very often Kalpaks are given to the culprits
of family or public holidays, honorable guests.
According to people’s believes Kalpak has some
sacred guarding strength.
Men’s national costume includes a wide tunic
shirt with a high collar, a sheepskin coat that is
called “ton”, and a quilted “chapan”. Chapan is
a long outerwear that is sewed on wadding or a
camel hair. The lining is made of a cotton print,
and the outside is covered with silk velvet, woolen
cloth or velvet. There was a wide variety of chapan or ton – men’s dressing gowns. They all were
wrapped over the right side, which is typical for
the clothes of ancient Turkic nomads. A chapan
had a tunic-like design, tight sleeves, and dense
through stitching. Green lace was sewn on the
edges of the flap, sleeves and hem. There were
chapans for women and men in the old days, but
today only the elder people wear it. A chepken,
a dressing gown made from woolen homemade
fabric, was also worn over the rest of the clothes.
Thus it was made to be wide, long-flapped, with
long and wide sleeves. It was made without lining,
which was different from the analogous clothes
of the northern Kyrgyz, whose dressing gown
had a lining.The winter type of clothes included a
fur coat (ton, postun) made from sheepskin. Rich
peasants made it from the fur of an otter, fox or
wolf. One fur coat was made from six to eight
skins. The design was of one type. The shoulders
were slightly canted; sleeves were wide; the flap
became wider at the bottom; and the wrapover
was deep. It also had side vents. Southern Kyrgyz
dyed the coat in two colors: white or orange. The
most ancient form of fur coat is without a collar.
A border of black fur (4-5 cm width) was sewn on
the edges of the coat. Sometimes the border was
double, both black and white fur. Not only fur
but also strips of black velvet or satin were also
sewn on. Felt clothes such as kementay (raincoat)
were usual amongst cattle-breeders of northern
Kyrgyzstan. The single-breasted light dressing
gown – jelek – made from cotton fabric was usual
amongst Kyrgyz men of the older generation during the warm season. It was compulsory to wear a
sash, a wide leather or velvet belt, decorated with
silver plates. The shoes of Kyrgyz were of different kinds: chokoy, paycheck, charik. The first two
were worn by the poor. Chokoy had a stocking-like
shape; it was made from one piece of skin up to the
knees. Paycheck had no top. It was a piece of skin
with a narrow leather strip which was tied around
the ankle. Charikwas made from the tanned skin
of a horse or ox. Winter Kyrgyz men’s clothing
is a sheepskin coat and wool trousers. Shoes are
the boots with soft soles without heels, which are
called “Maasy”. Maasy are usually wearing with
galoshes.
139
Tebetei – female headdress made velvet and
symbolizes freedom from conjugal ties, was worn
by the young girls. Winter types were trimmed
with marten fur and decorated with feathers of
eagle owl. Wedding cone-shaped head dress called
“shokulo” was made of bright brocade and velvet.
It should be done a long time before the wedding.
According to traditions “shokulo” was made and
decorated by “Djene” (elder daughter-in-low) .
After wedding, bride’s “shokulo” was kept in her
parents house while her girlish tebetei was passed
to her younger sister.
Headdress is an indispensable attribute of
a married woman. It sits tight on the head and
completely cover the hair. Headdress is decorated
with ornaments made by various types of seams
with colored threads. A turban of white material
called “elechek” is always wearing over the hat.
The Kyrgyz woman were wearing elechek in summer and winter. It was absolutely unaccepted to
go outside without it. “Elechek” was considered
as holy. It was only thing that stay along with holy
book of Koran. (in the past, when the Kyrgyzes
lived in the yurts, those two items were placed on
the special shelf on the female part of the yurta.)
After death of mistress, white turban, which she
wore being alive, served her as shroud.
The main features of women’s costumes are
the dress and wide trousers. Young girls wore
clothes made of bright silk fabrics. “Koynok” is
dress-shirt which was worn over the “chyptama”.
Chyptama is a sleeveless velvet jaket, embroidered with black color patterns. Red is typical
for a young woman’s dress, whereas old people
wear clothes of darker colors. Dresses were made
long, almost down to the feet, with sleeves much
lower than the wrist. For any years women’s dress
as well as men’s remained tunic-like. Gores with
small double-sided inclination are inserted on
both sides. Straight or a little bit tightened sleeves
are sewn on at a straight angle. The most ancient
dress with a horizontally cut neck from shoulder
to shoulder is the tuurajaka. A border was sewn
on its neck. Girls and women wore this type of
dress. A dress with horizontal-vertical cut neck
was calleduzunjaka. Women’s wide trousers were
made from multicolored, bright fabrics. The design was the same as that of men’s trousers, with
a rhomb-like insertion. They were made long. An
ornamental border was sewn on the bottom edges
of trousers down to the level of the ankle. A skirt
– beldemchi – worn on the hips, with a front vent,
is very original, and organically connected to the
Kyrgyz women’s clothes. It was worn on top of a
dress or a dressing gown. A felt girdle, covered by
black fabric, usually velvet was an essential part
of the beldemchi.Married women wore beldemchi,
usually after the birth of the first child. It was a
necessity in nomadic conditions. It allowed free
movement while protecting one from cold when
riding a horse or doing housework in the open air
or in a cold yurt. It was stitched together to the belt.
Traditional woman’s clothing consists of a long
white shirt that was served both as a dress and as
long trousers, which were worn under the dress.
Vest was worn over a dress. “Maasy” is woman’s
shoes embroidered with black color patterns.
Features of the nomadic lifestyle of Kyrgyz
people have been reflected in their national clothes.
First, the clothes had to be light and comfortable,
so that a nomad could comfortably ride on horseback. Second, the clothes had to be strong, but
uncomplicated, so that it could be home-made.
Third, it must reliably protect people from the cold,
that is important in a mountain climate. The main
materials for making clothes were coarse wool,
felt, fur and leather. The noble families could afford expensive clothes made of fabrics from the
towns of the Great Silk Road.
Kyrgyz traditional clothes, as well as the
clothes of any other nations, can be valuable
source for exposure ancient ethno genetic and
cultural links. They appeared as original product
of centuries old synthesis of Central Asian cultural phenomena, at the same time keeping many
features of costumes of ancient people. In present
days people in Kyrgyzstan wear different types
of clothes. In villages you will observe women
wearing traditional clothes like skirts, herchiefs. In
cities they are less traditional and more modern.
Bibliography:
1. Abramson SM Kyrgyz and ethnogenetic historical
and cultural ties / L.: 1971. 404 p. (Pereizd.:
Frunze: 1990 480. ISBN 5-655-00518-2
2. Kyrgyz // Etnoatlas Krasnoyarsk Territory /
Krasnoyarsk Territory Administration Council.
Public Relations; Ch. Ed. RG Rafikov; Editorial
Board.: VP Krivonogov, RD looking surprised.
– 2nd ed., Rev. and add. – Krasnoyarsk: Platinum
(PLATINA), 2008. – 224 p. – ISBN 978-5-98624092-3.
140
3. A.Yu.Malchik. The history of the Kyrgyz national
applied art: the evolution of the Kyrgyz ornament
from ancient times to the twentieth century. – B.:
Kyrgyz State University. Arabaev, 2005. – 122 p.
UDC 73/76 BBK 85.12
УДК: 811.161.1 (575.2) (04)
4. “Kyrgyz Ornament” SM Dudin
5. ”The Kyrgyz national fine art” VN Chepeleva,
6. ”Essay on the History of Fine Arts of the Kirghiz
SSR” A. Romm [Dudin 1925 Chepelev 1939
Romm 1941]
Sagynalieva Gulnara, P.h.D, BHU
Colour as a semiotic mode: notes for a colour of nature
Цвет как вид семиотики: цветовые образы природы
Аннотациясы: Бул макалада жаратылыш жонундогу он- туз создор такталып, турмуш жана
маданият туура тушундурулуп берилиш ыкиалары жонундо талкууланат. Жаратылыштын
турдуу тусто суроттолушу эл аралык байланышта, коммуникацияда тура которулуусуна мумкунчулукторду берет. Он- тус бул семиотика илиминде коп функционалдуу белгилердин бири.
Ар турдуу мисалдардын негизинде жаратылыштын турдуу он-туз менен берилген маанилерин
тактоодо теориялык жана практикалык ойлордун негизинде анализделет. Жаратылыштын ар
турдуу он-туз менен суроттолушун ошол суроттолгон элдин маданиятына жана урп-адатына
жараша туура тушундурмо беруу керек.
Негизги сөздөр: тус, жаратылыш, маданиттар ортосундагы байланыш.
Аннотация: Рассказывается восприятия цветовых образов к изучению языков различной природы в рамках семиотики. Теоретически и практически рассматривается
восприятие и интерпретация цветовых образов природы также как и другие знаки
семиотики, знаком многофункциональным, связанные с изучением проблем цветовых
образов, в человеко- природном взаимодействии и культуре, как источник правильной
интерпретации коммуникации.
Ключевые слова: цвет, природа, межкультурная коммуникация,
Abstract: This article presents a brief review of differences of nature, as the basis for a discussion of culturally produced regularities in the uses of colour in translation; that is, the possibility
of extending the use of ‘nature’ to colour as a communicational resource. Colour is discussed
as a semiotic resource – a mode, which, like other modes, is multifunctional in its uses in the
culturally located making of signs. The article demonstrates its theoretical and practical points
through the analysis of several examples and links notions of colour harmony into the social and
cultural concept of nature colour in the more traditional sense in interpretation.
Key words: color, nature, intercultural communication.
The main purpose of this paper is an attempt to
extend the scope of color terms so as to arouse the
interest of color semiotics. There are many ways
to study color, Nature color terms can be used to
achieve this goal. Semiotics is an investigation into
how meaning is created and how meaning is communicated. It is a way of seeing the world and of understanding how the landscape and culture in which we
live has a massive impact on all of us unconsciously.
Semiotics and that branch of linguistics known as
semantics have a common concern with the meaning of signs, but John Sturrock argues that whereas
semantics focuses on what words mean, semiotics is
concerned with how signs mean (Sturrock 1986, 22) .
For C W Morris (deriving this threefold classification
from Peirce), semiotics embraced semantics, along
with the other traditional branches of linguistics: semantics: the relationship of signs to what they stand
141
for; syntactics (or syntax) : the formal or structural
relations between signs; pragmatics: the relation of
signs to interpreters (Morris 1938, 6-7) . In other
words, we need to understand the context in which
a sign is communicated in order to comprehend its
real meaning, and hence act appropriately. What is
going on around the sign is usually as important for
us to know as the sign itself in order to interpret its
meaning.. Color is the fundamental building block of
visual symbols. Most fundamental color symbolism
was drawn from nature. Nature was revealed to them
in symbols, and early people symbolized everything
that appealed to the human mind. Accordingly, early
people tried to associate the different colors with
divinities, the elements, directions, and planets. 1)
Divinity In several cosmologies, colors display a
cosmic symbolism and mediate as divinities. For
example, the white blue was spread for morning, and
on the blue, yellow for sunset, and next was black,
representing night. (2) Element The elements were
believed by the ancients to be the essential energy
forces that sustain the world. In the West they are
four in number: fire, water, air, and earth, but in
the fundamental concept of Taoism, there are five
elements including water, fire, wood, metal, and
earth in China. However, they have no equivalence
to the four elements of the ancient Greeks, which
were thought to be the basic constituents of all matter. Ancient Chinese thinkers used the elements as
symbols to denote (3) Direction In Mesoamerican
cosmology, colors were frequently associated with
particular directions. The identification of colors
with directions is most fully documented among the
ancient Maya, who had specific glyphs for the colors
red, white, black, yellow, and green. In the Yucatec
Maya codices, these colors are associated with east,
north, west, south and center, respectively. In Chinese thought, the world is divided into five parts: the
centre (colored yellow), the south (red), the north
(black), the west (white), and the east (blue) . Upon
these five elements or perpetually active principles
of Nature the whole scheme of color philosophy is
based. Thus, green symbolized potency in arid regions but a sacred color in Islam. Blue stood for the
sky, and also for the spirit and truth. Interpretations
of color may differ and the symbolism varies with
the cultural environment. The color black and the
color white clearly stand for duality and antithesis.
However, in some traditions, black is the color of
death and mourning; in others, white. Red, the color
of blood, is usually linked with living, but it repre-
sents death in the Celtic world. In spite of individual
differences in the interpretation of colors, ancient
civilizations worked out conventionally determined
forms of color symbolism, usually as part of a search
for basic principles with which to organize a world
of multiplicities. Thus, the primary colors were
frequently associated with divinities, the elements
and the directions. For the ancient Mayas of Central
America, the directions east, north, west, and south
were associated with red, white, black, and yellow,
while in ancient China east, south, west, north, and
center, with blue, red, white, black, and yellow.
As we see there are many colors, but this paper
concentrates on five primary colors: red, yellow,
blue, white, and black. Right now the five basic colors have been identified by the world through many
generations and the development of communication.
According to Ferdinand de Saussure, a founder of
modern semiotics, sign consists of positive and negative connotations. Saussure emphasized in particular
negative, oppositional differences between signs,
and the key relationships in structuralist analysis are
binary oppositions (such as nature/culture, life/death)
. Saussure argued that ‘concepts... are defined not
positively, in terms of their content, but negatively by
contrast with other items in the same system. What
characterizes each most exactly is being whatever
the others are not’ (Saussure 1983, 115; Saussure
1974, 117; my emphasis) . a) Positive Connotations are universally, the color of plant life, green,
and can stand for awakenings, new beginnings, and
growth. In China and in Central Asia cultures it relates to spring. In Celtic folklore, the green man is
an important vegetation and fertility god. In ancient
Egypt, the green of the god Osiris symbolized resurrection and immortality. Chinese people wish to
live long and remain strong just as pine and fir trees.
Its spiritual symbolism was most important in the
Islamic world, where it was the sacred color of the
Prophet and of divine providence. Green is also the
emblematic color of Ireland, the “Emerald Isle”. The
color symbolizes the struggle for Irish independence
from Great Britain. Green has become a symbol of
environmentalism. Someone who works well with
plants is said to have a “green thumb”. Green is used
to describe unripe or immature fruit; a “greenhorn”
also refers to an inexperienced person. (b) Negative
Connotations There is a darker side to the natural
world as well. Green has represented danger and
death. Chinese do not have separate terms for “blue”
from “green, ” instead covers both terms. There are
142
both positive and negative connotations for these
words. The blue of the sky has been associated with
the male principle, distance, and the gods. Kyrgyz
people do not have separate terms for “blue” from
“green, ” too, and covers both of terms. It brings only
positive connotations whether celestial or oceanic,
blue evokes wide, open spaces and is linked with
infinity and primordial emptiness. But in South part
of Kyrgyzstan “blue” represents death or the color
of mourning. Deep water, on the other hand, also associate blue with the female principle. As a symbol
of peace and purity, it is the color of the Virgin Mary.
Blue, the symbol of the truth and the eternity of God,
will always remain the symbol of human immortality. Blue amulets in some cultures are supposed to
neutralize the evil eye. White based on the definition
in Merriam-Webster Dictionary, It is a pigment of
the color of milk or snow, due to the reflection of all
visible rays of light. Like colors, white has positive
and negative connotations. (a) Positive Connotations
White can be defined as the absolute color of light.
The Anglo-Saxons were the first to start using the
word “white” as a surname for a person who had
light hair or a fair complexion. In China, white is the
color of “the autumn, ” or the emblem of “old age”.
(2003), p. 67. The association of white with purity
and peace is used by many religions. The “white
dove” originates from the story of Noah as a symbol
of the end of the great flood. The “white elephant”
is sacred in Buddhism because the Buddha is said
to have entered his mother’s womb in this form. In
English, the term is described “of little use and that
is costly to maintain”. The white horse(ak boz at)
stands for purity and loyalty for Kyrgyz people (Ak
–Kula, Ak-tulpar) . (b) Negative Connotations On
the other hand, white is associated with paleness,
bloodlessness, lack of vigor, and death. In ancient
Egypt, white symbolized the lifeless desert that
covered much of the country. In several cultures, the
soul is thought to leave the body in the shape of a
white butterfly or a white bird. Christian angels are
depicted as being dressed in white, while ghosts are
described as emitting a white light. In English, the
phrase “white lie” is to a harmless or trivial lie, especially one told to avoid hurting someone’s feelings.
In Kyrgyz language, the same phrase is translated
as “кызылдай калп”. Positive Connotations The
absence of light, rather than a color itself, black is a
complex symbol. Almost all cultures recognize the
duality and opposition between black and white.
In Egypt the blackness of earth and of rainclouds
stands for the mothering darkness of germination.
The black was the color of “rebirth” and “resurrection”. In Greek, it is the color of Cronos/ Saturn,
which symbolizes time. The Hindu Kali can appear
as black goddess, suggesting the light-dark duality
necessary to the continuation of life. (b) Negative
Connotations in the Western world, black carries a
lot of negative connotations, many of them centered
on fear and the unknown. Death and mourning are
symbolized in the West by black. Black is used for
evil purposes. Black animals are regarded as unlucky,
such as black raven, black dogs, black cats and black
sheep. In English, the color terms such as “Black
Monday” (or Friday is not a lucky day) because on
this day, many terrible events have taken place. The
difference of the meaning of colors of nature in different languages and in different cultures has been
actually originated from translation. If the meaning
of the color can directly correspond in translation
equivalence, it is easy to interprite. For example:
the Black Country, Greenpeace, Blue blood – It has
the same meaning in Kyrgyz language, but we say
“Ак соок” (White Bone) . Colors come from light,
while the sun is the mother of light. No light, then
no colors appear. Under the sun, colors not only
beautify the great nature but also beautify human
life, for instance, white cloud in the sky, green sea in
the earth, white snow in the winter, and green field
in the summer. So far, we have found that various
colors appear in many poems, and many artists prefer
to use various colors to describe the nature. Without
intercultural communication, what may be a positive
meaning of a color to one culture may mean something negative or entirely different to another. Above
all, color terms require an understanding of cultural
traditions, concepts of value and local customs. This
paper has not only presented different meanings for
colors but also provided intercultural communication
for each color.
The world view of the Kyrgyz people, their
attitude towards nature, their historical events, and
their life style, were captured in the remarkable
customs and traditions that have preserved to today.
Centuries and centuries of rich oral tradition carried
the history, culture, and tradition of our nation. The
Kyrgyz language was enriched by nameless creators
who also kept alive the memory of our nation’s
remarkable sayings, poems and prose.
Visual literacy explains the ability to read and
interpret symbols; as a result, visual aids play an
essential role in grasping ideas. To the human mind,
143
symbols are cultural representations of reality. As
we said above, every culture has its own set of
symbols associated with different experiences and
perceptions where the culture’s members interpret
and over time, reinterpret the symbol. Kyrgyz
language scientist Kubatbek Samatov studied
the lexical and semantic meanings of colors in
his doctoral dissertation. According to his work,
the study of colors has philosophical meaning.
Researching colors, he uses Kyrgyz novels,
historical works and national folklore. Samatov
points out that white, green, red and blue have
creative qualities. White represents peace, purity,
pleasure, and joy, green and blue mean life, red is
for blood, sun shine, and strength, and green means
youth (Samatov, p.34) . Reference to nature always
appears in the works of Ch. Aitmatov as evidence that
it has always occupied the imagination of reader. On
the bases of deep analyses of Aitmatov’s works we
determine different forms of narration of the natural
phenomenon and symbols of nature. In his works we
can analyze two types of connotations, positive-the
natural essence of the symbol and negative – the
mystery of symbols in the artistic work.
Used positive connotations (as the blue, calm
night, rose-willow and young poplars, the ripe,
yellow ash-wheat, the warm, milk-like scent of
flowering maize, smoky-blue clouds of spring, wild
black fire in eyes, white foaming water blinding
the brightest edge of life, salty grey flakes of sun
) we recognize the importance of nature color that
enhance to interpret create visual messages. Using
negative connotations (the dark, dim fields, the
muddy, foaming water, blackened steppe, light-blue
flashes of lightning, the cloud-darkened sky, the dry,
darkened steppe and etc.), Chingiz Aitmatov endured
all the hardships of war and national traditions. He
also shows the combination of the nature truth with
the truth of life. It is, also, shown how the conditional
character depends on the changes of the nature and
its content. Consequently, colour in this work plays
a role in imparting war and piece information,
creating lasting identity and suggesting imagery and
symbolic value.
Nature has been the first to teach us about
colour semiotics. So instantly, different meanings
are communicated through colors. All in all, in the
process of learning languages and understanding
culture, we should recognize the importance of
nature color that enhance readers to interpret visual
images and create visual messages through the use
of visual imagery on nature.
Bibliography:
1. Айтматов Ч.Т. «Повести», «Джамиля», М.:
«Дет. лит.», 1976.- 223 с.
2. Genghis Aitmatov “Jamila”, Moscow.: “Foreign
languages publishing house”, 1959.- 87 p. –
translated from the Russian by Fainna Solasko.
3. Гак В.Г. Пространство культуры и константы
коммуникативного поведения // Вторая международная конференция ЮНЕСКО «Евролингвауни». М.: МГЛУ, 1996. – с.694. Dictionary of English Language and Culture,
Longman.:England, 1992 – 1569 p.
5. Morris, Charles W (1938/1970) : Foundations of
the Theory of Signs. Chicago: ChicagoUniversity
Press, 1989
6. Саматов Кубатбек. Кыргыз тилиндеги онтус создорунун лексика-семантикалык жана
стилистикалык мааниси. Фил.илимд.доктору
илимий даражасыу чун жазылган диссерт.
aвторефераты. Бишкек, 2003.
7. Peirce, Charles Sanders (1931-58) : Collected
Writings (8 Vols.) . (Ed. Charles Hartshorne, Paul
Weiss & Arthur W Burks) . Cambridge, MA:
HarvardUniversity Press
8. Saussure, Ferdinand de ((1916) :Course in General
Linguistics (trans. Wade Baskin) . London:
Fontana/Collins, 1974
144
УДК: 811.161.1 (575.2) (04)
Satybaldieva Gulmira PhD,
Turdalieva Nazira, JASU
The role of “fire” in Kyrgyz culture
Роль «Огня» в Кыргызской культуре
Аннотациясы: Бул макалада кыргыз маданиятындагы «от» деген сөздүн мааниси жана анын
семантикалык маанилеринин колдонулушу берилген.
Негизги сөздөр: семиотика, маданият, семантика, от, белги, коом, каада, салт, коломто,
жаратылыш.
Аннотация: Данная статья рассматривает значение и использование семантических значений
слов «огонь» в культуре кыргызского народа.
Ключевые слова: семиотика, культура, семантика, огонь, знак, общество, традиция, камин,
природа.
Abstract: This paper deals meaning and using of the semantic meaning of the word “fire” in Kyrgyz
culture.
Keywords: semiotics, culture, semantics, fire, sign, society, customs, traditions, fireplace, nature.
Semiotics of culture is a research field
within semiotics that attempts to define culture
from semiotic perspective and as a type of human
symbolic activity, creation of signs and a way of
giving meaning to everything around. Therefore
here culture is understood as a system of symbols
or meaningful signs. Because the main sign system
is the linguistic system, the field is usually referred
to as semiotics of culture and language. Under this
field of study symbols are analyzed and categorized
in certain class within the hierarchal system. With
postmodernity, metanarratives are no longer as
pervasive and thus categorizing these symbols in
this postmodern age is more difficult and rather
critical.
Culture as a hierarchical semiotic system
consisting of set of functions correlated to it, and
linguistic codes that are used by social groups to
maintain coherence. These codes are viewed as
superstructures based on natural language, and here
the ability of humans to symbolize is central.
The study received a research ground also
in Japan where the idea that culture and nature
should not be contrasted and contradicted but rather
harmonized was developed.
Cultural semiotics, having been developing
as an international science, has expanded also
disciplinary. When leaving aside the use of semiotics
in disciplines that study culture on the level of
method or an aspect (e.g. cultural studies), two
poles between which the development is going on
have to be fixed. On the one hand, one can notify
the attempts to revise the conceptions pertaining
to general semiotics and to analyze their culturesemiotic productivity for the sake of interest of
cultural semiotics. On the other hand, there can be
notified the globalization of cultural theory that
treats both history of mankind (and the semiogenetic
period in it) and synchronic typologies. Several
conceptions from different countries have not been
switched into this context yet. But this means that
the connections between culture and semiotics have
not frozen yet, they create new forms of knowledge.
In 1973, it was possible to write in “Theses on the
Semiotic Study of Cultures” about cultural semiotics
as a science studying functional correlation between
different sign systems. The present volume reflects
both interest in different sign systems and cultural
texts, and also relationships between sign systems.
The editorial board is happy to attend the arrival
of new names in our publication and the multitude
of viewpoints related to these names. Materials of
this collection reflect well the influence of material
studied on the way of thought of scholars and choice
of method. And like to this collection fits well to
celebrate the anniversary of cultural semiotics.
For culture, it is inherent to be diverse, contain
different sign systems and texts in complex thread.
But at the same time the influence of the media
environment on culture is deepening, and due to
145
this otherwise autonomous sign systems and texts
happen to be side by side. They intertwine and
transform, and the identification of their elements
or signs turns out to be very difficult through one
system or one text. This means that the specific
conditions of semiosis also force us to talk about
intersemiosis, associations of signs and texts that can
not be studied hierarchically or that are too difficult
to be studied so; however it may be possible to study
them complexly or complementarily. On the grounds
of this we announce the next issue of Sign System
Studies to be thematic and would like to discuss
with our dear colleagues about the theme essential
to contemporary culture. Taking into account the
youth of cultural semiotics and its centeredness
at the object, the choice of this theme means an
intention to find possibilities of complex analysis,
i.e. to search for objects of research enriching cultural
semiotics itself, and at the same time to describe
the environment generating them. In cultural
semiotics, there are different traditions of researches.
Likewise, semiotics has become a natural part of
many disciplines pertaining to cultural analysis
and cultural theory. Therefore, cultural semiotics is
not a detaching boundary here — cultural semiotic
and semiotic in culture are, in the global plane, still
located in the same space.
The culture is the human’s mind and soul of
good things. Only someone who assimilates it better
we call him/her cultural. Every nation has little or
much contribution in creating global culture. To find
“fire” it was one of the main points to achieve great
progress of human society. Kyrgyz people know
how to use fire from ancient times. Topoz master
Bolokbay described as the best master of iron who
has made weapons of all heroes in epic Manas:
Тоого чапса таш кескен, If it struck a rock, it would split.
Белге чапса баш кескен, If it struck the waist, the head fell.
Шиберге койсо өрт кеткен, If laid on grass, then flames would swell.
Шилтегени мүрт кеткен. (II 175-б.) This fine sabre which slew with one slash. (p.454)
Kyrgyz people even knew how to liquate and to
use iron with the helping of fire. This kind of metals
can cut different kinds of stones. There were a lot of
turners and jewelers used the fire between Kyrgyz
people. In the epic Semetey is shown our great
father’s burned tree which used as a cool in wide
meaning. Before married, provide all things.
“Alas, alas, alas – ar baleeden kalas” “Go, go,
go, get all holy, holy, and let all the bad go away”
– Kyrgyz people prayed for fire in some of the
customs. We saw sorcerers made a big fire, jumped
on fire and licked of redden crop with tongue, got
out devils. Evil spirits are afraid of fire in creed of
shamans. This boon banishes darkness. Melt ice
and snow. Even before coming into home a new
bride turned around the fire according to tradition
in villages. Because when turning around light fire
it banishes evil curses from the bride, so it means
the cleaning of the bride. “Go, go, go, get all holy,
holy, and let all the bad go away”. This is “Ysyryk”
– branches of bushes which it can be termed as
purity. “Khalos” is from Arabic language, it gives
the concept of protection. We are talking about the
faith of the sacred power of fire.
Still according to this tradition, when nightmares
do so called candle branches of shrubs, lit them,
prepare seven small cakes, then began to pray.
Kyrgyz people considered the fire as sacred force.
Our ancestry prohibited bans as: “Do not play with
fire!”, “Do not kick fire!”
In Kyrgyz language the word “fire” is used generally as a metaphor, brave-hearted person is explained
as a hero, deep-eyed person as a clever. There are few
lines from songs “Girlhood” – «Кыздар ай»:
Girls, you look like blazing fires Өчүргөнгө болбогон,
That we can’t put out. Өрт өңдүүсүң кыздар, ай.
Girls, you are charming, Бүрдөп турган кайыңдай,
Like a budding birch. (p. 17) Көркөмдүүсүң кыздар, ай. (б. 16)
And “I admire the color of Fall” – «Суктанам күздүн өңүнө»:
Is this yellow face of fall like fire, Сап сары оттой күз өңү,
A blazing passion that burns bright? Алоолоп жанган күйүүбү?
Or is it the yellow of faded love Жабыгып жетпей өмүрдө,
That withered, unfulfilled? (p.73) Саргайып бүткөн сүйүүбү? (б.72)
146
The word “fire” is used widely in Kyrgyz
poetry. Even there are several samples in love songs:
“You are the light of my soul”, “Burning feeling of
my love”.
In Kyrgyz folk songs widely applied to the theme
“fire” and reached philosophical concepts describing
brightness of things using coloring words.
“The city Kokon was surrounded by fires – so
many they looked like stars fallen from the sky” (p.
79) – Кокон от менен курчалган. Көз жетпей сансыз оттор жылтылдап, асмандын жылдыздары
бүт күбүлүп Кокондун тегерегине түшүп калгандай. “Broken sword”, T. Kasymbekov (234 б.) .
“Corol and precious stones, some stone bright
like stars others flickered like camps, others still
sparkled like striking flink” (p. 130) – Жылдыз болуп күлүңдөп, шам болуп үлбүрөп, кээде чакмактын отундай жалтырап күйгөн каухар таштар
бары мунда.. «Сынган кылыч», Т.Касымбеков
(283 б.) .
Kyrgyz people believed that the fire is a source
of life, so they appoint that the fire is very necessary.
There is no fire in the fireplace without wood in the
house. The burning flame in a fireplace means the
continuation of family’s life. When there was a big
flame in a fireplace, there were full copper of boiling
meat. The houses were light, family’s mood was
bright, and the life was quiet. That is, it is meant,
that ancient people lived in prosperity. Sometimes
different social problems were discussed around the
fire. Grandfather’s great advices helped to behave
us. People who lived in mountains, they said, if you
have flame, you can eat tasty food, but they pointed
the flame is not a food, close relationship, lightness
like a fire.
Bibliography:
1. “The Influence of Roman Jacobson on the
Development of Semiotics”. In: R.Jakobson. Echoes
of His Scholarship. D.Armstrong, C.H. van
Schooneveld (eds) . Lisse: The Peter Ridder Press,
39–58. — (1977 b) . 2. A Theory of Semiotics. London, Basingstoke: The
MacMillan Press Ltd. — (1990) . “Introduction”.
In: Y. M. Lotman. Universe of the Mind. A
Semiotic Theory of Culture. London, New York:
I. B.Tauris, VII–XIII. — (1994) .
3. “Bakhtin’s Research between Literary Theory
and Semiotics”. European Journal for Semiotic
Studies 10/1–2: 201–216.
4. Semiotics of culture D.O. Dobrovolckii crosslinguistic perspectives, Emerald Group Publishing,
2005.
5. “Kyzdar ai” Kyrgyz Women Poetry. (Translated
and created by K.A.Kalieva) . Bishkek,
2007.
УДК: 811.161.1 (575.2) (04) Satybaldieva Gulmira PhD,
Turdalieva Nazira, JASU
The role of handicraft in American history and culture
Роль ремесел в Американской истории и культуре
Аннотациясы: Ар бир олконун озунун тарыхы, маданияты, каада-салты, жашоо ыңгайы
жана билим тармагы менен озгочолонот.
Негизги сөздөр: устачылык, Америка, тарых, маданият.
Аннотация: Каждая страна имеет свои особенности в истории, культуре, традиции, образе
жизни, образовании и т.д. Ремесло одно из этих особенностей.
Ключевые слова: Ремесло, Америка, история и культура
Abstract: Every country has its own peculiarities in history, culture, tradition, way of life, education
etc. handicraft is one of these peculiarities.
