Весmник МУК - Международный Университет Кыргызстана

ВЕСТНИК МЕЖДУНАРОДНОГО УНИВЕРСИТЕТА КЫРГЫЗСТАНА

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Karaeva Z.K., The usage of the semiotic units in epistemology .............4Abdykerimova Dina, Virtual semiosis of communication .....................6Aidaralieva Ainura, Translation Vicissitudes of A.Osmonov’s works at the semantic level ..................................................................................9Aitbaeva Aina, Sign and society (on the basis of advertisements) ........�3Akmatova Ainisa, Joroeva Aigul, Semiotic symbols to the functions of the compound predicat ........................................................�9Akbaeva Albina, Semiotic analyses of “Byschak” (knife) in Kyrgyz culture .....................................................................................................22Alishova Makhabat, The sacred numbers as symbols .........................24Alishova Rahat, Dream Symbols and Dream Interpretations in different cultures .................................................................................28Arslanbekova Nasyikat, Osmonova Kenjebu, Peculiarities of Kyrgyz national feminine Headdress – Elechek .................................32Bekbalaeva Cholpon, Proxemics across cultures .................................34Bubusara Ukubaeva, Symbolism in Walt Whitman’s poems and their translations into Kyrgyz language ..................................................37Cetin Oktay, Heart in english and turkish idioms .................................42Charles F Carlson, Thomas A. Sebeok and his contributions to the Field of Semiotics .........................................................................48Chorobaeva Narynkul, Zhaparova Kosmira, Etiquette of greetings in intercultural communication ..............................................5�Davut Ersoy, Sembollerin Yunus’un Şiirlerinde Kullanımı ..............53Durus Kozuev, Evgeny Dronov, Towards To the Semiotic Typology of Languages ...........................................................................58Ibraimova Gulsaira, Semiotics of Kyrgyz music .................................62Isabaeva Yrysgul, The semiotic analyses of the translation of the fairy tale “fire-bird” .....................................................................65Djumalieva Gulnura, Analysis of Nonverbal Semiotic Signs in Hemingway’s “The End of Something” ................................................68Dzhailobaeva Zarina, Rendering peculiarities of English taste perception adjectives into Kyrgyz ...........................................................72Zhoroeva Gulbara, Semiotic meaning of animals and plants in telling weather ....................................................................................77Kasieva Aida, P.h.D., Cognitive-Semiotic Approach to some Kyrgyz Lingua-cultural Concepts ...........................................................80Kasymbekov Nurdoolot, Non verbal communication and Semiotics. (paralinguistical and extra linguistic aspect of communication) ............86Kasimov Baiysh, senior teacher, The Semiotics of Advertising .......89Kinalieva Meerm, Note-taking and symbols as means of minimizing semantic loss in oral translation ..............................................................92Kochkorbaeva Lailikan, Semiotics in Kyrgyz folk songs ................98Kudaiberdiev Aybek, Semiotics in Chingiz Aitmatov’s Works .........�00

НАУЧНО-ИНФОРМАЦИОННЫЙ ЖУРНАЛ

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Академик НАН КРд.м.н., профессор

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Редакционная коллегия:АСАНАЛИЕВ Т.А., д.ю.н., доцентАДИЕВА А. А., д.э.н., доцент АЛИЕВА Ч.Э., д.ф.н., доцентБЕКБОЕВА Р.Р., к.э.н., доцентКАРАЕВА З.К., д.ф.н., профессорКЕЛЬГЕНБАЕВА К.А., Ph.D т.н.МИРКИН Е.Л., д.т.н., профессорНАРКОЗИЕВ А.К., д.п.н., доцентПАНКОВ П.С., д.физ.м.н., чл.корр. НАН КРТОКТОРАЛИЕВ Б.А., д.б.н., акад. НАН КРЧЫНГЫШПАЕВ Ш.М., д.м.н., профессорХУДАЙБЕРГЕНОВА Б.М., д.б.н., доцент

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Редакциянын коллегиясы:АСАНАЛИЕВ Т.А., ю.и.д., доцентАДИЕВА А. А., э.и.д., доцент АЛИЕВА Ч.Э., ф.и.д., доцентБЕКБОЕВА Р.Р., э.и.к., доцентКАРАЕВА З.К., ф.и.д., профессорКЕЛЬГЕНБАЕВА К.А., Ph.D т.и.МИРКИН Е.Л., т.и.д., профессорНАРКОЗИЕВ А.К., п.и.д., доцентПАНКОВ 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., профессорХУДАЙБЕРГЕНОВА Б.М., д.б.н., доцент

№ 2 (28)2015

Учебно-научно-производственный комплекс«Международный университет Кыргызстана»

Весmник МУКОснован в 1998 году


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Kurmanova Gulbubu, Semiotics of Cultural Diversity ......................................................................�03Makhsudinova Aijarkyn, teacher, Gratitudes in Kyrgyz culture ........................................................�06Mambaeva Saltanat, The language of advertisement and creolization of the Kyrgyz language .....................�09Muratbekova Elnura, Semiotic Analysis of the Epic “Manas” ....................................................................... ��3Musaeva Tolkun, The reflection of Kyrgyz culture through national symbols ............................................ ��6Naimanova Cholpon, Semiotic Approach to Literary Analysis (based on Hemingway’s story “Cat in the Rain”) .........................................................................122Omurkanov Mirlan, Semiotics of dream peculiarities of the small epic “Janysh-Baiysh” and their interpretation ..............................................................�27Omurkanov Mirlan, The Kyrgyz epic «Janysh-Baiysh» and literary style by K. Akiev ........�3�Orozbaeva Gulbarchyn, Metametasemiotic aspect of translation of B.Alykulov’s poems .........................�34Osmonova Kenzhebu, Arslanbekova Nasyikat, The meaning of color and clothes in Kyrgyz culture ..�38Sagynalieva Gulnara, Colour as a semiotic mode: notes for a colour of nature .........................................�4�Satybaldieva Gulmira, The role of “fire” in Kyrgyz culture .........................................................................�45Satybaldieva Gulmira, Turdalieva Nazira, The role of handicraft in American history and culture .........................................................................�47Шабданалиев Н.А. , Семиолингвистические средства при переводе произведений В. Шекспира «Ричард 3» и «Отелло» на кыргызский через русский язык ..............................................................�50Sharsheeva Ainura, Gestures in Different Cultures .......................................................................�55Tashmatov Abdimitalip, The Correspondence and Differences of the Dyadic and Triadic Sign Models .........................................................................�58Turgunova Gulmira, Sulaimanova A., Challenges and Variety of Communicative Semiotics; Nonverbal communications through Kyrgyz Culture ...................�6�

Zhaparova Kanykei, Abdyrazakova Marianna, Cultural Semiotics. Interpretation of conventional signs of two nations: Kyrgyz and American ...............�64Dr. Lauren Matz, Teaching about Tea in British Fiction .........................................................................�67Дубанаева Сезим, Семиотические особенности китайских фразеологизмов ......................................�7�Мырзагулов Милан, Modern TV as a link of strategic socio-political system of the country ............�74Мырзагулов Милан, Басылмалардагы семиотиканын айрым маселелери ...........................�77Султаналиева Аита, Функции семиотики в формировании медиатекста .....................................�79Сакыбаева Жыргал, Кыргыз гезиттериндеги жанрдык өзгөчөлүктөр семиотика алкагында .........�82Тургунова Гульмира, Перевод художественного текста и семиотический анализ (на материале переводов произведений Ч.Айтматова) .................�86Халилов Абдыганы, Журнал как тип периодического издания и его место в системе СМИ ...........................................................................�90Эсенкулова Элнура, Типы семиотики в сфере связей с общественностью (ПР) ..............................�92

И С Т О Р И Я

Айдаралиев А.А., К вопросу о происхождении и формировании кыргызского этноса .......................�95

Ю Р И С п Р У Д Е Н Ц И Я

А.О.Кайпбаева, А.С.Мавлянов, Необходимость правовой охраны животного мира и водоплавающих птиц водно-болотных угодий в Республике Казахстан ...................................................................�99А.О.Кайпбаева, Законодательное регулирование охраны водно-болотных угодий в Республие Казахстан ...................................................................202

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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 ин-

ститутунун 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 окумушт-уууларды 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 ара-лык 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 директоруФилология илимдеринин доктору, профессор

Welcome speech of the founder of the International University of Kyrgyzstan!!!


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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, дисем-бодимент, 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 конструк-ции, арбитраность, дисембодимент, сингюларити, семиотика, иллюзия, когнитология.

Abstract: Epistemology is the philosophical science that describes about the knowledge of the hu-man 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, disem-bodiment, 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


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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:

�. 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: �) 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-


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introductionSemiosis 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

зрения. — М. , 1983. — 383 с. 2. Ильин В. В. 1 // Теория познания. Введение.

Общие проблемы. — 2-е издание. — М. : Либ-роком, 2010. — 168 с. .

3. 2 // Теория познания. Эпистемология. — М. , �994.

4. Кезин А. В. Эволюционная эпистемология:

современная междисциплинарная парадигма // Вестник Московского университета. — Серия 7. Философия. — 1994. — № 5. — С. 3-

5. Пиаже Ж. Генетическая эпистемология // Воп-росы философии. — 1993. — № 5.

6. Эволюционная эпистемология и логика соци-альных 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, иссле-дуя виртуальную семиотику коммуникации. Виртуальная семиотика рассматривает эмпирические, коммуникативные и обучающие аспекты создания виртуальных значений. Она стремится вклю-чить 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.


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(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, �905). 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.

creative misunderstandingThe moment an individual starts to interpret

some experiential event, this event becomes immediately colored by individual’s thoughts and feelings. Filters of preconceptions, beliefs, likes and dislikes, moral and ethical values, prejudices, dreams and various forms of illusions carried by every individual inevitably stand between the event (as directly experienced at the moment of its occurrence) and individual’s interpretation that follows. Wittgenstein used the expression “language-games” when referring to the ways people interpret the events occurring in their life, by ‘playing’ with their mental, emotional and spiritual filters (Wittgenstein, �93�).

Individual interpretations are usually commu-nicated through narratives (stories). A narrative reveals (or hides) how an individual (A) thinks and feels about a certain event or events. The narrative

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, �987) – 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 selvesThe 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 is privately aware. Often the story that A is telling to B in regard to some event is quite different from the interpretation of this event contemplated by A in private. The conditions of our present social life are very much in favor of such discrepancy.

False and Self-suggestive Communication We live in an ambitious and enormously competitive world where the seeds of separateness easily grow. Both the competitiveness and separateness inject falsehood in communication. Often the ‘shared’ narratives deal with deliberately distorted descriptions of what has happened in order to disadvantage, humiliate or even brutally get rid of some rival(s). In other cases, communication process degenerates into self-suggestive monologues of the narrator(s) continuing to repeat one and the same interpretation of certain events in order to convince both themselves and the listeners that this interpretation provides the only possible way for the


8

events to be understood. Although false or self-suggestive communication

may have significant learning components (after discovering that A is lying or indulging in self-suggestive 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 communicationThe 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 communicationThe 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, �995).

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 self-criticism, low defensiveness, and the ability to process multiple realities and values” (Barnard, �998).

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


9

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.

conclusionVirtual 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:�. 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.�03.

2. The Wittgenstein Reader, Ed. A. Kenny, Blackwell Publishers, �994

3. Teubner, G., Law as an Autopoietic System, Presented at the London School of Economics Complexity Study Group, �8 June �997

4. Encyclopedia of World Problems and Human Potential, Munich: K G Saur Verlag, �995 5. Barnard, D., Group Empathy, Fast Company, issue �7, September �998, 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 келти-рилип 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 англий-ский 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


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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-методологи-ческие 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 дис-циплина. 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 transla-tions of language units as semiotics.

Despite the dissimilarity of goals, status of se-miotics 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 semi-otics 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, consid-ering 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 exist-ing 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 aes-thetic 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.

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.


��

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” (�950) 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 �946 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, баловала3.“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 сы-

нок...”8. И плакала, мои часы считая. 9. Прошел и март. Апрель к концу подхо-

дит. 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 �946s 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, at-titude, social instincts, the dominant aesthetic – it all seems important when comparing different transla-tions. 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 Turk-ish 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.


�2

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 mean-ing 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 lit-eralism. 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, “скатив-шейся 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 transfer-ring 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 trans-lations. 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 mean-ing 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


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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: �. З.К.Караева. Перевод и семиотика: Многоязыч-

ное бытие эпоса «Манас» и теоретико-методо-логические проблемы транслатологии, Бишкек, 2006.- C..38-39

2. W.Wills. The Science of Translation (Tubingen Gunter Narr Verlag,�982)

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: 20��

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. (�982). 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 фун-даментальная 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


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(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 (�966) 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.2

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”. 3 (�977, 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. 4

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 �3, �006; substantive revision Mon Nov �5, �0�03 Peirce; epigraph in Sebeok., �977, p. vi � Peirce; epigraph in Sebeok., �977, 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.5 It is because texts of all kinds-fi�ms, 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.� 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-20th-century American literature). We live in a world of photoelectronic images, and with the development of television, all kinds of images that we never

5 Language and Culture. A Social Semiotic Perspectives. Claire Kramsch. University of California, Berkeley, �000.


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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. 6

There are in every society, semioticians suggest,

6 �00�. “The Development of Peirce’s Theory of Signs” in, The Cambridge Companion To Peirce. Cheryl Misak (ed). ��–��0. Cambridge: Cambridge University Press.

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. 7

7 Langrehr, D. (2003). From a semiotic perspective: In-ference formation and critical comprehension of television advertising. Retrieved January 13, 2005

Table 1. Pierce’s Trichotomy.

Kind of Sign Icon Index Symbol Example Signify Process

paintings resemblance can see

smoke/fire causal connection can figure out

words, flags convention must learn


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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.8

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 visual9.

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. (�995a). Visual semiotics and the pro-duction of meaning in advertising. Retrieved January �6, �005. 9 Barthes, Roland (�963) ‘The Advertising Message’, in Barthes (�99�) The Semiotic Challenge (trans. Richard Howard). Berkeley, CA: University of California Press, pp. �73-�

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 pinky- red 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


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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 innovation�0.

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,

�0 Rohit Rohan. Semiotic analysis of The Apple Inc.Logo. Semiotic Assignment Submission, �0��.

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.


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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 sais-je?” 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, No-vember 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: Cam-bridge University Press.


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УДК:811-114 (575.2) (04) Akmatova Ainisa,

Joroeva AigulOsh 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 predicateAs 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:

�) The compound verbal modal predicate;2) The compound verbal aspect predicate;


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�). 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 predicateThe 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:

(�) link verbs of being and remaining;(2) link verbs of becoming.�. 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


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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 prac-ticed in class on compound predicate.

There are numerous ways to apply the principles of semiotics to foreign language learning environ-ments in teaching grammar. The problem emerges from the selection of suitable methods and teaching techniques which may be feasible in foreign lan-guage 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))

�. 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.

�. 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.


22

References: 1. Боронникова Н.В., Левицкий Ю.А. Синтак-

сис. Пермь, 2002.2. Вейхман Г.А. Новое в английской грамма-

тике.- М., 1990.3. Иванова И.П., Бурллакова В.В., Почепцов

Г.Г. Теоретическая грамматика современного анг-лийского 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 анг-

лийского 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 мамле-кет, 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 от-носится 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, обы-чаи, 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


23

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 �2 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 en-gagement 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


24

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:�) 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, �97�, p. 36�.

3) OrexCA.com – Central Asian Online Travel Company.

4) www.en.wikipedia.org5) Moldobaeva Gulumbubu. Personal interview.

April 20�5.6) Mambetalive Yryz. Personal interview. April

20�5.7) 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.

Жетип барып караса When he came near, and took a lookАттары бар канаттуу, In one cave he saw forty menАдамдан 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,

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.


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Бир үңкүрдө кырк киши, Riding on rapid racing mares,Бир отокто жык киши, The richest clothes were theirsАларды 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)

Ажыдаар-жыланы There was his dragon, his snakes forked tongueАртынан сойлоп калгандай, Grawling behind him, it never fails…Көсөө куйрук көк бөрү, grey wolves followed, with naked talesКөк жал эрдин жөкөрү, Knights rode after the beared braveКөтүнөн эрчип алгандай, On to victory or the grave! Асман жаккы айбаты, From the heavens, protecting himАлп кара куш арбайып, Alpkarakush, spreading wide its wing,Асмандан бутун салгандай Stretctied its claws, till ready to crackКара башыл ак буура. Then a white camel, with head all backОң 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 braves-Бири 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)

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.

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 disap-pear. In translations this element often omitted, for example:


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Бербердигер кудурет, Then the Mighty Creator broke through,Берди дөөлөт башыма, Happiness down from heaven he sentКайыптан 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 cat-egorical concepts, like death and immortality, peace-loving and struggle, war; hospitability and greedi-ness, concept of the world, human relationships with a world and a nature. All sided interpretation of the conceptual mind style, from the linguistic perspec-tive, 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 allI your father Jakyb did callMay 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 rela-tion 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 supersti-tions, 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 cam-el, nine goat, nine horse.

Тогуз жылкы тогуз кой, Ninety sheep and ten mares he slewБолуп 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 understand-ings 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 spellАбсун окуп дем салып Then breathed one breath as well…


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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 num-bers 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, Narkesken- Syrgak’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

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 clumpsЖети кат болду булуту Seven large phials with water filledЖети чыны суу барган, Turned into seven lakes when spilled.Жети дайра көл болду, And with the rain the fire they doused.Күйгөн отун курутту


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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 meters9) 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:�. Akhmanova O.S.Linguistics and Semiotics.