Key words: handicraft, America, history, culture.
Every country has its own peculiarities in history,
culture, tradition, way of life, education etc. January
is known as National Hobby Month in the United
States. That means that Public libraries, community
centers, various clubs are all encouraging people to
discover a new hobby or spend time enjoying their
147
current favorite leisure activity.
Old craft that is experiencing new life and it
has enjoyed a long tradition in the United States
and today is more popular than ever. According to
a 2003 survey by Quilters Newsletter Magazine,
there are more than twenty one million American
quilters(representing 15 percent of U.S. households)
.The most dedicated among them are likely to have
an entire room in their house devoted to quilting and
to own more than $8, 000 worth of quilting supplies.
Their creations range from everyday items such as
bed coverings, clothing, and table mats to treasured
heirlooms and museum quality works of art.
A quilt can warm a bed, decorate a wall, and
comfort a child in her crib or a soldier at war. A quilt
also can tell a story, commemorate an event, honor
the dead, unite a community, and reflect a culture.
Quite a resume for a piece of needlework! And
evidence, too, that quilts have captured the hearts
and imaginations of Americans unlike any other
form of folk art.
The world quilt itself has come to describe far
more than stitched pieces of fabric. Civil rights
activist Jesse Jackson used the word to describe
American society when he said: “American is not
like a blanket–one piece of unbroken cloth, the same
color, the same texture, the same size. America is
more like quilt–many patches, many pieces, many
colors, many sizes, and all women and held together
by a common thread.”
The last 30 years have brought a tremendous
increase in the appreciation of quilts not only as
folk art but as fine art worthy of hanging in the
best museums. Dozens of museums and historical
societies display quilts as part of their collections,
and museums dedicated only to quilts are thriving
in such places as Kentucky, Massachusetts, Virginia,
Colorado, and California.
The event credited with sparking this quilting
renaissance was the 1971 exhibition, “Abstract Design
in American Quilts, ” at the prestigious Whitney
Museum of Art in New York City. The first exhibition
ever to treat quilts purely as an art form, the show was
one of the most popular in the museum’s history and
subsequently traveled for nearly four years throughout
the United States and Europe.
Elevated to fine art, quilts can command large
sums of money. The quilt believed to hold the
record sold at auction in the early 1990s for more
than $264, 000 and was purchased again later for
an undisclosed amount by private buyers who then
donated it to the International Quilt Study Center
at the University of Nebraska-Lincoln. Stitched in
1867 by women in Brooklyn, New York, the album
style quilt features outstanding construction, a
wealth of different fabrics, and numerous vignettes
relating to the quilt maker’s personal life and more
broadly to the reconciliation between the North and
South following the Civil War, according to curator
Carolyn Dicey.
The International Quilt Study Center itself
is testimony to the serious regard for display,
preservation, and study of quilts in the United
States. Founded in 1997 with the gift of 950 quilts
from private collectors Addis and Robert James, the
center holds the largest publicly owned collection in
the world–about 1, 900 pieces at last count–and also
offers the only graduate degree in textile history with
an emphasis on quilt studies.
Love of quilts and quilting will only continue to
grow, Ducey predicts, because “there is somehow a
connection to quilts that makes them so accessible
to people. You can look at them through almost
any lens–American history, women’s history, even
technology, because the desire to produce cotton
cheaply helped launch the Industrial Revolution
in this country. No matter who you are, you are
probably going to find something that will fascinate
you about quilts.”
Quilt patterns almost certainly number in
the thousands. Two quilt pattern encyclopedias
published in 1993 featured over 4, 000 different
pieced quilt patterns and nearly 1, 800 applique
patterns. Accurate numbers are difficult to come by
because the same pattern may have different names
in different parts of the country. A design known
as Duck’s Foot in the Mud on Long Island (New
York) became hand of Friendship in Philadelphia,
Pennsylvania, and Bear’s Paw in Ohio. What is
known as Mariner’s Compass in New England
might be called Sunflower in Kansas. However, the
design was used in Great Britain much earlier, and
a Scottish quilt expert suggests that it stems from
patterns of land cultivation practiced since the middle
Ages. Even more intriguing was the discovery of the
pattern in strips of linen wound around mummified
cats found in Egyptian tombs early in the 19th century.
Did these mummies, many of which were shipped
back to England, inspire some farmer’s wife to create
a “new” quilt design?
Another pattern with a colorful history is
Drunkard’s patch, so named because its winding
148
curves suggest the staggering gait of someone who
has imbibed too much. Often associated with the
Women’s Christian Temperance Union (WCTU)
campaign to outlaw alcohol in the late 1800s, the
design is in fact probably much older, thought was
used in some quilts made and sold to raise money
for the WCTU.
Many other evocative names for quilt patterns
were suggested by farm life (Barn Door, Hen and
Chicks, Rail Fence) and domestic life (Broken
Dishes, Baby Blocks, Puss in the Corner) . Patterns
with roots in Bible stories include Jacob’s ladder,
Job’s tears, Crown of Thorns, and Garden of Eden.
Love and romance gave us the Double Wedding
Ring, Cupid’s Own, and Lower’s Knot, while nature
inspired Pine Tree, Bear’s Paw, Clamshell, and
Turkey Tracks. From the great westward migration
across the continent we have such patterns as Prairie
Queen, Chisholm Trail, and Sage Bud.
Some distinctive quilt designs are associated
with certain ethnic groups. African American quilts,
for example, feature bold, asymmetrical patterns
and large shapes inspired by African textiles. Black
women also produced story quilts to record family
events and traditions or to depict stories from the
Bible. The most famous of these, two Bible quilts
sewn by former slave Harriet Powers, are now in
the collections of the Smithsonian Institution in
Washington, D.C., and the Boston Museum of Fine
Arts.
Equally renowned for their quilt making are
the Amish, members of a religious sect who dress
plainly and shun modern technology. Known for
their simple designs and bold solid colors of greens,
blues, purples, and black, Amish quilts are much
in demand and draw thousands of shoppers to
southern Pennsylvania, where there is a large Amish
community.
A quilt is basically a fabric sandwich made
of three layers–a decorative top, a filling, and a
backing. The word quilting refers both to the process
of making a quilt and to the means by which the
layers are fastened together: they may be tied with
strategically placed knots or secured with stitching,
often done in intricate patterns that add to the beauty
of the finished piece. Quilters use a frame to hold
and stretch the fabric during the quilting process.
Some frames are large enough to hold the entire
quilt, others small enough to be held in the hand
while working on one section at a time.
Equally renowned for their quilt making are
the Amish, members of a religious sect who dress
plainly and shun modern technology. Known for
their simple designs and bold solid colors of greens,
blues, purples, and black, Amish quilts are much
in demand and draw thousands of shoppers to
southern Pennsylvania, where there is a large Amish
community.
A quilt is basically a fabric sandwich made
of three layers–a decorative top, a filling, and a
backing. The word quilting refers both to the process
of making a quilt and to the means by which the
layers are fastened together: they may be tied with
strategically placed knots or secured with stitching,
often done in intricate patterns that add to the beauty
of the finished piece. Quilters use a frame to hold
and stretch the fabric during the quilting process.
Some frames are large enough to hold the entire
quilt, others small enough to be held in the hand
while working on one section at a time.
The arrangement of the blocks and of pieces
within the blocks allows for a myriad of pleasing
designs. A second type of quilt top is applique, from
a French word meaning “to put on or lay on.” In
this method, fabric shapes in abstract motifs or in
realistic forms, such as flowers or animals, are sewn
to a background with tiny, invisible stitches. Most
applique and patchwork quilts have fabric borders
that frame the entire design and are also usually
quilted.
In a third style, known as a whole cloth quilt, the
entire top is a single, solid color, and the decorative
stitching, or quilting, provides the interest. Some
quilters enhance the look with a technique called
trap unto, in which extra stuffing is inserted to raise
certain parts of the design in relief.
In conclusion, we would like to share from
history of Kyrgyz people’s craft.
We have similarities of making quilts. A quilt
is a type of blanket with many squares of fabric
stitched together. Some of the squares are different
colors, and some have patterns in various colors and
shapes. Many quilts consist of traditional squares
with images of things such as flowers, stars, kind of
figures and national symbols and ornaments. When
girls are married, their mothers stitch and present
kind of quilting supplies (coverlet, cushion, wall
decoration like a carpet, stair-carpet, table napkin for
tea pot, etc.) .They are the best heritages for girls.
Quilts histories and themselves each have
their own histories. Quilts get handed down within
families from one generation to the next, along with
149
stories about the persons who made them and owned
them. Pieces of the stories can be forgotten along the
way, making it harder to determine the exact age and
origin of a quilt, although many people are interested
in doing that.
Bibliography:
1. Aldrich, M. Once upon a quilt: A scrapbook
of quilting past and present. Stillwater, MN:
Voyageur Press, 2003.
2. Berti G. B. The complete book of quilting. Toronto:
Sterling Publishing Company, 2004.
3. Poe A. Quilting school: A complete guide to
patchwork and quilting. Pleasantville, NY: The
Reader’s Digest Association, Inc. 1993.
4 World Book “Encyclopedia” USA, 1994.
5. Crystal D. A. The University of Chicago Press,
2001.
УДК: 811.161.1 (575.2) (04) Шабданалиев Н.А.
аспирант МУК
Semiolinguistics ways in the translation of works of William
Shakespeare’s “Richard 3” and “Othello” into Kyrgyz language
Семиолингвистические средства при переводе произведений
В. Шекспира «Ричард 3» и «Отелло» на кыргызский
через русский язык
Аннотациясы: Макалада семиотика жөнүндө жана тилдин негизги маанисин берүүчү орду
жөнүндө сөз кылынат. Андан тышкары текстердеги сөздөрдүн кыргыз тилине берилиши тууралу каралат.
Негизги сөздөр: Шекспир, семиотика, лингвопоэтика, лингвосемиотика, метафор.
Аннотация: В статье рассматривается о семиотике. В котором язык является средством
передачи говорящим своих мыслей и чувств. Раcсматривается текстовые несоответствия при
передаче слов с оригинала на кыргызский язык.
Ключевые слова: Шекспир, семиотика, лингвопоэтика, лингвосемиотика, метафор.
Abstract:The article discusses about semiotics. In which language is the means of transmission of
speaking their thoughts and feelings. Also, we are considering the text mismatch in the translation of
original text into Kyrgyz language.
Keywords: Shakespeare, semiotics, linguopoetics, linguosemiotics, metaphor.
Развитие межнациональных связей в последние годы дало мощный импульс повышению
интереса к переводу и теории художественного
перевода. Интерес филологии к проблемам теории и практики перевода во многом обусловлен
активным развитием международных контактов
во всех сферах человеческой деятельности,
растущим стремлением к обмену духовными
ценностями. Художественная литература, как
известно, является одним из лучших средств человеческого общения, поэтому столь велика роль
переводчика в современном мире. Несмотря на
то, что по теории вопроса существует обширная
литература, вопрос о переводе как об одном из
самых сложных аспектов литературной деятельности остается по-прежнему очень актуальным.
С одной стороны, большинство переводчиков,
опираясь на практику перевода, убеждены, в том,
что, так называемый художественный перевод
возможен, во всех языках имеются переводы
иностранных произведений, которые вошли в
фонд мировой литературы и являются основой
общения между народами. Для людей, не владеющих иностранными языками, такие переводы
особенно ценны, если они выполнены талантливыми переводчиками, оказываются единствен150
ным способом знакомства с произведениями
зарубежной литературы.
С другой стороны, лингвисты, писатели
и поэты в разные времена и в разных странах
подвергали сомнению возможность создания
на другом языке такого произведения, которое
соответствовало бы оригиналу по содержанию
и по форме. В данной области в лингвистике
иногда наблюдается противоречие между теорией и практикой, так как очевидно, что практическая работа намного опережает разработку
соответствующей теории. При межъязыковых
преобразованиях неизбежны смысловые потери, из-за которых текст перевода не может быть
абсолютным эквивалентом оригинала. Кроме
того, передача индивидуально – стилистических
и художественных особенностей, как правило,
представляет непреодолимые трудности, так как,
полученные в результате художественного перевода эквиваленты подлинника нельзя считать переводами в собственном смысле, особенно если
это относится к поэтическому переводу. В то же
время в последние десятилетия сформировалась
особая филологическая дисциплина теория перевода или переводоведение.
Семиотика как наука о знаках и знаковых системах появилась в начале 20 в., и с самого начала
представляла собой науку в ряду других наук, и
также инструмент наук. Ч.Моррис [11]называл
семиотику органоном наук, метанаукой, особого
рода надстройкой над целым рядом наук, оперирующих понятием знака. Идея создания науки о
знаках возникла почти одновременно у нескольких ученых. Основателем семиотики считается
американский логик, философ и естествоиспытатель Ч.С.Пирс (1839–1914) [13]. Семиотические
идеи Пирса развил другой американский философ – Ч.Моррис. Дальнейшее развитие семиотика
получила в работах таких логиков и философов,
как Р.Карнап, А.Тарский [13] и др.
Ключевое понятие семиотики – знак. В американской семиотике объектом изучения стали
различные невербальные символьные системы,
например, жесты или языки животных. В Европе,
напротив, первоначально главенствовала традиция, восходящая к Соссюру. Семиотику развивали лингвисты – Л.Ельмслев, С.О.Карцевский,
Р.О.Якобсон [14]и др. – и литературоведы
– В.Я.Пропп, Ю.Н.Тынянов, Б.М.Эйхенбаум и
др. Лингвистические методы переносились и
на другие области. Так, Я.Мукаржовский[10]
использовал методы, разработанные в Пражском
лингвистическом кружке, для анализа искусства
как знакового феномена.
Художественный перевод на уровне семиотики до сих пор не достиг того уровня филологического развития, который бы обеспечивал полное
воспроизведение эстетических лингвопоэтических качеств оригинала. В большинство случаев
он основывается на вдохновении переводчика,
на его таланте и филологической эрудиции. Переводчик улавливает основное содержание или
мысль текста – оригинала и в процессе личного
творчества вдохновенно создает текст на «языкцель», не проводя никакого филологического
или лингвистического анализа. И в результате
перевод может очень далеко отойти от оригинала,
так как не принимаются во внимание лингвопоэтические особенности первоначального текста. К
сожалению, на практике существуют переводы,
не соответствующие по смыслу оригинала.
Чтобы передать на другом языке диалектическую взаимосвязь формы и содержания
художественного произведения, необходимо научиться находить в сокровищнице произведений
мировой литературы соответствующие друг другу «тексты», поскольку перевод – это не только
соприкосновение двух языковых систем, но и
соприкосновение культур двух разных народов,
а порой и разных цивилизаций.
Следует отметить, что исследователи теории
перевода в Кыргызстане до настоящего времени
рассматривают только общие вопросы, связанные
с переводами шекспировских произведений, что
недостаточно для теоретических обобщений.
Поэтому, на наш взгляд, необходимо рассмотреть
некоторые вопросы перевода, чтобы создать основу для более качественных переводов.
Лингвосемиотика – особый раздел семиотики как науки о знаковых системах, объект
ее изучения – лингвистические единицы в их
знаковой функции. Для общей теории перевода
особенно важна знаковая функция слова как минимальной единицы перевода. Слово в любом
языке представляет собой диалектическое единство материального звукового комплекса (знака)
и закрепленного за ним в системе этого знака
(идеального) значения. Лингвосемиотика – наука
о коммуникативной функции языка. Сущность
этой функции состоит в том, что язык является
средством передачи говорящим своих мыслей и
чувств слушающему. Эта функция осуществляет151
ся благодаря знаковой природе языка. Выявление
знаковой природы языка становится возможным,
когда язык начинает исследоваться в одном ряду
с другими знаковыми системами – азбукой для
глухонемых, системой дорожных знаков и т. п.
Эти системы изучаются семиотикой – наукой о
знаках. Лингвосемиотика занимает промежуточное положение между внутренней лингвистикой
и семиотикой. Отсюда и еедвукоренное наименование. Напомним, родоначальником современной
лингвосемиотики является Ф. де Соссюр.
Характерной чертой стиля Шекспира является насыщенность, образность и эмоциональность. Одно из новейших исследований образов
Шекспира на основании стилистических подсчетов свидетельствует о том, что большинство
метафор и сравнений Шекспира заимствовано
из простейших явлений повседневной жизни.
Для образности Шекспира характерно оживление «ходячей вымершей метафоры». Создание
разнородных метафор является одной из характерных черт стиля Шекспира, и мы считаем их
авторскими. При переводе авторских метафор
переводчики сталкиваются с наибольшими трудностями. Авторские метафоры – это языковые
единицы, которые используются только в произведениях автора.
Например:
Iago: You’ll have your daughter covered with
a Barbary horse, you’ll have your nephews neigh
to you, youl’ll have your coursers for cousins and
gennets for germans, (W.SH.O. p 189)
Яго. Значит, вам хочется чтоб у вашей дочери
был роман с арабским жеребцом, чтоб ваши
внуки ржали и у вас были рысаки в роду и связи
с иноходцами. (с.273)
Яго – Байкап келсек, кызыңыздын өмүрү
арабдын айгыры менен пар келишин каалап,
неберелериңиз жылкыча кишенеп, укум- тукумдарынызга суу жорго кошулганын сүйөт экенсиз
да. (с.7)
Эпитет ‘barbary’ переводится как «дикий»,
«жестокий». Для Яго Отелло вообще не человек,
а животное, именно «берберийский жеребец».
Его союз с Дездемоной способен породить не
детей, а лишь жеребят. Этими словами выражена
ненависть Яго к Отелло.
Есть образ мыслей, чувствований, есть много
обычаев, поверий и привычек, принадлежащих
исключительно какому-нибудь народу. Например:
Desdemona: Mine eyes do itch, Doth that bode
weeping?
Emilia: ‘Tis neither here nor there
Desdemona: I have heard it said so (1, p. 257)
Дездемона. Не знаю, что-то чешутся глаза,
К слезам, наверно?
Эмилия. Что вы?
Дездемона. Есть поверье. (с.372)
Дездемона – Ай билбейм, негедир көзүм
кычышат, Ыйлайм го?
Эмилия – Коюңузчу! Андай эмес.
Дездемона – Ооба, бул жаштын белгиси.
(с.124)
Здесь была допущена ошибка в переводе, так
как А.Осмонов сделал перевод не с оригинала. У
кыргызов есть поверье, если левый глаз дергается, произойдет что-то неприятное, а может это и к
слезам, то есть служит злым предзнаменованием.
А если глаза чешутся, то это ни к чему, то есть
ничего не предвещает. Переводчик должен был
учитывать культурные особенности кыргызского
народа.
Мифологические образы как составная
часть семиотики
С точки зрения семиотики миф представляет
собой нулевую ступень семиозиса. В самом деле,
язык мифа является и его речью, поскольку он
целиком и без остатка реализуется в мифологическом тексте; с другой стороны, индивидуальное
использование мифа делает его мифологичным
только благодаря этой знаковой системе.
В трагедии реализуются следующие инвариантные особенности функции сообщения при
описании главных героев и их состоянии: 1)
мифологические образы; 2) фразеологизмы; 3)
тропы и стилистичесике фигуры. Например:
Othello: My name, that was as fresh
As Dian’s visage, is now begrimed and black
As mine own face. (1, W.SH.O. p. 223)
Отелло. Ее безукоризненное имя
Луны белее было, а теперь, черно, как я, от
твоего доноса. ( с.332)
Отелло – Сүйгөнүм аппак эле, тунук эле
Ак айдай бир кири жок, ободогу
Ал эми cенин айткан ушагыңан,
Өзгөрүп менден бетер кара болду.(с.83)
Ричард 3:
Anthony Woodeville her brother there,
That made him send Lord Hastings to the
Tower,
From whence this present day he is delivered?
152
Wen are not safe, Clarence, we are not safe. [1,
W.Sh. p.377]
Бир тууганы, шум Энтони Вудвилдин кылганы.
Мына, Хестингс бошонуп келди го жакында,
Королго айтып, Тауэрге айдаттырган да ошолор башында.
Кларенс боорум, биздин башыбызда,
Коркунуч көп азыр да.[4, Ж.И., 9-б]
В латинской мифологии “Diana” (122, 313)
– богиня чистоты и второе значение « луна»
moon. В оригинале Отелло говорит “my name”,
то есть «мое лицо», он имеет в виду свою жену,
Дездемону. Диана являлась богиней целомудрия,
охоты и Луны. Отелло сравнивает Дездемону с
богиней Луны. Это мифологическая метафора
дает особое сообщение о том, что Дездемона
была необычайно красива.
Метасемиотический анализ трагедии
Иными словами, метасемиотика – это семиотика, трактующая другую семиотику; таков
например, научный метаязык, описывающий
какую-нибудь знаковую систему, выступающую
в этом случае в роли языка – объекта.
Обьектом анализа данного уровня являются
словосочетания и предложения, приобретающие
коннотацию в контексте произведения и являющиеся культурными символами (36, 254) .
Метасемиотический анализ производится
при помощи повторов.
Desdemona: I have none, do not talk to me,
Emilia.
I cannot weep, nor answers have I none
But what should go by water. (1, p. 250)
Дездемона. Нет у меня на свете господина.
Не спрашивай, Эмилия. Нет слов.
Не в силах говорить, не в силах плакать.
Нет слез, и нет ответа, кроме слез. (с.364)
Дездемона – Бул дүйнөдө менин кожоюнум
жок,
Сураба Эмилия, сүйлөөгө алым жок,
Күлүүго күлүүм да жок, Ыйлоого жашым
да жок,
Айтууга жообумда жок, бир гана…
Мөлтүлдөгөн көз жаш…..көз жаш.. (с.115)
Обращают на себя внимание повторения.
На фонетическом уровне замечаем обилие звуковых повторов: эпифора. Наблюдается и синонимический повтор – слово «нет и не», «жок»
Эти повторы призваны вскрыть эмоциональное
состояние Дездемоны: автор пытается показать
что уже приближается час смерти Дездемоны,
можно сказать второстепенный кульминационный момент трагедии.
На кыргызский язык перевод был осуществлен эпифорой. Эти отрицательные слова на
всех трех языках создают особую тональность и
экспрессивность, и несут собой семиотический
знак, свидетельствующий о том, что у Дездемоны
никого не осталось в мире, не на кого положиться. И эти простые слова имеют коннотативное
значение.
Следует учитывать, что наряду с уникальными особенностями, характеризующими каждую
отдельную культуру, существуют факторы, общие для многих или некоторых культур. Кроме
того, различные культуры всегда оказывали и
продолжают оказывать влияние друг на друга.
Roderigo: As partly I find it is, that your fair
daughter,
At this odd-even and dull watch o’th’night,
Transported, with no worse nor better
guard
But with a knave of common hire, a gondolier,
To the gross clasps of a lascivious Moor –
If this be known to you, and your allowance
(1, p. 161)
Родриго. Отправилась так поздно ваша
дочь
Одна, без подобающей охраны,
В сообществе наемного гребца
В сластолюбивые объятия мавра? (с.273)
Родриго – Кызыңыз, нөкөрлөргө кайтартпай,
Ишеничтуу кеме айдаган киши албай,
Кучакталып аялкор мавр колуна,
Сүзүп өткөн аралдын аркы боюна
Түн жамынып, адеп бузуп жүрүүгө,
Же таксырым сизден руксат бар беле? (с.8)
Слово ‘o’th’night’, на русский переведено
как «так поздно», что вполне соответствует по
смыслу, оригинал переводится как « ночью»,
при переводе на кыргызский было использовано
опущение. Переводчик не обратил внимания на
то, что в венецианской культуре особое значение
имеет ‘noon’ или «поздно ночью».
А для кыргызских читателей как бы получилось, что венецианские девушки не могут вообще погулять без охраны как девушки арабских
стран.
153
Конструкция «без всякой охраны” имеет особое значение. Сообщается что в эпоху Шекспира
не только женщины, но и мужчины редко рисковали выходить из дому ночью. Ночное освещение
улиц в Лондоне впервые появилось в конце XVII
века. Эта деталь, таким образом, свидетельствовала для зрителей и читателей шекспировской
эпохи о смелости Дездемоны.
Iago: If you’re so fond over her iniquity, give
her patent to offend for if it touch not you. (1,
p.242)
Яго. Ну если вам так жалко выдайте ей
доверенность на совершение дальнейших низостей. (с.354)
Яго – Анчалык аянычтуу болсо, ооздугун
алып кое бериңиз, дагы ойноп-күлүп алсын,
башкалар менен шаракташсын. (c.106)
В этом предложении нет того, что считается необходимым для установления общности
денотативного значения. Смысловой особенностью указанного предложения является коннотативное значение. Это и есть тот случай,
когда эмоциональный компонент модифицирует
предметно-логическое значение и обладает также некоторым общим признаком – не является
ся их принадлежностью как единиц языковой
системы. В кыргызском переводе использовано
фразеологическое словосочетание «ооздугун
алып кое бериңиз», которое является культурной
коннотацией относящейся именно к кыргызскому
народу. И это значит: дайте ей волю и свободу,
чтобы она могла и дальше гулять.
В следующем примере на семантическом
уровне обращает особое внимание метонимия
‘purse’, то есть «деньги».
Семантико-стилистический потенциал слова, его полифоничность может раскрываться не
только на основе его единичного употребления,
а по мере того, как оно «накапливается» в тексте.
Например, в трагедии разные персонажи употребляют одно и то же слово, которое, являясь
частью речевой характеристики персонажа, в то
же время обретает новое качество, подчиняясь
идейно-тематическому замыслу автора. Это
происходит, например, со словом “purse”, то
есть слово «деньги». Где бы оно ни встретилось
в тексте трагедии, оно немедленно оказывается
в ассоциативном ряду с другими употреблениями и поэтому приобретает дополнительную
смысловую нагрузку. Вариации на тему “ purse”
встречаются на протяжении всей пьесы. Шекспир
использует “ purse” и как средство характеристики персонажей трагедии или, иначе говоря,
жителей Венеции. Накапливаясь в тексте, слово
“purse” переходит в новое качество и начинает
символизировать трагедию в самом широком
смысле этого слова.
Русский переводчик передает метонимию “
purse” как «деньги », хотя лексические единицы
в английском и русском языках совпадают по
своей семантической структуре. И в русском и
кыргызском языках перевод почти не ослабляет
эмоциональную силу английского слова.
Лингвопоэтическое функционирование слова может быть связано и с теми литературными и
поэтическими ассоциациями, которыми это слово
обладает в данной культурной традиции.
Представляется, что на русском эквиваленте
«деньги» тоже лежит отпечаток контекстов, поэтому он вполне способен адекватно передать
эстетическое содержание, заключенное в cлове
“purse”.
И само произведение начинается с этой
фразы.
Roderigo: Tush, never tell me! I take it much
unkindly
That thou, I ago, who hast had my purse
As if the strings were thine, shouldst know of
this. (1, W.SH.O. p.157)
Родриго. Ни слова больше это низость, Яго
Ты деньги брал, а этот случай скрыл.
(с.269)
Родриго – Кой, сөзүңдү кой. Мунуң жакшы
эмес.
Менден акчаны аларын алдың мага зарыл
болгон,
Жакшы окуяны жашырып калдың. (с.3)
При переводе на русский и кыргызский
были использованы слова в прямом значении,
в то время как в оригинале слово ‘purse ‘ функционирует в роли метонимии. Трудности в
переводе может вызывать и другой компонент
коннотации – стилистическое значение слова,
указывающее на принадлежность слова к возвышенной, поэтической речи. И здесь потери
возникают тогда, когда слова, совпадающие по
предметно-логическому значению, различаются
по стилю. Русское «деньги» и кыргызское «акча»
полностью соответствуют английскому «purse»,
но в английском языке оно употребляется как
поэтическое слово с тем же значением. При его
переводе стилистический компонент утрачен, но
154
сохранен его функциональное значение. В этом
слове переход от оригинала к переводу осуществляется с помощью грамматических замен, что
подразумевает отказ от использования в переводе
аналогичных грамматических форм. В переводе
категория числа сохраняется, то есть соотнесенные существительные в оригинале и в переводе
употребляются в том же самом числе, за исключением случаев, когда форме единственного числа в
английском и в кыргызском языках соответствует
форма множественного числа в русском. Сравним
«purse » – «деньги»- «акча».
После приведенных примеров нам стало ясно
что, семиолингвистические средства в произведениях были проанализированы следующими
видами задач:
- выявлением лингвосемиотическихединиц
исследовавшие закономерности;
- сопоставлением оригинала произведения и
перевод на кыргызский язык на семиотическом
уровне;
- выявлением текстовых несоответствий вызванным особенностями структуры оригинала, и
на который, он переведен;
- выявлением и анализированнием текстовых
несоответствий, вызванным различиями в национально-специфичной языковой картине мира.
Использованная литература:
1. W. Shakespeare Histories Volume 1 The Milenium
library 1994
2. А.Осмонов/ Отелло: Ыр менен жазылган трагедия. – Ф.: Кыргызмамбас, 1949. − 152 б.
3. Гальперин И. Р. “Очерки по стилистике английского языка” -М., 1958
4. Ж. Иманкулов “В. Шекспир Ричард III” кыргыз
тилине котормосу Ф-1982
5. Задорнова В.Я. Восприятие и интерпретация
художественного текста.- М., 1984
6. Задорнова В.Я. Стилистика английского языка.М., 1986
7. Караева З.К. Перевод и семиотика Бишкек
2006.
8. Липгарт А.А. Методы лингвопоэтического исследования. Автореф. Дис.д-ра наук. М., 1997
9. Усубалиев Б. Ш. Көркөм чыгармага лингвистикалык илик.-Б,
10. Я. Мукаржовский Преднамеренное и непреднамеренное в искусстве. Структурализм: за и
против.—М.:» Прогресс, 1975
Интернет ресурсы:
11. https://ru.wikipedia.org/wiki/Моррис, _Чарльз_
Уильям
12. https://ru.wikipedia.org/wiki/Пирс, _Чарльз_Сандерс
13. h t t p : / / r u t r a c k e r. o r g / f o r u m / v i e w t o p i c .
php?t=3209198 /(Значение и необходимость.
Исследование по семантике и модальной логике.)
14. ru.wikipedia.org/wiki/
УДК: 811.161.1 (575.2) (04) Sharsheeva Ainura, senior teacher, IUK
Gestures in Different Cultures
Жесты в разных культурах
Аннотация: В статье обосновывается необходимость изучения особенностей невербального
поведения представителей разных культур, вызванная несоответствием кинесических систем.
Особая природа невербальной коммуникации объясняет наличие универсальных, понятных всем
знаков, а также специфических сигналов, используемых в рамках только одной культуры.
Ключевые слова: межкультурная коммуникация, невербальное общение, кинесика, кинесическая
система, невербальные сигналы.
Abstract: The necessity of studying the characteristics of nonverbal behavior of different cultures due to
the mismatch kinesics systems. The specific nature of non-verbal communication explains the existence of
universal, understood by all characters, as well as specific signals used only within the same culture.
Keywords: intercultural communication, nonverbal communication, kinesics, kinesics system, nonverbal signals.
155
Communication and its skills plays vital role
and holds the key in all spheres of our life. Effective
communication takes into account on the way we
use effective words and sentences, and swiftness of
deliverance of those words, its intonation and sign
language we use. Effective use of proper tools to
convey the proper messages at the right time can
recover crises and encourage every one of us to work
towards success.
To have clear crystal understanding,
communication refers to the process by which
people exchange information, feelings, and meanings
through verbal and non-verbal message. We see that
it is merely the process of conveying information
from one person to another person, but when we
think of how we may communicate, then the subject
becomes quite intricate. And two main complex
categories of communication are verbal and nonverbal communication.
Non-verbal communications include facial
expressions, the tone and pitch of the voice, gestures
displayed through body language and the physical
distance between the communicators. These
non-verbal signals can give clues and additional
information and meaning over and above spoken
(verbal) communication.