M.,�9792. Arnold I.V. Interpretation of the literary text and

expressiveness, LSPI, �9753. 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, �988

5. Karaeva Z.K. Translation and semiotics. B.,20066. Kydyrbaeva R.Z. variants in epic “Manas”.

Frunze, �9887. Kyrgyz heroic epic “Manas”, I,II,III,IV books,

M.,1988-19958. Epic “Manas”, I,II volumes, W.May, Moscow-

Bishkek, �995.

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 КУЛьТУРАХАннотациясы: Макала ар түрдүү маданияттарда түш жорумдары, белгилери жана ишеним-

дери кандай кабылданаарын иликтейт. Түштөр тууралуу социалдык, религиялык жана психологи-ялык 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


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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: �.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 psycho-dynamically, 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


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of the attempt to understand or interpret dreams. The Chester Beatty papyrus on dreams for instance, dates from �250 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


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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.


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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:�. Bourguignon E. �972. 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. �975. Saints, jnun and dreams: An essay In Moroccan ethnopsychology. Psychiatry 38:145-159.

2. Dentan RK. �985. A dream of Senol. Buffalo, N.Y.: SUNY Buffalo Council on International Studies.

3. Domhoff GW.�985. The mystique of dreams:Asearch.:for Utopia.through Senoi dream thcrapy..Bcrkcley. University of California Press..

4. Devereux G. �95�. Reali ty and dream: Psycbotberapy of a Plains Indian. New York: International Universities Press..

5. Eggan D. �96�: 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. �935. The dream in primitive cultures. London: Cressett.

8. O’Flaherty WD. �984. Dreams, illusions and other realities. Chicago: University of Chicago Press:.

9. O’Neil CW. �976. Dreams, culture and the individual. San Francisco: Chandler & Sharp. Stewart K. �962. The dream comes of age. Mental Hy giene 46:230-237.

�0. Tedlock B. �98�. Quiche Maya dream Interpretation. Ethos 9(4):313-350.. 1987.

��. Dreaming: Anthropological and psychological interpretations. New York: Cambridge University Press.. �99�.

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 озгочолук-тор 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 матери-алдык 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 при-знаками. 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.


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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.


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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:�. 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 978-5-98624-092-3.

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. – �22 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 салышты-руусу 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 куль-турах.

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, �974, p. 95).

Scholars have identified four zones of distance in communication, which are public, social, personal, and intimate distance.


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Public Space (�2 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–�2 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 profes-sional 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 (�.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 acquain-tances – 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 �.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 sig-nal 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 SpaceAs we breach the invisible line that is �.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 ver-sus 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. Watch-ing 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 (�m) 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.


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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 con-sidered 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 class-rooms 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 pat-terns 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 “�. 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 toler-ant 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 con-cept 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, секрет-ность, 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 male-female 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 Rus-sia 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 main-tain from others, it is considered anti-social weird


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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.

ReferencesAltman 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, �966.

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 чыгар-маларга 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 ме-тафораларга 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, перенос-ный.

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


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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 metaphorNowadays 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 astersNot 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


39

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 �855, 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:

�. 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 apple-

blossom’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


40

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.

3.1 Main symbols“Leaves of grass” is the name of his first

collection of poems, and it was published in �855. 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.

�. 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


4�

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. ConclusionsWhitman’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 (20�5) Metaphors in a Cognitive Aspect


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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, лингвис-тердин, 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 при-влекло 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 язы-ках.

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.

introductionIdioms 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.1 The following idiom “hold your mouth the right way” reminds us to do something very carefully 2.Also “keep your nose out of it” teaches us not to be involved in something3 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 Idi-oms, McGraw Hill Professional, 2006 Page, 236.3 Heacock Paul, Cambridge Dictionary of American Idioms, Cambridge University Press, 2003, Newyork Page, 287.


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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.4

İdioms are indispensible to the daily speech of people and to the language of the books and newspapers,television and movies.5

“Idiom:The mode of language used by a particular people or by an individual.”6

“idiom is a combination of fixed words which, ease speech and writing and sometimes can not be understood logically.” 7

“Idiom is a traditional way of saying something.” 8

“Idiom is a characteristic of native speakers and can not be understood on the basis of the usual meanings of the individual words “9

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, 36.5 Gaines Barbara K., Idiomatic American English: A Step-by-step Workbook for Learning Everyday American Expressions, Kodansha International press, 1986, Page, vii.6 Cunningham W.T. The Nelson Contemporary English Diction-ary, Nelson Thornes Publications, 1977, Page, 2587 Çotuksöken, Yusuf, Deyimlerimiz,Özgül Yayınları Eğitim ve Öğretimde Kaynak Kitaplar Dizisi,İstanbul, �99�.� Hirsch Eric Donald, Trefil Joseph F. Kett, James S., The New Dictionary of Cultural Literacy, Houghton Mifflin Harcourt Printing, 2002, Page,154.9 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 painMeaning of English Idiom: “Feeling of pain

because of love”�0

Meaning of Turkish idiom: ‘’Aşk nedeniyle duyulan üzüntü-Feeling pain because of love for someone ‘’��

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.“�2

Turkish example: “ Yarap ! hele kalp ağrılarım ! » durdu diyordum. His var mı bu âlemde nekahet gibi tatlı?”�3

break one’s heart-Kalbini kэrmak – Break somebody’s heart

Meaning of English Idiom: “ Make one unhappy/sorrow-stricken”�4

Meaning of Turkish idiom: “Birini küstürecek �0 Richard A. Spears, McGraw-Hill’s Dictionary of American Id-ioms and Phrasal Verbs, McGraw Hill Professional, 2006,Page,4.�� Hamidoğlu Fethi Gözler, Örnekleriyle Türkçemizin Açıklamalı Büyük deyimler Sözlüğü,Inkilâp ve Aka Kitabevleri, 1975, Page, 229.�� C. R. Crane,The Empty Room Authorhouse,Bloomington, Indiana, 2007, Page, 30�3 Orhan Seyfi Orhon, Yahya Kemal Hayatı ve Eserleri, Cum-huriyet Kitap hanesi, 1937, Page,15.�� Prof. V.N.Sadasiva Rau, Idioms and Phrases, Sura Books, Anna Nagar, India, 2004, Page, 28.


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kadar çok gücendirmek, - to m a k e s o m e o n e sorry”�5

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”�6

Turkish example:” Herkesin yanında arkadaşına çıkışarak kalbini kırdı.”�7

Follow one's heart- Kalbinin sesini dinlemek - listen to one’s heart.

Meaning of English Idiom: “Act according to one’s feelings.“�8

Meaning of Turkish idiom: “Duygularının etkisinde kalmak - be under the influence of one’s feelings.”�9

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 �5 Kâzım Yetiş, Sâmiha Ayverdi,Türkçenin nakısları: atasözleri, dey-imler, tekerlemelerKubbealtı Neşriyâtı, İstanbul,1993,Page,118.�6 Rahel Asghedom,Before She Breaks My Heart, Hdri Publishers,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�9 Hatice Şahin, Türkçede organ isimleriyle kurulmuş deyimler, Uludağ Üniversitesi, 2004,Page,265�0 Stephanie Sorrell,Nature as Mirror, John Hunt Publishing, 2011,Page, 81.

sonsuz olsun Dillerde dolaşalım.”2�

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

�� Fehmi Kılıç,Aşkın Tarifi,Cinius Yayınları, 2013, İstanbul, Page, 91.�� Vas Gratian,The Sterling Book of Idioms, Sterling Publishers, New Delhi, 2006, Page, 6. �3 Büyük lûgat ve ansiklopedi, Meydan Yayınevi, 1985,Volume, 6, Page, 817.�� Abby Green,Secrets of the Oasis,First North American Publi-cations,2011, Page,13�5 Ahmet Say,Kocakurt, Milliyet Yayınları,1976,Page, 57. �6 Martin Manser,Heinemann English Dictionary,CTPS,China 2001, Page, 467�7 The Chambers Dictionary,Allied Publishers, India, 1998, Page,742�� Bezirci Asım, Deyimlerimizin sözlüğü, Gendaş Yayınevi, İstanbul,1990, Page, 386.


45

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” 3�

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

�9 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, 9731 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, Newy-ork, 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 “4�

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 Word-sworth Dictionary of Idioms,Chambers Harrap Publishres,1993,UK,Page,159.36 http://www.tdk.gov.tr37 Adalet Ağaoğlu,Oyunlar, Remzi Kitabevi, 1982,Page,190.3� Garland Ladd, Return of the Owl, Xlibris Corporation, 2007, Page, 8939 Kumar Vijaya, Sterling Dictionary of Idioms, Sterling Pub-lishers, New Delhi, India, Page, 223.�0 Ülkü Yalım, Özcan Yalım,Türkçe de Eş ve Karşıt Anlamlılar Sözlüğü, Bilgi Yayınevi,Ankara, 1983,Page,598.�� Hamidoğlu Fethi Gözler, Örnekleriyle Türkçemizin açıklamalı Büyük Deyimler Sözlüğü, İnklap ve Akakitapevleri, 1975, İstanbul, Page, 200.


46

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 avlamak-To 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 âşıkları-nıngönlünü 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

�� Ian Stuart-Hamilton,Dictionary of Everyday Expressions, Jes-sica Kingsley Publishers, 2007,London,Page,116.�3 O’Dell Felicity, McCarthy ‎Michael English Idioms in Use Advanced with Answers,Cambridge University Press,UK,2010 Page,112.�� Kızıltuğ Fırat ,Dilbeste, Kubbealti Neşriyat, 2005,Page,105.�5 Heacock Paul,Cambridge Dictionary of American Idioms,Cambridge University Press,,2003,Newyork Page,180.�6 Mehmet Ali Ağakay, Türkçede mecazlar sözlüğü, Doğuş Matbaası, 1949,Page,8.�7 Radwá Āshūr, William Granara,Granada, Syracuse University Press, Newyork,2003,Page,59.�� Ali Nihad Tarlan,Yavuz Sultan Selim Divanı, Ahmet Halit Kitabevi, 1946,Page,282.�9 Elizabeth Walter,Cambridge Advanced Learner’s Dictionary, Cambridge University Press, 2008, Page,668

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.”5�

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 similarities50 http://ne-demek.net/25.04.2015.5� Bridie Costello, Home Comforts, Troubador Publishing Ltd,Leicester, 2010,Page, 775� Mükerrem Kâmil Su, Aynadaki kız,Inkılâp ve Aka Kitabev-leri, 1962,Page, 36.


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English idiom Turkish idiom Turkish Translation into

English

Similarity in

meaning

Similarity in images

Similarity insyntactical complex

Aching heartKalp ağrısı Heart pain/ache

+ + -

Break one’s heart- Kalbini kırmak - Break somebody’s

heart+ + -

Follow one’sheart Kalbinin sesini

dinlemeklisten to one’s

heart.

+ - -

Bare one’s heart Kalbini açmak open one’s heart

+ - -

One’s heart in one’s mouth- Yüreği ağzına

gelmekhave one’s heart in

one’s mouth

+ + -

Have a heart of stone Taş yürekli have a stone heart,

stone-hearted

+ + -

Have a heart of gold Altın Yürekli/

kalpli-Have a heart of

gold

+ + -

One’s heart bleeds for somebody

Yüreği/İçi kan ağlamak

One’s heart bleeds for sb

+ + -

Steal someone’s heart

Gönlünü avlamak- To hunt somone’s heart

+ - -

(Have) one’s heart sinks Hayal kırıklığına

uğramakhave 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

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.


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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 жа-ралган “зоосемиотика” жаңы терминин киргизген жана ошондой эле когнитивдик лингвистика илиминин кээ бир маселелерине кайрылып, аларды көтөрүп чыккан. Буларга кошумчалай, бул до-клад 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, психоло-гия 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 извес-тный венгерский и американский профессор Томас А. Себеок. В особенности, в статье рассмат-ривается 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 явля-ются 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 биосе-миотике, 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, врож-денная гипотеза, когнитивные науки.

Abstract: This paper will address some of the semiotic issues with which the well-known Hungarian-American 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


49

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, �957 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 �943, earning his doctorate at Princeton University) arrived at Indiana University in �943 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 �963 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,


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and interactions of living things. Sebeok referred to St. Thomas Acquinas who already in the �3th 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- cyto- and 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 �969 and editor of its journal, Semiotica, from �969 until his death in 200�. 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 �99� 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�. Kull, Kalevi. “Thomas A. Sebeok and Biology:

Building Biosemiotics”, Cybernetics and Human Knowing, Vol �0, no. �.

2. Sebeok, Thomas A. Signs – An Introduction to Semiotics, 2nd Ed., University of Toronto Press, Toronto, 200�.

3. Sebeok, Thomas A. “The Sign and the Life Science”, Applied Semiotics 3:6/7, 1999, pp. 85-96.


5�

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 coun-tries.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


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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. Thisgestureisaccompaniedbyacryof “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�. Dialogs for everyday use. Julia M.Dobson, �9952. What is semiotic?// Rainbow. Gornyi 19963. Semantics. Stepanov U.S. Moscow �97�4. www.rg.ru/../privetstvie -site.html5. nsknews.info/news/127616


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УДК: 811.161.1 (575.2) (04) Davut Ersoy, Turkey

Sembollerin yunuS’un Şiirlerinde kullanimi

the uSe of SymbolS in yunuS’ Poetry

Аннотациясы: Баарыбыз билгендей эле – семиотика белгилерди таануучу илим болуп эсеп-телет. Ал биздин жашоодо абдан коп кездешип келген жана келип жатат. Башкача айтканда семиотиканын жардамы менен биз коомго кабар бере алабыз. Семиотика бир гана коммуника-цияда 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 при-менение 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 (лю-бовь), 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


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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


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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 seniMısraları 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,


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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 gibiArşa: göğün en yüksek katı( cennete delelet) Aşka yesir: aşk mahkumuDeli: 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.


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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, �99�

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.html9 Tatlı, İrfan. Özlü Sözler. İstanbul: Papatya

Yayınları, 200510 www.amazon.com/sign-our-time-semiotics-

environments/dp/Booo6 EUWB2-17 1k


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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, лингвисти-калык 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) дик-тордын 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


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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


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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) 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.

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


6�

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.

literature1. 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: 978-3-11-025314-6.

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. (�986). 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. (�995). 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. (200�). Discourse in the novel. In The Dialogic imagination (pp. 259–422). Austin, TX: University of Texas Press.

Appendix


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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 музы-касына 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 катышу-учулары 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 ориента-циясына 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 2�st 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


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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 (1884-�948). 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


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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 linguo-semiotic 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 ке-чинде (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;


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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 «Жар-

птица» и имеются примеры анализа.Ключевые слова: жар-птица, семиотический анализ, утонченный, великодушие, фолькло-

рист.

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


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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.


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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, кандай-дыр 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 под-летела 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 suf-ficiently 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 commu-nities, 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.19753. Русские народные сказки. – М., Просвещение,

1993.- 320с.4. Федоров А.В. Основы общей теории перевода.

М, 19835. Кыргыз эл жомоктору. –Бишкек, 2002.


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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, кыймыл- аракет 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, мазмун-дун 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 себе-би, 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 чита-тель 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 разру-шить 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


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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’ inter-personal 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 Greek-Turkish 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 one-eighth 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 channel-bank, 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 cov-ered 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.


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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, �974; Jaworski, �993).

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,�988). 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, �990–9� 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, �969; Knapp & Hall, �992).


7�

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 модернист-ской культуре retrieved from http://forlit.philol.msu.ru/lib-ru/panova-article1-ru]


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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 изил-денип 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, синесте-зиянын, 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 мисал-дар 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 жо-горуда 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 перцеп-циясы, лексикалык жана семантикалык талаа, социалдык жана маданий байланыш, семиотика, синестезия, котормо теориясы, контрастивдик лингвистика,интралингвистикалык жана экс-тралингвистикалык 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 лингвис-тика 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 контрастив-ной 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, лексикосе-мантическое поле, социокультурная связь, семиотика, синестезия, теория перевода, контрас-тивная лингвистика, интралингвистические и экстралингвистические факторы, культурный контекст.


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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, semiot-ics, 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 cross-linguistically.

The origin of the field theory of semantics is

the lexical field theory introduced by Jost Trier in the �930’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 phenomenon�. 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 (�996: p. �27) 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


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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 �. 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, Та-тыта турган туз болот (Осмонкул). Алмаңдан бирди ыргытчы, Даамын татып көрөйүн (Ма-ликов). 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; Ким-дин 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\пейи-ли 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


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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.Kutsenko7, based on the characteristic features conveyed by adjectives. She distinguishes six groups based on the Russian and English languages: �. 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+Intensity): 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 нерсе-лерди 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, тат-ттуулук, татты, татуу, татык, татымсыз, etc. On the peripheries of the word таттуу we can see such words like балдай- honey, ширин-sweet, шекерлүү-sugary.

The adjective bitter: �. 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


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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.

References: �. Adrian Akmajian, Richard A. Demers, Ann K.

Farmer, Robert M. Harnish, Linguistics, MIT Press, 2001, p. 239. ISBN 0-262-51123-1

2. A. S. Hornby Oxford Advanced Learner’s

Dictionary of Current English, Oxford University Press, 6 the ed. 2004, p.�330

3. Eco, Umberto; Sebeok, Thomas A., eds. (1984), The Sign of Three: Dupin, Holmes, Peirce, Bloomington, IN: History Workshop, Indiana University Press, ISBN 978-0-253-35235-4

4. Jaakko Hintikka, Aspects of Metaphor, Springer, 1994, p. 41. ISBN 0-7923-2786-1

5. Ingold, Tim (�996) . Key debates in anthropology. Routledge. ISBN 0-415-15020-5, Sunday May 2, 20�0, p. �27

6. Кыргыз тилинин сөздүгү, Avrasya Press, Бишкек, 2011

7. Лечицкая Ж. В. Дисс. Прилагательные вку-са в современном русском языке (в аспекте номинации), Москва, 1985, 103 стр.