Nonverbal communication is a silent form of
communication, which has a great influence over our
social environment and the whole communication
process. Nonverbal communication allows us to send
messages to others conveying what we are feeling
or thinking without verbal language. Nonverbal
Communication has many different functions in the
communication process. It regulates relationships and
can support or even replace verbal communication in
some situations. This is accomplished solely through
the use of nonverbal communication. Nonverbal
communication is the use of the body, environment,
and personal attributes in order to communicate
messages either consciously or unconsciously.
Using clothing, facial expressions, and touch are
just of a few ways nonverbal communication
can be implemented. By reading somebody’s
nonverbal communication, it is possible to make
many assumptions about the person. Whether these
assumptions are correct or not often go unchecked.
And just like a book, it may be best not to judge by
appearances. However, much of society still focuses
heavily on nonverbal communication failing to give
people a chance before they even speak. Nonverbal
communication is used daily in everybody’s lives.
Non-verbal Messages Allow People To:
• Reinforce or modify what is said in words.
For example, people may nod their heads vigorously
when saying "Yes" to emphasise that they agree with
the other person, but a shrug of the shoulders and a
sad expression when saying "I'm fine thanks, ” may
imply that things are not really fine at all!
• Convey information about their emotional
state.
• Define or reinforce the relationship between
people.
• Provide feedback to the other person.
• Regulate the flow of communication, for
example by signalling to others that they have
finished speaking or wish to say something.
The types of interpersonal communication that
are not expressed verbally are called non-verbal
communications.
These include:
• Body Movements (Kinesics)
• Posture
• Eye Contact
• Para-language
• Closeness or Personal Space (Proxemics)
• Facial Expressions
• Physiological Changes
Nonverbal Communication Carries More
Meaning than Words
Nonverbal communication might look
nonessential for humans – who needs to communicate
nonverbally, when we have words to express our
thoughts? We do have words; however, as it turns out,
we still convey most of the meaning via nonverbal
methods. What is more, many nonverbal expressions
we consider to be fine in our culture can get us into
trouble in other parts of the world or when working
with people from other countries at home.
Nonverbal Communication: Different
Cultures, Typical Differences
Nonverbal communication can be divided
into several categories: facial expressions, head
movements, hand and arm gestures, physical space,
touching, eye contact, and physical postures. Here
are some noteworthy examples in each of the
categories:
Facial Expressions: A smile is one of the
most common examples of a facial expression in
different cultures. While Americans smile freely
at strangers, in Russia this is considered strange
and even impolite. In Asian cultures a smile isn’t
necessarily an expression of joy and friendliness but
156
it can be used to convey pain and embarrassment. For
many Scandinavians a smile or any facial expression
used to convey emotions is untypical because it is
considered a weakness to show emotions.
Head Movements: In many cultures in the
Middle East and Bulgaria, the head movement for
“Yes” is just the opposite of the head movement for
“Yes” in almost any other culture. You can imagine
how confusing it can be to see that somebody is all
smiles but his or her head movement means “No” to
you. In such cases saying “Yes” or “No” with words
is enough to avoid confusion.
Hand and Arm Gestures: Hand and arm
gestures as a form of nonverbal communication also
vary widely among cultures. While in some cases a
particular gesture means nothing to a representative
of another culture, in other cases--for instance the
“thumbs up” gesture or the “OK sign” – have vulgar
meanings in Iran and Latin America, respectively.
Yet in other countries the “OK” sign means just
“zero”, which is not offensive.
Physical Space: The acceptable physical
distance is another major difference in the nonverbal
communication between cultures. In Latin America
and the Middle East the acceptable distance is much
shorter than what most Europeans and Americans
feel comfortable with. This is why an American or
an European might wonder why the other person is
invading his or her personal space by standing so
close, while the other person might wonder why the
American/European is standing so far from him or
her (are they trying to run away or what?) .
Touching: Handshakes are usually acceptable
almost everywhere, even between strangers;
however, kissing on the cheek, patting on the
shoulder, embraces, or touching other bodily parts
aren’t – for many people in Asia and other parts of
the world such actions are interpreted as an offense
or even a violation of one’s private space. This is
why you should avoid touching.
Eye Contact: Eye contact is one of the forms
of nonverbal communication where the differences
are most striking. In America and Latin America
not looking the other person in the eye is a sign of
disrespect and it might even look suspicious (“he
or she doesn’t dare to look me in the eye, so he or
she is hiding something”) . In other cultures, i.e.
Asian cultures, prolonged eye contact is especially
offensive, so you should avoid it at all costs.
Physical Postures: Physical postures are also
quite of a difference between cultures. The most
common example is the habit of many American
executives to rest with their feet on their desk, which
in Asia, the Middle East, and Europe is considered
highly offensive.
To u c h i s a n o t h e r c u e o f n o n - v e r b a l
communications. It helps in indicating a person’s
feelings or expressions, closeness, and illustrates
characteristics of that person. A firm and stiff
handshake or warm and lovely hug signify obviously
different than a loose one.
Never the less, the sound, pitch, tone and volume
of our voice while we are communicating can also
be referred as forms of non-verbal communication.
Voice use intonation, tone and vocally produced
sounds. We use the pitch of voice to differentiate
whether the sentence is a command, or advice or
else a question or statement, and whether it shows
aggressiveness; meaning vocal sounds and tone
project our expressions. For example: Shaky and low
volume of our voice when we present something in
the class or when we speak to any kind of gatherings
indicate that he or she fear or is not confident enough
to do so.
The clothing we wear and its colour are also other
forms of non-verbal communication that commonly
outline judgements among us depending on different
cultures and custom. After all, we would find that
non-verbal communication coexist alongside verbal
communication, which can affect each other and aid
each other in delivering right thoughts and ideas
through interpersonal communication.
As you see, the differences in nonverbal
communication between cultures are pretty striking.
This means that when you need to communicate with
people from different cultures, it makes sense to learn
in advance about their nonverbal communication.
This can save you a lot of embarrassment and
misunderstanding. Of course, cultural stereotypes
are just stereotypes, and you can’t say that every
single individual from a different culture exhibits the
same forms of nonverbal communication. Still, even
individuals with a lot of international experience
continue to carry some or many of the signs of their
culture of origin.
Importance of non-verbal communication
Firstly, we can say that non-verbal communication
is important in expressing our emotions. Emotions
such as happy, satisfied, confident, surprised, eager,
tired, stressed, sad etc. These are almost all expressed
through different body gestures and face. We are able
to understand each other up on judging each other’s
157
expression. For example if someone cries, it indicate
that something has happened to him or her and others
will be able to help it. Non-verbal gestures are what
our recipients see in the first place, even before a
single word is heard. These figurative messages can
be a visual sign of feeling, but our words convey a
different message. Using non-verbal cues help in
expressing meaning, to navigate complicated state
of affairs and build strong relationship for us at
home or work. Thus, expression of the face becomes
basic mode of non-verbal communication among
people.
So, upon knowing the facts and reasons about
importance of non-verbal communication, we should
take consideration both verbal and non-verbal equally
while communicating in our daily life. Our everyday
success depends upon our capability to communicate
effectively, both verbally and non-verbally. Verbal
and non-verbal communication actually defines our
interactions and our relationships with others, and
portrays physical and psychological well-being of a
person. Therefore, understanding the different forms
and aspects of verbal and non-verbal communication,
and its vitality in playing roles during any kind
of daily interactions is the first step to enhancing
positive communication and nurturing relationships.
To sum up, these statistics and proves indicates that
non-verbal communication is also equally important
to verbal communication in this real world.
Non-verbal communication is an incredible
means of communication that serves many purposes.
Some non-verbal communication is used to communicate attitudes and emotions, and to manage
immediate social situations. Other forms support and
complement verbal communication, as well as offer
another means of speaking simply through gesture.
There are many complex rules of its sequence and
structure, but if used enough through the practice of
conversation it can, and will, help you to become the
best tutor that you can be.
Bibliography:
1. Bellak, Leopold. Reading Faces. New York: Holt,
Rhinehart and Winston. 1981.
2. Hinde, R.A.. Non-Verbal Communication. New
York: Cambridge. 1972.
3. Mehrabian, Albert. Nonverbal Communication. New York: Aldine. 1972.
4. Vargas, Marjorie Fink. Louder Than Words:
An Introduction to Nonverbal Communication.
Iowa: Iowa State. 1986.
5. http://nonverbal.ucsc.edu/
УДК: 811.161.1 (575.2) (04) Tashmatov Abdimitalip,
Kyrgyz State University named after I. Arabaev
The Correspondence and Differences of the Dyadic and Triadic
Sign Models
Соответствия и различия Диадических и Триадических
знаковых моделей
Аннотациясы: Бул макала Соссюр жана Пирс тарабынан сунушталган белгилердин моделдерин изилдейт.
Негизги сөздөр: диадикалык жана триадикалык белгилер, интерпретанта, объект,
белги, семиозис.
Аннотация: В этой статье, мы рассмотрим схожие признаки и различия двух моделей
знака предложенные Соссюром и Пирсом.
Ключевые слова: диадические и триадические знаковые модели, интерпретанта,
значимость, объект, символ, семиозис.
Abstract: In this article, we will examine about the correspondences between the dyadic sign
model proposed by Saussure and the triadic sign model proposed by Peirce.
Key words: dyadic sign model, triadic sign model, interpretant, signified, object, signifier,
semiosis.
158
Traditionally, it has been thought that Peirce’s
interpretant corresponds to Saussure’s signified and
Saussure’s model lacks Peirce’s object. Our analysis
suggest that Peirce’s object formally corresponds to
Saussure’s signified, and that Saussure’s sign model
is obtained when Peirce’s interpretant is located
outside of his model in the language system.
There are two well-known sign models in
Semiotics: the dyadic model proposed by Saussure
and the triadic model proposed by Peirce. In fact,
the inherent difference separating these two models
has been recognized since the beginning of the
philosophy of language.
The existence of signs prior to sense and
referent is now shared by most philosophers, who
have adopted the triadic model, such as Ogden and
Richards.
Thus, there have been two models of signs for
many years. However, the relationship between
these two models has been controversial, except for
the notion of sign vehicle. Both dyadic and triadic
models include the notion of a sign vehicle that
functions by evoking a cognitive image inside the
human mind. The authors of the existing literature
generally agree that Peirce’s representamen, Ogden’s
symbol, Saussure’s signifier, and Hjemslev’s
expression all correspond to one another.
In Noth, two models are summarized as
follows:
Triadic models distinguish between sign vehicle,
sense, and reference as the three relata of the sign.
Dyadic models ignore either the dimension of
reference or that of sense. There he also characterizes
Saussure’s model as follows:
‘The distinctive feature of its bilaterality is the
exclusion of the referential object’. Furthermore,
Noth shows the contrast between reference and sense
in a table: sense corresponds to Saussure’s signified
and reference corresponds to Saussure’s thing,
whereas sense corresponds to Peirce’s interpretant
and reference corresponds to Peirce’s object. From
these correspondences, we can infer that Noth regards
Peirce’s interpretant as corresponding to Saussure’s
signified and Peirce’s object as corresponding to
Saussure’s thing.
The correspondence between the dyadic and
triadic models is discussed by Eco too, where he
shows the correspondence between Saussure’s
‘concept’ and Peirce’s ‘interpretant’. Saussure
repeatedly uses the term ‘concept’ to explain and
define his signified, again indicating that Peirce’s
interpretant corresponds to Saussure’s signified.
This is justified in his other literature on semiotics
where Eco states ‘Objects are not considered within
Saussure’s linguistics’. Through the correspondence
with the sign model presented by Frege, Eco situates
the Peirce’s object as a ‘real and actual object.’
Therefore, according to Noth and Eco, the
correspondence of sign models in Saussure and
Peirce can be stated as follows:
- Saussure’s signifier correspond to Peirce’s
representamen;
- Saussure’s sign model does not include a
referential object, consequently,
- Saussure’s signified correspond to Peirce’s
interpretant.
To verify this correspondence, we next examine
the definitions of relata in the sign models of Peirce
and Saussure.
Another hypothesis based on Peirce and
Saussure’s definitions Peirce explains his object as:
“The Sign stands for something, its object. It stands
for that object, not in all respects but in reference
to a sort of idea”. As expressed by Peirce as ‘a sort
of idea, ’ the immediate object is interpreted as ‘the
mental representation of an object’ by Noth. In
contrast, the mediate object is the ‘Object outside
of the sign, ’ or ‘the Reality which by some means
contrives to determine the Sign to its Representation’.
Therefore, Peirce’s object included in his sign model
is the immediate object, which is actually the mental
representation of an object.
These two distinctions regarding Peirce’s object
raises the question of whether the object actually
corresponds to Saussure’s thing, because Saussure’s
thing is a real world object. More precisely, Peirce’s
mediate object corresponds to Saussure’s thing, both
referring to a real world object. However, Peirce’s
immediate object does not correspond, as it is mental
in nature. It is more likely to correspond to Saussure’s
signified, which is explained as follows:
159
‘The signifying (auditory) and the signified
(conceptual) elements are the two elements that
make up the sign.’
Consequently, there is the possibility that
Saussure’s signified corresponds to Peirce’s
immediate object.
The other relatum of Peirce, the interpretant,
he defines as: ‘A sign addresses somebody, that is,
creates in the mind of that person an equivalent sign,
or perhaps a more developed sign. That sign which it
creates I call the interpretant of the first sign.’
Peirce’s objective of semiotic study concerned
the formulation of human semiosis and this
interpretant plays a crucial role in semiosis
production. The interpretant of a representamen
calls other representamens which evoke other
interpretants leading to an infinite semiosis. To
have this function evoke semiosis, Peirce explains
interpretant with respect to the term ‘interpretation’.
Peirce’s sign model thus encapsulates not only
the mental representation of an object, but also
interpretations of the object.
Another aspect of Saussure’s model is that the
value of signs not only exists in the signified, but
also outside of his model.
Overall, another hypothesis is raised here
that Saussure’s signified corresponds to Peirce’s
immediate object and Peirce’s interpretant is located
outside of the sign model, in Saussure’s language
system.
We now examine the correspondence between
dyadic and triadic identifiers through our application
of the Saussure and Peirce’s sign models to identifiers,
as illustrated in Figure 3. This correspondence can
be summarized as follows.
- Saussure’s signifier corresponds to Peirce’s
representamen.
- Saussure’s signified corresponds to Peirce’s
immediate object.
- Saussure’s difference appears when the ‘use’ of
each sign is located outside of the sign model.
In Peirce’s model, the ‘use’ of signs is represented
as an interpretant and semiosis is generated by
calling an interpretant pre-attached to the sign itself.
On the other hand, in Saussure’s model, a semiosis
is generated by a sign being used by another sign
which is used by another sign and so on, where all
signs are located inside the language system. This
correspondence follows the hypothesis described
above.
Thus, in the triadic model, meaning as use is
embedded inside the sign’s definition, so semiosis
is generated by applying signs already belonging
to the sign; in the dyadic model, meaning as use
is distributed inside the language system as a
holistic value, so a sign sequence appears by a
sign being called from some other sign located
in the system.
So, there is no answer to the question of which
model is best. The triadic model provides a rich
and complete concept of the object, which enables
modularity and encapsulation.
The difference between the two models lies in
where to situate the ‘use’ of signs — inside or outside
the sign model. We suppose that Peirce’s model is
compatible with Saussure’s model, and Saussure’s
model can be obtained when Peirce’s interpretant
is located outside of the sign model in the language
system.
Bibliography:
1. Eco U. The Theory of Semiotics. Bloomington:
Indiana University Press. 1979
2. Noth, W. (1990) . Handbook of Semiotics.
Bloomington: Indiana University Press.
3. Peirce, Charles, S. The Collected Papers of Charles
S. Peirce, 8 vols., 1931–1966
4. Saussure, Ferdinand de. Troisie`me cours de
linguistique geґneґrale d’apre`s les cahiers
d’Eґmile Constantin, New York: Pergamon Press.
1993.
160
УДК: 811.161.1 (575.2) (04) Turgunova Gulmira,
Sulaimanova A,
Diplomatic Academy of MFA KR
Challenges and Variety of Communicative Semiotics; Nonverbal
communications through Kyrgyz Culture
Проблемы и разнообразия коммуникативной семиотики;
Невербальные коммуникации через Кыргызскую культуры
Аннотациясы: Макала суйлошуулордун турдуулугун жана алардын кыйынчылыктарын баяндайт. Семиотика илими суйлошуулорду жургузуудо алардын ар турдуу белгилерин тушундуруп
максатка эртерээк жетуусуно комоктошот.
Негизги сөздөр: Суйлошуу системасы, теориялык илим, кабар, кыйынчылыктар, созсуз суйлошуулор, семиотика, маданият
Аннотация: Статья рассмотривает разновидности коммуникаций и трудности их осуществления, чтобы достичь всеобщего понимания. Семиотика как отдельная отрасль науки
о коммуникации и знаковых системах дает множество возможностей взаимо понимания при
межкультурной коммуникации.
Ключевые слова: система коммуникации, теория, сообщение, трудность, невербальная коммуникация, семиотика, культура.
Abstract: The article deals with the variety of communication system as encoding and decoding of
messages. Semiotics is the science of communication and sign systems, in short, of the ways people
understand phenomena and organize them mentally, and of the ways in which they devise means for
transmitting that understanding and for sharing it with others.
Keywords: Communication system, theory, massage, challenge, nonverbal communication,
semiotics, culture.
The notion of communication, as well as the
discussion of the notion, has been present in the
West from pre-Socratic times. Yet it was only in the
twentieth century, with the development of a fullyfledged ‘communication theory’, communication
was fundamentally conceived in terms of Sender →
Message → Receiver
The message provides the basis for this action
since it is encoded by the sender and decoded by the
receiver. The fact that it requires coding and encoding,
of course, indicates that the message is not a perfect,
transparent vehicle for ‘meaning’: it mediates
meaning as a result of being in a channel. The work
of researchers in cybernetics in the late 1940s led to
an ‘information theoretic’ theory of communication
in which ‘meaning’ of communications was deemed
irrelevant and the actions of an information source,
a message, a transmitter, a signal, a receiver, a
message, a destination, “noise” were the crucial
factors.
However, communication is also understood
outside information theory, particularly in the
humanities, as involving the delivery of more or less
clear messages between a sender and a receiver. In
literary and poetic communication, in contrast to
information theory, ‘meaning’ plus the roles of the
‘sender’ and the ‘receiver’ of a message, along with
codes, are deemed very important.
A mediating position on between the ‘neutral’
and ‘meaningful’ understanding of communication
has been the disciplinary field of semiotics.
Originally prominent in dealing with communication
involving only human signs in a manner of
cultural anthropology, semiotics developed in a
fashion which was to re-cast understandings of
communication. In particular in the late twentieth
century, Thomas A. Sebeok’s increasing attention
to non-human communication as he developed
‘zoosemiotics’ marks a period of great advance in
the theorising of communication in general. With
161
the realization that the overwhelming amount
of communication in the world is nonverbal, as
opposed to a relatively minuscule amount of verbal
(human only) communication, Sebeok continually
attempted to draw the attention of glossocentric
communication theorists to the larger framework in
which human verbal communication is embedded.
As Sebeok demonstrates, when one starts to conceive
of communication in the aggressive expressions of
animals or the messages that pass between organisms
as lowly as the humble cell, rather than just in, say,
messages in films or novels, then the sheer number
of transmissions of messages (between components
in any animal’s body, for example) becomes almost
ineffable. This amounts to a major re-orientation for
communication. Human affairs are found to represent
only a small part of communication in general.
Research into sign systems began with the
ancient Greeks, and in the course of Western
history many writers and scholars have studied the
various processes by means of which signification
is produced. In the modern world the major areas
which have been the object of semiotic study are
literature, environmental and social structures,
visual arts, ritual, myth, and gesture. Consequently,
semiotics is very much an interdisciplinary science
as germane to Anthropology as it is to English, to
Philosophy as it is to Art History, to sport as it is to
media studies.
The most courses in semiotics are intended to
be the core of a program of study that will combine
courses of both a theoretical and applied nature.
Anthropology, Literary Studies, Philosophy and
Psychology relate most obviously to the core
courses; the major and minor programs that follow
have been drawn up with that fact in mind.
As intuited by de Saussure in the second
quote above, this is an important opportunity
because it enables one to investigate human
language in very general terms, distinguishing
its core mechanisms from the idiosyncrasies of
any specific communication system. Thus far de
Saussure’s intuition has had limited recognition
and implementation in linguistics. In fact, the core
of modern linguistics has been developed under
two related assumptions, which we will here refer
to collectively as the speech assumptions. The first
assumption is that speech has a central place among
human communication systems and that studying
it can provide us with all we need to understand
language. The second assumption is that speech
can be fully understood from within itself, that is,
without studying it in a comparative fashion with
respect to other human communication systems.
The speech assumptions seem rather reasonable.
Speech and the many writing systems derived from
it are by far the most common communication
systems used by humans; other systems are either
much less common (e.g., sign language) or much
less powerful (e.g., road signs) . Perhaps for these
reasons, the speech assumptions are so ingrained
in modern linguistics that two well-known and
insightful linguists, when they attempted to define
the essence of human language, included the use
of the vocal-auditory channel as a feature (Hockett
1960; Martinet 1984) .
An important opportunity to challenge the
speech assumptions arose about half a century ago,
when researchers began to investigate languages
which are not implemented over the vocal-auditory
channel, in particular signed languages. However,
the opportunity was not readily exploited. In order
to persuade the linguistic community that they
were indeed studying fully-fledged languages,
students of sign language highlighted the similarities
between spoken and signed languages rather than
the differences. Thus, the study of sign language
coexisted for about four decades with the speech
assumptions and it was not until very recently
that sign language researchers have begun to
overtly challenge them. This challenge has direct
implications for students of speech and feature of
language. As we shall see below provides further
support for this hypothesis.
According to Matsumoto and Juang, the
nonverbal motions of different people indicate
important channels of communication. Nonverbal
actions should match and harmonize with the
message being portrayed, otherwise confusion will
occur. For instance, an individual would normally
not be seen smiling and gesturing broadly when
saying a sad message. The author states that
nonverbal communication is very important to be
aware of, especially if comparing gestures, gaze, and
tone of voice amongst different cultures. As Latin
American cultures embrace big speech gestures,
Middle Eastern cultures are relatively more modest
in public and are not expressive. Within cultures,
different rules are made about staring or gazing.
Women may especially avoid eye contact with men
because it can be taken as a sign of sexual interest. In
some cultures, gaze can be seen as a sign of respect.
162
In Western culture, eye contact is interpreted as
attentiveness and honesty. In Hispanic, Asian,
Middle Eastern, and Native American cultures, eye
contact is thought to be disrespectful or rude, and
lack of eye contact does not mean that a person is
not paying attention. Voice is a category that changes
within cultures. Depending on whether or not the
cultures is expressive or non-expressive, many
variants of the voice can depict different reactions.
The acceptable physical distance is another major
difference in the nonverbal communication between
cultures. In Latin America and the Middle East
the acceptable distance is much shorter than what
most Europeans and Americans feel comfortable
with. This is why an American or a European might
wonder why the other person is invading his or her
personal space by standing so close, while the other
person might wonder why the American/European
is standing so far from him or her.] In addition, for
Latin Americans, the French, Italians, and Arabs
the distance between people is much closer than the
distance for Americans; in general for these close
distance groups, 1 foot of distance is for lovers,
1.5–4 feet of distance is for family and friends, and
4–12 feet is for strangers.[45] In the opposite way,
most Native Americans value distance to protect
themselves.
What nonverbal actions are particular to
Kyrgyz nation? According to the above given
examples most of Asian cultures actions generally
particular to Kyrgyz nation too, but there are some
differences even Kyrgyz is also one of the Muslim
countries. The difference is in its upbringing and
some customs and traditions of Kyrgyz people.
Eye contact in Kyrgyz culture is also thought to be
disrespectful or rude, but lack of eye contact means
that a person is not paying attention or he/she is not
so truthful. Kyrgyz people is one of the independent
nation is in Central Asia who is more freedom in
his actions and movements without being accused
by its society.
What does Nonverbal communication mean
for Kyrgyz people? The Kyrgyzs have a variety of
ways of greeting one another, and the procedures are
followed in an almost ceremonial way. When two
men who are friends greet each other, for example,
the handshake is not overly vigorous, but it is warm
and often quite elegant. Good friends can also shake
hands by lightly and gently placing them, with the
thumbs up, in between the other’s hands. It is not
unusual for men to simply touch wrists, especially
when they are working and their hands might be
dirty.Women do not usually shake hands. Instead,
each touches the other’s shoulder, using the right
hand. Moreover, as a sign of respect, a younger
woman will kiss an older woman on the cheek.
The Kyrgyzs are also fond of hugging. Any festive
gathering is likely to include many hugs.
Clothing is one of the most common forms
of non-verbal communication. The study of
clothing and other objects as a means of nonverbal communication is known as artifacts or
objects. The types of clothing that an individual
wears conveys nonverbal cues about his or her
personality, background and financial status, and
how others will respond to them. An individual’s
clothing style can demonstrate their culture, mood,
level of confidence, interests, age, authority, and
values/beliefs. For instance, Jewish men may wear
yamakas to outwardly communicate their religious
belief. Similarly, clothing can communicate what
nationality a person or group is, for example, in
traditional festivities, Scottish men often wear kilts
to specify their culture.
Aside from communicating a person’s beliefs
and nationality, clothing can be used as a nonverbal
cue to attract others. Men and women may shower
themselves with accessories and high-end fashion in
order to attract partners they are interested in. In this
case, clothing is used as a form of self-expression
in which people can flaunt their power, wealth, sex
appeal, or creativity. A study of the clothing worn
by women attending discothèques, carried out in
Vienna, Austria, showed that in certain groups of
women (especially women who were without their
partners), motivation for sex and levels of sexual
hormones were correlated with aspects of their
clothing, especially the amount of skin displayed
and the presence of sheer clothing.
While not traditionally thought of as “talk,
” nonverbal communication has been found to
contain highly precise and symbolic meanings,
similar to verbal speech. However, the meanings
in nonverbal communication are conveyed through
the use of gesture, posture changes, and timing.
Nuances across different aspects of nonverbal
communication can be found in cultures all around
the world. These differences can often lead to
miscommunication between people of different
cultures, who usually do not mean to offend.
Differences can be based in preferences for mode of
communication, like the Chinese, who prefer silence
163
over verbal communication. Differences can even
be based on how cultures perceive the passage of
time. Chronemics, how people handle time, can be
categorized in two ways: polychronic which is when
people do many activities at once and is common
in Italy and Spain, or monochronic which is when
people do one thing at a time which is common in
America. Because nonverbal communication can
vary across many axes—gestures, gaze, clothing,
posture, direction, or even environmental cues
like lighting—there is a lot of room for cultural
differences.
Kyrgyz wearing of closes dates back to the
immemorial times where every person should wear
clothes according to his or her status in the society
and ages of a person mean lots in clothing.
In conclusion, we may say that semiotics is
the science of communication and sign systems, in
short, of the ways people understand phenomena and
organize them mentally, and of the ways in which
they devise means for transmitting that understanding
and for sharing it with others. Although natural and
artificial languages are therefore central to semiotics,
its field covers all non-verbal signalling and extends
to domains whose communicative dimension is
perceived only unconsciously or subliminally.
Knowledge, meaning, intention and action are thus
fundamental concepts in the semiotic investigation
of phenomena.
Bibliography:
1. de Saussure, Ferdinand. Cours De Linguistique
Générale. Paris: Payot, 1900.
2. Peirce, Charles Sanders. Collected Papers of
Charles Sanders Peirce, 8 Volumes. Edited by
Charles Hartshorne, Paul Weiss, and A. W. Burks.
Cambridge, MA: Harvard University Press,
1931.
3. Eco, Umberto. A Theory of Semiotics. Bloomington,
IN: Indiana University Press, 1976.
4. Sebeok, T. A. (1997) ‘The evolution of semiosis’
in R. Posner et al (eds.), Semiotics: A Handbook
on the Sign-Theoretic Foundations of Nature and
Culture.Berlin: de Gruyter, pp. 436-446
УДК: 811.161.1 (575.2) (04) Zhaparova Kanykei,
Abdyrazakova Marianna, NSU
Cultural Semiotics. Interpretation of conventional signs of two
nations: Kyrgyz and American
Сравнение национальных символов Кыргызстана и Америки
Аннотациясы: Бул макалада эки улуттун, кыргыз жана америка, маданий сиволдору каралат.
Макалада Кыргыз республикасынын жана Америка кошмо штаттарынын символдору болгон
гимн, флаг жана герб каралып, окшоштуктар жана айырмачылыктар берилген.
Негизги сөздөр: семиотика, интерпритациялоо, белгилер
Аннотация: В этой статье рассматриваются культурные символы двух наций как
кыргызов и американцев. Статья рассматривает национальные символы как гимн, флаг
и герб Кыргызской республики и Соединенных Штатов Америки, и выделяет сходства и
различия между ними.
Ключевые слова: семиотика, интерпретация, знаки
Annotation: This article deals with the cultural symbols of two nations as Kyrgyz and American. It reviews the national symbols as anthem, flag and the emblem of Kyrgyz Republic and the
United States of America, reveals the similarities and the differences between them.
Key words: semiotics, interpretation, signs.
We have chosen as a topic of our research symbols
of the two countries, two cultures Kyrgyzstan and
America. But first it would be better to clarify what
exactly the conventional signs are proceeding from
164
the semiotics of culture. Semiotics of Culture – a
symbolic means of culture, as well as consideration
of all cultural phenomena as texts. In this case,
based on the fact that a necessary component of any
culture is the information that is always stored and
transmitted through signs constituted as a text. “Text”
can be not only written message, but any artifact,
which is considered as a carrier of information.
Along with the natural, functional, iconic signs, there
are conventional (conditional) signs.Conventional
(conditional) signs – artificially created signs that
people have agreed to attribute a certain value. There
are three main types of conventional signs – signals,
codes and symbols.Signals – notification or warning
signs, such as traffic light colors. Codes – symbols
of objects or situations that have a compact form and
used to identify these objects and situations from a
number of others. Symbols – signs, not only pointing
to an object, but also carrying the additional meaning.
Examples of symbols are the state emblem, flag, and
anthem – symbolic signs of state dignity.
Every civilization naturally undergoes changes in
the political, economic, cultural and historical ways
of development similar to our compared cultures.
Every culture has signs, symbols, attributes, etc.,
which people establish and agree among themselves
on the values of these signs.
Analyzed signs, symbols as emblem, anthem
and flag at the present stage are carriers of especially
important attributes. Before talking about the people
or a nation, we talk about their merits, and, dignity
is represented by signs that give the main attributes
of the country, namely the flag, emblem and anthem.
Comparing flags of the two countries, two cultures,
we learn the philosophy of the whole nation.Thus,
the flags of the two countries, on the one hand
America, which is still not fully explored, which is
one of the great powers, which has an effect on the
economic and political life of other countries and a
small country as Kyrgyzstan.
Flag of Kyrgyzstan.Ratio: 1: 2. Is red, in the
center of the plotting the yellow sun.In the sun
there is an image of the Kyrgyz yurt. Image of yurt
symbolizes motherland. The red color of the flag
symbolizes the valor and courage. Red flag was
the color of the flag of great and generous Manas.
Life-giving radiant golden sun, swim in its rays, is a
symbol of eternal life, represents peace and wealth,
the desire for light, for knowledge. 40 rays, united in
a circle denote the union of 40 ancient tribes in the
United Kyrgyzstan. 40 rays of the sun is 40 soldiers
of great Manas. The width of the flag is three-fifths
of its length. The diameter of the radiant disk is
three-fifths of the width of the flag. Diameter ratio
of solar and radiant discs – three to five.Tyundyuk
diameter is half the diameter of the radiant disk.The
flag was approved in March 3, 1992 by decision of
the JogorkuKenesh of the Kyrgyz Republic.Authors:
E. Aidarbekov,
B. Zhaychybekov, S. Iptarov, J. Mataev, M.
Sydykov.Aflag flaunts over all administrative buildings
and institutions. In mourning a flag of Kyrgyztan is
omitted completely. Flag of America. Seven red
and six white horizontal equal alternating bands.In
the upper left corner of the blue rectangle, 50 white
stars.The meaning and history of the flag of the USA:
Thirteen stripes represent the 13 colonies that formed
the Independent States (Delaware, Pennsylvania,
New Jersey, Georgia, Connecticut, Massachusetts,
Maryland, South Carolina, New Hampshire,
Virginia, New York, North Carolina, Rhode Island).