8. Куценко А. В. Диссертация на тему: Со-поставительный 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 “Типы семантического варьирования прилагательных в поле “Восприятие”: На материале английского, русского и фран-цузского языков”-Уфа, 2003 -363 с.

� Adrian Akmajian, Richard A. Demers, Ann K. Farmer, Robert M. Harnish, Linguistics, MIT Press, 200�, p. 239. ISBN 0-262-51123-1

2 Jaakko Hintikka, Aspects of Metaphor, Springer, 1994, p. 41. ISBN 0-7923-2786-13 Adrian Akmajian, Richard A. Demers, Ann K. Farmer, Robert M. Harnish, Linguistics, MIT Press, 200�, p. 239. ISBN

0-262-51123-14 Ingold, Tim (1996) . Key debates in anthropology. Routledge. ISBN 0-415-15020-5, Sunday May 2, 2010, p. 1275 A. S. Hornby Oxford Advanced Learner’s Dictionary of Current English, Oxford University Press, 6 the ed. 2004,

p.�3306 Кыргыз тилинин сөздүгү, Avrasya Press, Бишкек, 20117 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.


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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, сез-гичтик.

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, чувствитель-ность.

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 �999) . 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 meteorological-sensibility 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 �995) . 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. Пере-вод: Когда ветер дует так, что листья деревьев переворачиваются, – приближается шторм.

When the leaves on a tree curl or show the under-side 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


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autumn there will be not much snow the following winter – and the opposite way, very much snow after an autumn with no rowanberries.

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 гро-зой.

• If the lark flies high, expect fair weather. Перевод: если жаворонок летает высоко, то ожидай-те 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: ког-да 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 elec-trified 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 tem-perature rises; they close again when the tem-perature 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.


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• Flowers smell best just before a rain. Перевод: Непосредственно перед дождем цветы пахнут лучше.

• Dandelion blossoms close before a rain. Перевод: П е р ед д ож д ем ц в ет ы оду в а н ч и ка 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 fol-

low.• 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 elec-trified 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 предрас-

судков русского народа»2. Забылин М. Русский народ, его обычаи, об-

ряды, 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 праздни-

ки и суеверные обряды. (Выпуск 1-4) . — М.: Университетская типография, 1837-1839.

7. Prendergast �9998. Dunn 2000


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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 антропо-центрикалык 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 колдо-нуу менен биргеликте анын акыл-эсинде болуп жаткан менталдык процесстер болуп саналат.

Бул теорияларды эске алуу менен, мен айрым кыргыз лингва-маданий концепттердин когнитив-дик-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; экин-чиден, 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 фак-торлору менен болгон байланыштарын да камтыйт. Учурда талкууланып жаткан көйгөйдүн контекстинде, атайын тандап алынган концепттердин анализдери тил жана маданиятты бай-ланыштырган 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 кара-жат 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 концептуализа-циялануу жана кабылдоо жолдоруна басым жасайт.

Негизги сөздөр: кыргыз маданияты, когнитивдик семиотика, когнитивдик лингвистика, ма-даний 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 при-обретения, 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 когнитив-но-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,


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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 структу-ры 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 lin-guistic 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 phe-nomenon 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 in-tended 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, concepto-sphere, 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 language-thought-perception and the physical properties of the brain and human cognitive abilities. CS is defined as an interdisciplinary matrix of disciplines and


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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 2�st 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 subject-cognitive 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) .


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For the purpose of conducting a cognitive-semiotic 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, �986a: 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: �72) . 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:�3) . 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,


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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, �983: 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 (three-part) 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:

�. “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:

�. 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


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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.

�. 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) .

�. 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 кыр-гызской лингвокультуры [Core concepts of the Kyrgyz linguoculture]. Bishkek: 176: 29-30

3. Sebeok, Th. A. �986a. 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, �932) . 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.


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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 суй-логон 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 линг-вистике.

Ключевые слова: невербальная коммуникация, паралингвистика, экстралингвистика, семи-отика 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 semiol-ogy, 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 �878. 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.(�994) Researchers define that while speaking we use body language from 50 to 90% including semiotic means. The main functions of the non verbal communication: �) 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 ощу-щений и эмоций); по модальностям (способ обра-ботки 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: �) 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


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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 пере-

говорах;• they like to bargain;• they use papper based information sending

different information by the post mail or by e-mails;

• 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


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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.

�. Sebeok, T. A. (�976). Contributions to the doctrine of signs. Lanham: University Press of America.

2. Jakobson, Roman. Essais de linguistique générale. Paris: Les Éditions de Minuit, �963.

3. Биркенбил В.: Язык интонации, мимики, жес-тов. — С.-П.: «Питер», 1997. — 176 c.

4. Горелов И. Н.: Невербальные компоненты ком-муникации. — 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) . — Ростов-на-Дону: «Феникс», 1988. — 246 с.

7. Морозов В. П.: Искусство и наука общения: невербальная коммуникация. — М.: ИП РАН, 89 с.


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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 ук-репить чувства положительного влияния на бренды.

Эта статья о семиотике в качестве практического подхода к изучению рекламы. Рекламода-тели считают, что в успешной рекламе очень важным способом является использование фото-графического 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.


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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 AdvertisingImagesOne 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.

TextText 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.

SoundSymbols 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


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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.

ProcessThe 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 businessAs 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 AdvertisingBy 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 BusinessesHairdressing 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 AdvertisingIn 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 BaseTo 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


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meaning in as far as it leads the reader to comprehend the mythic connotations, the overall message about the meaning of the product.

Bibliography:�. DUNN, I., BARBAN, A., KRUGMAN, H. &

REID, P. �990. 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. �986. Social communication in advertising: persons, products, and images of well-being. New York: Methuen.

5. SOLOMAN, J. �996. Masters of Desire: The Culture of American Advertising.

http://sparc20-1.unixlab.virginia.edu/~ams4k/enwr101/soloman.html

6. VESTERGAARD, T. & SCHRØDER, K. �985. The language of advertising. Oxford: Basil Blackwell Ltd.

7. Sebeok, Thomas A. 200�. Signs: An introduction to semiotics. 2d ed. Toronto: Univ. of Toronto Press. Bouissac, Paul, ed. �998. 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. �990. Social communication in advertising: Persons, products and images of well-being. 2d ed. London: Routledge.

�0. Williamson, Judith. �978. Decoding advertisements: Ideology and meaning in advertising. London: Boyars.

УДК: 811.161.1 (575.2) (04) 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 ко-тормо 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 минималда-штырат. 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


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Аннотация: В статье рассматриваются знаки и символы используемые при устном последо-вательном 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 аналитичес-ких 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 семанти-ческие потери сводятся к минимуму. Именно по этой причине, использование символов и знаков в устном переводе, значительно изменили подходы и технику в переводе. Символы стали неотъ-емлемой 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, используе-мых 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 ex-cellent memory skills, perfect public speaking skills and professional translation competence. Translation requires acute mental activity, analytical and transla-tion 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, �997; 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


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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: under-standing, transmission and production; emphasizes the significance of note-taking in consecutive inter-pretation and offers the individual types of symbols used in various fields of human activities, like math-ematics, physics etc. (Siantova, 20�5; 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 contex-tual 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, 20�5; 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 prob-lem of information losses arises. He distinguishes 3 stages of interpreting: �) active listening analysis and comprehension; 2) memorization of informa-

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 interpret-ers – 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 “uni-versal 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; �3), 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:

subjectKG PM

predicate= d offic vzt

Object (direct/indirect) Ru, March ‘14

JKOK

draft law, ♂&♀= in South

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.

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,


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always note the negation, use emphasis, and take notes vertically (Gerard, et al, �996; 7�) .

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

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, �’5 – for the middle of a year, �5’ – 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:


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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.�0) . 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, �995; 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; ��9) 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; �28) 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 Non-Proliferation 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


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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 note-taking, 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:�. 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, 20�0;

4. Gerard Ilg, Silvie Lambert, Teaching consecutive interpreting, Interpreting, Volume 2, Issue �, �996;

5. Herbert J., Manuel de l’interprete, Geneva, �952;

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, �999;

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;

��. Shelestyuk E.V., O lingvisticheskom issledovanii simvola// Voprosy yazykoznaniya, Vol.4, 1997;

12. Siantova G., Consecutive Interpretation and Note-Taking from the Perspective of Some Translatology Schools and Researchers, International Journal of Scientific Research and Innovative Technology, Vol. 2 No. �, January 20�5;

�3. Visson L., Praktikum po sinhronnomu perevodu s russkogo yazika na angliyskiy, Moscow, 2006.


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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 мада-ниятынын терен, бай жана маанилуу экендигин көрсөтөт.

Негизги сөздөр: маданият алмашуу, табылга, кара ниет, айланып өтүү, кызыктыруу, өсүп-өнүгүү, 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 кыргыз-ская 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, live-stock

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 cross-cultural 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


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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 сде-

лан 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 ов-цекрад – suffer sheep thieves

-Эчкинин суту эрменде – молоко козы из сочных трав – goat’s milk from grass

-Эчки уурдаган шерменде – стыдись украв-ший 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 по-лезна – 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 ско-та) – 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,


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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

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

�9572. Barthes, Roland ([1964] 1967) . Elements of

Semiology3. 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

УДК: 811.161.1 (575.2) (04) Kudaiberdiev Aybek, IFL, IUK

SemioticS in chingiz aitmatov’S WorkS

СЕМИОТИКА В пРОИзВЕДЕНИЯХ Ч.АЙТМАТОВА

Аннотациясы: Макала Чынгыз Айтматовдун чыгармасында семиотикалык белгилерге ар-налды. 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 почи-тается за строительство моста между миром традиционного кыргызского фольклора и совре-менной 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.


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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 �978, and Russian in �970. 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.


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“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.

conclusionTherefore, 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:�. The book by Chingiz Aitmatov translated by Mirra

Ginsburg2. Abdyldazhan Akmataliev. “Chingiz Aitmatov:

Man and the Universe”. Publisher “Ilim” 20�3

Internet resources:1. http://www.briefly.ru/aitmatov/belyi_parohod/2. http://www.aitmatov-academy.org.uk/


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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 разнооб-разии.

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 mean-ing. 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 rela-tion. 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 of-fensive 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 Vietnam-ese 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 impor-tance of the difference between red and orange. An-other 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 preach-ers 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 lan-guage, for example, ” thank you” can be translatedin several different ways depending on the situation as thanking someone for a gift, for a service, etc. Ar-ticles 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 vari-


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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 perceiv-ing 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 experi-ences in the world) is rich in personal and cultural meanings which are primed implicitly through as-sociation 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 con-text 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) communica-tion 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 per-sonal experience of time also differs from person to person. Each culture has its own ‘beat’ with a dif-ferent 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 differ-ences 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 Ed-ward 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 Ger-many 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 dif-ferent 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 diver-sity 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,


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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 stu-dents 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 non-verbal 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, ritu-als, 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 can-not 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 self- development, it would be a competitive advantage in their whole career.

So, from country to country, social taboos, poli-tics, 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 stu-dents 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 differ-ences. Human nature manifests human diversity.

Bibliography:�. Alison Savage Cross cultural communication.

University of Surrey Education Liaison �996 2. Examining cultural behaviour. Oxford University

press 1998 p.84-873. FORUM volume37#3 1999 p.2-54. Ж. М Оспанова Национально-культурная спе-

цифика 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.


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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 благо-дарностей 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

IntroductionSocial 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 Turkic-Mongol 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 wishesKyrgyz 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 Fri-

days, 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 re-


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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 guard-ing 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 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 piddleКандай келин дешпесин, They mustn’t say that you are a bad bride, Иши арыбаган темселеп They mustn’t say that you are a goonКелген жерден бактапкын, Find your happiness thereЭрте туруп кеч жаткын. Get up early and go to bed too late.Кайненендин колунан Do everything at homeИшин алып нан жапкын». Be happy, my daughter!”

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 берсинБала-чака башыңа!Шыбагалуу баш берсинБерекелүү аш берсинЫрысың 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!


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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 балаАк бешикке жат, бала!

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.

We didn’t translate this Kyrgyz luli song word for word, we chose an alternative song in English.

СonclusionIn 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 re-quests from Kyrgyz into English. Of course we did

not translate word for word, we searched synonyms of these words in English. Some gratitudes and wishes were translated according to the function.

bibliography1. Ymyrkai uulga // Kyrgyzstan-93. Bishkek.1992.2. Kyz uzatuu //Nookat Tany. Nookat. 2014.3. Website “Soros-Kyrgyzstan”.4. Karasaev Husein. Nakyl sozdor.- Bishkek.1995.


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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 продук-цияны идентификациялоодо жана элге жеткирүүдө тилдин мааниси чоң.

Ааламдашуу учурунда тилөадамдардын оротсундагы коммуникациянын же карым катныш-ты 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 кылатНегизги 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 использо-вать 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 гипо-тезы можно отметить, что если реклама на родном языке, легче выявить самостоятельно-ре-ферентные 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


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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


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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 Валенти-

нонун жаңы сумка модельдерин даунлоуд сде-лай.-- 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 longer-lasting.

In the Kyrgyz Language we can notice the following phrases which are creolizing our speech:

F.e: �. Maybe she’s born with it, Maybe it’s Maybelline

Все в восторге от тебя, А ты – от «Мэйбел-лин»

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


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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:�. Nida’s2. Cattford3. Newmark4. (Nida, �993) 5. Barhudarov L.S “ Language and translation” M.:

International Relations, �975..6. http://www.businessdictionary.com/definition/

advertise.html#ixzz3UciZLTVM7. http://www.businessdictionary.com/definition/

advertisement-ad.html#ixzz3UcjWDthu


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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, улуту-буздун 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 особен-ности 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 �964 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”


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in �964, 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 pio-neer of Semiotic Study in Central Asia, established the Kyrgyz Semiotic School. This school deals with a translation of Kyrgyz literature into Eng-lish 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. Let’s long-maned horses run on the plain.(S.O., 30) (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 no-mads 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, ev-ery rich man has a great number of cattle. Kyr-gyzs 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 repeti-tion 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, We don’t want the Kitais to win!Кызыр бизден кетер деп, Prophet Kizir turns away his eyes!Каңгай алса бекер деп, We don’t want that kangars get the prize!Касиет бизден кетер деп. Send us down your strength, if you can!(O.S., 83) (W.M., 2480)

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.

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.


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“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, May the cradle cord be strong!Кундагың боосу кут болсун! May the baby is life be long!(O.S., 70) (W.M., 2010-2020)

Kyrgyz people usually used this saying for new-born 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”.

conclusionThe 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

languages have been signified: they come from cul-tural 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 deno-tation 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, КА-

ДЫРМАМБЕТОВА А., КАСЫМГЕЛДИЕВА М., СЕМЕНОВА Ж., (2010), Кыргыз тилин сөздүгү.

2. МАМБАЕВА, С., (2009) “Англис тилинин стилистикасы”

3. ЮДАХИН К. (2000) Русско-киргизский сло-варь.

4. ОРОЗБАКОВ С. (1978) Манас

english sources�. MAY WALTER(�995) Manas. internet sources2. http: //www.bizdin.kg (Manas)


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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- баева-нын 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 за-рыл 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 куль-туру, 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. Кыдыр-баевой 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 позна-ния 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 меч-ты 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 child-hood. 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 (�5693) and Odyssey (�2��0) 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 sonFrom the oldest brother to the youngerFrom one to the otherThis 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:� “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


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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 Qigtaiy� 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.”


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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 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,

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.

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


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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,

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

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 chiiWith silk braided was, Ropes round the yurtOf quaint beauty were.When Manas came in the yurtBy luxury and beauty heDeeply 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

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:�. Aitmatov Ch., Beaming height of ancient Kyrgyz

spirit. Encyclopedic phenomenon of the epic 2. “Manas”. –B.: Encyclopedia, �996.3. 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 �995. 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”. �995. Bishkek.9. Niyazov F., Jamgirchiev S.. The Kyrgyz Pattern.

�998.�0. Sally Pomme Clayton Telling the images.

Experiences of visualization on the storytelling performances of Kyrgyz Manaschi. E.L.O. 9-10(2003-4)


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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-аракеттер-ди 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 байлам-талуу) 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 тата-алдыгына 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 чыр-малышкан 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), кайта-лануу

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 синтаксичес-ких 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 чита-теля и вызывает его интерес. Он начинает думать. Автор ставит читателя в гущу событий и последний чувствует себя свидетелем и участником произведения.Литературный принцип Э.


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Хемингуэя «айсберг» мастерски реализован в рассказе “Кошка под дождем”. Ключевые слова: айсберг, символизм, описание погоды, диалог, ритм, полисиндетон, асинде-

тон, 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 experi-ence 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 char-acters, 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, asyn-deton, parcellation, repetition.

The topic to be discussed deals with the Heming-way’s individual style known as an “iceberg” which contributes to the semiotics in literary analysis.. E. Hemingway assumes that his creative activity resem-bles 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 hus-band 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


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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 drown-ing 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 im-portant. He made her feel like a lady.

As it was mentioned above, weather depic-tion 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 listen-ing. 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 parcel-lation, 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


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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 de-vice which is characterized by the deliberate parting of a single syntactic structure in two or even more isolated parts. Parcellation produces clipped sen-tences. 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 de-fines 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 repeti-tion 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 fol-lowing 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. Re-ally, 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


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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 de-scribes 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 indif-ferent to his wife and her problems. “…The husband went on reading, lying propped up with the two pil-lows 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 read-ing. ….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 semiot-ics 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 construc-tions (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:�. Hemingway E. Selected Stories. M., �976.