Blue symbolizesUnion. Stars in blue corresponds
to the number of states (currently of 50). The red
color represents the endurance and valor; dark blue
– diligence, fairness, vigilance; white – innocence
and purity.
The ratio of width to length is 10:19. Flag of
the US flaunts in national celebrations and special
days.
An emblem of Kyrgyz Republic – the
official state symbol of the Kyrgyz Republic; was
developed by A. Abdraevand S. Dubanayev and
approved in January 14, 1994 by resolution of the
JogorkuKenesh.In the center of the emblem on a
background of Issyk-Kul Lake and ridges of AlaToo, on which the sun rises, the image of a white
eagle with outspread wings, symbolizing freedom
and independence of Kyrgyzstan. Silhouette of the
sun is a symbol of life, wealth and abundance. This
element is highlighted in the state symbols. Top of
mountains, lit by the sun, like the Kyrgyz national
hat “kalpak.”
In the worldview of nomads a special place is
given to prairie eagle or golden eagle. In the language
of symbolism silhouette of eagle means state power,
breadth and sagacity. For the prairies it is a symbol
of freedom, independence, striving for a goal, to the
height of the flight into the future. In the emblem of
Kyrgyzstan there isManas’seagle”Ak-Shumkar”.
Cotton and wheat, bordering the emblem symbolizes
the diversity of cultures in Kyrgyzstan and at the
same time the unity, uniting all their diversity into a
165
coherent whole – the people of Kyrgyzstan.
An emblem of the United States or Great
Seal of the United States – is used to authenticate
documents issued by the United States Government.
US Secretary of State is the official keeper of the
Great Seal. One can seeit in the exhibition hall of
the State Department in Washington.
The front side (obverse) .Its main element is
Bald Eagle only in the United States (Americans
call it “bald eagle”) – a symbol of sovereignty and
power. It is also a national symbol of the United
States. In one paw it holds 13 arrows, in the other
an olive branch, symbolizing that the United States
“want peace, but always ready for war.” The olive
branch is traditionally depicted with 13 leaves and 13
olives. Eagle’s head turned towards the olive branch,
which means greater preference is given to peace,
not war. Branch and arrows also means “country
which is great in the world, as well as in war.”On
the breast of an eagle there is a shield with 13 red
and white stripes, the upper part of the shield is blue.
Symbol resembles the flag, but on the emblem there
are 7 white stripes and 6 red. Sometimes the blue
part of the shield represents the 50 stars. In its beak
eagle holds a scroll with an inscription in Latin «E
Pluribus Unum», which is translated as “Out of many
– One” and reminiscent of the origin of the state by
combining states.Shown at the top of the emblem on
a blue background 13 stars arranged in the shape of
a star (Star of David) and surrounded by a golden
halo and clouds, illustrated the idea of founders of
the new state that emerged from the 13 states, and
will take its rightful place among the glorious Peace,
like constellations in the sky.
The reverse side. Few people know that the
feature of the Great Seal of the US is the present of
two unequal sides, while it has only one print side.
The back of the print depicts a standing on a grassy
plain trapezoidal unfinished pyramid, the top of
which is crowned with an eye in the triangle. Pyramid
consists of thirteen levels.
Reverse side is sometimes called its spiritual
side. List of all the element numbers isthirteen. You
must have noticed that many of the elements on the
emblem are repeated 13 times, for example, 13 stars,
13 stripes, 13 olive leaves etc. In fact, this is not
surprising, just 13 – the first is the number of states,
of which originally consisted of an independent
state.
National Anthem of the Kyrgyz Republic
was approved by the JogorkuKenesh of the Kyrgyz
Republic in December 18, 1992. Lyrics: Zh.Sadykov,
Sh.Kuluev, Music: N.Davlesov, K.Moldobasanov.
Translation from Kyrgyz: K.Akmatov and
M.A.Rudov. US Anthem. Until 1931, the United
States has not officially recognized national anthem.
Very often, the song “Hail, Columbia” (“Hail
Columbia”) was used as an anthem. Music of a song
“Hail Columbia”, also known as the “President’s
March”, was written in 1789 by Philip File for
the inauguration of the first US President George
Washington. In 1798, Joseph Hopkinson wrote the
lyrics of the song. “Hail Columbia” today is one of
the most popular patriotic songs in the USA. Francis
Scott Key, author of the text of the USA anthem.
Lyrics “The Star-Spangled Banner”, which later
became the national anthem of the United States,
were written in 1814. They wrote the poet, a lawyer
by profession, thirty-five years old Francis Scott Key.
In September 3, 1814, Francis Scott Key and John
Stuart Skinner, a lawyer and publisher, sailed from
Baltimore to negotiate with the British. It was the
military conflict between Great Britain and the
United States, known as the “Second American
Revolutionary War, “ and the aim of the negotiations
was an agreement on the exchange of prisoners.
Francis Key and John Skinner acted on behalf of
US President James Madison.Initially, the British
were not going to compromise, but Key and Skinner
showed British commanders letters of wounded
British soldiers captured by the Americans in which
they spoke very favorably about the conditions and
thanked for medical care. As a result, an agreement
was reached. After returning home of Francis Key
his cousin Judge Joseph Nicholson said that a poem
written by Francis lies well to the music of “Hymn
of Anacreon.” New patriotic song quickly became
popular in the United States.
US national anthem is performed by music,
written in 1766 by an English musicologist, organist
and singer John Stafford Smith. The tune was written
as a comic hymn “Company Anacreon, “ London
gentlemen’s club of amateur musicians, whose
meetings are usually devoted to “wit, harmony and
the god of wine.” Later, it became very common as
a song for friends, namely as a “sobriety test”. The
fact that the tune “Hymn Anacreon” quite difficult,
and if the gentleman could sing with no errors at
least one verse, it was thought that he might continue
libations.Since 1889 “Banner, strewed with stars”
– the official song of the Navy United States, since
1916 – the anthem of the US President.In March 3,
166
1931 the thirty-first US President Herbert Hoover
signed the resolution of the US Congress, which
“Banner, strewed with stars” was recognized asthe
official anthem of the United States.
Studying thestate flags, emblemsand anthems of
America and Kyrgyzstan one can think about thefact
that Kyrgyzstan does not particularlyvaluethese
symbolsandin America they give special importance
on eachof the state symbols. Maybe there areun
written codes for state symbols ofKyrgyzstan,
but it is most likelyin the soulof every citizen of
Kyrgyzstan, who considers himself responsible
forthese signs, for national symbols as theface of the
people.Comparing the symbols of the two countries,
we find similarities and differences, installing state
symbols, each country tries to show the power of
the country through the symbols indicating the
importance, the value of these phenomena for the
people, the state of humanity as a whole.
УДК: 811.161.1 (575.2) (04) Comparison of two nations’ symbols showed
that there are similarities; both depicted an eagle,
the symbol of freedom and independence, in the
flags of both countries red color symbolizing
courage and valor. Sun in both cultures is on
special place. Despite of different cultures and
traditions these two nations follow similar moral
values.
Bibliography:
1. E.Gornyi. What is semiotics?//Raduga, 1996
2. Y.S.Stepanov. Semiotics. M., 1971
3. A.Zh.Greimas, Zh.Kurte. Semiotics. Explanatory
dictionary of language theory. M., 1983
4. V.N.Toporov. Myth. Ritual. Symbol. Image.
Researches in the field of mythological poetic.
Izbrannoe. M., 1995
5. U.Eko. Absent structure. Introduction to semiology.
SPb, 1998
Dr. Lauren Matz, Saint Bonaventure University,
New York, USA
Teaching about Tea in British Fiction
Изучение Чая в жанре британской фантастикИ
Tea arrived in London in the 1660s as part of
a network of cultural changes. Tea immediately
became an upper-class exotic luxury and, in some
ways, it has maintained that high status. In British
fiction of the nineteenth and early twentieth
centuries, the beverage called tea can be either an
exotic upper-class immigrant or a domesticated,
homely, comfortable English citizen. Its foreignness
has largely been tamed and commodified. This is
often how tea functions in British fiction of the
nineteenth and early twentieth centuries: as a hardwon accessory of English domestic happiness, as the
center of a meal presided over by the woman of the
house. Fictional scenes involving tea as a beverage
are generally household scenes of conflict involving
domestic expectations. The conflict becomes
apparent when one or more characters resist or
pervert the ceremonial rituals of the event at which
tea is served. For instance, the most famous tea scene
in British literature is certainly the Mad Hatter’s tea
party in Alice’s Adventures in Wonderland where
Alice is exasperated by the (male, multi-species)
others’ refusal to obey the traditions of the Victorian
tea-table. More often, though, a fictional conflict at
the tea table involves an Englishwoman confronting
the values and traditions of her society.
By the nineteenth century tea had become a
symbol of Englishness. How it got to be this way
is an interesting story. Until about 1850, all of the
tea that came to England came from China under
severely regulated conditions, both in terms of
China’s export restrictions and the import monopoly
held by one British company. Tea was thus viewed
as a dangerous but attractive immigrant with a
mysterious origin. Tea needed to be domesticated and
naturalized. It needed to become English if it were
properly to hold the title role in the English family’s
central domestic event: the sociable and sustaining
meal or snack that bore its name.
Through its empire, Britain consumed the world,
from the tea plantations of the East to the sugar
plantations of the West Indies. One way this identity
167
of tea as English was achieved was the deliberate,
rapid, and extensive development of tea plantations in
British-controlled parts of India and Ceylon, so that
tea production and delivery could be totally under
British control. The other, more gradual, way that
tea became English was cultural. By the nineteenth
century tea drinking had spread through all levels of
society. It replaced beer as the traditional breakfast
drink for all classes. Tea was hailed as the national
drink of a nation that prided itself on its sober and
hard-working citizens. Even the way of drinking tea
became quintessentially English. Unlike Chinese tea
drinkers, English tea drinkers added milk and sugar
to their tea, and they were not expert at handling hot
beverages in thin porcelain cups. So even the shape
of the teacup evolved to suit English needs. A handle
was added, and a shallow saucer underneath propped
the spoon used to stir in the sugar.
Considerations of class also shaped the way tea
was consumed in Britain. One distinction is important
to keep in mind when reading British fiction. In a
British text, the word “tea” can refer either to the
beverage alone or, very often, to an entire late-day
meal at which tea is served. This meal’s significance
must be read differently depending upon the social
class of the participants. Low-quality tea (chopped,
powdered, re-used, adulterated) was the beverage at
the workers’ main evening meal called either “tea”
or, if a meat dish was served in addition to bread,
cheese, and vegetables, “meat tea.” High-quality
tea (made from loose tea leaves) was the beverage
at the wealthy-class “tea, ” a hearty snack between
the midday meal and the mid-evening meal. Rarely
does a novelist comment on the dishes served at a
tea: he or she would have assumed that contemporary
British readers would “read” the situation correctly
based on what had already been revealed about the
social situation of the characters involved.
In the middle and upper classes, tea was viewed
as a feminine beverage, made and poured by the
hostess, often as a showcase for her beauty, grace,
and wealth. Expensive silver and porcelain dishes
and accessories were used to make and serve the
tea. These “tea-things” included an urn or kettle to
boil the water, a teapot where the loose tea leaves
steeped, a pitcher for milk or cream, a sugar bowl,
teacups, saucers, spoons, a strainer to keep loose tea
leaves out of the cups, and a slop basin where the
cold dregs could be dumped from a cup before a fresh
serving of hot tea was poured. A lady’s making and
serving of tea was regulated by customs and rituals
that everyone present was expected to follow. Julie
E. Fromer, in her 2008 study A Necessary Luxury:
Tea in Victorian England, highlights many episodes
in Victorian novels like George Eliot’s Middlemarch
when breaches of tea etiquette reveal problems
between characters.
But is knowing about the significance of tea
really important for the reader of British fiction?
How common are references to tea, both beverage
and meal, in British fiction? I used an online
concordance (The Victorian Literary Studies Archive
Hyper-Concordance) to track the number of times
the word “tea” appears in various novels and I was
surprised by how often it does appear. For instance,
“tea” appears in Charles Dickens’s 1850 novel
David Copperfield 93 times, in Jane Austen’s 1814
novel Pride and Prejudice 13 times, and in Arnold
Bennett’s 1908 novel The Old Wives’ Tale 112 times.
Not all of these mentions of tea are semiotically rich,
but certainly many of them must be, especially when
characters are interacting with one another over their
teapots and cups of tea.
Let’s look at how tea functions in one wellknown short story, Katherine Mansfield’s “A Cup
of Tea.” Mansfield was born in New Zealand, but
she spent her adult life in England, and this story is
set in London in what would have been her present
day, presumably 1922, the year of the story’s
publication.
Rosemary is an idle, rich young wife, well
dressed but not beautiful, who likes to collect pretty
things and interesting people, so that she can show
them off to her friends. She goes shopping at an
expensive antique shop and almost buys a little
enameled box with the image of a romantic couple.
As she is leaving the shop, feeling lonely and sorry
that she hadn’t bought the box, a young woman,
obviously poor, cold and dripping wet from the
winter rain, asks her for “the price of a cup of tea.”
Rosemary impulsively orders the girl to come home
with her for tea.
The girl is fainting from starvation when they
arrive in Rosemary’s warm and luxurious bedroom,
but Rosemary can hardly wait to be thrilled by the
details of the girl’s life story, which she knows will be
so different from her own privileged life. Rosemary’s
maid brings tea for two, plus little sandwiches and
bread and butter. This is the “tea” that is the upperclass snack, not the working-class “tea” that is the
evening meal. Rosemary smokes a cigarette while the
girl eats all of the food and drinks all of the tea.
168
Revived, the girl lies back in the armchair,
and Rosemary is about to interrogate her when her
husband Philip comes in. Philip is surprised to see
that Rosemary has a guest, and he looks carefully
at the girl, seeing her shabby clothes and boots.
The girl reveals that her last name is Smith. Philip
draws Rosemary away to another room and asks
her what is going on. Rosemary tells him her vague
plan to “collect” Miss Smith and transform her life,
but when Philip says that he finds Miss Smith to be
“astonishingly pretty, ” Rosemary leaves him and
gets the equivalent of $200 from her desk. When she
returns to Philip, she tells him that Miss Smith has
left with a gift of money. She asks him if she can buy
the little $2000 box. When he says yes, she asks him
if he thinks she is pretty. And the story ends.
So how does tea function semiotically in this
story?
I think a proper English tea is the catalyst
that lets Rosemary believe that she will succeed
in capturing and domesticating the wild and
exotic street girl. A proper English tea is itself a
demonstration of the taming and re-inscribing of
an exotic outsider—Chinese or Indian tea—into a
useful domestic comfort. Through giving the girl tea,
Rosemary hopes that she will be able to begin the
process of changing her into a young woman who
will be presentable as a kind of trophy to her upperclass artistic friends. Miss Smith seems to want to
be domesticated through being given tea. Instead
of begging for money in general, she specifically
begs Rosemary for “the price of a cup of tea, ” and
Rosemary, who had just looked at a “plump teakettle” in the shop, has been thinking about how
her own disappointment at not buying the little
box will be lifted by “an extra-special tea.” So this
mutual love of the comfort of tea after a tough day
is the entrée to what Rosemary thinks will be a very
satisfying adventure: transforming Miss Smith. What
made Rosemary in need of tea was her decision not
to buy a $2000 trinket: and implicit in her desire
for the box with the romantic couple on it is her
subconscious knowledge that her own marriage is
lacking in romance. Of course, what made Miss
Smith in need of tea was her actual starvation on the
streets of London in a cold winter rain.
In Mansfield’s story as in so many British texts,
the tea scene is a location for domestic struggle
and conflicting expectations. Offering tea to Miss
Smith will, Rosemary thinks, give her the uplift of
collecting a fascinating new trinket. She sees herself
as a fairy godmother who will make Miss Smith into
a lucky Cinderella who will tell Rosemary all about
her luckless previous life. But Miss Smith resists
Rosemary’s intention. Unlike the imported tea that
has become a docile and reliable accessory in an
English household, Rosemary’s guest Miss Smith
becomes less tractable and more threatening once
she drinks Rosemary’s tea. Miss Smith wanted only
a cup of tea. She did not want to be compromised
into accepting the bourgeois worldview represented
by Rosemary’s plying her with all the trappings of
an upper-class tea in her luxurious boudoir.
Here is the scene of transformation, picking up
with the girl protesting,
“No, I don’t want no brandy. I never drink
brandy. It’s a cup of tea I want, madam.” And she
burst into tears....
“I’ll look after you. Don’t cry any more. Don’t
you see what a good thing it was that you met me?
We’ll have tea and you’ll tell me everything. And I
shall arrange something. I promise. Do stop crying.
It’s so exhausting. Please!”
The other did stop just in time for Rosemary to
get up before the tea came. She had the table placed
between them. She plied the poor little creature with
everything, all the sandwiches, all the bread and
butter, and every time her cup was empty she filled it
with tea, cream and sugar. People always said sugar
was so nourishing. As for herself she didn’t eat; she
smoked and looked away tactfully so that the other
should not be shy.
And really the effect of that slight meal was
marvelous. When the tea-table was carried away
a new being, a light, frail creature with tangled
hair, dark lips, deep, lighted eyes, lay back in the
big chair in a kind of sweet languor, looking at the
blaze. (589)
When Rosemary smokes a cigarette and
allows Miss Smith to eat and drink alone, she is
avoiding the conviviality and equality that come
from sharing a meal, especially from sharing tea
in the iconic manner of English friends and family.
Rosemary evens directs the maid to put the tea-table
between them, as if to emphasize their separation.
Their apparent silence during the meal is not a
companionable silence. Rosemary seems merely
to be waiting for her guest to revive sufficiently to
tell her tale of woe: “Rosemary lit a fresh cigarette:
it was time to begin. ‘And when did you have your
last meal?’ she asked softly” (589) .
The tea does transform Miss Smith, but not
169
into a grateful participant in Rosemary’s plan of
possessing her as an exotic but tamed object. After
she eats the food and drinks the tea meant for both
of them, Miss Smith does not open up to Rosemary.
She does not express her gratitude. She does not tell
Rosemary all the fascinating details of her poverty.
Instead, as her hair dries and her color returns, she
becomes mysterious, silent, distant, and even more
different from Rosemary, who was described to us
in the story’s first sentence as “not beautiful.”
Rosemary’s jealousy over her husband’s
admiration for Miss Smith’s “astonishing” beauty
causes her to turn the girl out of the house with a
gift of money one-tenth of the cost of the little box
picturing the happy couple. Would the outcome of
the story have been any different if Rosemary had
eaten and drunk tea with her, if she had chatted
sociably with her instead of prying into the details
of her poverty? A desire for tea is what had brought
the two women together in the first place. If wealthy
Rosemary had stepped down from her position
as benefactor and had actually communed with
her impoverished guest in drinking their common
national beverage, perhaps she would have been able
truly to connect with her and both of them would
have benefited. Rosemary has perverted the English
tea-table by trying to use it to lure Miss Smith into
captivity, instead of offering tea freely as an act of
friendly hospitality.
Paul Manning’s recent study The Semiotics
of Drink and Drinking (Continuum, 2012) looks
at how different world beverages mediate modern
social life, particularly in post-Soviet Georgia. He
argues that specific drinks like coffee or vodka
function “as the semiotic medium for a genre of
sociability in a specific time and place” (phrase
from the publisher’s description of the book)
. Applying Manning’s ideas to the beverage
tea and to British fiction of the nineteenth and
early twentieth centuries, readers can see that
writers were consciously manipulating scenes
of tea consumption to make larger points about
characters’ acquiescence to social norms.
Tea and the meal at which it is served are
markers of Englishness because they represent (1)
the successful, almost imperial, transformation
of wild and foreign elements into tame and
domesticated ones, (2) household contentment
and traditional family values, with a warm and
nourishing drink served by a contented housewife or
prospective housewife, and (3) an emphasis on social
stability, with reassuring, unvarying movements and
conversation focused on the hostess’s preparing
and distributing tea to everyone’s liking. A tea table
like Rosemary’s is a place where this ideology
is challenged. Mansfield’s story “A Cup of Tea”
allows a reading of tea, itself a complex cultural
artifact, as a location for yet another English fictional
exploration of conflicting expectations involving
class and gender.
Bibliography:
1. Fromer, Julie E. A Necessary Luxury: Tea in Victorian England. Athens: Ohio UP, 2008.
2. Manning, Paul. The Semiotics of Drink and Drinking. Continuum Advances in Semiotics. London:
Continuum, 2012.
3. Mansfield, Katherine. “A Cup of Tea.” The Short
Stories of Katherine Mansfield. 1937. New York:
Knopf, 1976. 584-91.
170
УДК: 811.161.1 (575.2) (04) Дубанаева Сезим, ст. преп, МУК.
Семиотические особенности китайских фразеологизмов
Peculiarities of Semiotics of the Chinese phraseology
Аннотация: В данной статье рассмотрены изобризательно-выразительные средства китайского языка, а именно объяснить особенности китайских фразеологизмов, то есть, выразительные
возможности фразеологизмов, их характеристику и свойства, происхождение фразеологизмов,
национальное своеобразие.
Ключевые слова:
chengyu,
yanyu,
xiehouyu, фразеологизмы, ченъюй параллельной конструкции, чэнъюйев непараллельной контрукции.
Аnnotation: This article describes figurative-expressive means of the Chinese language, namely, to
explain the peculiarities of the Chinese phraseology, that is, the expressive possibilities of phraseology,
their characteristics and properties, the origin of phraseology, national identity.
Keywords:
chengyu,
yanyu,
non-parallel chenyuyev kontruktsii.
Фразеологизмы закрепляются в языке в
результате частой и длительной, иногда многовековой практики употребления. Они возникают
и развиваются в языке путем переосмысления
конкретных словосочетаний, источниками также
могут быть памятники литературы.
Фразеология раздел языкознания, изучающую фразеологическую систему языка в ее современном состоянии и историческом развитии.
Китайский язык как один из древнейших языков
мира, будучи языком высокой цивилизации, обладает богатейшим фразеологическим фондом.
Фразеологизмы китайского языка характеризуются генетически, семантически и функциональным разнообразием. Поэтому классификация фразеологизмов сопряжена большими
трудностями. Она затрудняется тем, что в единицах китайской фразеологии причудливо и многообразно переплетаются и перекрещиваются
различные свойства и особенности структурного
и семантического характера.
Как известно китайские фразеологизмы
– это готовые сочетание слов, которые хранятся
в языковой памяти говорящих. Описывая определенные обычаи, традиции особенности быта,
исторические события и многое другое, они
отражают китайскую национальную культуру.
Поскольку фразеологизм содержит в своей семантике национально – культурный компонент,
он имеет страноведческую ценность. Они имеют
краткую красивую оригинальную форму. В них
xiehouyu, idioms, chenyuy parallel structures,
удачные сравнения, юмор, шутка, поучительный
смысл.
Для китайского языка, также как и для русского, характерно богатство фразеологического
фонда. Фразеологизмы китайского языка – это
наследие прошлого, где как нигде выражен национальный компонент. Здесь часто запечатлены
такие китайские реалии, как яшма, нефрит, дракон, известные китайские герои.
Если говорить об освещенности данной
темы, то в российской синологии эта проблема
была исследовано такими авторами как, изданная
в 1984 году, книга В.И.Горелова «Лексикология
китайского языка», также книги А.Л.Семенаса
«Лексика китайского языка», Прядохин М.Г.
«Китайские недоговорки – иносказание». Книга
В.И.Горелова «Лексикология китайского языка»
состоит из пяти разделов и в четвертом разделе
показаны некоторые черты и особенности китайской фразеологии, дана структурно – семантическая и функционально – стилистическая
классификация фразеологизмов. Книге А.Л.
Семенаса « Лексика китайского языка» были
рассмотрены фразеологизмы их происхождение
и национальное своеобразие.
Лексика не только слова, но и более протяженные единицы - устойчивые словосочетания,
фразеологизмы. Они являются лексически неделимыми, обладающими устойчивой структурой и
семантической целостностью. В художественной
прозе современного Китая определенное место
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занимают фразеологизмы как одно из важных
средств речевой выразительности. Китайские
фразеологизмы характеризируются структурным
многообразием и разным количественным составом. Для китайских писателей
chengyu (готовые выражения т.е. идиомы),
yanyu пословицы и поговорки,
xiehouyu ( недоговорки
иносказания),
jingju (крылатые слова), все
это излюбленные слова художественной выразительности, позволяющие придать произведению
самобытную национальную окраску, отразить в
повествовании яркие черты и особенности китайской действительности.
Посмотрим употребление чэньюев на примерах, взятых из произведений Мао Дуня и Лао
Шэ.
Это, конечно не противоречило желанию
Ху Гогуана. В отношении этого он уже имел
готовый план действий.
chengzhuzaixiong данный фразеологизм дословно означает ‘готовый бамбук находиться в груди’ (другой вариант
xiongyouchengzhu ‘в груди имеется готовый бамбук’.
В китайской литературе сохранились сведения о
происхождении этой идиомы. Сунский поэт Су
Шы (Су Дунпо), наблюдая за тем, как художник
Вэнь Туншань рисует бамбук, что у него хорошо
получается потому, что он до этого ясно представил себе, каким должен быть бамбук.
Фей маленькая бородка тут же без обиняков
заговорил о деньгах.
kai men jian shan при дословном
переводе на русский язык значит ‘открыв дверь,
сразу же увидеть гору’, то есть говорить напрямик.
Многие ФЕ возникнув в древности, дошли
до наших дней. Современный китайский язык
продолжается пополняться новыми фразеологическими единицами. Примеры:
heimingdan черный список,
baisekongbu белый террор
huangsegonghui желтые профсоюзы
shehuizhazi отбросы общества
junzixieding джентельменское соглашение
zhiyujichengshishimainqian
поставить перед свершившимся фактом.
Фразеологизмы с эмоционально-оценочным значением. Фразеологизмы, имеющие
эмоционально-оценочное значение, является
средством выражение субъективного отношения
говорящего к тем предметам, о которых идет
речь.
Приведем ряд фразеологизмов с эмоционально-оценочным значением:
hai ren tingwen ‘страшный, ужасный, ужасающий (надавить ужас на людей)’;
buke mingzhuang ‘неописуемый,
невыразимый (невозможно обрисовать)’;
miao buke yan ‘невыразимо прекрасный, восхитительный (невозможно выразить)’;
baizhe bunao ‘неприклонный, непоколебимый (сто раз ломают не сгибается)’;
Ченъюй параллельной конструкции. Важнейшее место с чэнъюйев занимают фразеологизмы, образованные по принципу параллельного
соотношения частей. По своему физическому
объему эти чэнъюйи неизменно представляют
собой четырехморфемные образования. Они состоят из четырех слогов, четырех морфем, каждая
из которых обычно бывает словом.
Приведем ряд примеров чэнъюйям параллельной конструкции.
shuiluo shi chu ‘вода спадет, камни
обнаружиться, тайное да станет явным’.
yin zhen zhi ke означает авантюру, чреватую пагубными последствиями.
Дословно’пить отравленное вино, чтобы утолить жажду’.
zhen-название птицы, на ядовитых перьях
которой в древности натаивали вино.
tian jing di yi ‘законы небес, правила земли; непреложная истина, незыблемые
устои’.
Чэнъюй непараллелной конструкции. По
морфемному составу они подобно чэнъюйям,
нередко представляют собой четырехсловные
фразеологические образования. Однако среди
них встречаются чэнъюйи состоящие из пяти и
более графем. Чэнъюй параллельной конструкции использует служебные слова, союзы, предлоги, отрицательные частицы.
Рассмотрим несколько чэнъюйев непараллельной контрукции:
bu lao er huo ‘не трудиться не получаит; пользоваться плодами чужого плода’.
wusuo cuo shou zu ‘ нет места,
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куда можно было бы поместить руки и ноги’; ‘
невозможность предпринять что-либо’.
jingshui bu fan he shui ‘колодезная вода не вторгается в пределы речной воды’;
‘невмешательство в чужие дела, разграничения
сфер деятельности’.
Пословицы и поговорки. В русском языке
yanyu – пословицы,
suyu – поговорки
соответствует таким фразеологизмам, как пословицы и поговорки.
Китайские пословицы и поговорки по форме представляют собой предложение и могут
иметь буквальный и переносный смысл. Пословицы имеют поучительные значение. Они
представляют большой интерес, поскольку в них
зафиксированы быт, жизнь и нравы народа, они
рассказывают об истории, географии, культуре
страны, это воистину кристаллы народной мудрости. Примеры:
yitian dayu santian shaiwang ‘один день ловить рыбу, три дня сушить
сети’.
yi ri san xiao bu yong chi yao
‘ в день три раза посмеяться не надо принимать
лекарство’; ‘смех и веселое настроение лучшее
лекарство’.
Есть китайские пословицы, совпадающие по
своей семантике с русскими.
huo budan xing ‘беда не приходит
одна’; ‘пришла беда, отворяй ворота’.
Во многих пословицах ярко выражен национальный компонент, то есть в них говориться о таких китайских реалиях, которые
присуще именно и более всего китайскому
народу. Известно, что у китайцев издревле
высоко цениться яшма, нефрит. В Китае есть
яшмовые палочки для еды, яшмовая посуда, а
также различные украшения. В древности парадный экипаж императора украшался красной яшмой.
yushi яшма и камень; ‘лучшее и худшее,
все без разбору’.
yu xia jin ci ‘изъяны на яшме и
дефекты на парче’; ‘у любого человека есть
недостатки, и на солнце пятна есть’.
da laoshu shang yuqi ‘ швыряя
в крысу, разбить яшмовый сосуд’.
Фразеологизмы доносят до нас народные
предания, существующие до сих пор легенды. Такова история о детских годах великого китайского
поэта Ли Бо, живушего до династии Тан в VIII
в.н.э. (701-762гг.) . В пять лет, он стал учиться к
грамоте, а к десяти годам уже знал классические
книги «Щицзинь» и «Шуцзинь». В детстве Ли Бо
всегда после чтения книг убегал играть. Как-то
раз около ручья он встретил пожилую женщину,
которая шлифовала железный пест. Он удивился
и спросил, зачем она это делает. Старая женщина
ответила, что хочет получить иглу для вышивания. Ли Бо подумал, как можно такой железный
пест отшлифовать в иглу и громко рассмеялся.
Старая женщина строго спросила: «Зачем ты
смеешся? Был бы лишь упорный труд и иголкою
станет железный пест»; которая в дальнейшем
развилась во фразеологизм
ti chu mocheng zhen «железный пест, отшлифовать в иглу»,
он передает значение добиваться своей цели
упорным трудом, терпение труд все перетрут.
Еще один фразеологизм
qiren you
tian человек из княжества Ци, опасается за небо.
Человек из княжества Ци боялся, что небо рухнет на землю, и ему будет негде жить. Здесь,
следовательно, в образной форме речь идет о
необоснованной ненужной печали.
Если человек сам не имеет заслуг и только опирается на покровительство других или,
опираясь на могущество других лиц, запугивает
притесняет кого-либо, говорят
hujia hu
wei ‘лис тем и грозен, что царь зверей с ним’. В
основу этого фразеологизма легла басня о тигре и
лисе. О тигре существует много других фразеологизмов и пословиц, в которых он символизирует
силу и могущество.
laohu toushang pai cangying
‘на голове тигра бить мух’, т.е. заниматься опасным делом; подвергать себя к опасности.
Многие фразеологизмы связаны с мифическим миром животных. В китайской культуре
дракон занимает ни чем не сравнимое высокое
место. Иностранцы называют Китай Великим
драконом Востока, а сами китайцы называют
себя потомками дракона. Поэтому в китайской
фразеологии особенно много выражений связанных с драконом.