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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 произве-дений 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 �990s 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 �2. 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:


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Түндөгү көргөн түшүмдө, In my last night’s dream, Карчыга учпас зоокага, Where is the hawk can’t fly.Карга айланып конуптур. A crow caught around in the place.Көпүрөнүн башына To the head of the bridge Калдайып кытай толуптур; 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 fair-ies turned into crows in order to cause trouble. In

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, signi-fies that your enemies will be vanquished. Dreaming of shooting at a hawk, you will have a contest with enemies, and will probably win….

Калың кытай жоо менен, It was high time with about masses of army China, Кармашар күнүм болуптур. To fight with Chine army. Түндөгү көргөн түшүмдө, In my last night’s dream, Түздөгү душман түрүлгөн Enemies were coming to from the bottom fieldТаршый түшүп турушту, I was surrounded by themТаңдын алды. бүгүндөн.. Beginning from today it was the dawnЖол муунаган жоо болсо, If chinese will meet with me, Соо калбаймын бүгүн мен, I’ll not be alive today, Айланайын Желкайып Oh, my dear Jelkaiyp(the name of the girl) Жооруп көрчү түштү сен; Interpret my dream, pleaseКөпүрө жолу бекиген The road of bridge was locked Көп кол тоскон бетимден, Many arms blocked my way, Сап-сап болуп турушкан, They were standing row upon rowСалышып жылдыз урушсам. If I fight with them. Сандап жаткан көп кошун, All the people who are there, Салышып жүргөн мен турмак, I was fighting only me, Сага да зыян болбосун. If you don’t injure.Түндөгү көргөн түшүмдө, In my last night’s dream, Түштөгү көргөн ишимде, I saw this in my dream Калган көңүл калтаарып It disappointed me and disturbed meТүндөгү көргөн түшүмдү ук. Listen to me in my last night’s dream, Аккүргүндүн жээгине On the shore of lake AkkurgonАлты сан кытай толуптур. There were settled many chine’s warriors Алдыңдан чыккан жоо менен, If we meet the enemy on the way, Алышар күнүм болуптур. I will fight with themЖаралуу болгон эт жүрөк My heart was wounded Жамандыктан жалтанып. I was afraid of bad thingsКачырып кирип бара албай I couldn’t attack to warriors of ChinaКарап турдум тамшанып, I look at them with enjoying the sceneКачсам дагы өлдүм деп If I avoid that I would die anyway[6.315c]


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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

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]

Адырма-адыр куушуп, To drive from hills to hillsКызыл кан менен жуушуп, Washing with the red blood Кырылышып урушуп; I fought with them like killing catsКылкылдаган кол менен 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

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.

— Айланайын жалгызым, Oh my only son, Түндөгү көргөн түшүңдү. In your last night’s dreamОндоптур кудай ишиңди. The God made lucky your workТүшүрө саят экенсиң You can strike dying on spearТүбөлүк кектүү кишиңди. If you revenge that personТүндөгү көргөн түшүңдө, In your last night’s dream you sawКалың кол чыкса жолуңдан If you meet a number of warriors on the wayКатары менен жыгылып, They will fall rank by rankКыйрайт экен колуңдан. You destroy with your handsАтам да баатыр эр болчу, My father was a hero man too, Аянбаган шер болчу He was also a brave personЭңе албаса алты күн You hadn’t won for six days Колдоптур сенин периштең. Your angel helped youАк ала зоонун боорунан, From the snowing flank of hillАк шумкар учуп келгени; The eagle flew to usАк шумкардай чамынып, Liking to race the white eagle Агаң келе тургандыр. Your brother will comeАманыңа кубанып, He is happy that you are alive Агаңды көрүп бел байлап, You will become when you see your bother


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Акырекке минипсиң. You sat on a his backАк болот кылыч колуңда, The white damask sword in the handАлкымынан тилипсиң.., You cut his throat [6.317стр.] (K. Akiev. Bishkek. The translation is mine)

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 Janysh-Baiysh was not meant to be read, but be recited out loud with the synchronization of voice, facial expressions, and gestures. Those who read Janysh-Baiysh 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

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 литературы1. Фрейд З. Введение в психоанализ. Лекции. – М.

Наука, 1989;2. Фрейд З. Толкование сновидений. – Ереван,

�990;3. Малкольм Н. Состояние сна. – М., 1993;4. Боснак Р. В мире сновидений. – М., 1992;5. К.Г. Юнг. Воспоминания. Размышления. Сно-

видения. – М., 1994;6. Жаныш, Байыш А. Акматалиев, Б. Кебекова

Бишкек. 19987. Manas. Vol 1/ Walter May.- Moscow; Bishkek,

�995.8. http://www.booksite.ru/fulltext/slo/var/cul/tur/rud/

nev9. http://www.nm.md/daily/article/2002/12/06/0907.

html


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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 тил-деринде 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 крат-кий 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 Musul-mankulov 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 Ja-nysh-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 Musul-mankulov 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. Com-posed and sung entirely in oral form by various


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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 instru-ment. The melody of the epic consists of various recitative intonations. The singer keeps changing the tempo and dynamics of narration and intona-tion, 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 gath-ered 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 “Janysh-Baiysh”. 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 influ-enced by Toktogul Satylganov. He also recorded and published the folk tale “Ach karyshkyr” (“Hungry Wolf”), the epic poems of “Kurman-bek“, “djanysh-baiysh.” [7]

The poem begins with the ancestry and birth of the hero, which is first prophesized and sur-rounded 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 be-came 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 sum-mer 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 жүрөгүмОйлоп турат санасам.Аргасы кандай болот деп, Акылымдан адашам.

Oh my dear my hero JanyshDon’t hate my wordsDon’t accuse me of naughtinessI have some grief and worriesYou are to be more generous.God created this situationGod made us human beingI have the wit but I have no energyEven thinking constantly.When I sleep, it won’t leave my dreamsWhen I wake, it’s in my thoughts.If it is not as good as we thought, Stop your joke and gunMy heart is poundedThinking when I worry.Thinking about whose fate, I lost my mind[1.148c]


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Kalyk also pays attention the character of heroes of epic and for hero of Baiysh. When he was a child he had thrown the camel, caught foot on his hand, the camel had dropped far from there.

The epic reflected the strong of Baiysh believed his gather strength. The character of Baiysh re-membered this epic:

Ар кыялы бар болчу, Ачуусуна чыдабай, Атасын көзгө илбеген.Агасы менен тартынбай, Алганындай тилдеген.

His character was difficultHe cannot tolerate when he gets angry, He doesn’t notice his father, He was afraid of his fatherEven he argued with his father[1.149c.]

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-

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 mod-ern 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 national-ist.” Officially, it was presented only in short frag-ments 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.

— «Ассалоомалейкум, Assalamyalleikum, (How do you do!) Салам бердим сиз жакка, I am asking your healthАлик алгын биз жакка. Please answer my questions.Кайры шаардын беги элең, You were a lord the city KiryКайдан түштү бул капа — Алдо үй! Why are you so sad? –aldo uiӨтө жаман карыпсың, You became very old manӨлөр жерге барыпсың, You got a feeble old manКарып болуп карганда, When you get old, Кайыр сурап калыпсың. You are begging alms.Алың кетип бул күндө, You aren’t a strong todayАкылыңдан таныпсың — Алдо үй! You get a crazy-, aldo ui!Мен сурайын сырыңды, I ask your secret, Жашырбай айткын чыныңды You tell me the truthКишиликтен кетирип, Fired your from placeКим тапты сенин ыгыңды. Who tortured you like Ким кетирди сыныңды — Who made you such kind of situationАлдо үй, алдо үй! Aldo ui, aldo uiКим ээледи калааңды? Who managed your city?Дүнүйөң кимге таланды? Who destroyed your estate?Карыганда кор болгон, Who humiliated you became old?Карып Сарбан аманбы? Are you good, old Sarban?Айтчы бирден угайын, Tell me I listen to you now, Башыңдан өткөн заманды.— All the bad cases you hadАлдо үй, алдо үй! Aldo ui, aldo ui [1.159c


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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

Бишкек. 19982. Караева З.К. Перевод и семиотика: Многоязыч-

ное бытие эпоса «Манас» 3. Lotman, Ju.M. Primary and secondary

communication modeling system. In:Soviet semiotics. Ed. By Daniel P.Lucid. Baltimore: The

Johns Hopkins University Press.�977.4. Morris, Ch. Foundation of the Theory of Signs.

Chicago, �938.5. Saussure, F. de. Course in general linguistics. Ed.

By Roy Harris. Lnd., Duckworth.�983.6. «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,

�995.

УДК: 811.161.1 (575.2) (04) 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 линг-восемиотикалык иликтоо жургузуу болуп саналат. Макаладагы жыйынтыктардын илимий ба-алуулугу 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 лингвосеми-отического 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, метасемиоти-ческом 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.


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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


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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 denota-tive meaning of the words are investigated. On the metasemiotic level is researched the connota-tive 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 контексту-альные средства различных уровней языковой иерархии. Начиная от фонетико-фонологичес-кого 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 textCайраган жайкы булбул Гүлдүн көркүЖаркырап жайнаган кызүйдүн көркүСулуу кыз суктандырганТөрдүн көркүДалида сындап өргөнКара чачыМандайга келишимдүү Кара кашы Жакшы кыз – жайкы тандайүйдүн куту ( Barpy. P.34)

target text: a singing spring nightingale, Is the beauty of flower.A smiling pretty girl, Is the beauty of a houseA charming attracting girlIs the object of respect A nice looking plait of black hair On her shouldersAnd her black eyebrow Is attractive on her facea good girl is like a summer morning-Is a goodness of the family.

The Kyrgyz phrase ‘Щйдщн куту’ was trans-lated 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 бе-реке» 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.


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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 ver-sions share a common feature: beauty. The semiotic sign can be explained through this phrase.

Lets analyze other examples. Source lan-guage:

«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 бо-

лот” was translated like “She will be as fruitful as te free elements”, because in the translation there is a connotative meaning like “made as gen-erous like basic nature”. The translation is consid-ered adequate and it coincides to the original se-mantically 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 translat-ing 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 (dic-tion), 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 can-not 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 тер-

минов. -М., 19662. Барпы. Бишкек 19943. Караева З.К. Перевод и семиотика. – Бишкек

2006 4. Конурбаев М.Э. Библия короля Иакова в лин-

гвопоэтическом освещении. --М.:Диалог – МГУ, 1998.-69с.5. Jackson, R (2003) . From Translation to Imitation.

Retrieved March �2.2003 from the Worldwide Web: http://www.utc.edu/~engldept/pm/ontransl.htm


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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. Тради-ционная 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, тради-ционная 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 ru-ral 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 tempera-tures 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 Kyr-gyz 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


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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 reflect-ed 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 reten-tion 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 signifi-cant role in the life of Kyrgyz people. It was strictly prohibited to go bareheaded, to throw the head-dress 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 ex-panding 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, vari-ous 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 cha-pan 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 dur-ing 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 differ-ent 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.


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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 sum-mer 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, embroi-dered 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 de-sign 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 horse-back. 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 af-ford 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 cul-tural 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:�. 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 978-5-98624-092-3.


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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. – �22 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 �925 Chepelev �939 Romm 1941]

УДК: 811.161.1 (575.2) (04) 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 мум-кунчулукторду 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 раз-личной 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 discus-sion 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 commu-nicated. It is a way of seeing the world and of under-standing 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 mean-ing of signs, but John Sturrock argues that whereas semantics focuses on what words mean, semiotics is concerned with how signs mean (Sturrock �986, 22) . For C W Morris (deriving this threefold classification from Peirce), semiotics embraced semantics, along with the other traditional branches of linguistics: se-mantics: the relationship of signs to what they stand


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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 mat-ter. 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 Chi-nese 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 re-gions 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 col-ors 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 nega-tive 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 �983, ��5; Saussure �974, ��7; my emphasis) . a) positive connota-tions 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 re-lates 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 res-urrection 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


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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 as-sociate 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 immortal-ity. 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, espe-cially 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 “resurrec-tion”. 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 dif-ferent 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 some-thing 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,


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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 между-народная конференция ЮНЕСКО «Евролинг-вауни». М.: МГЛУ, 1996. – с.69-

4. Dictionary of English Language and Culture, Longman.:England, �992 – �569 p.

5. Morris, Charles W (1938/1970) : Foundations of the Theory of Signs. Chicago: ChicagoUniversity Press, �989

6. Саматов Кубатбек. Кыргыз тилиндеги он-тус 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 ((�9�6) :Course in General Linguistics (trans. Wade Baskin) . London: Fontana/Collins, 1974


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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 culture-semiotic 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 �973, 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


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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 gener-ally 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)


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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 сан-сыз оттор жылтылдап, асмандын жылдыздары бүт күбүлүп Кокондун тегерегине түшүп калган-дай. “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 бо-луп күлүңдөп, шам болуп үлбүрөп, кээде чакмак-тын 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:�. “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 cross-linguistic 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


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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 �5 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 �97� 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 �990s 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 �867 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 �997 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 �, 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 �993 featured over 4, 000 different pieced quilt patterns and nearly �, 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 �9th 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


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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 �800s, 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


�50

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:�. 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. �993.

4 World Book “Encyclopedia” USA, �994. 5. Crystal D. A. The University of Chicago Press,

200�.

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 туу-ралу 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 пос-ледние годы дало мощный импульс повышению интереса к переводу и теории художественного перевода. Интерес филологии к проблемам тео-рии 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 че-ловеческого 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 деятель-ности 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 владе-ющих иностранными языками, такие переводы особенно ценны, если они выполнены талантли-выми переводчиками, оказываются единствен-


�5�

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 тео-рией и практикой, так как очевидно, что прак-тическая работа намного опережает разработку соответствующей теории. При межъязыковых преобразованиях неизбежны смысловые поте-ри, 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 пере-вода эквиваленты подлинника нельзя считать пе-реводами в собственном смысле, особенно если это относится к поэтическому переводу. В то же время в последние десятилетия сформировалась особая филологическая дисциплина теория пере-вода или переводоведение.

Семиотика как наука о знаках и знаковых сис-темах 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, опери-рующих понятием знака. Идея создания науки о знаках возникла почти одновременно у несколь-ких ученых. Основателем семиотики считается американский логик, философ и естествоиспыта-тель Ч.С.Пирс (1839–1914) [13]. Семиотические идеи Пирса развил другой американский фило-соф – 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 аме-риканской семиотике объектом изучения стали различные невербальные символьные системы, например, жесты или языки животных. В Европе, напротив, первоначально главенствовала тради-ция, восходящая к Соссюру. Семиотику разви-вали 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 семиоти-ки до сих пор не достиг того уровня филологичес-кого развития, который бы обеспечивал полное воспроизведение эстетических лингвопоэтичес-ких качеств оригинала. В большинство случаев он основывается на вдохновении переводчика, на его таланте и филологической эрудиции. Пе-реводчик улавливает основное содержание или мысль текста – оригинала и в процессе личного творчества вдохновенно создает текст на «язык-цель», не проводя никакого филологического или лингвистического анализа. И в результате перевод может очень далеко отойти от оригинала, так как не принимаются во внимание лингвопоэ-тические особенности первоначального текста. К сожалению, на практике существуют переводы, не соответствующие по смыслу оригинала.

Чтобы передать на другом языке диалек-тическую взаимосвязь формы и содержания художественного произведения, необходимо на-учиться находить в сокровищнице произведений мировой литературы соответствующие друг дру-гу «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 ос-нову для более качественных переводов.

Лингвосемиотика – особый раздел семи-отики как науки о знаковых системах, объект ее изучения – лингвистические единицы в их знаковой функции. Для общей теории перевода особенно важна знаковая функция слова как ми-нимальной единицы перевода. Слово в любом языке представляет собой диалектическое единс-тво 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 осуществляет-


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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 промежуточ-ное положение между внутренней лингвистикой и семиотикой. Отсюда и еедвукоренное наимено-вание. Напомним, родоначальником современной лингвосемиотики является Ф. де Соссюр.

Характерной чертой стиля Шекспира явля-ется насыщенность, образность и эмоциональ-ность. Одно из новейших исследований образов Шекспира на основании стилистических под-счетов свидетельствует о том, что большинство метафор и сравнений Шекспира заимствовано из простейших явлений повседневной жизни. Для образности Шекспира характерно оживле-ние «ходячей вымершей метафоры». Создание разнородных метафор является одной из харак-терных черт стиля Шекспира, и мы считаем их авторскими. При переводе авторских метафор переводчики сталкиваются с наибольшими труд-ностями. Авторские метафоры – это языковые единицы, которые используются только в про-изведениях 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 �89)

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- тукум-дарынызга 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. Напри-мер:

Desdemona: Mine eyes do itch, Doth that bode weeping?

Emilia: ‘Tis neither here nor there Desdemona: I have heard it said so (�, 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 дергает-ся, 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 мифологи-ческом тексте; с другой стороны, индивидуальное использование мифа делает его мифологичным только благодаря этой знаковой системе.

В трагедии реализуются следующие инва-риантные 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 freshAs Dian’s visage, is now begrimed and blackAs mine own face. (�, W.SH.O. p. 223) Отелло. ее безукоризненное имялуны белее было, а теперь, черно, как я, от

твоего доноса. ( с.332) Отелло – Сүйгөнүм аппак эле, тунук элеАк айдай бир кири жок, ободогуАл 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?


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Wen are not safe, clarence, we are not safe. [�, W.Sh. p.377]

Бир тууганы, шум Энтони Вудвилдин кыл-ганы.

Мына, Хестингс бошонуп келди го жакын-да,

Королго айтып, Тауэрге айдаттырган да ошо-лор башында.

Кларенс боорум, биздин башыбызда, Коркунуч көп азыр да.[4, Ж.И., 9-б]В латинской мифологии “Diana” (�22, 3�3)

– 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 трагедииИными словами, метасемиотика – это се-

миотика, 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 являю-щиеся 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. (�, 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 зву-ковых повторов: эпифора. Наблюдается и сино-нимический 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 кульминацион-ный момент трагедии.

На кыргызский язык перевод был осущест-влен 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 положить-ся. И эти простые слова имеют коннотативное значение.

Следует учитывать, что наряду с уникальны-ми особенностями, характеризующими каждую отдельную культуру, существуют факторы, об-щие 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

(�, p. �6�) Родриго. Отправилась так поздно ваша

дочьОдна, без подобающей охраны, В сообществе наемного гребца В сластолюбивые объятия мавра? (с.273) Родриго – Кызыңыз, нөкөрлөргө кайтар-

тпай, Ишеничтуу кеме айдаган киши албай, Кучакталып аялкор мавр колуна, Сүзүп өткөн аралдын аркы боюнаТүн 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 получи-лось, что венецианские девушки не могут вооб-ще погулять без охраны как девушки арабских стран.


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Конструкция «без всякой охраны” имеет осо-бое значение. Сообщается что в эпоху Шекспира не только женщины, но и мужчины редко риско-вали выходить из дому ночью. Ночное освещение улиц в Лондоне впервые появилось в конце XVII века. Эта деталь, таким образом, свидетельство-вала 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. (�, p.242)

Яго. Ну если вам так жалко выдайте ей доверенность на совершение дальнейших ни-зостей. (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 считает-ся необходимым для установления общности денотативного значения. Смысловой особен-ностью указанного предложения является кон-нотативное значение. Это и есть тот случай, когда эмоциональный компонент модифицирует предметно-логическое значение и обладает так-же 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 сло-ва, 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 упот-ребляют 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 употреблени-ями и поэтому приобретает дополнительную смысловую нагрузку. Вариации на тему “ purse” встречаются на протяжении всей пьесы. Шекспир

использует “ purse” и как средство характерис-тики 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 сло-ва 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, по-этому 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 purseAs if the strings were thine, shouldst know of

this. (�, W.SH.O. p.�57) Родриго. Ни слова больше это низость, ЯгоТы 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 ‘ фун-кционирует в роли метонимии. Трудности в переводе может вызывать и другой компонент коннотации – стилистическое значение слова, указывающее на принадлежность слова к воз-вышенной, 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


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сохранен его функциональное значение. В этом слове переход от оригинала к переводу осущест-вляется с помощью грамматических замен, что подразумевает отказ от использования в переводе аналогичных грамматических форм. В переводе категория числа сохраняется, то есть соотнесен-ные существительные в оригинале и в переводе употребляются в том же самом числе, за исключе-нием 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 произве-дениях были проанализированы следующими видами задач:

- выявлением лингвосемиотическихединиц исследовавшие закономерности;

- сопоставлением оригинала произведения и перевод на кыргызский язык на семиотическом уровне;

- выявлением текстовых несоответствий вы-званным особенностями структуры оригинала, и на который, он переведен;

- выявлением и анализированнием текстовых несоответствий, вызванным различиями в наци-онально-специфичной языковой картине мира.

Использованная литература:�. W. Shakespeare Histories Volume � The Milenium

library �9942. А.Осмонов/ Отелло: Ыр менен жазылган тра-

гедия. – Ф.: Кыргызмамбас, 1949. − 152 б.3. Гальперин И. Р. “Очерки по стилистике анг-

лийского языка” -М., 19584. Ж. Иманкулов “В. Шекспир Ричард III” кыргыз

тилине котормосу Ф-19825. Задорнова В.Я. Восприятие и интерпретация

художественного текста.- М., 19846. Задорнова В.Я. Стилистика английского языка.-

М., 19867. Караева З.К. Перевод и семиотика Бишкек

2006.8. Липгарт А.А. Методы лингвопоэтического ис-

следования. Автореф. Дис.д-ра наук. М., 19979. Усубалиев Б. Ш. Көркөм чыгармага лингвис-

тикалык илик.-Б, 10. Я. Мукаржовский Преднамеренное и непред-

намеренное в искусстве. Структурализм: за и против.—М.:» Прогресс, 1975

Интернет ресурсы:��. https://ru.wikipedia.org/wiki/Моррис, _Чарльз_

Уильям12. https://ru.wikipedia.org/wiki/Пирс, _Чарльз_Сан-

дерс13. h t t p : / / r u t r a c k e r. o rg / 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 ло-гике.)

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, non-verbal signals.


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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 non-verbal 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 WordsNonverbal 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


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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.

Touch i s another cue of non-verba 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 communicationFirstly, 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


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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 com-municate 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:�. Bellak, Leopold. Reading Faces. New York: Holt,

Rhinehart and Winston. �98�.2. Hinde, R.A.. Non-Verbal Communication. New

York: Cambridge. �972.3. Mehrabian, Albert. Nonverbal Communi-

cation. New York: Aldine. �972.4. Vargas, Marjorie Fink. Louder Than Words:

An Introduction to Nonverbal Communication. Iowa: Iowa State. �986.

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 моделде-рин 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.


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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:


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‘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:�. Eco U. The Theory of Semiotics. Bloomington:

Indiana University Press. �9792. Noth, W. (�990) . Handbook of Semiotics.

Bloomington: Indiana University Press.3. Peirce, Charles, S. The Collected Papers of Charles

S. Peirce, 8 vols., �93�–�9664. Saussure, Ferdinand de. Troisie`me cours de

linguistique geґneґrale d’apre`s les cahiers d’Eґmile Constantin, New York: Pergamon Press. �993.


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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 баян-дайт. Семиотика илими суйлошуулорду жургузуудо алардын ар турдуу белгилерин тушундуруп максатка эртерээк жетуусуно комоктошот.

Негизги сөздөр: Суйлошуу системасы, теориялык илим, кабар, кыйынчылыктар, созсуз суй-лошуулор, семиотика, маданият

Аннотация: Статья рассмотривает разновидности коммуникаций и трудности их осу-ществления, 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 ком-муникация, 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 fully-fledged ‘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 �940s 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


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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 �960; Martinet �984) .

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.


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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, � foot of distance is for lovers, �.5–4 feet of distance is for family and friends, and 4–�2 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 non-verbal 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


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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 Ameri-can. 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


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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: �: 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, �992 by decision of the JogorkuKenesh of the Kyrgyz Republic.Authors: E. Aidarbekov,

B. Zhaychybekov, S. Iptarov, J. Mataev, M. Sydykov. A flag 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 �3 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 �0:�9. 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 �4, �994 by resolution of the JogorkuKenesh.In the center of the emblem on a background of Issyk-Kul Lake and ridges of Ala-Too, 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


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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 �3 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 �3 leaves and �3 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 �3 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 �3 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 �3 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 �3 times, for example, �3 stars, �3 stripes, �3 olive leaves etc. In fact, this is not surprising, just �3 – 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 �8, �992. Lyrics: Zh.Sadykov, Sh.Kuluev, Music: N.Davlesov, K.Moldobasanov. Translation from Kyrgyz: K.Akmatov and M.A.Rudov. us Anthem. Until �93�, 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 �789 by Philip File for the inauguration of the first US President George Washington. In �798, 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 �8�4. They wrote the poet, a lawyer by profession, thirty-five years old Francis Scott Key. In September 3, �8�4, 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,


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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.

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, 19962. Y.S.Stepanov. Semiotics. M., �97�3. A.Zh.Greimas, Zh.Kurte. Semiotics. Explanatory

dictionary of language theory. M., �9834. V.N.Toporov. Myth. Ritual. Symbol. Image.

Researches in the field of mythological poetic. Izbrannoe. M., �995

5. U.Eko. Absent structure. Introduction to semiology. SPb, �998

УДК: 811.161.1 (575.2) (04) 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 �660s 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 hard-won 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 �850, 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


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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 �850 novel David Copperfield 93 times, in Jane Austen’s �8�4 novel Pride and Prejudice �3 times, and in Arnold Bennett’s �908 novel The Old Wives’ Tale ��2 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 well-known 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 �922, 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 upper-class 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.


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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 upper-class 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 tea-kettle” 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


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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, 20�2) 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 (�) 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 Vic-

torian England. Athens: Ohio UP, 2008.2. Manning, Paul. The Semiotics of Drink and Drink-

ing. 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.


�7�

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 китайс-кого 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 параллель-ной 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, xiehouyu, idioms, chenyuy parallel structures, non-parallel chenyuyev kontruktsii.

Фразеологизмы закрепляются в языке в результате частой и длительной, иногда много-вековой практики употребления. Они возникают и развиваются в языке путем переосмысления конкретных словосочетаний, источниками также могут быть памятники литературы.

Фразеология раздел языкознания, изучаю-щую фразеологическую систему языка в ее сов-ременном состоянии и историческом развитии. Китайский язык как один из древнейших языков мира, будучи языком высокой цивилизации, обла-дает богатейшим фразеологическим фондом.

Фразеологизмы китайского языка характе-ризуются генетически, семантически и функ-циональным разнообразием. Поэтому класси-фикация фразеологизмов сопряжена большими трудностями. Она затрудняется тем, что в едини-цах китайской фразеологии причудливо и мно-гообразно 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 опре-деленные обычаи, традиции особенности быта, исторические события и многое другое, они отражают китайскую национальную культуру. Поскольку фразеологизм содержит в своей се-мантике национально – культурный компонент, он имеет страноведческую ценность. Они имеют краткую красивую оригинальную форму. В них

удачные сравнения, юмор, шутка, поучительный смысл.

Для китайского языка, также как и для рус-ского, характерно богатство фразеологического фонда. Фразеологизмы китайского языка – это наследие прошлого, где как нигде выражен на-циональный компонент. Здесь часто запечатлены такие китайские реалии, как яшма, нефрит, дра-кон, 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 ки-тайской фразеологии, дана структурно – семан-тическая 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 протя-женные единицы - устойчивые словосочетания, фразеологизмы. Они являются лексически неде-лимыми, 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 соста-вом. Для китайских писателей chengyu (го-товые выражения т.е. идиомы), yanyu посло-вицы и поговорки, xiehouyu ( недоговорки иносказания), jingju (крылатые слова), все это излюбленные слова художественной вырази-тельности, позволяющие придать произведению самобытную национальную окраску, отразить в повествовании яркие черты и особенности ки-тайской действительности.

Посмотрим употребление чэньюев на при-мерах, 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 фразеоло-гизм дословно означает ‘готовый бамбук нахо-диться в груди’ (другой вариант xiongy-ouchengzhu ‘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 предста-вил 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 напря-мик.

Многие ФЕ возникнув в древности, дошли до наших дней. Современный китайский язык продолжается пополняться новыми фразеологи-ческими единицами. Примеры:

heimingdan черный список, baisekongbu белый террор huangsegonghui желтые профсою-

зы shehuizhazi отбросы общества junzixieding джентельменское со-

глашение zhiyujichengshishimainqian

поставить перед свершившимся фактом.

фразеологизмы с эмоционально-оценоч-ным значением. Фразеологизмы, имеющие эмоционально-оценочное значение, является средством выражение субъективного отношения говорящего к тем предметам, о которых идет речь.

Приведем ряд фразеологизмов с эмоциональ-но-оценочным значением:

hai ren tingwen ‘страшный, ужас-ный, ужасающий (надавить ужас на людей)’;

buke mingzhuang ‘неописуемый, невыразимый (невозможно обрисовать)’;

miao buke yan ‘невыразимо пре-красный, восхитительный (невозможно выра-зить)’;

baizhe bunao ‘неприклонный, непо-колебимый (сто раз ломают не сгибается)’;

ченъюй параллельной конструкции. Важ-нейшее место с чэнъюйев занимают фразеологиз-мы, образованные по принципу параллельного соотношения частей. По своему физическому объему эти чэнъюйи неизменно представляют собой четырехморфемные образования. Они со-стоят из четырех слогов, четырех морфем, каждая из которых обычно бывает словом.

Приведем ряд примеров чэнъюйям парал-лельной конструкции.

shuiluo shi chu ‘вода спадет, камни обнаружиться, тайное да станет явным’.

yin zhen zhi ke означает аван-тюру, чреватую пагубными последствиями. Дословно’пить отравленное вино, чтобы уто-лить жажду’.

zhen-название птицы, на ядовитых перьях которой в древности натаивали вино.

tian jing di yi ‘законы небес, пра-вила 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 конструк-ции использует служебные слова, союзы, пред-логи, отрицательные частицы.

Рассмотрим несколько чэнъюйев непарал-лельной контрукции:

bu lao er huo ‘не трудиться не по-лучаит; 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 ‘колодез-ная 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 посло-вицы и поговорки.

Китайские пословицы и поговорки по фор-ме представляют собой предложение и могут иметь буквальный и переносный смысл. Пос-ловицы 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 муд-рости. Примеры:

yitian dayu santian shai-wang ‘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 на-циональный компонент, то есть в них гово-риться 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 па-радный экипаж императора украшался крас-ной 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. Та-кова 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 вышива-ния. 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 mo-cheng 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 рух-нет 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 толь-ко 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 фразеоло-гизмов и пословиц, в которых он символизирует силу и могущество.

laohu toushang pai cangying ‘на голове тигра бить мух’, т.е. заниматься опас-ным делом; подвергать себя к опасности.

Многие фразеологизмы связаны с мифи-ческим 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 связан-ных с драконом.

Мифический дракон – плод фантазии древ-них 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 корня-ми в далекое историческое прошлое Китая.

Фразеологизмы сохранили и донесли до наших дней свою самобытную окраску. Будучи богатейшим источником познания и культурно-го 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 фра-зеологизмов китайского языка. Канд. дис.М., 1969г.

3. 4. Семенас А.Л. Девятая лекция. Китайские

фразеологизмы. М., «Муравей» 2000г5. Семенас А.Л.1.3.3. Фразеологизмы в ки-

тайском 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 современ-ного 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 ОБщЕСТВЕННО-пОЛИТИЧЕСКОЙ СИСТЕМЫ СТРАНЫ.

Аннотациясы: Бул иште кыргыз телеберүү ишмердүүлүгү баяндалып, анын коомдук-саясий жана социалдык-экономикалык шартта өзүнүн приоритеттүүлүгүн жоготпостон республи-канын демократиялашып бара жаткан мамлекеттик системасындагы стратегиялык орду белгиленет.

Негизги сөздөр: (медиа рынок, кыргыз телевидениеси, электрондук ММК, ретрансляция, те-леэфир, кабельдик телеберүү)

Аннотация: В работе представлена деятельность отечественного телевидения, функцио-нирующего 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 уп-равления нашей политизированной республики можно констатировать, что они имеют типичную некоторую характерную черту соседним странам по геополитическому устройству. Иными слова-ми, сегодняшнее современное государственное устройство Кыргызской Республики имеет такие же инструменты регулирования СМИ, какие используются в других странах постсоветского пространства.

Относительно вопроса современного вза-имоотношения медиа с государством и его институтами, можно утверждать, что модель организации телевидения на территории Кыргыз-ской 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 вы-звать интерес у местной аудитории. А, с другой, телевизионное вещание республики развивается примерно по тому же сценарию, что и, напри-мер российские электронные СМИ на рубеже столетий, в качестве примера в эту категорию можно отнести коммерческие телекомпании Кыргызстана.

Как показывает историческая ретроспек-тива, формирование Фрунзенской студии те-левидения в конце 1950-х гг. послужило пока-зателем коренных общественных изменений, которые имели место быть в тогдашней го-сударственной системе советской Киргизии. Современный же процесс телевизионного ве-щания и формирование «новых» телеканалов проходит на фоне импортируемых демократи-ческих преобразований на территории Кыр-гызской Республики.

В свое время республиканский телеканал Киргизской ССР выполнял не только функцию распространения информации, но и в качестве нового средства общения осуществлял культур-но-просветительские функции, реализовывая пропагандистские и организаторские задачи. А деятельность нынешних отечественных телека-налов 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 продук-ции, все они, к сожалению, все же не могут представить для кыргызстанской аудитории необходимый контингент выбора. Доказатель-ством тому выступает и наличие немалого ко-личества зрителей других каналов телевидения представляющие заграничные медиаструктуры. Это и Казахстан, Узбекистан, Россия и, конечно же, европейские электронные СМИ, распро-страняемые 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 негосударс-твенного телевещательного сектора, приводит к выводу об онтологической схожести двух моде-лей организации телевещания (советская и сов-ременная кыргызская) опирающихся на разные экономические фундаменты. Подобный парадокс объясняется как объективными, так и субъектив-ными причинами. Среди них наличие единого информационного советского пространства в те времена, когда СМИ тогдашней Киргизии явля-лись 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 го-сударственные и частные электронные СМИ


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решали эти проблемы, за счет ретрансляции программ из-за пределов республики. В настоя-щее время коммерческие телевизионные секторы продолжают применять эту методику в своей деятельности. В советский период это были пе-редачи двух каналов ЦТ. В постсоветское время она сменилось на программный продукт феде-ральных российских каналов. Субъективным моментом, определяющим значительную долю присутствия сторонней продукции в телеэфире Кыргызстана выступает: во-первых, минималь-ное наличие творческих сил и производственных мощностей, а во-вторых, серьезная финансовая и идеологическая зависимость от центральных органов управления отрасли. Следует учиты-вать, 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, функ-ционировали как часть практически изолирован-ной социалистической системы, несмотря на то, что составляли единую советскую систему. Сов-ременный 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. Аргумен-тируя сказанное, отмечу, что подтверждающим фактором отсутствия изолированности медиа пространства необходимо полная соответству-ющая инфраструктура, которая у нашей медиа сферы не замечается. В качестве доказательство привел бы один наиболее заметный пример. К со-жалению, в веке информации ни одна передовая, кыргызстанская телекомпания, ни информаци-онные агентства или же другие СМИ на сегодня

не имеют индивидуального корреспондентского пункта за пределами республики, что является обидным и негативным аргументом, доказываю-щим недостаточность инфраструктуры отечест-венной медиа. Это в свою очередь, выступает и так называемым тормозящим элементом процес-са развития СМИ, в свете бурно развивающегося технологического и информационно-демократи-ческого аспекта.