Мифический дракон – плод фантазии древних китайцев. Он может вызывать ветер и дождь,
взлететь на небо и погружаться в воду. Согласно
древним поверьям дракон-зеленый, цвета травы.
О гениальном, талантливом человеке говорят,
что он подобен дракону. Фразеологизм
fanglong ru hai ‘пустить дракона в море, дать
возможность раскрыть свои дарования’.
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long sheng long у ‘дракона рождается дракон’;
‘у хорошего отца и сын хороший’.
Фразеологизмы в течение многих столетий
бытуют в китайском языке, уходя своими корнями в далекое историческое прошлое Китая.
Фразеологизмы сохранили и донесли до
наших дней свою самобытную окраску. Будучи
богатейшим источником познания и культурного наследия и исторического прошлого Китая,
фразеологизмы имеют важное познавательное
значение.
Список литературы:
1. Астрахан Е.Б. Формирование лексики
путунхуа. М.: 1986г.
2. Баранова З.И. Чэнъюй как разряд фразеологизмов китайского языка. Канд. дис.М.,
1969г.
3.
4. Семенас А.Л. Девятая лекция. Китайские
фразеологизмы. М., «Муравей» 2000г
5. Семенас А.Л.1.3.3. Фразеологизмы в китайском языке.
6. Кленин И.Д., Щичко В.Ф. Лексикология
и фразеология китайского языка: Курс лекций.
М.: 1978г.
7. Пермяков Г.Л. Пословицы и поговорки
народов Востока. М.: 1977.
8. Шанский Н.М. Лексикология современного русского языка. М.: 1972г.
УДК:81-22 (575.2) (04) Мырзагулов Милан, к.п.н., КНУ
Modern TV as a link of strategic socio-political system
of the country
Современное телевидение стратегическое звено общественнополитической системы страны.
Аннотациясы: Бул иште кыргыз телеберүү ишмердүүлүгү баяндалып, анын коомдук-саясий
жана социалдык-экономикалык шартта өзүнүн приоритеттүүлүгүн жоготпостон республиканын демократиялашып бара жаткан мамлекеттик системасындагы стратегиялык орду
белгиленет.
Негизги сөздөр: (медиа рынок, кыргыз телевидениеси, электрондук ММК, ретрансляция, телеэфир, кабельдик телеберүү)
Аннотация: В работе представлена деятельность отечественного телевидения, функционирующего в условиях существующего общественно-политического и социально-экономического
расклада. Оно не теряет своей приоритетности и является стратегическим звеном в системе
демократизирующегося государственного устройства республики.
Ключевые слова: медиа рынок, кыргызское телевидение, электронные СМИ, ретрансляция,
телеэфир, кабельное телевещание.
Abstract: This paper deals with the activities of national television functioning in the face of the
current socio-political and socio-economic scenario, it does not lose its priority. It is a strategic link in
the democratizing polity of the country.
Keywords: (media market, the Kyrgyz television, electronic media, retransmission, airwaves,
cable TV)
Расклад медиа пространства и собственников
СМИ в каждой стране формируется по своему,
в первую очередь, с учетом тех традиционных и
национальных колоритов, а также политической
специфики страны. Современный исторический
аспект демократической Кыргызской Республики
показывает, так называемую трансформацию
медиа структур формирующий эволюционный
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цикл развития.
Относительно процесса взаимодействия
медиа каналов с аппаратом государственного управления нашей политизированной республики
можно констатировать, что они имеют типичную
некоторую характерную черту соседним странам
по геополитическому устройству. Иными словами, сегодняшнее современное государственное
устройство Кыргызской Республики имеет такие
же инструменты регулирования СМИ, какие
используются в других странах постсоветского
пространства.
Относительно вопроса современного взаимоотношения медиа с государством и его
институтами, можно утверждать, что модель
организации телевидения на территории Кыргызской Республики, с одной стороны, унаследовало
организационные принципы Гостелерадио, и
показывает якобы современные продукции, тому
пример деятельность ОТРК, передачи которой,
к сожалению, не всегда имеет возможности вызвать интерес у местной аудитории. А, с другой,
телевизионное вещание республики развивается
примерно по тому же сценарию, что и, например российские электронные СМИ на рубеже
столетий, в качестве примера в эту категорию
можно отнести коммерческие телекомпании
Кыргызстана.
Как показывает историческая ретроспектива, формирование Фрунзенской студии телевидения в конце 1950-х гг. послужило показателем коренных общественных изменений,
которые имели место быть в тогдашней государственной системе советской Киргизии.
Современный же процесс телевизионного вещания и формирование «новых» телеканалов
проходит на фоне импортируемых демократических преобразований на территории Кыргызской Республики.
В свое время республиканский телеканал
Киргизской ССР выполнял не только функцию
распространения информации, но и в качестве
нового средства общения осуществлял культурно-просветительские функции, реализовывая
пропагандистские и организаторские задачи. А
деятельность нынешних отечественных телеканалов в основном сопровождается накоплением
финансовых сбережений, участвуя при этом,
на мой взгляд, в бессмысленной политической
«чехарде».
В настоящее время в столице Кыргызстана
насчитывается около десяти отечественных
активно функционирующих телеканалов. Это:
ОТРК, ЭлТР, МГТРК Мир, НТС, 5 канал, НБТ,
Пирамида, СТВ (Сары өзөн Чүй ТВ) и Манас
жаңырыгы (Эхо манаса) . Имея в эфирной сетке
вещания необходимые телевизионные продукции, все они, к сожалению, все же не могут
представить для кыргызстанской аудитории
необходимый контингент выбора. Доказательством тому выступает и наличие немалого количества зрителей других каналов телевидения
представляющие заграничные медиаструктуры.
Это и Казахстан, Узбекистан, Россия и, конечно
же, европейские электронные СМИ, распространяемые у нас через кабельные сетевые
компании как «Ала ТВ». С этой точки зрения
можно сказать, что отчасти история повторяется.
Поскольку история советской эпохи телевидения
Кыргызстана имеет факты, когда например в
1960-е гг. Фрунзенская телестудия с помощью
спутникового телевещания смогла расширить
диапазон деятельности, впервые ретранслировав
телепрограммы соседних республик. Именно
тогда у телевидения тогдашней Киргизской ССР
появляется возможность показывать передачи
Алма-Атинской и Ташкентской телевизионной
студий. Объем программ, транслируемых из
соседних с Кыргызстаном республик, тогда
было увеличено от 2 тыс. до 500 тысяч часов.
Кроме того, в этот период времени увеличилось
количество ретрансляционных станций, к началу
1980-х гг. их стало 7 с общим объемом вещания
более 50 тыс. часов.
Анализ состояния нынешней медиасистемы
Кыргызстана и, в особенности ее негосударственного телевещательного сектора, приводит к
выводу об онтологической схожести двух моделей организации телевещания (советская и современная кыргызская) опирающихся на разные
экономические фундаменты. Подобный парадокс
объясняется как объективными, так и субъективными причинами. Среди них наличие единого
информационного советского пространства в те
времена, когда СМИ тогдашней Киргизии являлись частью политической системы советского
общества. Еще одним моментом, определяющим
типологическую близость вышеупомянутых
моделей, является организационная схожесть
принципов наполнения эфирного контента.
В новейшей истории Кыргызстана и государственные и частные электронные СМИ
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решали эти проблемы, за счет ретрансляции
программ из-за пределов республики. В настоящее время коммерческие телевизионные секторы
продолжают применять эту методику в своей
деятельности. В советский период это были передачи двух каналов ЦТ. В постсоветское время
она сменилось на программный продукт федеральных российских каналов. Субъективным
моментом, определяющим значительную долю
присутствия сторонней продукции в телеэфире
Кыргызстана выступает: во-первых, минимальное наличие творческих сил и производственных
мощностей, а во-вторых, серьезная финансовая
и идеологическая зависимость от центральных
органов управления отрасли. Следует учитывать, немаловажный аспект, что отечественное
телевидение Кыргызстана, хотя и развивалось
при солидной поддержке всесоюзных структур,
но создавалось практически с нуля.
В эпоху социализма телеканалы Союзных
республик, в том числе и в Средней Азии, функционировали как часть практически изолированной социалистической системы, несмотря на то,
что составляли единую советскую систему. Современный медиа рынок Кыргызской Республики,
где стратегическую роль имеет телевизионное
вещание, в настоящее время показывает такую
же ситуацию, то есть, так же находится в так
называемой изолированной ситуации. Аргументируя сказанное, отмечу, что подтверждающим
фактором отсутствия изолированности медиа
пространства необходимо полная соответствующая инфраструктура, которая у нашей медиа
сферы не замечается. В качестве доказательство
привел бы один наиболее заметный пример. К сожалению, в веке информации ни одна передовая,
кыргызстанская телекомпания, ни информационные агентства или же другие СМИ на сегодня
не имеют индивидуального корреспондентского
пункта за пределами республики, что является
обидным и негативным аргументом, доказывающим недостаточность инфраструктуры отечественной медиа. Это в свою очередь, выступает и
так называемым тормозящим элементом процесса развития СМИ, в свете бурно развивающегося
технологического и информационно-демократического аспекта.
Изучение фактического материала о деятельности отечественного телевидения с конца
1950-х гг. до современного этапа позволяет сделать вывод о том, что телеканалы, являющиеся
стратегическим звеном государственного строя,
несмотря на происходившие общественно-политические трансформации, в первую очередь, функционируют в условиях зависимости к «власти»,
во вторых не имеют достаточной необходимой
инфраструктуры. В такой ситуации очевидным
является адекватное действие руководителей
соответствующих государственных структур, по
незамедлительному решению вопросов удерживающих развитие деятельности телевизионного
вещания республики. Поскольку ее наличие
приведет к дальнейшей деградации не только
сферы СМИ, но и кыргызского общества в целом, включая его общественно-политическую и
социально-экономическую звеня.
Источники:
1. «ТЕЛЕВИДЕНИЕ КЫРГЫЗСКОЙ РЕСПУБЛИКИ В КОНТЕКСТЕ ФОРМИРОВАНИЯ И
ТРАНСФОРМАЦИИ СИСТЕМЫ СМИ СРЕДНЕАЗИАТСКОГО РЕГИОНА». Мырзагулов М.
М. Дисертация на соискание ученой степени
кандидата политических наук. Санкт-Петербург 2007. Стр. 40.
2. www.monitoring.kg.
176
УДК:81-22 (575.2) (04) Мырзагулов Милан,
Саяс. илим. к., Доцент, МУК
Некоторые задачи семиотики в печати
Басылмалардагы семиотиканын айрым маселелери
Аннотациясы: Кыргыз басма сөзүндөгү семиотика илиминин орду белгиленет. Басылмалардын
ишмердүүлүгүндөгү айрым маселелери кандайча байкалат жана практикалык журналистикадагы
кемчиликтерди жоюууда анын кандайча байланышы болгону чагылдырылат.
Негизги сөздөр: (семиотика, басылмалар, белги, басма сөз, семиотиканын тили, семиозис,
маалымат, коммуникация)
Аннотация: В представленной работе семиотика выступает как наука о знаках в печатных
СМИ, где обозначены ее роль и функции в формировании журналистских произведении в местных
изданиях.Также рассматривается ряд вопросов семиотики в газетно-журнальной периодике.
Ключевые слова: (семиотика, печатные СМИ, знак, язык семиотики, семиозис, информация,
коммуникация)
Abstract: This paper deals with Semiotics, which serves as the science of signs in the print media.
Semiotics marks its role and function in the formation of journalistic work in the local press and a number
of issues of semiotics in newspaper and magazine periodicals.
Keywords: (semiotics, print media, sign, language of semiotics, semiosis, information, communication)
Бүгүнкү кыргыз басылмаларындагы семиотикага тиешеси болгон айрым маселелер
жетиштүү. Анын мисалында өкмөттүк да,
өкмөттүк эмес дагы гезит-журналдарды карасак
болот. Биринчиси дагы экинчиси дагы алды
менен коомчулукка маалымат таратуу функциясын аткаруу максатында иш жүргүзөт. Дал ушул
басылмалардагы маалыматтын өзүндө алгач сөз
болгон семиотика түшүнүгүнүн аспектилери
орун алган десек жаңылыштык болбойт.
Бүгүнкү күндө медиа каражаттарындагы
стратегиялык ролдо турган маалыматтын орду
журналисттик атайын билими болбогон инсанга да белгилүү болгону айдан ачык. Айрыкча
ал учурдагы маалыматтын доору аталган ХХI
– кылымда актуалдуу болуп келет.
Белгилүү болгондой, семиотика түшүнүгү
же болбосо семиология аталган илим ар кандай
белгилер менен белги системаларын иликтеп
окутат. Ал грек тилинен «σημειωτική, о. э. алгач
байыркы гректин σημεїον» сөзүнөн кабыл алынып, бизче «белги» дегенди түшүндүрөт. Аталган
илим көбүнэсе лингвистика менен адабиятта
чыйыр салып баштаганы менен өткөн кылымда
бул илимий багыт ар кандай тармакты өзүнө
камтый алган. Ошондо «семиозис», «комуникация» аталган түшүнүктөр роль ойноп, кеңири
таанылган. Медиа чөйрөсүндөгү семиотиканы
талдоо менен бул илимди аркалап, изилдеген
лингвист жана адабиятчылар аз эмес болгонун
белгилөө да абзел. Алардын ысымдары илимий
коомчулукта жакшы таанымал. Ал эми медиа
тармагына таасирин талдаган Барт менен Лотман
аттуу изилдөөчүлөрдү белгилесек болот.
Семиотиканын ар тармакта иликтөө мезгили
ХХ – кылымда Америка кошмо штаттарында байкалганы анык. Анда вербалдык эмес символдор
системасы изилдөө объектиси катары каралган.
Мисалга, жаңсап түшүндүрүү тили жана айбандардын тилин иликтөө.
Жалпы маалымат каражаттарына анын
ичинен басылмаларга семиотика илиминин
философиянын логика аталган ой-жүгүртүүчү
жагынан байланыштыгы бар. Бул ойдун башында
америкалык Ч. Моррис менен Р. Карнап аттуу
изилдөөчүлөр турган. Мында, «белги» башка
объектини көрсөтүп турган кандайдыр бир материалдык алып жүрүүчү катары түшүндүрүлөт.
177
Жеке бирок маанилүү учурда мындай белги катары «маалымат» көрсөтүлөт. Ал эми «маалымат»
жөнүндө сөз кылсак, ал термин катары латын
тилинин «informatio» деген сөзүнөн алынганын.
Бизче кабар, түшүндүрмө, айтып берүү дегенди
билдирет. «Маалымат» – бул өтө терең жана
жалпы түшүнүк болгондуктан, аны бир сөз менен
айтып, түшүндүрүү болбойт. Бул сөз ар тармактын маанисине, илимдин жана турмуш шарттын
да ылайык келе берет. Күнүмдүк турмушта маалымат деп, кимдир бирөөнү кызыкдар кылган ар
кандай кабарды же болбосо жаңылыктарды айтабыз. Мисалы, кайсыл бир окуялар, же бирөөнүн
ишмердүүлүгү тууралуу кабар. Бул учурда, буга
чейин маалым болбогон, башкача бир нерсени
маалымдоо кирет.
Эгерде «маалымат» кабыл алуучу тарабынан
суроо талапка ээ болбосо, же ал тарап такыр эле
жок болсо, анда бул маалымат тууралуу эч нерсени айтып болбойт. Себеп, медиа каражаттары
потенциалдуу аудиторияга гана өз кызматын
сунуш кылып, «продукциясын» өткөрөт.
Бүгүнкү компьютердик мезгилдин шартында
практикалык журналистика дагы алдыңкы технологияларды колдонуп келет. Бул болсо, журналисттерге, мисалга газет кабарчыларына компьютерге канча белги коюлган чыгарма жазганын
аныктоого шарт түзөт. Бул да болсо журналисттер
үчүн кандайдыр бир деңгээлде сан болсо дагы
маалымат катары кабылданат. Анткени алардын
аркасында кандайдыр бир маани жатат.
Семиотиканын негизинде ар кандай багытта
ар башка кабыл алынган белгинин түшүнүгү орун
алган. Демек гезит беттериндеги маалыматтын
берилишинин негизинде биз семиотика аспектиси медиа каражаттарында канчалык орун алганын
жана кандай колдонулуп жатканын аныктай алабыз. Ал эми бүгүнкү күндөгү жеке менчик жана
өкмөттүк басылмалардын иш жүргүзүп жатканын
эске алуу менен семиотика түшүнүгү, же болбосо
белгилердин маалымат аркылуу берилиши бир
жактуу эмес деп айтууга толук негиз бар. Аргумент катары Кыргызстанда бир жарым миңдей
басма сөз маалыматтык каражаты бар болсо анын
үчөө гана республикалык деңгээлдеги гезит калгандары, албетте жети дубандагы областтык жана
райондук администрациялардын алдындагы басылмалардан башкасы, өкмөттүк эмес мезгилдүү
басма сөз экенин белгилемекчимин.
Белгилүү болгондой, менчиктерден айырмаланып мамлекеттик гезиттер бийликте
тургандардын саясатына ылайык маалыматты
таратат. Мунун негативдүү жагдайы жокко эсе,
тескерисинче демократиялуу эсептелген жана
эркиндиктин белгисин чагылдырган бул саясий
көрүнүштүн республикада өкүм сүрүшү, же болбосо болуп турушу өлкөбүзгө геосаясий жана эл
аралык коомчулуктун алдында позитивдүү гана
упай камсыз кылат.
ХХ – кылымдын башында колдонула баштаган бул семиотика илиминин гезит-журнал
периодикасы менен байланышын анын «белги» процесси, же болбосо «семиозис» аталган
белгилүү компонентерди топтогон жагдайынан
байкаса болот.
Бул «семиозис» учурунда, кандайдыр бир
А аталган тараптын Б тарабына маалымат
берүү ниети көрсөтүлөт. Башкача айтканда,
А кат жиберүүчү, ал эми Б тарап ал катты
кабыл алуучу. Мындай мезгилде «семиозис»
илиминин көрсөтмөсүнө ылайык маалымат
алмашуучу тараптар сандык «код» аркылуу
түшүнүүлөрү шарт, б. а. бир биринин тилин
билип, түшүнүүлөрү зарыл. Эгерде мамлекеттик тилде жарык көргөн кыргыз басылмаларын немис улуту жашаган Германия өлкөсүнө
алып барса ал жактан эч кандай суроо талапка
ээ болбойт. Себеби, немис эли биздин тилди
билбейт. Семиотиканын тили менен айтканда,
«код» келишпейт.
Учурунда бул массалык маалымат каражаттары менен аудиториянын ортосундагы алакаларды айгинелейт. Так айтканда, басылмаларда
жазылган маалыматтарды окурмандар түшүнөт,
анткени, алардын кат сабатсыздыктары жоюлбаган деген маселеси жок. Аудитория тамга таанып
жаңылыктарды окуй алышат. Ал эми бүгүнкү
күндө коомчулук маалымат таркатуучу каражаттарга толук ишеним көрсөтөт жана массалык
медиа каналдардын материалдарына, же азыркы
рынок шартында кеңири тараган түшүнүк менен
айтканда, ММКнын продукцияларына муктаждыктары бар. Себеби, маалымат ХХI – кылымда
чоң суроо талапка ээ болуп, практик журналисттер тарабынан ар түрдүү формада колдонулуп
келет. Мисалы:
текст, сүрөт , чийме жана фото сүрөт
түрүндө;
жарык жана үн добуштары түрүндө;
радиотолкундары түрүндө;
электрдик жана нерв импульстары түрүндө;
магниттик жаздыруулар түрүндө;
178
б.;
мимика жана жаңсоолор түрүндө;
жыт жана даамдардын татымы түрүндө ж.
Ошондуктан, кыргыз басылмаларындагы
семиотиканын ээлеген орду опол тоодой десек
жаңылыштык болбойт. Кыргыз басылмаларындагы маалыматтардын туура эмес берилиши, же
болбосо алар тарабынан бурмаланышы, факт
жок эле ушак жана имиштин негизинде материалдардын берилиши, «семиозис» аталган илимий
көрүнүштүн туура эмес аткарылып жатканынан
кабар кылат. Семиотиканын айрым маселелри
пайда болгонунан кабарадар кылат. Ошондуктан
буга жол бербөө аракети журналисттерди даяр-
УДК: 811.161.1 (575.2) (04) даган академиялык чөйрөдөн башталат. Бул актуалдуу жагдайды анализдөө, башка иликтөөнүн
тематикасы.
Ал эми практикалык журналистикадагы кемчиликтерди жоюунун эң башкы себеби
кесипкөй жана чыгармачыл кабарчылардын
көбөйүшү менен түшүндүрүлөт.
Колдонулган материалдар.
1. ru.wikipedia.org› – Семиотика.
2. Лотман Ю.М. Статьи по семиотике культуры
и искусства\\ «Вышгород», 1997, № 1-2,
3. Барт Р. Избранные работы. Семиотика. Поэтика. М., 1994.
Султаналиева Аита, к. филол. н., доцент, КНУ
Функции семиотики в формировании медиатекста
Медиатекстти түзүүдөгү семиотиканын функциялары
Аннотациясы: Бул иште белгилер тууралуу илим – семиотиканын тарыхы боюнча кыскача
экскурс берилет. Ошону менен бирге медиатекстти визуалдаштырып, түшүнүүгө көмөктөшкөн,
журналисттик материалдарды түзүүдөгү белгилердин функциялары белгиленет.
Негизги сөздөр: семиотика, медиатекст, белги, тил, түстүү жасалгаланган сүрөт, чагылдыруу
Аннотация: В данной работе дан краткий экскурс в историю семиотики – науки о знаках и
обозначены функции знаков в создании журналистских материалов, помогающих осмыслить и
визуализировать медиатекст.
Ключевые слова: Семиотика, медиатекст, знак, язык, иллюстрация, изображение.
Abstract: In this paper, a brief excursion into history of semiotics – the science of signs and signs
marking function in the creation of journalistic materials helping to understand and visualize the media
text.
Key words: semiotics, media text, sign, language, illustration, image.
Семиотическое исследование сообщений
СМИ в современную эпоху становится одним
из актуальных направлений в теории журналистики, что характеризуется самой природой
медиатекста. Сегодня, роль СМИ как главных
производителей информационных материалов,
бесспорно, велика. СМИ характеризуются массовостью, а сообщения имеют знаковую природу,
т.е. строятся на семиотической основе. Человек
живет в мире, где знаковость выступает как всеобъемлющий феномен. Известно, что в XX веке
пристальное внимание ученых, особенно в сфере
социальных наук, привлекали методы семиотических исследований и сама семиотика. Она
представляет базис для изучения символических
миров, в которых живет человек. Семиотика-наука о знаках. Она появилась в начале XX века и
с самого начала представляла собой метанауку,
особого рода надстройку над целым рядом наук,
оперирующих понятием знака. Идея создания
науки о знаках возникла почти одновременно и
независимо у нескольких ученых. Основателем
179
семиотики считается американский логик, философ и естествоиспытатель Чарлз Сандлер Пирс
( 1839-1914), который и предложил ее название.
Пирс был универсальным гением, ему принадлежат работы во многих областях науки. Не признанный своими современниками, Пирс сегодня
считается наиболее значительным философом
в истории США. Пирс дал определение знака,
первоначальную классификацию знаков ( индексы, иконы, символы ) .[1] Несколько позднее
швейцарский лингвист Ф.де Соссюр (1857-1913)
сформулировал основы семиологии, или науки
о знаках. Знаменитый «Курс общей лингвистики» (курс лекций) был издан его учениками уже
после смерти ученого в 1916 году.[2] Термин
«семиология » и сейчас используется в некоторых
традициях (прежде всего французской) как синоним семиотики. Американский философ Чарльз
Моррис (1901-1979), также один из основателей
семиотики, пишет: « Семиотика представляет
базис для понимания основных форм человеческой деятельности и их взаимоотношений,
поскольку вся эта деятельность и их взаимоотношения отражаются в знаках, которые служат
посредниками между этими действиями».[3]
Основной единицей семиотики является знак.
Это элементарная единица, не делимая далее
без потери своих свойств, в которой есть две составные части – форма и содержание, связанные
между собой условной связью. [4. C.498 ] Знакэто материальная сущность, которая способна
передать информацию о другой материальной
или нематериальной сущности. Такой способ
передачи органичен, поэтому человек окружил
себя знаковыми системами в различной сфере
жизнедеятельности: это карты, дорожные знаки,
жесты и др.
Семиотический подход к исследованию
многих явлений жизни получил широкое распространение в современный период. Тезис о
том, что ни одна фундаментальная проблема
человеческого бытия не может быть ни поставлена, ни решена без пристального внимания к
языку, без учета его роли, поскольку человек
– единственное существо, создающее себе проблемы посредством языка [ 5.С.425 ] поставил
семиотическое исследование в ряд приоритетных научных направлений. Общепринятым в
современном языкознании является факт, что
экстралингвистические явления порождают
собственно лингвистические, посредником в
этом взаимодействии выступает журналистика как вид творческой деятельности – особый
тип отражения окружающего мира, реальной
действительности. Журналистский текст социален: он отражает и по своей сути является
одним из способов человеческих отношений
– коммуникации. С языковой точки зрения,
журналистский текст целостная организация,
построенная по законам и нормам того или
иного языка, представляет собой некоторую
систему языковых знаков. Известно, что языксистема знаков, служащая средством человеческого общения, мышления и самовыражения.
С помощью языка осуществляется познание
мира, в языке объективируется самосознание
личности. Язык является специфическим социальным средством хранения и передачи информации, а также управления человеческим
поведением.[6.C.370]. Семиология раскрывает
все явления культуры как знаковые системы,
которые также являются феноменами коммуникации и в которых отдельные сообщения
организуются и становятся понятными в соотношении с кодом. Наименьшим элементом
коммуникации является знак, им может быть
слово, фотография, звук, образ на телеэкране,
жест, элемент одежды.
Медиатекст-интегративный многоуровневый знак, объединяющий в единое целое
коммуникативное целое разные семиотические
коды (вербальные, невербальные, медийные) и
демонстрирующий принципиальную открытость
текста на содержательно – смысловом, композиционно-структурном и знаковом уровнях.[7 ]
Само слово « текст» означает ткань, сплетение,
соединение. Поэтому важно установить и то, что
соединяется и то, как и зачем соединяется. Создание медиатекста осуществляется под влиянием
цели самого текста и цели его автора. Первое
диктуется самим текстом, его типом, жанром,
задачами, которые он реализует. Второе связано
с авторской интерпретацией, так как любое сообщение заключает в себе не только информацию,
но и субъективное мнение автора о сообщаемой
информации. Содержание журналистского материала включает не только фактические данные,
но и отношение автора, художественные образы,
эмоциональные детали, поэтому от умения журналиста ярко описать событие зависит восприятие читателем сообщения. Журналист не только
формирует собственный текст, но и направляет
180
читателя в его интерпретации текста. Функциональная специфика журналистского текста
также обуславливается и рядом компонентов и
выступает как единая система: «издатель», «журналист», «действительность», «текст», «канал»,
«социальные институты», « массовая аудитория».
Нужно также отметить, что типы текстов, создаваемых в качественных, массовых и специализированных изданиях, значительно различаются на
содержательном, структурно-композиционном,
жанрово-стилистическом и языковом уровнях.
Как отмечает Якуба « Основные черты медиатекста, его особенности, такие как идеологичность,
медийность, открытость интерпретаций, мотивированность, ориентир на массовую аудиторию,
гипертекстуальность и интертекстуальность…
Главной отличительной особенностью медиатекста является креолизированный характер текста
в массовой коммуникации, другими словами,
слияние вербальной и визуальной информации,
использование различных кодов». [8 ] Код, семиотическая организация медиатекста восходит к
его форме. Печатные публикации трудно обозначить только как вид письменной речи поскольку
важным элементом газетного текста выступает
визуальное составляющие, его графическое,
шрифтовое, цветовое оформление. Для адекватного понимания газетного материала существенным оказывается визуальное сопровождение
(фотографии, диаграммы, графические средства
выразительности, « при этом пространственное
расположение этих компонентов, так же как и
сам текст публикации, выполняет определенную
смыслообразующую функцию» [9 ]: размещение
на полосе, объем, соседство с другими текстами.
Изображение в большей степени по сравнению
с текстом передает фактичность события, но
одновременно может изменить отношение к текстовой части материала. Все разнообразие видов
визуализации журналистского контента классифицируются следующим образом: простейшие
графические символы (пиктограммы, логотипы,
заставки, эмблемы и др), рисунки (карикатуры,
шаржи, комиксы, графические, технические и
художественные картинки), инфографика (карты,
диаграммы, таблицы, блок-схемы и др), фотографии, типографика.
Чарльз Пирс подразделял знаки на три типа:
иконические, индексные, символические. Иконический знак имеет сходство со своим объектом.
Например, к иконическим знакам можно отнести
картину или фотоиллюстрацию. Индекс представляет собой знак, основанный на реальной
смежности означаемого и означающего. Дым
является индексом огня, развевающиеся волосы
индексом ветра. Символ представляет собой знак,
связь которого с объектом устанавливается « по
соглашению» на основе договоренности. Например, жесты у разных народов: так, кивок головы у
болгар означает «нет», а в нашей традиции «да».
Для журналистского текста, представленного
в традиционных печатных СМИ иконические
знаки используются чаще всего для наглядности
материала и подтверждения фактов, т.к читатели
склонны больше доверять изображению, нежели
его описанию. В большинстве случаев, особенно, в новостной и аналитической журналистике
используются иконические знаки – фотографии,
а также имеется жанр репортажной фотографии.
Человек каждый день воспринимает тысячи знаков, а в периодических изданиях они становятся
своеобразными путеводителями. Графические
знаки-пиктограммы предназначены для быстрой
передачи информации в стилизированной, абстрагированной художественной манере, их содержание понятно каждому. Простейшие символы
в современных СМИ реализуются в логотипе,
буквицах. Композиция логотипа журнала, газеты максимально проста, лаконична, целостна.
Графические символы придают изданию индивидуальные черты, применяются в постоянных
элементах: в логотипе, колонтитулах, рубрикациях, обложке. Можно отметить, что символические
знаки в той иной степени представлены во всех
типах медиатекстов. В журналистских текстах
символические знаки представлены наиболее
полно и ярко – это ремы, суждения и умозаключения. Разные жанры журналистики строятся
на разном соотношении типов символических
знаков, например, в новостных материалах превалирует символы-суждения, в аналитических-умозаключения, в художественно-публицистических
материалах можно встретить все возможные
виды риторических фигур и троп. Иконический
знак изобразителен и всегда ориентирован на
визуальное восприятие. Грамотно подобранный
шрифт может усилить образное восприятие
текста, ведь буквы воспринимаются визуально.
Иллюстрация – это пример иконического знака. Получатель информации будет соотносить
изображение в сообщении непосредственно с
текстом. Организующая иллюстрация может
181
содержать в себе иконические и индексальные
знаки. Объектом изображения интерпретирующей иллюстрации обычно является вербальный
текст сообщения. Иконическое изображение
воспринимается получателем информации как
разъясняющее. Обычно в качестве интерпретирующей иллюстрации выступает инфографика.
В результате целевого использования семиотических знаков в журналистских сообщениях,
медиатекст начинает обладать наибольшей силой
воздействия на аудиторию и воспринимается
более емко и цельно.
Использованная литература:
1. Пирс Ч. Элементы логики// Семиотика.Антология.-М:Академ.проект.2001.-С.165-227
2. Соссюр Ф.де. Курс общей лингвистики/ Ф.де
Соссюр.-Екатеринбург: Изд-во Уральского унта, 1999.-432 с.
3. Моррис Ч. Основания теории знаков// Семиоти-
ка:Антология.-М.Академ.проект.2001.-С.4598
4. Почепцов Г. Паблик Рилейшнз для профессионалов. М:Рефл-бук, К.:Ваклер.-200.-624 с.
5. Философский энциклопедический словарь.М..1997.
6. Библиотека словарей/Культурология.- сост
Лихвер В.Д., ПогорелыйД.Е., Подольская
Е.А.М:Эксмо.-2008
7. Мария Казак. Специфика современного медиатекста// Современный дискурс-анализ.- Научный журнал. Выпуск 6
8. Якуба О, .Я. Изучение медиатекста в семиотике:
методологические аспекты. Белгород.- Кафедра
жур-ки НИУ «БелГУ» // Бизнес. Общество.
Власть.2013.- №14. С 55-63
9. Чичерина Н.В. Типология медиатекстов как
основа формирования медиаграмотности
у студентов языковых факультетов – М.,
2002
УДК: 811.161.1 (575.2) (04) Сакыбаева Жыргал,
преподователь, КНУ
Кыргыз гезиттериндеги жанрдык өзгөчөлүктөр семиотика
алкагында
Жанровая специфика кыргызских газет в сфере семиотики
Аннотациясы: Аталган иште жергиликтүү басылмалардагы жанрдык өзгөчөлүктөр семиотика илими менен айкалышкан аспектиде берилет. Кыргыз басма сөздөгү публицистикалык
материалдар менен жанрдык өзгөчөлүктөрдүн республикалык жана областтык масштабдагы
гезиттерде чагылдырылышы баяндалат.
Негизги сөздөр: (Гезиттер, семиотика, жанрдык өзгөчөлүктөр, басма сөз, публицистика)
Аннотация: В работе рассмотрена специфичность газетных жанров в сфере семиотики. Представлено публицистические материалы и жанровое разнообразие в республиканских и областных изданиях страны.
Ключевые слова: (Газеты, семиотика, жанровое разнообразие, печать, публицистика)
Abstract: The paper deals with the specificity of newspaper genres in the field of semiotics.
It presents the journalistic materials and genre diversity in national and regional publications
of the country.
Keywords: (Newspapers, semiotics, genre diversity, printing, journalism)
182
Жыйырманчы кылымдын аягындагы советтик доордун кыйрашы, коомдогу ири саясийсоциалдык кайра куруулар адамдардын коомго,
жашоо-турмушка болгон көз караштарын, жүрүм
турумдарын, мамилесин түп-тамырынан бери
өзгөрттү. Нечен жылдардан бери калыптанган
калктын жашоо-турмушунун ыргагы бузулду,
элдин негизги катмары рыноктук экономиканын
мыйзамдуу да, мыйзамсыз да жол-жоболорун
жапатырмак өздөштүрүшүп, базардын соода-сатыгы менен күн көрүп калган заманды баштарынан кечиришүүдө. Ушундай кырдаалда коомдун
кайра жаралуу процесси журналистика тармагынын өсүп-өндүрүшүнө өз таасирин тийгизбей
койгон жок. Бирдиктүү мамлекеттик идеологиянын жоктугу, мурдагы күчтүү агитациялык-пропагандалык саясаттын жана катаал цензуранын
күнүнүн бүтүшү өз алдынча эгемендүүлүккө
жетишкен кыргыз эли үчүн ири бурулуштарды,
тарыхта табылгыс ачылыштарды жасоого зор
шык, дем берди. өз алдынча жеке менчик телеканалдар, радиотүйүндөр жана газета-журналдар
жаандан кийинки козу карындай жайнап чыга
келишти. Алардын жүргүзгөн ишмердүүлүктөрү,
көздөгөн максаттары ар-түрдүү, ар тармактуу
болуп, ар кимиси өз алдынча элдин, электораттын көңүлүн өздөрүнө бурдуруп, рыноктон өз
орундарын, өз пайда, кызыкчылыктарын табуу
аракеттери менен коштолуп келе жатат. Жайнаган газета-журналдардын сапаты, мазмуну жана
тилдик, стилдик критерийлери журналистиканын
мыйзамдарына, талаптарына толук жооп берет
деген ойдон алысмын. Мезгилдин өктөм талабына жараша мезгилдүү басма сөз беттериндеги
материалдардын мазмуну, тематикасы, идеясы
жана алардын жанрдык түзүлүштөрү бир топ
өзгөрүүлөргө учурады. Мурда планын ашыгы
менен аткарган өндүрүштүн, айыл чарбанын алдынкылары тууралуу көлөмдүү очерктер, публицистикалык макалалар, интервьюлар байма-бай
гезит беттеринен жарык көрүп турчу.
Кийин замандын талабына жараша жанрлар
да дискриминацияга учурай баштады. Көлөмдүү
очерк же публицистикалык макалалардын ордуна
учурдун эң керектүү, актуалдуу делген темалары,
окуялары гана ашкере боёкторсуз, көркөмдөлүп
шөкөттөнбөстөн, конкреттештирилип, тексттердин тилдик, стилдик өзгөчөлүктөрүнө маани
берилип жатты.
Басма сөз жаатындагы радикалдуу
өзгөртүүлөрдүн башында “Асаба” азыркы “Кыр-
гыз Руху”, жана “Аалам” гезиттери турду десек
болот. Айрыкча басма сөздүн аброюн көтөрүп,
окумдуулугун арттырууда, тираждын тынымсыз
өсүшүн камсыздоо менен, эл арасында ар бир
макаласы ири резонанстарды жаратып турган
алдыңкы басылма катары “Асаба” гезити азыр
“Жаңы Агым” деген ысым бүгүн да жемиштүү
милдетин аткарып келет. Аталган гезиттин беттеринен орун алган ар бир рубриканын көтөргөн
жүгү, маани-мазмуну жана белгилүү жанрдык
өзгөчөлүктөрдү камтыган семиотикалык символикалар же туруктуу белгилер деп айтууга толук
негиз бар.
Элге кеңири таанымал болгон “жолбүгүн”
рубрикасынын алдында саясий-экономикалык,
социалдык темалар боюнча аналитикалык жана
изилдөөгө арналган макалалар жарык көрүп
турчу. “Бомбейкат”, “Элета”- рубрикалардын
алдында айыл турмушунун проблемалары,
окурмандардын каттары жарыяланса, “Элге кебин айтпаса, эрендерден не пайда” - рубрикасы
саясатчылардын, белгилүү инсандардын омоктуу
ойлору берилген. Окурмандардын арыз-арманын, кейиштүү тагдырларын жана жабыркаган
жан-дүйнөсүн чагылдырган “Бук” рубрикасы
да семиотикалык, функционалдык өзгөчөлүккө
ээ болот.
Макаланын максаты да коомдогу жүрүп
жаткан интенсивдүү өнүгүүлөр, өзгөрүүлөр
авторлордун белгилүү бир жанрларга карата мамилесинин өзгөргөндүгүн айгинелеп көрсөтүү.
Ушул эле учурда айрым бир жанрлар замандын
талабына дал келип көбүрөөк көңүл бурулса,
айрымдар такыр эле басылмалардын көңүл чордонунан чыгып калгандай. Мисалга алсак, мурдагы советтик доордо жогору жактын көрсөтмө,
указдары менен коштолгон баш макалалар гезит
беттеринде жокко эсе десек болот.
Партиялык номенклатура жыттанган, съезддердин, пленумдардын кургак чечимдери менен
коштолгон баш макалалардын ордуна бүгүн
кайсы гана гезит бетин ачпаңыз 1-2 беттерге
окурмандарды өзүнө тарткан кызыктуу материалдардын анонстору менен коомдун турмушундагы
орчундуу окуялар, инсандар тууралуу кыскача
маалыматтар орун алууда.
Публицистикалык жанрлардын ичинен
маалыматтык жана аналитикалык жанрлардын
бардык түрүнө суроо-талап көбүрөөк.
“Газеталык тексттердин жанрдык-стилдик
касиеттеринин диффузиясы публицистика183
нын жанрдык системасында бир топ орчундуу
өзгөрүүлөрдү пайда кылды”. Бүгүнкү күндө
жергиликтүү басылмалардагы жанрдык структураларындагы проблемалар өтө курч актуалдашып
жаткандыгын байкайбыз. Бул багытта “заманбап
журналистикада жанрдык стандарттар активдүү
жаңыланууда”, - дейт окумуштуу айым Ляпун
Светлана Владимировна.
Публицистикалык жанрлардын төрөсү деп
эсептелип келген очерк жанрын кийинчерээк
жергиликтүү гезит беттеринен четтеп калгандыгы көптөгөн ички жана тышкы факторлордун
жыйынтыгы катары түшүндүрүлөт. өзгөчө экспрессия менен баяндалуучу очерк жанрынын
түрлөрүнүн ичинен бир гана жол очерки “Кыргыз
Туусу”, “Эркин- Тоо”, “Майдан’ гезиттеринде
көбүрөөк жарыяланып, өзүнүн актуалдуулугун
жоготкон жок. Бул жанр чет өлкөгө саясатка чыккан авторлорубуздун башка элдердин үрп-адаты,
маданияты, экономикалык, социалдык өнүгүү
деңгээлдери менен тааныштыруу максатында
таасирдүү жазылуу менен көпчүлүктүн кызыгуусун арттырып келет. Көбүнесе жол очерки
делбестен « алган таасирлер» деген рубриканын
астында макала катары да жарыяланып жүрөт.
Ушул эле жанрдык топтун ичинен фельетон жана
памфлет жанрларын да кездештирүү кыйынга
туруп калды. Бирок, фельетонго тийиштүү боектор, сатиралык куйкум сөздөр башка жанрларын
тутумунан, мисалга сатиралык комментарий,
сатиралык реплика ж.б. кездештирүүгө болот.
Жанрлардын түрлөрүнүн актуалдашуусунун
негизги факторлору болуп баяндалып жаткан
окуяларга, фактыларга конкреттүүлүк, ылдамдык
жана жандуулук, динамикалуулук экендигин
белгилей кетүүбүз зарыл.
Ал эми бул жанрдык топтун ичинен эссе
жанрынын өсүү тенденциясы байкалат. Эссе
жанры жан дүйнөнүн жаңырыгы болгон автордун
эстетикалык, интеллектуалдык деңгээлин ачыкайкын көрсөтүп, адамзаттын эң башкы байлыгы
болгон руханий жана маданий көрөңгөсүнүн
күзгүсү катары басылмалардын беттеринен
түшпөй кызмат өтөп келет. Аталган жанрды
баардык эле жергиликтүү басма сөз беттеринен,
айрыкча эркин гезиттерден кобурөөк жолуктурууга болот.
Жанрдын табиятындагы негизги компоненттер – бул туруктуулук жана кайра-кайра
кайталана берүүчүлүк. Мына ушул жанрларды
өзгөчөлөнтүп турган белгилер семиотика алка-
гында да өз ордун ээлейт. Маселен репортаж
менен интерьвюну эч алмаштырууга мүмкүн болбогондой ар бир жанрдын туруктуу кайталанып
туруучу белгилери, мыйзам ченемдүүлүктөрү
бар. Мезгилдүү басма сөз беттериндеги жанрларды илгертен эле үч чоң топко бөлүп келебиз:
маалыматтык, аналитикалык жана көркөм- публицистикалык деп.Бүгүнкү кундө жанрлар коомдогу өзгөрүлөрдү, турмуштун күнгөй- тескейин
жана авторлордун маанайын, ички жан-дүйнөсүн,
дараметин өтө сезгичтик менен чагылдырып
жаткандыгына күбө болуудабыз.
Мурдагы советтик доордун газеталары жанрдык, тилдик, стилдик жактан белгилүү бир рамканын чегинен чыкпай өзгөчө этияттык, сактык
менен ашыкча сөз, ашыкча ой-пикир айтылбастан
үстүрт жана жалпыланган фразалар менен жарык көрүп турчу. Ал эми азыр конкуренциянын
гүлдөп турган учурунда ар бир басылма өзүнүн
рыноктогу орду үчүн баардык мүмкүнчүлөктөрүн
жумшап күрөшүп келет. Жанрдын түрлөрунөн гезит беттеринде айрыкча маалыматтык жанрларга
өзгөчө маани берилүүдө. Анткени коомчулуктун
эң негизги муктаждыктарынын бири дал ушул
маалыматты толугу менен жашырып-жаппастан,
өз учурунда алып туруу экенин ар бир журналист, редакция жон териси менен сезип иш алып
барышууда.Маалыматтардан тексттердин адресатка жеткиликтүүлүгү, сүйлөм түзүлүштөрүнүн
жөнөкөйлүгү жана ар бир окуяга карата автордун позициясы, мамилеси сезилип тургандыгы
артыкчылык жаратат.
Ошондой эле автор тарабынан айтылып жаткан ойду, идеяны окурман калкына
жеткирүүнүн башкы куралы бул анын сөз байлыгы, сөздөрдүн күчүн, касиетин сезип орду
менен, ыгы менен пайдалануу гана оң натыйжа
береерин журналисттер журтчулугу жакшы
түшүнүп калды. « Жакшысы болбой жаманы
жок» -, дейт элибизде, анын сыңарындай жайнаган басылмалардын баары эле бирдей деңгээлде
дегенден алыспыз, айрым гезиттердин жанрдык, стилдик өзгөчөлүктөрүнө маани берилбей,
ортосаар, жеңил-желпи жазылган макалаларга,
маалыматтарга орун берилип жаткандыгын тана
албайбыз.
Бирок чыныгы чыгармачылык көбүнесе
бир эле жанрдын рамкасына сыйбастан башка
жанрлар менен да синтездешип кеткен учурлар
көп кездешет. Бул багытта Л.Е.Кройчиктин мындай деген кызыктуу гипотезасы бар; «репортаж
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жөн гана маалыматтык жанр болуудан калды,
аны оперативдүү изилдоочү жанр категориясына кошуп, биринчи планга жаңылыктардын
оперативдүүлүгү эмес, аларга анализ жүргүзүү,
жеткиликтүү кылып баяндоо формасы басымдуулук кылууда». Ушул жерден белгилей кетүүчү
жагдай репортажда анализ жасоо башкы максат
эмес, ал болуп жаткан окуяларды баяндоонун
натыйжасында келип чыгуучу табигый прцесс.
Дал ушул репортаж жанрын А.А.Тертычный,
Л.Г.Кайда ж.б., окумуштуулар стиль жаратуучулук касиетин өзгөчө баалашып, аналитикалык
жанрлардын категориясына кошуп келишет. Теоретик жана практик журналисттердин бүйрүн кызыткан илимий жаңылык Л.Е.Кройчиктин жарлар
боюнча позициясы, көз карашы болгондугун эч
ким танбас. Анын айтуусу боюнча публицистикалык текст сөзсүз болуучу үч неизги компоненттен
турат; аудиторияны жаңылыктар же проблемалар
менен кабардар кылуу, болуп жаткан окуяга же
кырдаалга ой жүгүртүп, анализдөө жана аудиторияга эмоционалдуу таасир этүүнүн ыкмалары.
Ушул эле окумуштуунун пикири боюнча
газеталык тексттер беш топко бөлүнөт;
- оперативдүү маалыматтык – заметканын
бардык түрлөрү;
- оперативдүү изилдөөчүлүк – интервью,
репортаж, отчеттор;
- изилдөөчү маалыматтык – корреспонденция, комментарий, рецензия;
- изилдөөчүлүк – макала, каттар, баяндама;
- изилдөөчү образдуулук (көркөм-публицистикалык) – очерк, эссе, фельетон, памфлет.
Кройчиктин концепциясынын жемиштүүлүгү
бир жагынан туруктуу публикациялардын типтери (изилдөөчүлүк), башка жагынан аралаш,
«гибрид» болуп айырмалангандыгында. Биздин
көз караш боюнча учурдун талабына жараша
публицистиканын жанрдык структурасынын
трансформация болуп жаткандыгынын реалдуу
көрүнүшү.
Бул сөзүбүз куру болбосун үчүн «Кыргыз
Туусу» гезитинин 2014-жылдын 3-июнунундагы чыккан санындагы Турусбек Солтобаевдин «Теңир-Тоо илимдин, маданияттын очогуна айланган НМУ» аттуу макаласына токтоло кетүү максатка ылайыктуудай. Аталган
макалада автор алыскы бийик тоолуу аймактагы Нарын мамлекеттик университетинин 18
жылдыгына карата окуу жайдын уюшулган
күнүнөн тартып, бүгүнкү күнгө чейинки ба-
сып өткөн тарыхына хронологиялык тартипте
кеңири токтолуп өткөн.
Баяндоонун жүрүшүндө автор окуу жайдын
материалдык-техникалык базасы, окутуучуокумуштуулар жамааты жана илимий борбор
катары калыптануу мезгилиндеги ийгиликтери
менен кемчиликтери, келечекке болгон пландары тууралуу толук маалымат берилет. Макалада
фактылардын, окуялардын берилиши отчеткорреспонденция жанрларынын элементтери
камтылган. Мындан тышкары окуу жайдын илимий тармактарынын өнүгүшү, билим берүүдөгү
алдыңкы ыкмаларды колдонуу пратикаларын
жайылтуу маселелерин чагылдырууда аналитикалык ой жүгүртүү, баам-парасатын аңдоо
сыяктуу дагы бир жанрдык өзгөчөлүк басымдуулук кылат. Демек, макалада бир эмес, бир нече
жанрлардын камтылгандыгы алардын тынымсыз
өсүп, татаалдышып туруусу жана жанрлардын
синтези макаланын максатына жетүүсүнө айкын
шарт түзүп турат.
Учурда гезит беттерине жарыяланып жаткан
макала, материалдардын кандайдыр бир жанрдын
категориясына таандык экендигин аныктооо
кыйынчылык жаратып жаткандыгы тексттердин жазуу стилинин татаалдашып, мазмун жана
формаларынын жанрдык белгилери сакталбай
жаткандыгы менен түшүндүрүлөт.
Публицистикалык жанрлардын структурасы боюнча талкууда Г.В.Лазутина менен
С.С.Распоповалардын пикирлери да өзгөчө
кызыгууну жаратат. “Биз үчүн жанр –тексттин
тиби эмес, туруктуу мазмундук формалдуу белгилери бар тексттердин да тобу эмес, туруктуу
өзгөчөлүктөрү менен айырмаланган акыркы
продукттун(тексттин) деңгээлинде эле эмес,
ишмердүүлүктүн жөндөмүнүн деңгээлиндеги
белгилүү бир чыгармачылыктын түрү.”
Газеталык публицистикалардагы жанрлардын структуралары боюнча окумуштуулардын
пикирлери, көз караштары ар түрдүү. Анткени
жашообуздун өзү өсүп-өөрчүп, өзгөрүлмөлүү
болгондуктан адам баласынын ишмердүүлүктөрү
да бир калыпта өнүкпөстөн, өөрчүп өсүп тураары
табияттын мыйзамы экендиги талашсыз.
Жанрдык өзгөчөлүктөр жаңы технологиянын аралашуусу менен улам барган сайын
жаңыланып, толукталып, көп кырдуу чыгармачылыктын улам жаңы бийиктигин багынтып,
жуналистика илиминин теориялык көрөнгөсүн
байытып келет.
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Колдонулган адабияттар:
1. Ким М.Н. Жанры современной журналистики СП.б: Издательство Михайлова, 2004год
2. Тертычный А.А. Жанры периодической
печати Москва-2006год
3. Пронина Е.Е. Психология журналистского
творчества, Изд.во МГУ, 2002год
4. Кройчик Л.Е. Система журналистских
жанров СП.б 2000год
5. Ученова В.В. Современные тенденции
развития журналистских жанров, Вестник МГУ
серия 10.
6. Ляпун С.В. Новые подходы к классификации газетных жанров, Вестник. Адыгейский гос.
университет 2009год
7. Жергиликтүү кыргыз тилиндеги басылмалар.
УДК: 811.161.1 (575.2) (04) Тургунова Гульмира,
Дипломатическая академия МИД КР
им. К. Дикамбаева
ПЕРЕВОД ХУДОЖЕСТВЕННОГО ТЕКСТА И СЕМИОТИЧЕСКИЙ АНАЛИЗ
(НА МАТЕРИАЛЕ ПЕРЕВОДОВ ПРОИЗВЕДЕНИЙ Ч. АЙТМАТОВА)
Translation of the literary text and semiotic analysis
(on the basis of translations of Aitmatov’s works)
Аннотациясы: Макала корком текстин тил илиминдеги жана котормодогу ордун баса белгилеп, тексти жазуучу менен тексти кабыл алуучунун ортосундагы мамилени айкындайт. Тил
илиминдеги тексти изилдоодо семиотика да озгочо орунду ээлейт.
Негизги сөздөр: Тил илими, корком текст, семиотика, маани, синтактика, прагматика, кабар.
Аннотация: Анализируются скрытые смыслы художественного текста как единицы дискурсивной деятельности продуцента и реципиента. Текст как продукт и результат дискурсивной
деятельности является главным объектом лингвистических описаний в современной лингвистике.
Лингвистика текста интегрируется в смежные науки, среди которых особое место занимает
семиотика.
Ключевые слова: Лингвистика текста, художественный текст, семиотика, семантика, синтактика, прагматика, смысл.
Abstract: The article deals with the messages of a fiction text as a unit of discourse activity of the
writer and the reader. Text as a product and result of the discourse activity is the basic unit of the modern
linguistic research. The linguistics of text is connected with other sciences, among which semiotics is
one of the most essential.
Key words: Linguistics of text, fiction text, semiotics, semantics, syntactic, pragmatics, message.
Перевод — искусство, высокая самодовлеющая ценность. В нем решаются не только
практические задачи информационного, просветительского плана, но и (что самое важное) творческие сверхзадачи как историко-культурного,
так и филологического порядка – в самых разных
аспектах. Национальную литературу обогащает и
приумножает не только оригинальная, но и пере-
водное произведение. К тому же «обогащенной»
осознает себя и та, другая сторона, т. е. та национальная культура, чье художественное слово
удостоено иноязычных перевоплощений.
Хочу отметить что, произведения нашего
знаменитого писателя Ч. Айтматова, которые
переводились на многие языки мира, практически выполняли свои сверх задачи несущие в
186
себе не только историко – культурные и просветительские функции, но и художественно
– эстетические функции выражающие национальной целостности и модельности древней
кыргызской нации. Мы далеки от утверждений
что все переводы его произведений воплощались
в жизнь рецептора сразу без потери национально
– культурных особенностей или передавали точно те мысли и переживания о котором написал
сам великий писатель. Здесь можно говорить
не только об авторе, а о более высоком, то есть
речь идёт о нашей стране. Кыргызский народ не
делим от Чынгыз Айтматова, тем более Чынгыз
Айтматов не может представится миру отдельно
от своего народа.
К нашему великому удивлению и счастью
переводы произведений Ч. Айтматова несмотря
на множества неточностей и потери некоторых
национально – культурных особенностей, достигли невероятных успехов только благодаря
творчеству великого писателя и мыслителя мирового масштаба Чынгыза Айтматова. Это дает
нам повод гордится и особо обязывает высокой
ответственности перед переводческой деятельности и анализом любого жанра перевода.
Сугубо прагматический подход к вопросу
о том, зачем вообще нужны переводы художественной литературы с одних языков на другие,
предполагает соответственно утилитаристское
решение: для того, чтобы не знающий такого-то
чужого языка читатель смог тем не менее ознакомиться с написанным на этом языке и переведенным на его родной произведением. Правда,
представление читателя об этом произведении не
окажется по-настоящему адекватным, поскольку
перевод – неминуемое видоизменение оригинала,
но с известными потерями и издержками следует
мириться, полагая, что в целом все-таки сделано
весьма полезное дело.
Переводами осуществляется межъязыковая парадигматизация художественного текста.
Стоит ли кыргызскому поэту или писателю, чьи
произведения, предположим, переводятся на
английский, русский, белорусский, турецкий или
осетинский языки, так уж радоваться тому, что
вот теперь его прочитают турки, англичане и осетины? Многие из них могли бы и в оригинале это
прочесть, что обычно ценится выше – как приобщение к подлинности. Соблазнительная прелесть
переводов в другом. Они создают межъязыковой
парадигматический ряд поэтических текстов,
престижно возглавляемый текстом оригинала.
Быть вне этого ряда – как-то одиноко и грустно:
не выстраивается, хотя мог бы и выстроиться, что
бы там ни говорили о совершенной непереводимости такого-то писателя на другие языки.
Наиболее спорные и интересные вопросы
в теории и практике художественного перевода
связаны с выявлением критериев его точности,
уровня требований, к ней предъявляемых. Возможно откровенное пренебрежение точностью,
но тогда это уже и не перевод, а подражание,
переделка, переложение.
При художественном переводе квалифицированный переводчик думает о передаче слов и
словосочетаний и их функций в определенном
контексте. Это предостерегает его от необоснованного и прямолинейного переноса единиц
оригинала в текст перевода или от придания оригиналу национального колорита языка перевода,
к чему приводит механическая замена слов или
понятий (национальные реалии) оригинала словами (национальными реалиями) языка перевода.
Подход к переводу с точки зрения функционального соответствия дает возможность воссоздать
в точности описанные в оригинале признаки
(объёма, веса, размера, количества) и вместе с тем
позволяет достигнуть ясности перевода. Только
таким путем можно добиться диалектического
единства и целостности формы и содержания
перевода в соответствии с оригиналом.
Давайте анализируем следующие переводы
из произведений Ч. Айтматова с точки зрения
семиотики:
«Тулпар
айланып
уйурун
табат.» “Tulpar” fill find his own herd even it is
(Айтматов Ч.Т., Жамийла, Ф: Кыргызстан, 1 at the other end of the world. (Aitmatov
том, 207 б.)
Ch., Jamila, Boston and Moscow 2000, p.
20)
В данном примере метафорическое высказывание «Тулпар айланып уйурун табат» автор метафорически характеризует, что человек
– мужчина где бы он не находился все равно
вернется в свой родной край. “Тулпар” в данном
высказывание с точки зрения семиотики означает
«эр – азамат», «молодец» где показывает знак
совершеннолетия и самостоятельности мужчин.
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Это высказывание не употребляется в отношении
женщин, так как женщина считается частью семьи мужа и место где живет ее муж считается ее
родным краем. «Тулпар» в буквальном переводе
на английский язык означает horse, который
далеко не символизирует сильного и самостоятельного молодого человека с патриотическими
намерениями.
Кыргызский народ из покон веков гармонично живет с природой и обладает уникальным даром дружить с животными. Многие наши устные
и письменные творчества впрямую связана с жизнью животных, олицетворяя их существование
рядом, представляющие множество различных
символов и знаков.
Например: кыргызское слово “маралдай”
переводится на английский язык “doe-like” с
общим денотативным значением основы олениха
марал (doe) . Марал в кыргызской культуре символизирует красоту, а именно – грациозность и
Следующий пример:
«А бечара, туз-насиби бар экен, акыры
озу элин издеп келгенин карачы!»
(Айтматов Ч.Т., Жамийла, Ф: Кыргызстан,
1 том, 207 б.)
В кыргызском варианте “туз – насип” в дословном переводе туз – соль (sault), насип имеет
двоякую смысл как судьба (fate) и даам татуу (to
taste smth), но эти слова включают в себе знак
“судьба ему предоставила шанс выжить и увидеть свои края”. В английском переводе “it’s his
fate to drink water from his native spring” “water”
(вода) не означает соль это совсем другое но показывает тот же знак как туз – насип “to taste sault
– fate”. Таких примеров очень много и каждый из
них подлежить к глубокому анализу.
Некоторые слова, называющие национальные предметы и явления, помимо языка оригинала, встречаются и в языке ряда других народов, в
том числе и в языке перевода. Они являются составной частью их словарного фонда. Подобные
слова обычно встречаются у народов, близких
друг к другу в языковом территориальном или
бытовом отношениях, связанных разного рода
взаимоотношениями и имеющих одинаковые
религиозные представления. В таких случаях
переводчик не сталкивается с практическими
трудностями.
опрятность женщин. Свидетельствует об этом
частое употребление словосочетания «ак маралдай керилген» в устной и письменной речи.
Для английской культуры соответствующее
слово doe-like не обладает таким оценочным
значением, как в кыргызском языке.
Проанализируем английское словосочетание rain cats and dogs, передаваемое на кыргызский язык как «ношорлогон жамгыр».
Здесь одно и то же явление воссоздается поразному в исследуемых языках. Англичане
сравнивают дождь с поведением кошек и собак, а кыргызы, воспринимая его как «ношорлогон жамгыр», не отмечают связь дождя с поведением животных. В понимании кыргызов
rain cats and dogs – это сильный проливной
дождь. Очевидно, здесь речь идет об особенностях национального мировосприятия и их
отражения в языке, что в известной степени
сближает подобные явления с реалиями.
“No matter how much he’s wandered in
strange places he’s finally returned, and
that means it’s his fate to drink water from
his native spring. (Aitmatov Ch., Jamila,
Boston and Moscow 2000, p. 20)
Вместе с тем, многие слова, употребляемые для отображения национальных особенностей (реалий), в силу отсутствия в других
языках языковых средств, способных отобразить их точное значение, создают трудности
для переводчика.
Проблема интерпретации того смысла, который автор вкладывает в текст, приобретает
особое значение для переводчика. К. Раис в этой
связи противопоставляет термин “знак” термину
“признак”. В отличие от “знака” признак обладает дополнительным смысловым потенциалом,
который наслаивается на смысл, эксплицитно
выраженный в сообщении. Дополнительный
смысловой потенциал, с другой стороны, является отличительной чертой художественно
организованного текста, который К. Раис вслед
за Ю.М. Лотманом рассматривает как двуплановую структуру (на уровне сообщения и на уровне
художественной организации) .
Рели переводчик, анализируя художественно организованный текст, обнаруживает в нем
элементы синтаксического, семантического и
188
прагматического структурирования “второго
смыслового плана”, он должен по крайней мере
предоставить читателю конечного текста возможность подобной интерпретации. И если это
невозможно при передаче данных сегментов текста, то целесообразно, применив компенсацию,
передать этот второй план при переводе других
сегментов.
С прагматической точки зрения, целевая
установка отправителя (создателя) сообщения
является одной из основных характеристик
коммуникации. Она проявляется как пределенная коммуникативная интенция и реализуется в
структуре и содержании текста. Следовательно,
другой характеристикой являются содержательные и формально-структурные свойства текста,
в которых реализуются целевые установки отправителя.
Способность текста производить подобный
коммуникативный эффект, вызывать у Рецептора прагматические отношения к сообщаемому,
иначе говоря, осуществлять прагматическое воздействие на получателя информации, называется
прагматическим аспектом или прагматическим
потенциалом текста.
Художественный текст, как сложное и многоплановое явление, может изучаться с различных
позиций и соответственно всякий раз предстаёт
перед исследователем в ином качестве. В каждом
тексте, в том числе и художественном, неизбежно отражаются некоторые элементы реальности
(даже если она деформирована по воле автора), а
зачастую и её весьма обширные и существенные
фрагменты. Следовательно, текст – носитель
и источник объективной информации о мире,
зеркало жизни и культуры народа. Однако в художественном тексте объективная информация составляет лишь материал, на котором реализуется
авторский замысел, т.е. формируется определённое идейно-художественное содержание текста,
включающее и авторскую трактовку действительности, и личное, эмоциональное отношение
автора, и (или) его персонажей к описываемым
фактам, и эстетическое свойство произведения,
и т.п. Именно на этом неразрывном сплетении
объективного и субъективного в содержании художественного текста базируется его идейное и
эстетическое воздействие на реципиентов. Таким
образом, художественный текст – это, несомненно, также произведение искусства, памятник
культуры (а не только её зеркало) .
Итак, художественный перевод в собственном смысле этих слов требует точности. Однако
тех, кто крайне усердствует в ее достижении,
нередко упрекают в буквализме. Дословный
перевод считается коверканием языка; то, что
прекрасно звучит по-кыргызски с естественным
для кыргызского порядком слов, по-английски с
тем же порядком производит впечатление чегото неуклюжего и натянутого. Желательно, чтобы
перевод выглядел не как перевод с другого языка,
а как текст, написанный на родном переводчику
и его соотечественникам-читателям языке, т. е.
органично, естественно, без натяжек (конечно,
при условии, что и в оригинале нет языковых
натяжек и косноязычия) .
Литература
1. Айтматов Ч.Т., Жамийла, Ф: Кыргызстан, 1 том,
207 б.
2. Бархударов Л.С. Язык и перевод. – М., 1975.