Изучение фактического материала о де-ятельности отечественного телевидения с конца 1950-х гг. до современного этапа позволяет сде-лать вывод о том, что телеканалы, являющиеся стратегическим звеном государственного строя, несмотря на происходившие общественно-поли-тические трансформации, в первую очередь, фун-кционируют 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 удержи-вающих развитие деятельности телевизионного вещания республики. Поскольку ее наличие приведет к дальнейшей деградации не только сферы СМИ, но и кыргызского общества в це-лом, включая его общественно-политическую и социально-экономическую звеня.

Источники:1. «ТЕЛЕВИДЕНИЕ КЫРГЫЗСКОЙ РЕСПУБ-

ЛИКИ В КОНТЕКСТЕ ФОРМИРОВАНИЯ И ТРАНСФОРМАЦИИ СИСТЕМЫ СМИ СРЕД-НЕАЗИАТСКОГО РЕГИОНА». Мырзагулов М. М. Дисертация на соискание ученой степени кандидата политических наук. Санкт-Петер-бург 2007. Стр. 40.

2. www.monitoring.kg.


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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, com-munication)

Бүгүнкү кыргыз басылмаларындагы се-миотикага 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 функция-сын 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 инсан-га 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 алы-нып, 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», «комуни-кация» 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 бай-калганы анык. Анда вербалдык эмес символдор системасы изилдөө объектиси катары каралган. Мисалга, жаңсап түшүндүрүү тили жана айбан-дардын 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 ма-териалдык алып жүрүүчү катары түшүндүрүлөт.


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Жеке бирок маанилүү учурда мындай белги ката-ры «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 тармак-тын маанисине, илимдин жана турмуш шарттын да ылайык келе берет. Күнүмдүк турмушта маа-лымат деп, кимдир бирөөнү кызыкдар кылган ар кандай кабарды же болбосо жаңылыктарды айта-быз. 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 не-рсени айтып болбойт. Себеп, медиа каражаттары потенциалдуу аудиторияга гана өз кызматын сунуш кылып, «продукциясын» өткөрөт.

Бүгүнкү компьютердик мезгилдин шартында практикалык журналистика дагы алдыңкы тех-нологияларды колдонуп келет. Бул болсо, жур-налисттерге, мисалга газет кабарчыларына ком-пьютерге 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 аспекти-си медиа каражаттарында канчалык орун алганын жана кандай колдонулуп жатканын аныктай ала-быз. 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. Аргу-мент катары Кыргызстанда бир жарым миңдей басма сөз маалыматтык каражаты бар болсо анын үчөө гана республикалык деңгээлдеги гезит кал-гандары, албетте жети дубандагы областтык жана райондук администрациялардын алдындагы ба-сылмалардан башкасы, өкмөттүк эмес мезгилдүү басма сөз экенин белгилемекчимин.

Белгилүү болгондой, менчиктерден айыр-маланып 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 бол-босо болуп турушу өлкөбүзгө геосаясий жана эл аралык коомчулуктун алдында позитивдүү гана упай камсыз кылат.

ХХ – кылымдын башында колдонула баш-таган бул семиотика илиминин гезит-журнал периодикасы менен байланышын анын «бел-ги» 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 мамлекет-тик тилде жарык көргөн кыргыз басылмала-рын 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 каражат-тары менен аудиториянын ортосундагы алака-ларды айгинелейт. Так айтканда, басылмаларда жазылган маалыматтарды окурмандар түшүнөт, анткени, алардын кат сабатсыздыктары жоюлба-ган деген маселеси жок. Аудитория тамга таанып жаңылыктарды окуй алышат. Ал эми бүгүнкү күндө коомчулук маалымат таркатуучу каражат-тарга толук ишеним көрсөтөт жана массалык медиа каналдардын материалдарына, же азыркы рынок шартында кеңири тараган түшүнүк менен айтканда, ММКнын продукцияларына муктаж-дыктары бар. Себеби, маалымат ХХI – кылымда чоң суроо талапка ээ болуп, практик журналист-тер 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;


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мимика жана жаңсоолор түрүндө;жыт жана даамдардын татымы түрүндө ж.

б.;Ошондуктан, кыргыз басылмаларындагы

семиотиканын ээлеген орду опол тоодой десек жаңылыштык болбойт. Кыргыз басылмаларын-дагы маалыматтардын туура эмес берилиши, же болбосо алар тарабынан бурмаланышы, факт жок эле ушак жана имиштин негизинде матери-алдардын 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-

даган академиялык чөйрөдөн башталат. Бул ак-туалдуу жагдайды анализдөө, башка иликтөөнүн тематикасы.

Ал эми практикалык журналистикада-гы 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. Поэти-

ка. М., 1994.

УДК: 811.161.1 (575.2) (04) 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, чагыл-дыруу

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 журна-листики, что характеризуется самой природой медиатекста. Сегодня, роль СМИ как главных производителей информационных материалов, бесспорно, велика. СМИ характеризуются мас-совостью, а сообщения имеют знаковую природу, т.е. строятся на семиотической основе. Человек живет в мире, где знаковость выступает как все-объемлющий феномен. Известно, что в XX веке

пристальное внимание ученых, особенно в сфере социальных наук, привлекали методы семиоти-ческих исследований и сама семиотика. Она представляет базис для изучения символических миров, в которых живет человек. Семиотика-на-ука 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


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семиотики считается американский логик, фило-соф и естествоиспытатель Чарлз Сандлер Пирс ( 1839-1914), который и предложил ее название. Пирс был универсальным гением, ему принадле-жат работы во многих областях науки. Не при-знанный своими современниками, Пирс сегодня считается наиболее значительным философом в истории США. Пирс дал определение знака, первоначальную классификацию знаков ( ин-дексы, иконы, символы ) .[1] Несколько позднее швейцарский лингвист Ф.де Соссюр (1857-1913) сформулировал основы семиологии, или науки о знаках. Знаменитый «Курс общей лингвисти-ки» (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 сино-ним семиотики. Американский философ Чарльз Моррис (1901-1979), также один из основателей семиотики, пишет: « Семиотика представляет базис для понимания основных форм челове-ческой деятельности и их взаимоотношений, поскольку вся эта деятельность и их взаимоот-ношения 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 со-ставные части – форма и содержание, связанные между собой условной связью. [4. C.498 ] Знак-это 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 рас-пространение в современный период. Тезис о том, что ни одна фундаментальная проблема человеческого бытия не может быть ни постав-лена, ни решена без пристального внимания к языку, без учета его роли, поскольку человек – единственное существо, создающее себе про-блемы посредством языка [ 5.С.425 ] поставил семиотическое исследование в ряд приоритет-ных научных направлений. Общепринятым в современном языкознании является факт, что экстралингвистические явления порождают собственно лингвистические, посредником в

этом взаимодействии выступает журналисти-ка как вид творческой деятельности – особый тип отражения окружающего мира, реальной действительности. Журналистский текст соци-ален: 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 язык-система знаков, служащая средством челове-ческого общения, мышления и самовыражения. С помощью языка осуществляется познание мира, в языке объективируется самосознание личности. Язык является специфическим со-циальным средством хранения и передачи ин-формации, а также управления человеческим поведением.[6.C.370]. Семиология раскрывает все явления культуры как знаковые системы, которые также являются феноменами комму-никации и в которых отдельные сообщения организуются и становятся понятными в со-отношении с кодом. Наименьшим элементом коммуникации является знак, им может быть слово, фотография, звук, образ на телеэкране, жест, элемент одежды.

Медиатекст-интегративный многоуров-невый знак, объединяющий в единое целое коммуникативное целое разные семиотические коды (вербальные, невербальные, медийные) и демонстрирующий принципиальную открытость текста на содержательно – смысловом, компо-зиционно-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. Созда-ние 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 сооб-щение заключает в себе не только информацию, но и субъективное мнение автора о сообщаемой информации. Содержание журналистского мате-риала включает не только фактические данные, но и отношение автора, художественные образы, эмоциональные детали, поэтому от умения жур-налиста ярко описать событие зависит воспри-ятие читателем сообщения. Журналист не только формирует собственный текст, но и направляет


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читателя в его интерпретации текста. Функ-циональная специфика журналистского текста также обуславливается и рядом компонентов и выступает как единая система: «издатель», «жур-налист», «действительность», «текст», «канал», «социальные институты», « массовая аудитория». Нужно также отметить, что типы текстов, созда-ваемых в качественных, массовых и специализи-рованных изданиях, значительно различаются на содержательном, структурно-композиционном, жанрово-стилистическом и языковом уровнях. Как отмечает Якуба « Основные черты медиатек-ста, его особенности, такие как идеологичность, медийность, открытость интерпретаций, мотиви-рованность, ориентир на массовую аудиторию, гипертекстуальность и интертекстуальность…Главной отличительной особенностью медиатек-ста является креолизированный характер текста в массовой коммуникации, другими словами, слияние вербальной и визуальной информации, использование различных кодов». [8 ] Код, семи-отическая организация медиатекста восходит к его форме. Печатные публикации трудно обозна-чить только как вид письменной речи поскольку важным элементом газетного текста выступает визуальное составляющие, его графическое, шрифтовое, цветовое оформление. Для адекват-ного понимания газетного материала сущест-венным 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 тек-стовой части материала. Все разнообразие видов визуализации журналистского контента класси-фицируются 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), фотогра-фии, типографика.

Чарльз Пирс подразделял знаки на три типа: иконические, индексные, символические. Икони-ческий знак имеет сходство со своим объектом. Например, к иконическим знакам можно отнести

картину или фотоиллюстрацию. Индекс пред-ставляет 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. Напри-мер, 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, особен-но, в новостной и аналитической журналистике используются иконические знаки – фотографии, а также имеется жанр репортажной фотографии. Человек каждый день воспринимает тысячи зна-ков, а в периодических изданиях они становятся своеобразными путеводителями. Графические знаки-пиктограммы предназначены для быстрой передачи информации в стилизированной, абс-трагированной художественной манере, их содер-жание понятно каждому. Простейшие символы в современных СМИ реализуются в логотипе, буквицах. Композиция логотипа журнала, газе-ты максимально проста, лаконична, целостна. Графические символы придают изданию инди-видуальные черты, применяются в постоянных элементах: в логотипе, колонтитулах, рубрикаци-ях, 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 умозаклю-чения. Разные жанры журналистики строятся на разном соотношении типов символических знаков, например, в новостных материалах прева-лирует символы-суждения, в аналитических-умо-заключения, 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 зна-ка. Получатель информации будет соотносить изображение в сообщении непосредственно с текстом. Организующая иллюстрация может


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содержать в себе иконические и индексальные знаки. Объектом изображения интерпретирую-щей иллюстрации обычно является вербальный текст сообщения. Иконическое изображение воспринимается получателем информации как разъясняющее. Обычно в качестве интерпрети-рующей иллюстрации выступает инфографика. В результате целевого использования семиоти-ческих 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.Анто-

логия.-М:Академ.проект.2001.-С.165-2272. Соссюр Ф.де. Курс общей лингвистики/ Ф.де

Соссюр.-Екатеринбург: Изд-во Уральского ун-та, 1999.-432 с.

3. Моррис Ч. Основания теории знаков// Семиоти-

ка:Антология.-М.Академ.проект.2001.-С.45-98

4. Почепцов Г. Паблик Рилейшнз для професси-оналов. 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 меди-атекста// Современный дискурс-анализ.- Науч-ный 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 семи-отика 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, публицис-тика)

Аннотация: В работе рассмотрена специфичность газетных жанров в сфере семи-отики. Представлено публицистические материалы и жанровое разнообразие в респуб-ликанских и областных изданиях страны.

Ключевые слова: (Газеты, семиотика, жанровое разнообразие, печать, публицисти-ка)

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)


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Жыйырманчы кылымдын аягындагы совет-тик доордун кыйрашы, коомдогу ири саясий-социалдык 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-са-тыгы менен күн көрүп калган заманды баштары-нан кечиришүүдө. Ушундай кырдаалда коомдун кайра жаралуу процесси журналистика тарма-гынын өсүп-өндүрүшүнө өз таасирин тийгизбей койгон жок. Бирдиктүү мамлекеттик идеология-нын жоктугу, мурдагы күчтүү агитациялык-про-пагандалык 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 теле-каналдар, 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, электорат-тын көңүлүн өздөрүнө бурдуруп, рыноктон өз орундарын, өз пайда, кызыкчылыктарын табуу аракеттери менен коштолуп келе жатат. Жайна-ган газета-журналдардын сапаты, мазмуну жана тилдик, стилдик критерийлери журналистиканын мыйзамдарына, талаптарына толук жооп берет деген ойдон алысмын. Мезгилдин өктөм тала-бына 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 ал-дынкылары тууралуу көлөмдүү очерктер, публи-цистикалык 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, текст-тердин 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 бет-теринен орун алган ар бир рубриканын көтөргөн жүгү, маани-мазмуну жана белгилүү жанрдык өзгөчөлүктөрдү камтыган семиотикалык симво-ликалар 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 ке-бин айтпаса, эрендерден не пайда” - рубрикасы саясатчылардын, белгилүү инсандардын омоктуу ойлору берилген. Окурмандардын арыз-арма-нын, 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 ма-милесинин өзгөргөндүгүн айгинелеп көрсөтүү. Ушул эле учурда айрым бир жанрлар замандын талабына дал келип көбүрөөк көңүл бурулса, айрымдар такыр эле басылмалардын көңүл чор-донунан чыгып калгандай. Мисалга алсак, мур-дагы советтик доордо жогору жактын көрсөтмө, указдары менен коштолгон баш макалалар гезит беттеринде жокко эсе десек болот.

Партиялык номенклатура жыттанган, съезд-дердин, пленумдардын кургак чечимдери менен коштолгон баш макалалардын ордуна бүгүн кайсы гана гезит бетин ачпаңыз 1-2 беттерге окурмандарды өзүнө тарткан кызыктуу материал-дардын 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 публицистика-


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нын жанрдык системасында бир топ орчундуу өзгөрүүлөрдү пайда кылды”. Бүгүнкү күндө жергиликтүү басылмалардагы жанрдык структу-раларындагы 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 калган-дыгы көптөгөн ички жана тышкы факторлордун жыйынтыгы катары түшүндүрүлөт. өзгөчө экс-прессия 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 чык-кан авторлорубуздун башка элдердин үрп-адаты, маданияты, экономикалык, социалдык өнүгүү деңгээлдери менен тааныштыруу максатында таасирдүү жазылуу менен көпчүлүктүн кызы-гуусун 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 боек-тор, 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 ачык-айкын 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 жолукту-рууга болот.

Жанрдын табиятындагы негизги компо-ненттер – 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 бол-богондой ар бир жанрдын туруктуу кайталанып туруучу белгилери, мыйзам ченемдүүлүктөрү бар. Мезгилдүү басма сөз беттериндеги жанр-ларды илгертен эле үч чоң топко бөлүп келебиз: маалыматтык, аналитикалык жана көркөм- пуб-лицистикалык деп.Бүгүнкү кундө жанрлар коом-догу өзгөрүлөрдү, турмуштун күнгөй- тескейин жана авторлордун маанайын, ички жан-дүйнөсүн, дараметин өтө сезгичтик менен чагылдырып жаткандыгына күбө болуудабыз.

Мурдагы советтик доордун газеталары жан-рдык, тилдик, стилдик жактан белгилүү бир рам-канын чегинен чыкпай өзгөчө этияттык, сактык менен ашыкча сөз, ашыкча ой-пикир айтылбастан үстүрт жана жалпыланган фразалар менен жа-рык көрүп турчу. Ал эми азыр конкуренциянын гүлдөп турган учурунда ар бир басылма өзүнүн рыноктогу орду үчүн баардык мүмкүнчүлөктөрүн жумшап күрөшүп келет. Жанрдын түрлөрунөн ге-зит 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 журна-лист, редакция жон териси менен сезип иш алып барышууда.Маалыматтардан тексттердин адре-сатка жеткиликтүүлүгү, сүйлөм түзүлүштөрүнүн жөнөкөйлүгү жана ар бир окуяга карата автор-дун позициясы, мамилеси сезилип тургандыгы артыкчылык жаратат.

Ошондой эле автор тарабынан айты-лып жаткан ойду, идеяны окурман калкына жеткирүүнүн башкы куралы бул анын сөз бай-лыгы, 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 жайна-ган басылмалардын баары эле бирдей деңгээлде дегенден алыспыз, айрым гезиттердин жанр-дык, 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 мын-дай деген кызыктуу гипотезасы бар; «репортаж


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жөн гана маалыматтык жанр болуудан калды, аны оперативдүү изилдоочү жанр категория-сына кошуп, биринчи планга жаңылыктардын оперативдүүлүгү эмес, аларга анализ жүргүзүү, жеткиликтүү кылып баяндоо формасы басымду-улук 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 жаратуучу-лук касиетин өзгөчө баалашып, аналитикалык жанрлардын категориясына кошуп келишет. Тео-ретик жана практик журналисттердин бүйрүн кы-зыткан илимий жаңылык Л.Е.Кройчиктин жарлар боюнча позициясы, көз карашы болгондугун эч ким танбас. Анын айтуусу боюнча публицистика-лык текст сөзсүз болуучу үч неизги компоненттен турат; аудиторияны жаңылыктар же проблемалар менен кабардар кылуу, болуп жаткан окуяга же кырдаалга ой жүгүртүп, анализдөө жана аудито-рияга 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 – корреспонден-ция, комментарий, рецензия;

- изилдөөчүлүк – макала, каттар, баяндама;- изилдөөчү образдуулук (көркөм-публицис-

тикалык) – очерк, эссе, фельетон, памфлет.Кройчиктин концепциясынын жемиштүүлүгү

бир жагынан туруктуу публикациялардын тип-тери (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-июнунун-дагы чыккан санындагы Турусбек Солтобаев-дин «Теңир-Тоо илимдин, маданияттын очо-гуна айланган НМУ» аттуу макаласына ток-толо кетүү максатка ылайыктуудай. Аталган макалада автор алыскы бийик тоолуу аймак-тагы 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, окутуучу-окумуштуулар жамааты жана илимий борбор катары калыптануу мезгилиндеги ийгиликтери менен кемчиликтери, келечекке болгон планда-ры тууралуу толук маалымат берилет. Макалада фактылардын, окуялардын берилиши отчет-корреспонденция жанрларынын элементтери камтылган. Мындан тышкары окуу жайдын или-мий тармактарынын өнүгүшү, билим берүүдөгү алдыңкы ыкмаларды колдонуу пратикаларын жайылтуу маселелерин чагылдырууда анали-тикалык ой жүгүртүү, баам-парасатын аңдоо сыяктуу дагы бир жанрдык өзгөчөлүк басымду-улук 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 тексттер-дин жазуу стилинин татаалдашып, мазмун жана формаларынын жанрдык белгилери сакталбай жаткандыгы менен түшүндүрүлөт.

Публицистикалык жанрлардын структу-расы боюнча талкууда Г.В.Лазутина менен С.С.Распоповалардын пикирлери да өзгөчө кызыгууну жаратат. “Биз үчүн жанр –тексттин тиби эмес, туруктуу мазмундук формалдуу бел-гилери бар тексттердин да тобу эмес, туруктуу өзгөчөлүктөрү менен айырмаланган акыркы продукттун(тексттин) деңгээлинде эле эмес, ишмердүүлүктүн жөндөмүнүн деңгээлиндеги белгилүү бир чыгармачылыктын түрү.”

Газеталык публицистикалардагы жанрлар-дын 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 технологи-янын аралашуусу менен улам барган сайын жаңыланып, толукталып, көп кырдуу чыгарма-чылыктын улам жаңы бийиктигин багынтып, жуналистика илиминин теориялык көрөнгөсүн байытып келет.


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Колдонулган адабияттар:

1. Ким М.Н. Жанры современной журналис-тики 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 2000год5. Ученова В.В. Современные тенденции

развития журналистских жанров, Вестник МГУ серия 10.

6. Ляпун С.В. Новые подходы к классифика-ции газетных жанров, Вестник. Адыгейский гос.университет 2009год

7. Жергиликтүү кыргыз тилиндеги басыл-малар.

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 бел-гилеп, 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, ка-бар.

Аннотация: Анализируются скрытые смыслы художественного текста как единицы дискур-сивной 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, син-тактика, 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 самодов-леющая ценность. В нем решаются не только практические задачи информационного, просве-тительского плана, но и (что самое важное) твор-ческие 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 наци-ональная культура, чье художественное слово удостоено иноязычных перевоплощений.

Хочу отметить что, произведения нашего знаменитого писателя Ч. Айтматова, которые переводились на многие языки мира, практи-чески выполняли свои сверх задачи несущие в


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себе не только историко – культурные и про-светительские функции, но и художественно – эстетические функции выражающие нацио-нальной 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 точ-но 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, до-стигли невероятных успехов только благодаря творчеству великого писателя и мыслителя ми-рового масштаба Чынгыза Айтматова. Это дает нам повод гордится и особо обязывает высокой ответственности перед переводческой деятель-ности и анализом любого жанра перевода.

Сугубо прагматический подход к вопросу о том, зачем вообще нужны переводы художес-твенной литературы с одних языков на другие, предполагает соответственно утилитаристское решение: для того, чтобы не знающий такого-то чужого языка читатель смог тем не менее озна-комиться с написанным на этом языке и переве-денным 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 межъязыко-вая 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 осе-тины? Многие из них могли бы и в оригинале это прочесть, что обычно ценится выше – как приоб-щение 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 непереводи-мости 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. Воз-можно откровенное пренебрежение точностью, но тогда это уже и не перевод, а подражание, переделка, переложение.

При художественном переводе квалифици-рованный переводчик думает о передаче слов и словосочетаний и их функций в определенном контексте. Это предостерегает его от необос-нованного и прямолинейного переноса единиц оригинала в текст перевода или от придания ори-гиналу национального колорита языка перевода, к чему приводит механическая замена слов или понятий (национальные реалии) оригинала сло-вами (национальными реалиями) языка перевода. Подход к переводу с точки зрения функциональ-ного 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.» (Айтматов Ч.Т., Жамийла, Ф: Кыргызстан, 1 том, 207 б.)

“Tulpar” fill find his own herd even it is at the other end of the world. (Aitmatov Ch., Jamila, Boston and Moscow 2000, p. 20)

В данном примере метафорическое выска-зывание «Тулпар айланып уйурун табат» ав-тор 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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Следующий пример: «А бечара, туз-насиби бар экен, акыры озу элин издеп келгенин карачы!» (Айтматов Ч.Т., Жамийла, Ф: Кыргызстан, 1 том, 207 б.)

“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)

В кыргызском варианте “туз – насип” в до-словном 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 уви-деть 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 по-казывает 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 националь-ные предметы и явления, помимо языка оригина-ла, встречаются и в языке ряда других народов, в том числе и в языке перевода. Они являются со-ставной 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.

Вместе с тем, многие слова, употребляе-мые для отображения национальных особен-ностей (реалий), в силу отсутствия в других языках языковых средств, способных отобра-зить их точное значение, создают трудности для переводчика.

Проблема интерпретации того смысла, ко-торый автор вкладывает в текст, приобретает особое значение для переводчика. К. Раис в этой связи противопоставляет термин “знак” термину “признак”. В отличие от “знака” признак обла-дает дополнительным смысловым потенциалом, который наслаивается на смысл, эксплицитно выраженный в сообщении. Дополнительный смысловой потенциал, с другой стороны, яв-ляется отличительной чертой художественно организованного текста, который К. Раис вслед за Ю.М. Лотманом рассматривает как двуплано-вую структуру (на уровне сообщения и на уровне художественной организации) .

Рели переводчик, анализируя художествен-но организованный текст, обнаруживает в нем элементы синтаксического, семантического и

Это высказывание не употребляется в отношении женщин, так как женщина считается частью се-мьи 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 самостоя-тельного молодого человека с патриотическими намерениями.

Кыргызский народ из покон веков гармонич-но живет с природой и обладает уникальным да-ром дружить с животными. Многие наши устные и письменные творчества впрямую связана с жиз-нью 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 сим-волизирует красоту, а именно – грациозность и

опрятность женщин. Свидетельствует об этом частое употребление словосочетания «ак марал-дай керилген» в устной и письменной речи.

Для английской культуры соответствующее слово doe-like не обладает таким оценочным значением, как в кыргызском языке.

Проанализируем английское словосочета-ние rain cats and dogs, передаваемое на кыр-гызский язык как «ношорлогон жамгыр». Здесь одно и то же явление воссоздается по-разному в исследуемых языках. Англичане сравнивают дождь с поведением кошек и со-бак, а кыргызы, воспринимая его как «ношор-логон жамгыр», не отмечают связь дождя с по-ведением животных. В понимании кыргызов rain cats and dogs – это сильный проливной дождь. Очевидно, здесь речь идет об особен-ностях национального мировосприятия и их отражения в языке, что в известной степени сближает подобные явления с реалиями.


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прагматического структурирования “второго смыслового плана”, он должен по крайней мере предоставить читателю конечного текста воз-можность подобной интерпретации. И если это невозможно при передаче данных сегментов тек-ста, 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 пределен-ная коммуникативная интенция и реализуется в структуре и содержании текста. Следовательно, другой характеристикой являются содержатель-ные и формально-структурные свойства текста, в которых реализуются целевые установки от-правителя.

Способность текста производить подобный коммуникативный эффект, вызывать у Рецепто-ра прагматические отношения к сообщаемому, иначе говоря, осуществлять прагматическое воз-действие на получателя информации, называется прагматическим аспектом или прагматическим потенциалом текста.

Художественный текст, как сложное и много-плановое явление, может изучаться с различных позиций и соответственно всякий раз предстаёт перед исследователем в ином качестве. В каждом тексте, в том числе и художественном, неизбеж-но 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 худо-жественном тексте объективная информация со-ставляет лишь материал, на котором реализуется авторский замысел, т.е. формируется определён-ное идейно-художественное содержание текста, включающее и авторскую трактовку действи-тельности, 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 ху-дожественного текста базируется его идейное и эстетическое воздействие на реципиентов. Таким образом, художественный текст – это, несом-ненно, также произведение искусства, памятник культуры (а не только её зеркало) .

Итак, художественный перевод в собствен-ном 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 чего-то 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) .

литература1. 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. Много-язычное 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 переводоведе-ние. – М., 2002.

8. Aitmatov Ch., Jamila, Boston and Moscow 2000, p. 20


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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 СИСтеМАСынДАгы 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 диаметри-ально противоположные точки зрения. В соот-ветствии 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 учи-тываются 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 ас-социируется, 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 дру-гого. 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 со-стояние 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 жиз-недеятельности 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 луч-шего. И это обстоятельство нельзя оставлять без внимания, пускать на самотек. Ведь журнал как тип издания на современном этапе представляет собой важнейшее средство массовой и специаль-ной 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 на-правлений своих печатных органов.

Иными словами, тематическая структура сети научно-популярных журналов не удов-летворяет 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 ограничен-ных групп специалистов. Низка оперативность происхождения информационного материала в системе журнальных коммуникаций.

Журналные издания как объект научных разработок, безусловно, наименьше изучено. До настоящего времени остаются неисследованны-ми ценные пласты изданий как в теоретическом, так и в историческом аспектах. Среди них на первом месте отраслевые специальные и научно-популярные журналы респулики. В историческом плане серьёзному изучению подвергались прак-тически лишь литературно-хужожественные, и, частично общественно-политические журналы. Не разработаны теоретические вопросы, каса-ющихся 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 периоди-ческих изданий является отсутствие универсаль-ной методики, позволяющей произвести комп-лексный 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 сис-темы научных публикаций. Определяя тематику изданий, необходимо учитывать современные тенденции развития науки, ее интеграцию и диф-ференциацию. Тематическая структура системы периодических изданий должна быть такой, что-бы журналы сохранялись, не дробились. Хотя, с другой стороны, специализация журналов не ре-шает проблемы дифференциации обслуживания индивидуального читателя, не освобождает чита-теля 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 срав-нению с книгой, журнал содержит действенность и особенность менее фундаментальную инфор-мацию, но оперативнее рассматривает события в более узком плане. Он имеет свою читательскую аудиторию, четкое целевое назначение и перио-дичность 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 реоргани-зации журнальных изданий строятся без учета информационных потребностей, изучению ко-торых 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 потребите-ли научной информации классифицируются по роду деятельности, Д. Е. Шекуриным сформули-рованы критерии выявления и удовлетворения информационных потребностей. Этой проблемой активно занимаются и зарубежные ученые, на-пример, В. Плетт в зависимости от склада ума он выделяет 6 типов научных работников: прометеи, критики или аналитики, собиратели, скрупулез-ные исследователи и неутомимые труженики. Удовлетворение потребностей не осуществляется на основе их постоянного изучения и совершенс-твования научных журналов. Научно-информа-цонные 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 бума-ги, 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 жур-налы книжными сериями, разовыми сборниками, брошюрами, депонированными рукописями, препринтами и т. д. В результате прекращают существование многие периодические и продол-жающиеся издания, особенно в вузах и научных учреждениях. Этому способствует также повер-хностное 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 (тех-ническими) 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 за-

дача комплексного исследования журнальный периодики нашей республики, выявления его особенностей и тенденций создания и развития, а также разработки способов повышения качес-тва, эффективности и ускорения журнальной информации.

В 80-годах прошлого века в нашей рес-публике 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 промыш-ленности, нехваткой бумаги и полиграфических материалов. Положение может быстро изменить-ся, 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, чи-тателями – 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) рассмат-ривается как планируемый продолжительное

действие, направленное на образование и подде-ржание 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 ау-диторией, имиджмейкерство, инфошум и другие направления.

Цель данной статьи заключается в том, чтобы изучить все процессы формирования знака имид-жа использования всех средств рublic relations, выделить ключевые элементы этого процесса и механизм воздействия на потенциального пот-ребителя. И в сегодняшний день действительно, актуальная информация может быть извлечена из самых различных источников: это события раз-ных сфер, областей жизни: политики, экономики, культуры, производства, быта и т. д.

Задача поставленная перед исследованием рассмотрение всей структуры «ПР» на каком-либо конкретном примере. Тем самым, опреде-лить, откуда именно берется выразительность ПР сообщения, и из чего складывается ее воз-действие на зрителя или читателя. Предположим, рекламируются макароны фирмы «Акун» или «Яшара». «ПР представляет собой две пачки ма-карон, 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 ха-рактерные черты. Например, у обоих картина представлена выдержанном, в бело-зеленом тоне, а фон в красном цвете.

В настоящее время семиотика обращен-ная 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 воз-действием на потребителя. PR основываются на приёмах самопозиционирования, возвышения имиджа, отстройки от конкурентов. В коммуни-кативных стратегиях и тактиках как говорится «PR в качестве информационного канала и ком-муникативных указателей используются мифы, стереотипы и ритуалы, организуются вымышлен-ные 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 аб-

солютна, 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 внима-ния 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 ды-мящимся 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 за-дачи которые решает слоган.

- привлечь внимание, создать яркие позитив-ное 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 своеоб-разия, 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 конс-труируют культурную идентичность общества посредством приписывания рекламируемому продукту определенных символических ценнос-тей. 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 потре-бителя 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 записы-вается на пленку) . Пиар, представленная в тради-ционных 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. Интернет-СМИ 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 час-тью визуального уровня коммуникации. На этом уровне очень ярко проявляется различие разных типов медиатекстов – журналистского, реклам-ного и PR-текста. Иконические знаки являются основой ПР или рекламного типа медиатекста. Этот тип знака двусмыслен и создает поле для различных интерпретаций, без сопровождающе-го вербального комментария он может быть понят по-разному. Для журналистского и PR-материала такая вольность недопустима в силу их прагмати-ческих 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, возрас-тному и другим признакам. Иконический знак наиболее гибок и мобилен.

Принимая решение о времени и методах использования связей с общественностью, ПР должен прежде всего определить маркетинго-вые 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 специ-алистов по связям с общественностью – пре-доставление медиа благоприятных новостей о компании, её продукции и сотрудниках, что пред-полагает 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 заинтере-совать пресс-релизом медиа, которые направят на пресс-конференцию своих представителей.

3) Выступления. Выступления – еще один способ создания паблисити компании и ее това-рам. Все чаще руководителям компаний прихо-дится общаться с представителями медиа, вести переговоры, выступать в торговых ассоциациях и на коммерческих встречах. Их ораторское ис-кусство влияет на имидж компании.

4) Участие в общественной деятельности. Компании могут улучшать свою репутацию, жертвуя деньги и время на благотворительные ак-ции. 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 перегружен-ном 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 ди-зайн 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 общественнос-

тью и культура управления»4. www.polylog.ru/ru/pr-help/public-relations.htm


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И С Т О Р И ЯУДК 94.47

Айдаралиев А.А. Восточный Университет им. М. Кашгари

К ВОпРОСУ О пРОИСХОЖДЕНИИ И ФОРМИРОВАНИИ КЫРГЫзСКОГО ЭТНОСА

hiStory of eStabliShing united kyrgyz nationКЫРГЫз 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, кочмон-дор.

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 об-щественном сознании кыргызов. Появилась пот-ребность в новых исследованиях и нахождении более точных и конкретных ответов на вопросы, связанные с происхождением и формировани-ем 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 ар-хивных материалов находится вне Кыргызстана. В частности Дарда С. (2000) считает, что воп-рос 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 Сред-ней Азии». Несмотря на то, что кыргызы имеют древнюю историю в связи с кочевым образом жизни, осталось мало письменных сведений и до-кументальных свидетельств об этом. Существует немало версий и гипотез по этой теме, вплоть до того, что североамериканские индейцы явля-ются потомками енисейских кыргызов, которые пройдя через Берингов пролив осели на Новом Свете. Об этой версии заявляют казахский учен-ный Ахметов А. (2006) и американский доктор Шурр Т. (2006).

Кыргызский каганат на Енисее был ослаблен


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феодальной раздробленностью. В XIII веке он был разгромлен монгольскими ордами Чингис-хана 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 мусуль-манами.

Арабы и персы в своих источниках именова-ли население Минусинской котловины – «хыр-хыр» 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 ли-тературе называли ,,Дом Афрасиаба” [2]. Сама династия приписывала себе тюркское происхож-дение, а многие ее представители похоронены в Узгенде и Артуше.