3. Барченков А.А. Прагматическое содержание
текста и его передача при переводе // Общие и
частные проблемы теории перевода. Сб.научн.
тр. – М., 1989.
4. Ванников Ю.В. Понятие адекватности текста и
типы адекватности перевода // Уровни текста
и методы его лингвистического анализа: Сб.
статей / под ред. Ю.В. Ванникова. – М., 1982.
5. Караева З.К. Перевод и семиотика. Многоязычное бытие эпоса «Манас» и теоретико
– методологические проблемы транслатологии.
/ Бишкек, 2006. – С.21-35.
6. Комиссаров В.Н. Прагматические аспекты
перевода // Сб. научн. тр. МГПИИЯ им. М.
Тореза. – М., 1982, вып. 193.
7. Комиссаров В.Н. Современное переводоведение. – М., 2002.
8. Aitmatov Ch., Jamila, Boston and Moscow 2000,
p. 20
189
УДК: 811.161.1 (575.2) (04) Халилов Абдыганы,
доцент, КНУ
Журнал как тип периодического издания и его место
в системе СМИ
Журнал басма сөздүн тиби катары жана анын ММК систем
асындагы орду
Аннотация: В работе представлена деятельность журнальной периодики, функционирующей
в качестве типа периодического издания. А также ее роль в сфере отечественных СМИ со дня
формирования в местном медиа пространстве.
Ключевые слова: (журнал, СМИ, пресса, журнальная коммуникация, освещение) .
Аннотациясы: Бул иште журналдык периодиканын иштөө ыкмасы чагылдырылып, анын
массалык маалымат каражаттары системасынан алган орду жана мааниси белгиленет.
Негизги сөздөр: (журнал, ММК, журнальдык коммуникация, пресса, чагылдыруу)
Abstract: The paper presents the activity of the journal subscriptions, which function as a type of
periodical. Also, it presents its role in the national media since its formation in the local media.
Keywords: (magazine, media, press, magazine communication, lighting) .
На развитие журналов в мире существуют
довольно противоречивые, зачастую диаметриально противоположные точки зрения. В соответствии с экспонентальным ростом научных
исследований доказывается удвоение числа
научных журналов через каждый 20, 15, 10
лет и на основе этого предлагается постоянно
увеличивать число журналов, или, наоборот,
заменить их другими средствами информации.
Число научных журналов в мире определяют с
большим колебанием от 30 до 300 тысячи и более
названий. Это обьясняется, по нашему мнению,
тем, что в ряде стран вместе с журналами учитываются газеты и другие сериальные издания,
а не зная точного или хотя бы приблизительного
количества журналов, трудно прогнозировать их
количественный рост на будущее. Кроме того,
экспоненты роста выводится на основе подсчета
рефератов, статей по реферативным журналам и
при этом не учитывается, что одна и та же статья
из авторитетного научного журнала может быть
отражена в десятках реферативных журналов.
Вообще корень слова “журналистика”
– журнал. Грамматика зафиксировала некогда
возникшую родственность этих двух понятий. В
России термином “журналистика” первоначально
обозначалась совокупность журналов, и лишь с
середины XIX века, он стал относиться ко всем
периодическим изданиям. Сегодня в сознании
многих журналистика как род деятельности ассоциируется, в первую очередь, с газетой. Изучая
журнальную периодику я пришел к выводу, что
журнал как тип периодического издания является
неотъемлемой и существенной частью средств
массовой информации. И было бы некорректным
отводить главенствующую роль одному из этих
изданий. Ведь каждому свое место. И никак одно
другим не заменишь. И одно вовсе не лучше другого. Но, тем не менее, сегодня ни в учебниках,
ни в методических пособиях не найти раздела,
посвещенного журналам. Либо они отсутсвуют
совсем, либо изредка встречаются, но только в
такой формулировке как “газеты и журналы”.
Это происходит от того, что журналоведение как
раздел науки о печати до сих пор остается белым
пятном в рамках теории журналистики. Поэтому
нашей целью является исследовать и изучить состояние журналов начиная с момента появления
и перспективы их дальнейшего развития.
Актуальность данной темы определяется
еще тем, что журналы призваны более активно
содействовать ускорению научно-технического
прогресса, стимулировать перестройку жизнедеятельности нашего общества. В решении
этих задач еще большую роль сыграет научные
журналы, повышение эффективности которых
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становится одной из актуальнейших проблем.
Я считаю, что эта тема актуальна, потому
что сегодня состояние журнальной периодики
Кыргызской Республики оставляет желать лучшего. И это обстоятельство нельзя оставлять без
внимания, пускать на самотек. Ведь журнал как
тип издания на современном этапе представляет
собой важнейшее средство массовой и специальной информации. К сожалению, существующая
система информационных изданий страдает
рядом недостатков. Основная из них – быстрый
рост числа и сокращение объёма периодических
изданий, усложняющий процессы их обработки,
и вместе с тем отсутствие у многих научных направлений своих печатных органов.
Иными словами, тематическая структура
сети научно-популярных журналов не удовлетворяет потребностей практики, отстаёт от
темпов роста науки. Устаревает форма журнала
как сборника материалов, не всегда отвечающих
профилю издания и в значительной степени
представляющих интерес для очень ограниченных групп специалистов. Низка оперативность
происхождения информационного материала в
системе журнальных коммуникаций.
Журналные издания как объект научных
разработок, безусловно, наименьше изучено. До
настоящего времени остаются неисследованными ценные пласты изданий как в теоретическом,
так и в историческом аспектах. Среди них на
первом месте отраслевые специальные и научнопопулярные журналы респулики. В историческом
плане серьёзному изучению подвергались практически лишь литературно-хужожественные, и,
частично общественно-политические журналы.
Не разработаны теоретические вопросы, касающихся многих типов специальных изданий.
Слишком мало работ посвящено изучению
современных газет и журналов, в особенности,
их функционирования в практике, ощущается
острый дефицит в конкретных рекомендациях по
улучшению деятельности редакций, повышению
социальной эффективности прессы.
Одним из серьёзных препятствий на пути
глубокого и всесторроннего изучения периодических изданий является отсутствие универсальной методики, позволяющей произвести комплексный анализ на основе выработанной системы
исследования и четких отработанных критериев.
Кроме того, периодические издания занимают в
теории журналистики первое место по объёму
исследования. Так же немаловажна тематическая
структура периодических и продолжающихся
изданий – ключевая проблема организации системы научных публикаций. Определяя тематику
изданий, необходимо учитывать современные
тенденции развития науки, ее интеграцию и дифференциацию. Тематическая структура системы
периодических изданий должна быть такой, чтобы журналы сохранялись, не дробились. Хотя, с
другой стороны, специализация журналов не решает проблемы дифференциации обслуживания
индивидуального читателя, не освобождает читателя от просмотра большого числа материалов,
она не должна служить функций современного
научного журнала.
К. Маркс отмечал, что журнал имеет то
преимущество перед газетной, что он позволяет
рассматривать события в более широком плане и
останавливаться на наиболее важном. А по сравнению с книгой, журнал содержит действенность
и особенность менее фундаментальную информацию, но оперативнее рассматривает события в
более узком плане. Он имеет свою читательскую
аудиторию, четкое целевое назначение и периодичность выхода. Журнал отражает современное
состояние и перспективы развития отдельных
научных направлений. Особое значение имеют
журналы, охватывающие тематику на стыках
наук.
Многие прогнозы и проекты по реорганизации журнальных изданий строятся без учета
информационных потребностей, изучению которых не уделяется должного внимания. Между
тем в прошлом проводилась значительная работа
по выявлению информационных потребностей.
Таковы, и примеру, труды Н. А. Рубашкина, много
сделавшего для изучения категорий читателей. А.
И. Михайловым и Р. С. Гиляревским потребители научной информации классифицируются по
роду деятельности, Д. Е. Шекуриным сформулированы критерии выявления и удовлетворения
информационных потребностей. Этой проблемой
активно занимаются и зарубежные ученые, например, В. Плетт в зависимости от склада ума он
выделяет 6 типов научных работников: прометеи,
критики или аналитики, собиратели, скрупулезные исследователи и неутомимые труженики.
Удовлетворение потребностей не осуществляется
на основе их постоянного изучения и совершенствования научных журналов. Научно-информацонные потребности по сути не учитываются
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при решении вопросов о журналах. Например,
требования ученых увеличивать число журналов,
их обьём и периодичность не выполняются в
должной мере из-за иллюзорной экономии бумаги, из-за мнимой целесообразности упорядочить
периодику путем обьединения малотиражных
(т. е. научных, производственных и отраслевых)
журналов, уменьшения их числа и за этот счет
издавать новые малотиражные издания, а также
из-за всевозможных предложений заменить журналы книжными сериями, разовыми сборниками,
брошюрами, депонированными рукописями,
препринтами и т. д. В результате прекращают
существование многие периодические и продолжающиеся издания, особенно в вузах и научных
учреждениях. Этому способствует также поверхностное изучение зарубежных работ, например,
работ Д. Бернала, Х. Э. Бемфорда, Р. А. Дея, Д.
В. Кинга и других, которые высказываются о
скорой замене научных журналов другими (техническими) средствами передачи информации,
в особенности электронными. В частности, Р.
А. Дей выразил это мрачными предсказаниями
о бесперспективности журналов, что по сути
противоречит практике оперативного создания
новых журналов за рубежом при избыточном
потоке журнальной информации.
При изучении данного вопроса стоит задача комплексного исследования журнальный
периодики нашей республики, выявления его
особенностей и тенденций создания и развития,
а также разработки способов повышения качества, эффективности и ускорения журнальной
информации.
В 80-годах прошлого века в нашей республике сложилась блогоприятная обстановка
для совершенствования научной периодики
и пополнения ее новыми журналами. Однако
пока велись поиски решения потребностей в
книгах и журналах, изменилась система нашего
строя, которая привела к сокращению научной
специальной периодики. Торможение научного
журнального дела врядь ли можно объяснить
только отставанием полиграфической промышленности, нехваткой бумаги и полиграфических
материалов. Положение может быстро измениться, как это было например в начале 20-х годов
прошлого века с введением свободных рыночных
отношений между полиграфистами, издателями,
авторами, т.е. создателями журналов и других
изданий, с одной стороны, и покупателями, читателями – с другой.
УДК:81-22 (575.2) (04) Эсенкулова Элнура, преп, КНУ
Типы семиотики в сфере связей с общественностью (ПР)
The types of semiotics in the field of PR
Аннотациясы: «Коомчулук менен байланыш (ПР) чөйрөсүндөгү семиотиканын типтери».
Бул иште семиотика илиминин коомчулук менен байланыш (ПР) багытында орду белгиленет.
Басылмалардын ишмердүүлүгүндөгү ПР жана рекламанын семиотика же болбосо белги катары
берилиши да чагылдырылат.
Негизги сөздөр: (ПР, семиотика, белги, басма сөз, реклама, коммуникация)
Аннотация: В представленной работе характеризуется типы семиотики в сфере связей с
общественностью (ПР) . Также, обозначены роль ПР и рекламы в деятельности печатных СМИ
как семиотики и в качестве знаков и символов.
Ключевые слова: (ПР, семиотика, знак, печатные СМИ, реклама, коммуникация)
Abstract: This work characterizes the types of semiotics in the field of public relations (PR) and the
role of PR and advertising activities in the printed media as semiotics, and as signs and symbols.
Keywords: (PR, semiotics, sign, print media, advertising, communication)
Понятие и определение семиотики в сфере
PR – public relations, (в дальнейшем ПР) рассматривается как планируемый продолжительное
действие, направленное на образование и поддержание отношений между целевой аудиторией и
компанией. Главные особенности ПР в том, что
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он формирует благоприятное для организации
общественное мнение и воздействует на него
для повышения репутации. Основные сигналы
применяемые в сфере ПР различны. А именно;
методы, статьи в прессе, интервью, работа с аудиторией, имиджмейкерство, инфошум и другие
направления.
Цель данной статьи заключается в том, чтобы
изучить все процессы формирования знака имиджа использования всех средств рublic relations,
выделить ключевые элементы этого процесса и
механизм воздействия на потенциального потребителя. И в сегодняшний день действительно,
актуальная информация может быть извлечена из
самых различных источников: это события разных сфер, областей жизни: политики, экономики,
культуры, производства, быта и т. д.
Задача поставленная перед исследованием
рассмотрение всей структуры «ПР» на какомлибо конкретном примере. Тем самым, определить, откуда именно берется выразительность
ПР сообщения, и из чего складывается ее воздействие на зрителя или читателя. Предположим,
рекламируются макароны фирмы «Акун» или
«Яшара». «ПР представляет собой две пачки макарон, банку с соусом, пакетик сыра-пармезана,
помидоры, лук, перец, шампиньоны – и все это
выглядывает из раскрытой сумки для провизии».
И в рекламе и в ПР знаке сообщения имеют характерные черты. Например, у обоих картина
представлена выдержанном, в бело-зеленом тоне,
а фон в красном цвете.
В настоящее время семиотика обращенная к ПР тексту, тесно связана с эстетической
составленной рекламой. В жизни всех живых
существовании человека, животных – знаки
имеют огромные значения на них базируется
вся человеческая деятельность и многие формы
поведения животных. Знаковая функция ПР
в современном мире связана с налаживанием
эффективной рекламной деятельности и ее воздействием на потребителя. PR основываются на
приёмах самопозиционирования, возвышения
имиджа, отстройки от конкурентов. В коммуникативных стратегиях и тактиках как говорится
«PR в качестве информационного канала и коммуникативных указателей используются мифы,
стереотипы и ритуалы, организуются вымышленные причинно-следственные связи, в результате
чего действительность в разных пропорциях и с
помощью разных композиционно-риторических
средств соединяется с вымыслом».
Ценность и значимость любого знака не абсолютна, а определяется конкретной ситуацией
его употребления. Один и тот же знак вызывает
различную реакцию у людей в зависимости от
времени, места и цели его использования. На
основании этого можно выделить еще одно
свойство знака – ситуативность его значения.
Знак становится актуален тогда, когда человек в
нем нуждается. Например, нам очень важен знак
сапога над дверью обувной мастерской, когда у
нас сломался каблук; но если необходимости в
обувной мастерской нет, мы не обратим внимания на знак сапога, а если и обратим, то тут же
о нем забываем – у нас нет в нем потребности.
Знак с обобщенным изображением чашки с дымящимся кофе выступает для нас знаком именно
в той ситуации, когда мы хотим перекусить, но
не релевантен, когда этого желания нет.
Еще один пример: Создание коротких ПР
или рекламных лозунгов, девизов способных
идеи главных позиционированиях брендов и
способствующий эффективному продвижению
рекламируемого продукта. Основные цели ПР
слогана вызвать у потребителя эмоции и на их
фоне сформировать в его памяти. Основные задачи которые решает слоган.
- привлечь внимание, создать яркие позитивное впечатление
- помочь потребителю сравнить рекламный
бренд с другими струк-и
- Вызвать интерес, усилить запоминаемость
продукта
- призвать к определенным действиям
- указать потребителю на не материальные
ценности продукта
Цель состоит в том, чтобы представить PR
не только с точки зрения ее знакового своеобразия, но и определить те психологические и
социальные законы, которые позволяют выйти на
то важнейшее место в мире, которое они заняли
в последние десятилетия. Создатели ПР сами
выстраивают системы смыслов, а также конструируют культурную идентичность общества
посредством приписывания рекламируемому
продукту определенных символических ценностей. ПР оказывает поведенческое, установочное,
аффективное или когнитивное воздействие на
получателей сообщения. Большей частью она
не просто продвигает товар или услугу, а создаёт
положительный имидж заказчика. Кроме того, ПР
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ставит своей целью внедрить в сознание потребителя определенные нормы, идеи, ценности и
образ жизни.
В Пиаре или рекламе используются все виды
знаков (иконический знак – звук, изображение,
символ – письмо, речь, индекс – то, что записывается на пленку) . Пиар, представленная в традиционных СМИ, использует широковещательный
код, направленный на массовую аудиторию. В
интернет-СМИ. Пиар может быть как широко,
так и узкоспециализированная, в зависимости
от направленности конкретного СМИ. ИнтернетСМИ делают ставку на узкопрофильную пиару,
например, игровые интернет-порталы чаще всего
рекламируют игры, гаджеты, игровые приставки
и прочие тематические товары.
В основном иконический знак является частью визуального уровня коммуникации. На этом
уровне очень ярко проявляется различие разных
типов медиатекстов – журналистского, рекламного и PR-текста. Иконические знаки являются
основой ПР или рекламного типа медиатекста.
Этот тип знака двусмыслен и создает поле для
различных интерпретаций, без сопровождающего вербального комментария он может быть понят
по-разному. Для журналистского и PR-материала
такая вольность недопустима в силу их прагматических особенностей, PR текст в первую очередь
должен привлекать внимание, и двусмысленность
как некий парадокс обязательно зацепит взгляд
аудитории. Кроме того, иконические знаки легко
могут быть наполнены различными культурными
кодами или лексикодами, создав определенный
логотип бренда, например, можно вложить в него
разное значение для разных групп аудитории,
дифференцированной по социальному, возрастному и другим признакам. Иконический знак
наиболее гибок и мобилен.
Принимая решение о времени и методах
использования связей с общественностью, ПР
должен прежде всего определить маркетинговые задачи, выбрать сообщения и средства их
распространения, разработать план кампании и
оценить её результаты. Основные инструменты
связей с общественностью:
1) Мероприятия. Компания может привлечь
внимание к новому товару с помощью различных
мероприятий: пресс-конференций, семинаров,
выставок, соревнований и конкурсов, юбилеев,
субсидирования спортивных и культурных ме-
роприятий и т.п., которые охватывают целевую
аудиторию.
2) Новости. Одна из главных задач специалистов по связям с общественностью – предоставление медиа благоприятных новостей о
компании, её продукции и сотрудниках, что предполагает владение навыками создания концепции
будущей статьи, ее исследования и подготовки
пресс-релиза. Но мастерство специалиста по
связям с общественностью не ограничивается
подготовкой новостей. Ему необходимо обладать
талантом общения и убеждения, чтобы заинтересовать пресс-релизом медиа, которые направят на
пресс-конференцию своих представителей.
3) Выступления. Выступления – еще один
способ создания паблисити компании и ее товарам. Все чаще руководителям компаний приходится общаться с представителями медиа, вести
переговоры, выступать в торговых ассоциациях
и на коммерческих встречах. Их ораторское искусство влияет на имидж компании.
4) Участие в общественной деятельности.
Компании могут улучшать свою репутацию,
жертвуя деньги и время на благотворительные акции. Обычно руководителей крупных компаний
просят поддержать какие-либо общины. В других
случаях компания жертвует определенную сумму
денег на конкретные цели. В создании репутации
фирмы такой целевой маркетинг становится все
более распространенным.
5) Средства идентификации. В перегруженном информацией обществе компания обязана
бороться за внимание потребителей. Она должна
создать мгновенно узнаваемый образ. Для этого
используются эмблемы (логотип) компании,
писчая бумага с водяными и иными знаками,
брошюры, печати, визитные карточки, стиль и дизайн помещений, униформа сотрудников. Можно
предположить также появление ряда изменений,
меньших по значению, но также существенных
для развития пиара права в новом веке.
Список использованной литературы:
1. Алешина И.В. «Связи с общественностью
– PR» М., 2003 г.
2. Иванченко Г.В. Реальность Паблик рилейшнз
М., 2006г.
3. Муртазина Г.Х. «Этика связей с общественностью и культура управления»
4. www.polylog.ru/ru/pr-help/public-relations.htm
194
исТОРия
УДК 94.47
Айдаралиев А.А.
Восточный Университет им. М. Кашгари
К вопросу о происхождении и формировании
кыргызского этноса
History of establishing united Kyrgyz nation
Кыргыз элинин турган тарыхы.
Аннотациясы: Бул макалада автор, тастыкталган тарыхый булактардын негизинде, кыргыз
элинин бир эл болуп тузулуу процессине оз коз карашын билдирген.
Негизги сөздөр: кыргыз эли, этногенез, этнос, турктор, моголдор, хуннулар, кочмондор.
Аннотация: В данной статье, на основе сопоставления различных исторических источников,
излагаются этапы становления и формирования кыргызского народа, как единой исторической
общности.
Ключевые слова: кыргызский народ, этногенез, этнос, хунну, тюрки, моголы, кочевники.
Abstract: In this article outlines the stages of development and formation of the Kyrgyz people as a
unified historical community, as well as compared different historical data.
Keywords: Kyrgyz people, ethnogenesis, ethnos, Turks, Moghuls, Huns, nomadic.
События, происходившие в течение долгих
лет и связанные с кыргызским народом, имели
место на обширной территории от Тянь-Шаня до
Алтая и Енисея. С получением Кыргызстаном
независимости изучаемая проблема стала весьма
актуальной и приобрела особую значимость в общественном сознании кыргызов. Появилась потребность в новых исследованиях и нахождении
более точных и конкретных ответов на вопросы,
связанные с происхождением и формированием кыргызского этноса. Еще в период царской
России ученые историки указывали на то, что
кыргызы имеют древнее происхождение. Но в
советскую эпоху к изучению данной проблемы
относились очень осторожно. Ученые не могли
выйти за рамки идеологии коммунистической
партии. Зачастую их разработки основывались
на трудах известных востоковедов, таких как, И.
Бичурина, Н.А. Аристова (2001), В.В. Бартольд
(2012) и др.
К сожалению, изучение происхождения и
формирования кыргызского этноса является
сложным процессом, так как большинство архивных материалов находится вне Кыргызстана.
В частности Дарда С. (2000) считает, что вопрос о происхождении кыргызов довольно таки
запутанный и до сих пор нет окончательной и
общепризнанной теории. Он пишет: «Споры
по вопросу истории кыргызов продолжаются
второе столетие; единственное, в чем никто не
сомневается, так это в том, что кыргызский народ
является одним из самых древних народов Средней Азии». Несмотря на то, что кыргызы имеют
древнюю историю в связи с кочевым образом
жизни, осталось мало письменных сведений и документальных свидетельств об этом. Существует
немало версий и гипотез по этой теме, вплоть
до того, что североамериканские индейцы являются потомками енисейских кыргызов, которые
пройдя через Берингов пролив осели на Новом
Свете. Об этой версии заявляют казахский ученный Ахметов А. (2006) и американский доктор
Шурр Т. (2006).
Кыргызский каганат на Енисее был ослаблен
195
феодальной раздробленностью. В XIII веке он
был разгромлен монгольскими ордами Чингисхана и вошел в улус его старшего сына Джучи. В
эту эпоху кыргызы были разбросаны по огромной
территории Монгольской империи. Кыргызы
сыграли ведущую роль в этногенезе многих
народов Саяно-Алтая. Алтайских кыргызов от
их тяньшаньских соплеменников отличало то,
что первые являются шаманистами-язычниками,
тогда как кыргызы, живущие в Средней Азии
под влиянием соседних народов стали мусульманами.
Арабы и персы в своих источниках именовали население Минусинской котловины – «хырхыр» и «хырхыз», греки именовали – «хирхиз»
или «херкис», тюрки и согдийцы – «кыркыз».
Тем самым, последняя версия наиболее точно
отображает самоназвание народа.
Внешне кыргызы выглядели европеоидами,
с румяным лицом, голубыми глазами и рыжими
волосами [2]. Однако большинство нынешних
тяньшаньских кыргызов является монголоидами.
Это результат того, что кыгызы, переселившись
с Енисея, смешались с местным населением,
состоявшим из тюркских и монгольских племен.
Кыргызы в свою очередь испытали влияние
местной культуры, в особенности нужно учесть
тот факт, что они приняли Ислам, живя бок о
бок с моголами. Моголами назывались жители
Чагатайского улуса, являвшиеся монголами по
происхождению, родным языком которых был
тюркский, а религией Ислам
Территория Кыргызстана в IX веке вошла в
состав государства Караханидов, а его столица
Баласагун находилась на территории нынешнего
города Токмак. Термин ,,Караханиды” был введен
в научную литературу русскими востоковедами
в XIX веке и стал общепринятым для тюркской
династии, которую в арабско-персидской литературе называли ,,Дом Афрасиаба” [2]. Сама
династия приписывала себе тюркское происхождение, а многие ее представители похоронены в
Узгенде и Артуше.
Само Караханидское государство, представлявшее собой большой конгломерат различных
племен и народов тюркского происхождения,
можно считать той основой, на которой в последствии образовались другие тюркские, мусульманские народы Центральной Азии, включая и
кыргызов, с их культурой, фольклором, языками
и историей.
Об этом упомянуто у известного ученого
Караханидского государства Махмуда Кашгари
(2005), который писал, что земли подвластные
Караханидам населяют различные племена, в
частности он упомянул кыргызов, в одном ряду с
тюрками, туркменами, чигилями, ягма, огузами,
кыпчаками.
Правление Караханидов запомнилось как
время развития и прогресса в Туркестане. Расцветала торговля, строились города, Шелковый путь
оживлялся. Территория Семиречья была покрыта
сетью городов и кишлаков, а большинство их жителей вели оседлый образ жизни. Впоследствии
все это будет разрушено монгольским нашествием и придет в запустение, поскольку монгольские кочевники, не привыкшие жить в городах,
заполнят земли Тянь-Шаня, вытеснив оседлых
жителей в Фергану и Восточный Туркестан или
вынудив их перейти на кочевой образ жизни.
Бурные события протекали в XV и XVI века
на обширной территории Евразии. В первую
очередь это было связано с распадом тюрко-монгольских империй, таких как государства Тимуридов, Улуса Чагатая и Улуса Джучи, известного
в русскоязычном мире как Золотая орда. В ходе
этих событий начались переселения, изгнания,
захваты одних народов другими. Появились предпосылки к формированию и появлению таких
национальностей, как ногайцы, узбеки, казахи,
татары и тяньшаньские кыргызы.
Согласно обычаям тех времен, покоренные
народы принимали названия того народа, кто их
покорил, зачастую видя в завоевателях авторитет
и надежду на мир и стабильность, не в пример
Чагатаидам и Тимуридам, которые в борьбе за
власть друг с другом приносили беды и разруху
простому народу. При этом местные жители в
культурном плане одерживали верх над своими
покорителями.
По мнению большинства ученых во время
правления Мухаммад Кыргыза в XVI веке,
кыргызы на Тянь-Шане стали формироваться
как единый народ. При этом кырыгызы ассимилировали многие тюркские и могольские
племена, жившие в данном регионе. Массовое
принятие Ислама кыргызами, которое началось
при Мухаммад Кыргызе, повлияло на то, что
моголы быстрее стали интегрироваться и ассимилироваться с кыргызами. Кыргызские племена монолдор, кушчу, кыпчак, найман, нойгут и
доотай являются потомками тех самых моголов,
196
которые до Мухаммад Кыргыза были другим народом и даже живших обособленно от кыргызов.
По этому поводу Акеров Т. [2] пишет, что имя
Мухаммада Кыргыза обеспечило ему влияние
на все племена Тянь-Шаня. Этноним «кыргыз»
превратился в политоним и приобрел собирательный характер для всех кочевников Тянь-Шаня.
Даже названия таких мест, как Нарын и Балыкчы
имеют монгольское происхождение, так как в
состав их народа входили племена с подобными
названиями.
До сих пор историки не могут прийти к единому мнению о том, когда и как был окончательно
сформирован кыргызский этнос на Тянь-Шане.
Большинство мнений сходится к тому, что Великий Кыргызский Каганат на Енисее сыграл
важную роль в миграционном процессе предков
современных кыргызов в Центральную Азию,
который происходил в IX-XI веках. Хотя еще в
первом веке до нашей эры кыргызы имели связи
с центральноазиатским государством Кангюй и
часть хуннов и кыргызов была переселена в Таласскую долину, по просьбе кангюйского царя. В
эпосе Манас племя канглы играло немаловажную
роль в истории кыргызского народа [1] .
В этой связи отметим, что в последнее время,
отдельные ученые стали больше придерживаться
теории автономном происхождении кыргызов.
Согласно гипотезе Т. Акерова кыргызы являлись выходцами из страны Кангюй, которая в
исторических источниках всегда упоминается
вместе с первыми. В связи с чем ученый предлагает рассматривать Кангюй как одно из первых
кыргызских государственных образований, а
енисейских кыргызов в качестве восточной ветви
кангюйцев [1].
Версий и мнений по этому поводу много, и
каждая из них имеет свои доказательства:
1. После подавления монголами восстания
енисейских кыргызов Чингисхан в качестве
наказания приказал переселить их частично в
Среднюю Азию.
2. После смерти Чингисхана кыргызы были
вовлечены в гражданскую войну в Монгольской
империи, которая имела место между потомками
Угедэя и Чагатая, с одной стороны, и потомками
всемонгольского хана Тулуя, в частности его
сыном Хубилаем, с другой. Внук Угэдея Хайду
хан активно противодействовал политике хана
Хубилая и покровительствовал кыргызам. Он
даже отправил им на помощь свою армию во
главе с Болочем, которые отбивались от атакующих войск Хубилая. Однако Болоч потерпел
поражение и погиб. После поражения на Енисее
и начавшихся карательных мероприятий Хубилая по выселению бунтовщиков в Манчжурию
и Китай многие кыргызы стали мигрировать в
улус Хайду, ища там безопасное место, и таким
образом очередной их переселенческий поток
попал на Тянь-Шань, где находилась ставка хана
Хайду.
3. Кыргызские племена вместе с монголами
пришли на Тянь-Шань и, пользуясь случаем,
начали укреплять свое влияние в регионе.
4. Енисейские и алтайские кыргызы, будучи
союзниками калмыков, активно участвовали в
их агрессии на Среднюю Азию. Джунгарское
ханство, судя по всему, содержало крупные гарнизоны в регионе из данного народа. Например,
из книги Мокрышника В.П., Плоских В.М. (2002)
по этому поводу известно, что джунгарский хан
Цэвэн-Рабдан переселил в 1703 году с Енисея в
Центральную Азию большое число кыргызских
племен. После разгрома Джунгарского ханства в
результате сопротивления народов Центральной
Азии, а также агрессии, предпринятой против
него правящей в Китае, манчжурской династией Цин, енисейские кыргызы, которые были
союзниками калмыков, после своего поражения,
остались вместе с ними в Средней Азии и приняли Ислам, смешавшись со своими местными
сородичами. Из оставшихся на кыргызской земле
монголоязычных калмыков, оставивших буддизм
и ставших мусульманами, появилась этническая
общность сарт-калмаки. Другая часть алтайских
кыргызов, будучи военослужащими Джунгарского ханства и попав в плен к казахам, вошла в родовую группу – туленгут, из которой впоследствии
казахские ханы и султаны стали формировать
свою личную гвардию, наподобие египетских
мамлюков и турецких янычар. Название туленгут
происходит, от названия одного из алтайских
народов –теленгит. По мнению Ч.Валиханова
(2012), часть енисейских кыргызов, будучи разгромленными русскими войсками в XVII веке,
бежала в казахскую степь и ассимилировалась с
казахами, тем самым пополнив род туленгутов.
В случае с Чингисханом и калмыками, завоеватели решили использовать тот факт, что енисейские и алтайские кыргызы, будучи тюрками,
были ближе по языку к местным жителям, в отличие от их монгологоворящих хозяев, и быстрее
197
бы могли освоиться на новых оккупированных
землях, укрепляя при этом их власть
Небольшая группа кыргызов, проживавшая
на Тянь-Шане, еще со времен гуннов и государства Кангюй, и новоявленные пришельцы из Алтая
и Енисея увеличили численность народа.
Таким образом, в этногенез нынешнего кыргызского народа вошли:
1) Коренное тюркское население Тянь-Шаня
- усуни, чигили, ябагу, ягма, карлуки, канглы,
кыпчаки и часть издавно проживавших в регионе
кыргызов.
2) Племена алтайских и енисейских кыргызов, прибывавшие на Тянь-Шань на протяжении
IX-XVIII века.
3) Монголы, впоследствии ставшие тюркоязычными моголами.
4) Родственные монголам племена найманов,
каракитаев и калмыков, которые впоследствии
также тюркизировались.
Вышеотмеченные группы сыграли важную
роль в сложении современного кыргызского
народа.
Список использованной литературы:
1. Акеров, Т. А. Кыргызы: этногенез и история.
–Б. 2014.
2. Акеров, Т.А. Каркырахан Великий Кыргызский Каганат. Бишкек-2012г.
3. Аристов, Н. А. Усуни и кыргызы или кара
кыргызы. Бишкек-2001 г.
4. Аристов, Н.А. Труды по истории и этническому составу тюркских племен – Бишкек 2003г.
5. Ахметов, А. Азия-Берингия-Америка или
Азиатское происхождение индейцев. Алматы
2006 г.
6. Бернштам, А.Н. История кыргызов и Кыргызстана с древнейших времен до монгольского
завоевания, Бишкек, 1997 г.
7. Дарда С. www.beltofpeace.com 2000 г.
8. Кашгари Махмуд. Диван Лугат ат-турк. Алматы-2005г.
9. Мокрынин, В.П. Плоских В.М. История Кыргызстана . Бишкек-2002 г.
10. Омурзаков, С. История Кыргызов и Кыргызстана. Бишкек-2012 г.
198
Юриспруденция
УДК 349.6:502.7
А.О.Кайпбаева - докторант PhD МУК, г.Бишкек
А.С.Мавлянов – к.ю.н., доцент МУК, г.Бишкек
НЕОБХОДИМОСТЬ ПРАВОВОЙ ОХРАНЫ ЖИВОТНОГО МИРА И
ВОДОПЛАВАЮЩИХ ПТИЦ ВОДНО-БОЛОТНЫХ УГОДИЙ В РЕСПУБЛИКЕ
КАЗАХСТАН
THE NEED FOR LEGAL PROTECTION OF FAUNA AND WATERBIRDS OF
WETLANDS IN THE REPUBLIC OF KAZAKHSTAN
Аннотациясы: Бул макалада айбандар дүйнөсу, айрыкча сууда сүзүүчү куштар жана келгинкуштар жөнүндө коргоо камсызкылудагы колдонулуп жаткан мыйзамдардын талдоо жүргизүлдү,
ошондой эле изилдөө учурунда кемчиликтери ачылып көрсөтүлдү, жана аларды жокко чыгару
үчүн тиешелүү сунуштар жасалды.
Негизги сөздөр: айбандар дүйнөсу, сууда сүзүүчу куштар, флора, фауна, суу-саз
жерлер,браконьерчилик.
Аннотация: Проведен анализ действующего законодательства в области обеспечения охраны
животного мира, в особенности водоплавающих, мигрирующих видов птиц, выявлены проблемы
в исследуемой области и предложены пути их решения.
Ключевые слова: животный мир, водоплавающие птицы, флора, фауна, водно-болотные
угодья, браконьерство.
Abstract: The analysis of the current legislation in ensuring the protection of wildlife, especially
waterfowl, migratory bird, the problems identified in the study area and proposed their solutions.
Keywords: wildlife, waterfowl, flora, fauna, wetlands, poaching.
Разнообразна и уникальна фауна водноболотных угодий республики, являющихся
прибежищем для многих ее видов, для которых
существование в условиях антропогенного воздействия приравнивается к вымиранию.
Природа и человек всегда были взаимосвязаны. Человек использует фауну в научных,
культурно-просветительных, эстетических и
воспитательных целях, для поддержания своего
здоровья и жизни, поэтому в современных условиях экологического кризиса задача сохранения
животного мира, водоплавающих птиц является
особо актуальной.
Охрана водно-болотных угодий является
необходимой не столько для сохранения самого
водно-болотного угодья как такового, как особого гидрологического объекта, сколько продиктована причиной сохранения мест обитания
разнообразной флоры и фауны. Подтверждением
тому является высказывание д.ю.н., профессора
Стамкулова А.С., согласно которому: «Охрана
воды правовыми средствами обеспечивает существование всего животного и растительного
мира» (1, с.83).
Огромный социально-экономический потенциал водно-болотных угодий имеют первостепенное значение для мировых популяций гнездящихся, перелетных и зимующих водоплавающих
и околоводных птиц.
Под водоплавающими птицами в соответствии с п.2 ст.1 Закона Республики Казахстан «О
присоединении к Конвенции о водно-болотных
угодьях, имеющих международное значение,
главным образом в качестве местообитания водоплавающих птиц», понимаются птицы, экологически связанные с водно-болотными угодьями.
Поскольку Конвенция о водно-болотных
угодьях, имеющая международное значение,
главным образом в качестве местообитания
водоплавающих птиц уделяет особое внимание
199
водоплавающим и околоводным птицам, следует
обратить внимание на тот факт, что через Казахстан пролегают крупнейшие в Евразии миграционные пути перелетных птиц, а именно:
• Сибирско-Западнокитайский-Юговосточноазиатский;
• Центральноазиатско-Индо-Пакистанский;
• Центральноазиатско-Восточноафриканский.
По подсчетам специалистов, ежегодно наши
границы пересекают около 50 миллионов пернатых, из которых 20% останавливаются на гнездование. Из представленных 130 видов, немало
внесенных в Красную книгу - фламинго розовый,
кудрявый пеликан, малая белая цапля и многие
другие (2, с.1).
Республика Казахстан, как в целом, так и
отдельно взятые ее регионы, может похвастаться
обилием и разнообразием имеющихся на ее территории животных и птиц. Только в Жамбылской
области обитает и гнездится свыше 160 видов
птиц, многие из которых считаются редкими
и находящимися под угрозой исчезновения.
Однако, по данным Жамбылского областного
территориального управления лесного и охотничьего хозяйства, в настоящее время происходит
деградация практически всех видов природных
комплексов: русел рек и озер, растительности
пойменных и прилегающих к ним пустынных
земель, а также водоплавающих и околоводных
животных.
Таким образом, водно-болотные угодья
важны, имеют особую роль в существовании и
размножении многочисленных представителей
фауны. От решения вопроса их правовой охраны зависит будущее как самих водно-болотных
угодий, так и фауны, обитающей в них.
Водоемы Республики Казахстан все больше
подвергаются различным видам воздействия, в
результате чего их нынешнее состояние оставляет желать лучшего. Как правило, виной всему
этому служит деятельность людей, а именно:
улов рыб, отстрел водоплавающих птиц без учета
условий воспроизводства. К этим данным фактам
нужно добавить еще и браконьерскую деятельность, загрязнение рек, озер сточными водами
промышленных предприятий, бытовым мусором
населения, проживающих вблизи загрязненных
рек и озер, и можно представить безрадостное
недалекое будущее.
В настоящее время исчезновение видов
птиц идет в 50-100 раз быстрее, чем в естественных процессах. Из исчезающих свыше
5000 видов фауны каждым восьмым являются птицы. По приведенным данным можно
судить о значимости водно-болотных угодий
в существовании и размножении животного
мира и водоплавающих птиц на территории
Республики Казахстан.
Истребление, неумеренная добыча, изменение или уничтожение среды обитания животных
и птиц является причиной стремительного их сокращения. Причиной, вынуждающей животных и
птиц переселяться в другие места, служит осушение болот, строительство дорог, трубопроводов,
линий электропередач, сооружение каналов,
водохранилищ. Загрязнение вредными выбросами атмосферы, водоемов, почвы приводят к
их гибели. При этом даже на особо охраняемых
природных территориях не всегда обеспечивается сохранность разнообразия флоры и фауны,
поскольку пребывание в них большинства видов
животных и птиц носит временный характер.
Перелетные птицы часто выводят потомство
на одном водно-болотном угодье, отдыхают во
время перелета на другом, а зимуют за тысячи
километров - на третьем. Весной они летят обратно, и если исчезнет водно-болотное угодье,
где они выводят птенцов, это явится для них
настоящей трагедией.
Ученые установили, что численность водоплавающих птиц находится в прямой зависимости от площади прудов и болот; решающим
фактором, определяющим ее, является площадь
водной поверхность в период размножения (3,
с.78).
Следует обратить внимание, на то, что, определяя качественное состояние водно-болотных
угодий и учитывая иные факторы, можно сделать
вывод о вымирании или увеличении количества животных, об изменениях, происходящих с
растительным миром и т.п., поскольку характер
изменения флоры и фауны полностью зависит
от существующих способов водохозяйственного воздействия, оказывающих влияние на них.
Поэтому, на данный момент необходимо разработать мероприятия по выявлению, анализу и
восстановлению состояния всех водных объектов
на основе научно обоснованных критериев, с учетом влияния, оказываемого водохозяйственной
деятельностью на животный мир, обитающий
200
в водоемах.
Охрана животного мира в республике вызывает обоснованную тревогу, так как каждый
природный ресурс находится во взаимодействии друг с другом, и потеря одного природного
объекта в цепочке ведет к гибели остальных. В
связи с этим, в настоящее время возникла острая
необходимость принятия мер по сохранению
видового разнообразия и созданию надлежащих
условий для воспроизводства диких животных.
В противном случае это приведет к невосполнимым потерям в природной среде и нанесет
значительный экономический ущерб нашему
государству.
Таким образом, считаем, что на данном этапе
необходимо совершенствование законодательных
актов, которые регламентируют вопросы правовой охраны животного мира, в частности водоплавающих птиц, именно тех, которые относятся
к категории редких и находятся под угрозой исчезновения. Для этого, мы считаем, необходимо
создать Список редких видов водоплавающих
птиц каждого региона республики с приданием
ему официального статуса.
Нужно активизировать развитие системы
практических мероприятий и мер государственной поддержки, сохранения, восстановления
редких и находящихся под угрозой исчезновения
видов животных, растений и других организмов,
а также создать систему по их разведению вне
естественной среды обитания.
Наличие различных природно-климатических зон, обилие видов флоры и фауны возлагает на наше государство ответственность по
сохранению уникальной природной среды, что
требует усовершенствованного подхода к государственному обеспечению ведения Красной
книги Республики Казахстан на основе научнообоснованных методологий и принципов.
Хотелось бы отметить, что водно-болотные угодья как природный комплекс, объединяющий не только водный объект, но и животный,
растительный мир, выступает общенародным
достоянием, использование которого должно
быть основано на расчете их сохранения для
будущих поколений. Поэтому, на сегодняшний
день, необходимо активно развивать межгосударственную экологическую сеть, включающую
в свой состав важнейшие природоохранные
объекты региона, а также охрану редких видов
животных путем согласования списков государственных и региональных Красных книг.
Литература:
1. Стамкулов А.С. Правовая охрана природы в
КазССР [Текст] / А.С.Стамкулов. - Алматы:
«Мектеп», 1982. - 398 с.
2. Хабибрахманов Р. На пути через Арал: вопросы
экологии озер Отрарского и Туркестанского
районов Южно-Казахстанской области [Текст]
/ Р.Хабибрахманов // Экологический курьер.
- 2002. – 8 февраля. - №3. - 1-2 с.
3. Астахова В.Г. Клады на болотах [Текст]: научно-популярная литература / В.Г.Астахова.
- Москва: Лесная промышленность, 1976.
- 80с.
4. Республика Казахстан. Законы. О присоединении Республики Казахстан к Конвенции о
водно-болотных угодьях, имеющих международное значение, главным образом, в качестве
местообитаний водоплавающих птиц [Текст]:
закон Республики Казахстан от 13 декабря 2005
года №94 / Республика Казахстан, Законы //
Казахстанская правда. – 2005. – 22 декабря.
201
УДК 349.6:502.7
А.О.Кайпбаева
докторант PhD МУК,
город Бишкек
ЗАКОНОДАТЕЛЬНОЕ РЕГУЛИРОВАНИЕ ОХРАНЫ ВОДНО-БОЛОТНЫХ
УГОДИЙ В РЕСПУБЛИЕ КАЗАХСТАН
LEGISLATIVE REGULATION OF PROTECTION OF WETLANDS
IN THE REPUBLIC OF KAZAKHSTAN
Аннотациясы: Бул макала суу-саз жерлерин коргоо жана рационалды пайдалануу сурооолоруна
арналган. Макалада колдонуудагы табият коргоо мыйзамдардын талдоо жүргүзүүлдө, ошондой
эле изилдөө учурунда кемчиликтери ачылып, аларды жокко чыгару үчүн сунуштар иштетилип
чыгарууда.
Негизги сөздөр: суу-саз жерлер, Рамсар конвенциясы, стратегия, өзгөчө корголуучу жаратылыш аймактары, көлмөлөр, дениздеги акватория, трансчек суу, өзгөчө коруктар.
Аннотация: В статье проведен анализ действующего природоохранного законодательства,
в части регулирования вопросов рационального использования и обеспечения охраны водноболотных угодий, выявлены пробелы в исследуемой области и выдвинуты рекомендации по их
устранению.
Ключевые слова: водно-болотные угодья, Рамсарская конвенция, стратегия, особо охраняемые
природные территории, водоемы, морская акватория, трансграничные воды, заказники.
Abstract: In the article the analysis of current environmental legislation, regulating the issues of
rational use and protection of wetlands, identified gaps in the research field and put forward recommendations for their elimination.
Keywords: wetlands, Ramsar, strategy, protected areas, ponds, marine waters, transboundary water reserves.
При рассмотрении вопроса законодательного регулирования и охраны водно-болотных
угодий в Республике Казахстан хотелось бы
отметить, что основным нормативным актом,
обеспечивающим и регулирующим охрану водно-болотных угодий, имеющих международное
значение, является Закон Республики Казахстан
«О присоединении Республики Казахстан к
Конвенции о водно-болотных угодьях, имеющих
международное значение, главным образом в
качестве местообитания водоплавающих птиц
(с поправками, внесенными в нее Парижским
протоколом от 3 декабря 1982 года, и поправками,
внесенными в Режине 28 марта 1987 года) от 13
декабря 2005 г. №94.
Данный Закон законодательно признает распространение в Республике Казахстан действия
норм Рамсарской конвенции, устанавливающей
правовые и организационные основы охраны
водно-болотных угодий, имеющих международ-
ное значение, условия взаимодействия государственных и негосударственных органов, а также
граждан в деле охраны водно-болотных угодий,
обладающих международным значением.
Первое упоминание о водно-болотных
угодьях находит отражение в Водном кодексе
Республики Казахстан, принятом в 1993 году 31
марта, где водно-болотные угодья упоминаются в
качестве водоемов особо охраняемых природных
территорий. При этом, отдельная статья – статья
84 была посвящена водно-болотным угодьям,
имеющим международное значение.
К сожалению, действующий Водный кодекс
Республики Казахстан, принятый в 2003 году
предусматривает лишь пп.34) ст.1 регламентирующего понятие водно-болотного угодья, иных
норм в отношении водно-болотных угодий в
кодексе нет.
Дальнейшее упоминание о водно-болотных
угодьях находит отражение в Законе РК «Об охра202
не, воспроизводстве и использовании животного
мира» от 9 июля 2004 года №593-III.
Статья 39-1 Закона Республики Казахстан
«Об охране, воспроизводстве и использовании
животного мира» определяет водно-болотные
угодья как естественные (за исключением морских, глубина которых при отливе превышает
шесть метров) и искусственные акватории,
являющиеся местами массового обитания, гнездования, воспроизводства околоводных видов
животных, включая редких и находящихся под
угрозой исчезновения. Кроме этого, указанная
норма подразделяет водно-болотные угодья на
водно-болотные угодья международного и республиканского значения. При этом, законодатель
закрепляет важность водно-болотных угодий как
территорий обеспечивающих охрану, воспроизводство животного мира, включая редких и
находящихся под угрозой исчезновения.
Вопрос охраны водно-болотных угодий,
имеющих международное значение, регулируется также Законом Республики Казахстан «Об
особо охраняемых природных территориях»,
который п.1 ст.75 определяет водно-болотные
угодья, имеющие международное значение, как
естественные и искусственные водоемы, включая морские акватории, служащие резерватами
значительной совокупности редких, уязвимых
или исчезающих видов или подвидов растений
или животных, прежде всего мигрирующих
водоплавающих птиц, представляющих собой
международный ресурс.
Сравнивая определение понятия водноболотного угодья, закрепленного в Рамсарской
конвенции и соответствующее ему понятие, закрепленного в ст.39-1 Закона РК «Об охране, воспроизводстве и использовании животного мира»
с понятием, регламентированным законодателем
в п.1 ст.75 Закона РК «Об особо охраняемых
природных территориях» усматривается наличие
расхождений, в части закрепления положения о
морских акваториях. Так, п.1 ст.1 Рамсарской
конвенция при определении водно-болотных
угодий устанавливает конкретные ограничения
глубины морских акваторий, которые при отливе
не должны превышать шести метров. Идентичную норму содержит ст.39-1 Закона РК «Об
охране, воспроизводстве и использовании животного мира», тогда как в Законе РК «Об особо
охраняемых природных территориях» оговорки
об ограничении глубины морских акваторий не
закрепляется. В виду чего, считаем уместным
внесение исправления и дополнения в п.1 ст.75
Закона РК «Об особо охраняемых природных территориях», в связи с необходимостью соблюдения п.3 ст.4 Конституции Республики Казахстан
устанавливающей приоритет международных
договоров, ратифицированных Республикой
перед ее законами и их непосредственное применение. В противном случае, внесения дополнения
в указанную выше норму, путем установления
собственных параметров к глубине морских
акваторий, основанной на п.1 ст.2 Рамсарской
Конвенции, позволяющей Договаривающимся
Сторонам предусматривать иные критерии определения водно-болотных угодий.
Пунктом 2 ст.75 Закона РК «Об особо охраняемых природных территориях» закрепляется
положение, согласно которого водно-болотные
угодья, имеющие международное значение включаются в состав особо охраняемых природных
территорий, с четкой регламентацией вопросов
их создания, деления на категории и виды.
Так, в соответствии со ст.14 Закона РК «Об
особо охраняемых природных территориях» в
зависимости от значимости объектов государственного природно-заповедного фонда принято
делить особо охраняемые природные территории
республиканского и местного значения.
В число республиканских особо охраняемых
природных территорий отнесены:
1) государственные природные заповедники;
2) государственные национальные природные парки;
3) государственные природные резерваты;
4) государственные зоологические парки;
5) государственные ботанические сады;
6) государственные дендрологические парки;
7) государственные памятники природы;
8) государственные природные заказники;
9) государственные заповедные зоны.
А к числу местных особо охраняемых природных территорий отнесены:
1) государственные региональные природные парки;
2) государственные зоологические парки;
3) государственные ботанические сады;
4) государственные дендрологические парки;
5) государственные памятники природы;
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6) государственные природные заказники.
Независимо от предоставленного законодателем перечня видов особо охраняемых природных
территорий имеется оговорка о возможности
предусмотреть иные виды особо охраняемых
природных территорий.
Отнесение особо охраняемых природных
территорий к категории республиканского значения производится Правительством Республики
Казахстан, по представлению уполномоченного
органа.
Соответственно вопросы отнесения особо
охраняемых природных территорий к категории
местного значения находятся в ведении местных
органов власти, которыми являются местные исполнительные органы областей, городов республиканского значения, столицы по согласованию
с уполномоченным органом.
При этом, вопрос включения водных объектов и (или) участков которые используются или
могут быть использованы для рыболовства либо
имеют значение для воспроизводства запасов
рыбных ресурсов и других водных животных,
в состав особо охраняемых природных территорий, в соответствии с пп.3-1) ст.20 Закона РК
«Об особо охраняемых природных территориях»
осуществляется по согласованию с уполномоченным государственным органом в области охраны,
воспроизводства и использования животного
мира и с учетом прав и законных интересов лиц,
за которыми закреплены данные водные объекты
и (или) участки.
Законодатель также предоставляет возможность перевода особо охраняемых природных
территорий со статусом юридического лица из
одного вида в другое, в случаях угрозы утраты
ценности, уникальности, либо в чрезвычайных
ситуациях природного и (или) техногенного
характера. При этом, решение принимается на
основании положительного научно обоснованного заключения государственной экологической
экспертизы. Имеется лишь одно ограничение, в
виде запрета перевода особо охраняемых природных территорий из категории «республиканского
значения» в «местное значение».
Следует отметить, что в соответствии с пунктом 3 статьи 75 Закона РК «Об особо охраняемых
природных территориях» на водно-болотных
угодьях, имеющих международное значение
устанавливается заказной и заповедный виды
режима или регулируемый режим хозяйственной
деятельности, обеспечивающие охрану и восстановление местообитаний водоплавающих птиц.
Особенностью вышеуказанных видов режима является то, что на подобных территориях
запрещается любая хозяйственная деятельность,
а также иная деятельность, нарушающая естественное состояние природных комплексов и объектов государственного природно-заповедного
фонда, либо предусматривается полный запрет
или ограничение по сезонам года отдельных видов хозяйственной и иной деятельности на определенный срок или без такового или предусматривается ограниченное пользование природными
комплексами, а также ведение собственниками
земельных участков и землепользователями
традиционных видов хозяйственной деятельности приемами и методами, не оказывающими
вредного воздействия на природные комплексы
и объекты государственного природно-заповедного фонда.
Мы понимаем, что объявление и включение водно-болотных угодий в список имеющих
международное значение, соответственно с
распространением на них действия Рамсарской
конвенции влечет особое отношение, в том числе
и в плане обеспечения правовой охраны. Но, как
же быть с водно-болотными угодьями, не обладающими подобным статусом?
Как показывает существующая реальность
кроме указанных выше, иных комплексных
нормативных правовых актов, направленных на
регулирование вопроса правовой охраны водно-болотных угодий, особенно не обладающих
статусом международного значения в республике на сегодняшний день нет. Имеются лишь
нормативные правовые документы, косвенно
затрагивающие водно-болотные угодья, в связи
с причастностью к тем отношениям, которые
подпадают под юрисдикцию их регулирования.
Одним из таких нормативных документов
является Водный кодекс Республики Казахстан,
который п.1 ст.10 закрепляет распространение
своего действия на отношения, возникающие в
области использования и охраны водного фонда,
управления водным фондом и водохозяйственными системами водоснабжения и водоотведения,
проведения гидромелиоративных работ и работ
по безопасности водохозяйственных систем и
сооружений и иные водные отношения.
В число объектов водных отношений ВК РК
включает поверхностные, подземные, морские,
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трансграничные воды, а также в зависимости
от вида пользования водные объекты общего,
совместного, обособленного пользования, государственного лесного фонда и предусмотренные
пп.4),5) п.3 ст.11 водные объекты особо охраняемых природных территорий и водные объекты
особого государственного значения. При этом,
законодатель устанавливает положение, согласно
которого более подробное рассмотрение вопроса регулирования правового режима охраны и
пользования, а также условия деятельности в
водных объектах особо охраняемых природных
территорий регламентируются законодательством Республики Казахстан об особо охраняемых
природных территориях. А в отношении водных
объектов особого государственного значения
определяются Правительством Республики Казахстан.
В вопросах правового регулирования обеспечения охраны водно-болотных угодий не менее
значимым является Земельный кодекс РК, который в соответствии с целевым назначением выделяет 7 категорий земель, две из которых имеют
непосредственное отношение к водно-болотным
угодьям – земли особо охраняемых природных
территорий… и земли водного фонда.
К землям особо охраняемых природных
территорий п.1 ст.122 ЗК РК относит земли государственных природных заповедников, государственных национальных природных парков,
государственных природных резерватов, государственных региональных природных парков,
государственных зоологических парков, государственных ботанических садов, государственных дендрологических парков и государственных
памятников природы.
Законодатель, определяя правовой статус
на землях указанной категории, также закрепляет их исключительную государственную
собственность и не подлежащий отчуждению
режим. Хотя, для населения, проживающего в
населенных пунктах, расположенных у границ
особо охраняемых природных территорий, в
порядке установленном законодательством РК
может быть предусмотрена возможность предоставления использования сельскохозяйственных
угодий.
Одной из мер, направленной на обеспечение
охраны земель особо охраняемых природных
территорий является установление охранных зон,
в соответствии со ст.123 ЗК РК, направленной на
защиту земель указанной категории от неблагоприятного внешнего воздействия.
Помимо этого, глава 13 ЗК РК подробно регламентирует иные вопросы, имеющие отношение
к землям особо охраняемых природных территорий, в том числе установление размеров, границ,
видов режима, порядка природопользования,
отнесения земель к данной категории.
Определение порядка режима регулирования, установления водоохранных зон, право
собственности и иных вопросов, имеющих
непосредственное отношение к землям водного
фонда регламентируется главой 15 ЗК РК, который ст.132 признает в качестве земель водного
фонда земли, занятые водоемами (реками и
приравненными к ним каналами, озерами, водохранилищами, прудами и другими внутренними
водоемами, территориальными водами), ледниками, болотами, водохозяйственными сооружениями для регулирования стока, располагаемыми на
водоисточниках, а также земли, выделенные под
водоохранные полосы указанных водных объектов и зоны санитарной охраны водозаборных
систем питьевого водоснабжения.
Более детальное регулирование вопросов
обеспечения правовой охраны на указанных
выше категориях земель находят свое отражение
в Законе РК «Об особо охраняемых природных
территориях» и Водном кодексе РК.
К сожалению, упоминания о водно-болотных
угодьях на протяжении всего ЗК РК не дается,
в виду чего приходится использовать нормы
земель особо охраняемых природных территорий в отношении водно-болотных угодий, как
правило, имеющих международное значение и
расположенных на территории особо охраняемых
природных территорий, а в отношении водноболотных угодий, не включенных в категорию
земель особо охраняемых природных территорий использовать нормы, предусмотренные для
земель водного фонда.
Мы считаем, что вопрос взаимосвязи земли
и водно-болотных угодий, их правовое регулирование еще будет требовать своего дальнейшего
научного исследования, по причине их смежности между водным и земельным правом, а также
с понимаем особой характеристики их качеств,
неразрывности и связанности с иными природными ресурсами.
В отношении действующего природоохранного законодательства государства можно сказать,
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что оно имеет сложившуюся базу, заложившую
природоохранные основы, но цельной правовой
системы, способной решить весь спектр проблем
имеющих отношение к водно-болотным угодьями в республике на сегодняшний день нет.
В свою очередь неразвитое законодательство
служит показателем слабости государства либо
является одним из доказательств отсутствия
четко продуманной политики государства, в
частности в сфере разумного использования и
обеспечения охраны водно-болотных угодий.
С другой стороны, преждевременное принятие
нормативных документов в исследуемой области, до момента определения четкой стратегии
и политики государства, также может явиться
следствием возникновения множества ненужных
отрицательных фактов, пробелов и противоречий.
В виду чего перед государством первоначально
должна стоять задача решения вопроса необходимости принятия стратегического плана либо
определения политического вектора в отношении
разумного использования и охраны водно-болотных угодий, с последующим проведением правоприменительной и природоохранной практики,
организации научных исследований, вплоть до
проведения экспертизы нормативных документов, с последующей разработкой и реализацией
полученных в ходе анализа, исследования и
экспертизы предложений и рекомендаций по
совершенствованию действующих нормативных
правовых актов. При этом, исследованию и анализу в первую очередь должны быть подвергнуты
вопросы определяющие понятийный аппарат
водно-болотных угодий, с целью разграничения
их от иных природных ресурсов, налоговое законодательство, влияющее на вопросы платы использования ресурсов угодий, финансирования,
получения льгот и стимулов либо возмещения
ущерба за причиненный вред.
Все указанные выше действия, в свою
очередь должны вылиться в принятие единого
нормативного документа – Закона Республики
Казахстан «Об охране и устойчивом использовании водно-болотных угодий в Республике Казахстан», который бы был посвящен детальному
регулированию положений о водно-болотных
угодьях, то есть самой совокупности системы
организационных и иных, в том числе правовых
мер охраны и использования водно-болотных
угодий.
Основное внимание в законе должно быть
уделено вопросам определения понятия водноболотных угодий, деления по типам и категориям,
особенностей правового режима, деятельности
на территориях водно-болотных угодий, инвентаризации, учета и ведения кадастра, мониторинга, порядка и основ придания водно-болотным
угодьям различного рода статусов охранных
территорий, функционального назначения водно-болотных угодий, а также вопросов очищения водных объектов от загрязнения, засорения
и истощения, стабилизации и регулирования
климатических, биологических и иных условий
местности, в которых расположены водно-болотные угодья, поддержание водных экосистем,
биологического разнообразия, экологического
режима, обеспечение местообитаний водоплавающих птиц и иных, находящихся под угрозой
исчезновения животных, создание условий для
проведения научных исследований, туризма и
рекреации, бальнеологического использования
и пр.
Рамсарская конвенция уделяет особое внимание вопросу совершенствования законодательства государств участниц Конвенции, особенно
в части устранения негативных и антиприродоохранных норм, выступающих основным барьером, препятствующим созданию благоприятной
обстановки, в части разумного использования
ресурсов угодий и способствующих их охране
от негативных воздействий. Свидетельством
чего служат указания по пересмотру законов и
институтов с целью содействия сохранения и
разумного использования водно-болотных угодий, разработанные Конвенцией и нашедшие
отражение в Резолюции VII.7.
Основной упор в Резолюции делается на
необходимость пересмотра законодательства
государств участниц Конвенции, вплоть до отмены противоречащих задаче и целям Конвенции
нормативных документов государств и принятия
новых, более действенных и своевременных.
Подобные требования, в свою очередь, могут
породить противоречия властных структур, заинтересованных лиц – природопользователей,
общественности и т.д. Таким образом, принятие
новых нормативных документов и их последующее внедрение в жизнь, контроль за их исполнением, а равно само соблюдением этих норм
может явиться серьезным экзаменом и проверкой
на прочность. Даже в случаях достижения консенсуса и добровольности принятия норм, их
206
реализация должна быть подкреплена нормами
принуждения, как средства крайней меры. В
любом случае, с нашей точки зрения, наиболее
действенных результатов можно достичь лишь
при совместной деятельности государственных
структур, неправительственных организаций и
общественности, в том числе населения проживающего близ водно-болотных угодий. Что
возможно путем создания Координационного
Совета по водно-болотным угодьям либо иного
бюро, комитета, в функции которого входило
бы решение вопросов, имеющих отношение к
водно-болотным угодьям, анализа и разработки
нормативных документов, разработки планов и
мероприятий в отношении разумного использования водно-болотных угодий и соответственно
мероприятий их охраны и иная деятельность,
направленная на совершенствование законодательства и политики государства в деле охраны
водно-болотных угодий.
В заключении отмечаем, что неблагоприятное состояние окружающей среды и его дальнейшее ухудшение характерны практически для
всех водоемов республики и тем более водоемов,
являющихся местом обитания водоплавающих
птиц. Поэтому, для улучшения общей экологической ситуации необходимы усилия как государственных и специально уполномоченных
органов, так и всей общественности, поскольку
вода – неизменный вид природных ресурсов,
без которой невозможна жизнь и деятельность
человека, всех его структур, в том числе и государства (1, с.2).
Литература:
1. Бюссер Х. К воде – с уважением: системе водопользования нужно реформирование [Текст] /
Х.Бюссер // Экологический курьер. – 1999. – 25
июня-8 июля. – №13.
2. Республика Казахстан. Кодексы. Водный кодекс Республики Казахстан [Текст]: кодекс
Республики Казахстан от 9 июля 2009 года
№ 481-ІІ / республика Казахстан, Кодексы
// Казахстанская правда. – 2003. – 17 июля //
Казахстанская правда. – 2012. – 29 декабря.
3. Республика Казахстан. Кодексы. Земельный
кодекс Республики Казахстан [Текст]: кодекс
Республики Казахстан от 20 июня 2003 года
№442-ІІ. – Алматы: ЮРИСТ, 2003. – 116 с. //
Казахстанская правда. – 2013. – 17 января.
4. Республика Казахстан. Законы. Об особо охраняемых природных территориях [Текст]:
закон Республики Казахстан от 7 июля 2006
года №175-III / Республика Казахстан, Законы
// Казахстанская правда. – 2006. – 21 июля //
Казахстанская правда. – 2012. – 28 июля.
5. Республика Казахстан. Законы. Об охране,
воспроизводстве и использовании животного
мира [Текст]: закон Республики Казахстан от
9 июля 2004 года №593-ІІ / Республика Казахстан, Законы // www.zakon.kz
207
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