Само Караханидское государство, представ-лявшее собой большой конгломерат различных племен и народов тюркского происхождения, можно считать той основой, на которой в пос-ледствии образовались другие тюркские, мусуль-манские 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. Расцве-тала торговля, строились города, Шелковый путь оживлялся. Территория Семиречья была покрыта сетью городов и кишлаков, а большинство их жи-телей вели оседлый образ жизни. Впоследствии все это будет разрушено монгольским нашест-вием и придет в запустение, поскольку монголь-ские 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-мон-гольских империй, таких как государства Тиму-ридов, Улуса Чагатая и Улуса Джучи, известного в русскоязычном мире как Золотая орда. В ходе этих событий начались переселения, изгнания, захваты одних народов другими. Появились пред-посылки 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 асси-милировали 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 асси-милироваться с кыргызами. Кыргызские племе-на монолдор, кушчу, кыпчак, найман, нойгут и доотай являются потомками тех самых моголов,


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которые до Мухаммад Кыргыза были другим на-родом 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 собиратель-ный 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 еди-ному мнению о том, когда и как был окончательно сформирован кыргызский этнос на Тянь-Шане. Большинство мнений сходится к тому, что Ве-ликий 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 Та-ласскую 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 явля-лись выходцами из страны Кангюй, которая в исторических источниках всегда упоминается вместе с первыми. В связи с чем ученый предла-гает 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 атаку-ющих войск Хубилая. Однако Болоч потерпел поражение и погиб. После поражения на Енисее и начавшихся карательных мероприятий Хуби-лая 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 гар-низоны 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 динас-тией Цин, енисейские кыргызы, которые были союзниками калмыков, после своего поражения, остались вместе с ними в Средней Азии и при-няли 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 Джунгарско-го ханства и попав в плен к казахам, вошла в родо-вую 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 раз-громленными русскими войсками в XVII веке, бежала в казахскую степь и ассимилировалась с казахами, тем самым пополнив род туленгутов.

В случае с Чингисханом и калмыками, заво-еватели решили использовать тот факт, что ени-сейские и алтайские кыргызы, будучи тюрками, были ближе по языку к местным жителям, в от-личие от их монгологоворящих хозяев, и быстрее


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бы могли освоиться на новых оккупированных землях, укрепляя при этом их власть

Небольшая группа кыргызов, проживавшая на Тянь-Шане, еще со времен гуннов и государс-тва Кангюй, и новоявленные пришельцы из Алтая и Енисея увеличили численность народа.

Таким образом, в этногенез нынешнего кыр-гызского 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 кыргы-зов, прибывавшие на Тянь-Шань на протяжении IX-XVIII века.

3) Монголы, впоследствии ставшие тюркоя-зычными 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 Кыргызс-

кий Каганат. Бишкек-2012г.3. Аристов, Н. А. Усуни и кыргызы или кара

кыргызы. Бишкек-2001 г.4. Аристов, Н.А. Труды по истории и этническо-

му 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 Кыргыз-стана с древнейших времен до монгольского завоевания, Бишкек, 1997 г.

7. Дарда С. www.beltofpeace.com 2000 г.8. Кашгари Махмуд. Диван Лугат ат-турк. Алма-

ты-2005г.9. Мокрынин, В.П. Плоских В.М. История Кыр-

гызстана . Бишкек-2002 г.10. Омурзаков, С. История Кыргызов и Кыргыз-

стана. Бишкек-2012 г.


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Ю Р И С п Р У Д Е Н Ц И ЯУДК 349.6:502.7

А.О.Кайпбаева - докторант PhD МУК, г.БишкекА.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 келгин-куштар 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 водно-болотных угодий республики, являющихся прибежищем для многих ее видов, для которых существование в условиях антропогенного воз-действия приравнивается к вымиранию.

Природа и человек всегда были взаимо-связаны. Человек использует фауну в научных, культурно-просветительных, эстетических и воспитательных целях, для поддержания своего здоровья и жизни, поэтому в современных усло-виях 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 осо-бого гидрологического объекта, сколько про-диктована 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 су-ществование всего животного и растительного мира» (1, с.83).

Огромный социально-экономический потен-циал водно-болотных угодий имеют первосте-пенное значение для мировых популяций гнездя-щихся, перелетных и зимующих водоплавающих и околоводных птиц.

Под водоплавающими птицами в соответс-твии с п.2 ст.1 Закона Республики Казахстан «О присоединении к Конвенции о водно-болотных угодьях, имеющих международное значение, главным образом в качестве местообитания водо-плавающих птиц», понимаются птицы, экологи-чески связанные с водно-болотными угодьями.

Поскольку Конвенция о водно-болотных угодьях, имеющая международное значение, главным образом в качестве местообитания водоплавающих птиц уделяет особое внимание


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водоплавающим и околоводным птицам, следует обратить внимание на тот факт, что через Казах-стан пролегают крупнейшие в Евразии миграци-онные пути перелетных птиц, а именно:

• Сибирско-Западнокитайский-Юговос-точноазиатский;

• Центральноазиатско-Индо-Пакистанс-кий;

• Центральноазиатско-Восточноафрикан-ский.

По подсчетам специалистов, ежегодно наши границы пересекают около 50 миллионов перна-тых, из которых 20% останавливаются на гнез-дование. 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 тер-ритории 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 охотни-чьего 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 охра-ны 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 остав-ляет 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 деятель-ность, 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 естес-твенных процессах. Из исчезающих свыше 5000 видов фауны каждым восьмым являют-ся 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, измене-ние или уничтожение среды обитания животных и птиц является причиной стремительного их со-кращения. Причиной, вынуждающей животных и птиц переселяться в другие места, служит осуше-ние болот, строительство дорог, трубопроводов, линий электропередач, сооружение каналов, водохранилищ. Загрязнение вредными выбро-сами атмосферы, водоемов, почвы приводят к их гибели. При этом даже на особо охраняемых природных территориях не всегда обеспечива-ется 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 об-ратно, и если исчезнет водно-болотное угодье, где они выводят птенцов, это явится для них настоящей трагедией.

Ученые установили, что численность водо-плавающих птиц находится в прямой зависи-мости 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, оп-ределяя качественное состояние водно-болотных угодий и учитывая иные факторы, можно сделать вывод о вымирании или увеличении количест-ва животных, об изменениях, происходящих с растительным миром и т.п., поскольку характер изменения флоры и фауны полностью зависит от существующих способов водохозяйственно-го воздействия, оказывающих влияние на них. Поэтому, на данный момент необходимо разра-ботать мероприятия по выявлению, анализу и восстановлению состояния всех водных объектов на основе научно обоснованных критериев, с уче-том влияния, оказываемого водохозяйственной деятельностью на животный мир, обитающий


20�

в водоемах.Охрана животного мира в республике вы-

зывает обоснованную тревогу, так как каждый природный ресурс находится во взаимодейс-твии 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 невоспол-нимым 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 право-вой охраны животного мира, в частности водо-плавающих птиц, именно тех, которые относятся к категории редких и находятся под угрозой ис-чезновения. 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 государствен-ной 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-климатичес-ких зон, обилие видов флоры и фауны возла-гает на наше государство ответственность по сохранению уникальной природной среды, что требует усовершенствованного подхода к госу-дарственному обеспечению ведения Красной

книги Республики Казахстан на основе научно-обоснованных методологий и принципов.

Хотелось бы отметить, что водно-болот-ные угодья как природный комплекс, объединяю-щий 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 межгосу-дарственную экологическую сеть, включающую в свой состав важнейшие природоохранные объекты региона, а также охрану редких видов животных путем согласования списков государс-твенных 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]: на-учно-популярная литература / В.Г.Астахова. - Москва: Лесная промышленность, 1976. - 80с.

4. Республика Казахстан. Законы. О присоеди-нении Республики Казахстан к Конвенции о водно-болотных угодьях, имеющих междуна-родное 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.


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УДК 349.6:502.7А.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 жараты-лыш 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 водно-болотных 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 recom-mendations for their elimination.

Keywords: wetlands, Ramsar, strategy, protected areas, ponds, marine waters, transbound-ary water reserves.

При рассмотрении вопроса законодатель-ного регулирования и охраны водно-болотных угодий в Республике Казахстан хотелось бы отметить, что основным нормативным актом, обеспечивающим и регулирующим охрану вод-но-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 рас-пространение в Республике Казахстан действия норм Рамсарской конвенции, устанавливающей правовые и организационные основы охраны водно-болотных угодий, имеющих международ-

ное значение, условия взаимодействия государс-твенных 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 регламенти-рующего 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 охра-


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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 мор-ских, глубина которых при отливе превышает шесть метров) и искусственные акватории, являющиеся местами массового обитания, гнез-дования, 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 рес-публиканского значения. При этом, законодатель закрепляет важность водно-болотных угодий как территорий обеспечивающих охрану, воспро-изводство животного мира, включая редких и находящихся под угрозой исчезновения.

Вопрос охраны водно-болотных угодий, имеющих международное значение, регулиру-ется 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, вклю-чая 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 водно-болотного угодья, закрепленного в Рамсарской конвенции и соответствующее ему понятие, за-крепленного в ст.39-1 Закона РК «Об охране, вос-производстве 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. Идентич-ную норму содержит ст.39-1 Закона РК «Об охране, воспроизводстве и использовании жи-вотного 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 тер-риториях», в связи с необходимостью соблюде-ния п.3 ст.4 Конституции Республики Казахстан устанавливающей приоритет международных договоров, ратифицированных Республикой перед ее законами и их непосредственное приме-нение. 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 оп-ределения водно-болотных угодий.

Пунктом 2 ст.75 Закона РК «Об особо охра-няемых природных территориях» закрепляется положение, согласно которого водно-болотные угодья, имеющие международное значение вклю-чаются 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 государс-твенного природно-заповедного фонда принято делить особо охраняемые природные территории республиканского и местного значения.

В число республиканских особо охраняемых природных территорий отнесены:

1) государственные природные заповедни-ки;

2) государственные национальные природ-ные парки;

3) государственные природные резерваты;4) государственные зоологические парки;5) государственные ботанические сады;6) государственные дендрологические пар-

ки;7) государственные памятники природы;8) государственные природные заказники;9) государственные заповедные зоны.А к числу местных особо охраняемых при-

родных территорий отнесены:1) государственные региональные природ-

ные парки;2) государственные зоологические парки;3) государственные ботанические сады;4) государственные дендрологические пар-

ки;5) государственные памятники природы;


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6) государственные природные заказники.Независимо от предоставленного законодате-

лем 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 зна-чения 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 ис-полнительные органы областей, городов респуб-ликанского значения, столицы по согласованию с уполномоченным органом.

При этом, вопрос включения водных объек-тов 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 терри-торий, в соответствии с пп.3-1) ст.20 Закона РК «Об особо охраняемых природных территориях» осуществляется по согласованию с уполномочен-ным 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 возмож-ность 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 обоснован-ного заключения государственной экологической экспертизы. Имеется лишь одно ограничение, в виде запрета перевода особо охраняемых природ-ных территорий из категории «республиканского значения» в «местное значение».

Следует отметить, что в соответствии с пунк-том 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 восста-новление местообитаний водоплавающих птиц.

Особенностью вышеуказанных видов ре-жима является то, что на подобных территориях запрещается любая хозяйственная деятельность, а также иная деятельность, нарушающая естест-венное состояние природных комплексов и объ-ектов государственного природно-заповедного фонда, либо предусматривается полный запрет или ограничение по сезонам года отдельных ви-дов хозяйственной и иной деятельности на опре-деленный срок или без такового или предусмат-ривается ограниченное пользование природными комплексами, а также ведение собственниками земельных участков и землепользователями традиционных видов хозяйственной деятель-ности приемами и методами, не оказывающими вредного воздействия на природные комплексы и объекты государственного природно-заповед-ного фонда.

Мы понимаем, что объявление и включе-ние 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 обла-дающими подобным статусом?

Как показывает существующая реальность кроме указанных выше, иных комплексных нормативных правовых актов, направленных на регулирование вопроса правовой охраны вод-но-болотных угодий, особенно не обладающих статусом международного значения в респуб-лике 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 водохозяйственны-ми 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, госу-дарственного лесного фонда и предусмотренные пп.4),5) п.3 ст.11 водные объекты особо охраня-емых природных территорий и водные объекты особого государственного значения. При этом, законодатель устанавливает положение, согласно которого более подробное рассмотрение вопро-са регулирования правового режима охраны и пользования, а также условия деятельности в водных объектах особо охраняемых природных территорий регламентируются законодательс-твом Республики Казахстан об особо охраняемых природных территориях. А в отношении водных объектов особого государственного значения определяются Правительством Республики Ка-захстан.

В вопросах правового регулирования обеспе-чения охраны водно-болотных угодий не менее значимым является Земельный кодекс РК, кото-рый в соответствии с целевым назначением вы-деляет 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 го-сударственных природных заповедников, госу-дарственных национальных природных парков, государственных природных резерватов, госу-дарственных региональных природных парков, государственных зоологических парков, госу-дарственных ботанических садов, государствен-ных дендрологических парков и государственных памятников природы.

Законодатель, определяя правовой статус на землях указанной категории, также закреп-ляет 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 предо-ставления 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 неблаго-приятного внешнего воздействия.

Помимо этого, глава 13 ЗК РК подробно рег-ламентирует иные вопросы, имеющие отношение к землям особо охраняемых природных террито-рий, в том числе установление размеров, границ, видов режима, порядка природопользования, отнесения земель к данной категории.

Определение порядка режима регулиро-вания, установления водоохранных зон, право собственности и иных вопросов, имеющих непосредственное отношение к землям водного фонда регламентируется главой 15 ЗК РК, кото-рый ст.132 признает в качестве земель водного фонда земли, занятые водоемами (реками и приравненными к ним каналами, озерами, водо-хранилищами, прудами и другими внутренними водоемами, территориальными водами), ледника-ми, болотами, водохозяйственными сооружения-ми для регулирования стока, располагаемыми на водоисточниках, а также земли, выделенные под водоохранные полосы указанных водных объ-ектов 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 террито-рий в отношении водно-болотных угодий, как правило, имеющих международное значение и расположенных на территории особо охраняемых природных территорий, а в отношении водно-болотных угодий, не включенных в категорию земель особо охраняемых природных террито-рий использовать нормы, предусмотренные для земель водного фонда.

Мы считаем, что вопрос взаимосвязи земли и водно-болотных угодий, их правовое регулиро-вание еще будет требовать своего дальнейшего научного исследования, по причине их смежнос-ти между водным и земельным правом, а также с понимаем особой характеристики их качеств, неразрывности и связанности с иными природ-ными ресурсами.

В отношении действующего природоохран-ного 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 угодья-ми 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 облас-ти, 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 необхо-димости принятия стратегического плана либо определения политического вектора в отношении разумного использования и охраны водно-болот-ных угодий, с последующим проведением право-применительной и природоохранной практики, организации научных исследований, вплоть до проведения экспертизы нормативных докумен-тов, 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 ана-лизу в первую очередь должны быть подвергнуты вопросы определяющие понятийный аппарат водно-болотных угодий, с целью разграничения их от иных природных ресурсов, налоговое за-конодательство, влияющее на вопросы платы ис-пользования 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 использо-вании водно-болотных угодий в Республике Ка-захстан», 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 водно-болотных угодий, деления по типам и категориям, особенностей правового режима, деятельности на территориях водно-болотных угодий, инвен-таризации, учета и ведения кадастра, мониторин-га, порядка и основ придания водно-болотным угодьям различного рода статусов охранных территорий, функционального назначения вод-но-болотных угодий, а также вопросов очище-ния водных объектов от загрязнения, засорения и истощения, стабилизации и регулирования климатических, биологических и иных условий местности, в которых расположены водно-бо-лотные угодья, поддержание водных экосистем, биологического разнообразия, экологического режима, обеспечение местообитаний водопла-вающих 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 вни-мание вопросу совершенствования законодатель-ства государств участниц Конвенции, особенно в части устранения негативных и антиприродо-охранных норм, выступающих основным барье-ром, 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 уго-дий, разработанные Конвенцией и нашедшие отражение в Резолюции VII.7.

Основной упор в Резолюции делается на необходимость пересмотра законодательства государств участниц Конвенции, вплоть до отме-ны 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, за-интересованных лиц – природопользователей, общественности и т.д. Таким образом, принятие новых нормативных документов и их последу-ющее внедрение в жизнь, контроль за их испол-нением, а равно само соблюдением этих норм может явиться серьезным экзаменом и проверкой на прочность. Даже в случаях достижения кон-сенсуса и добровольности принятия норм, их


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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 про-живающего 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 использо-вания водно-болотных угодий и соответственно мероприятий их охраны и иная деятельность, направленная на совершенствование законода-тельства и политики государства в деле охраны водно-болотных угодий.

В заключении отмечаем, что неблагоприят-ное состояние окружающей среды и его даль-нейшее ухудшение характерны практически для всех водоемов республики и тем более водоемов, являющихся местом обитания водоплавающих птиц. Поэтому, для улучшения общей экологи-ческой ситуации необходимы усилия как госу-дарственных 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 госу-дарства (1, с.2).

Литература:1. Бюссер Х. К воде – с уважением: системе водо-

пользования нужно реформирование [Текст] / Х.Бюссер // Экологический курьер. – 1999. – 25 июня-8 июля. – №13.

2. Республика Казахстан. Кодексы. Водный ко-декс 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 ох-раняемых 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 Ка-захстан, Законы // www.zakon.kz


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Информационное письмонаучно-информационный журнал «ВеСтнИК МУК» входит в ПеРечень научных и научно-технических периодических изданий ВыСШей АттеСтАцИОннОй КОМИССИИ КыРгыЗСКОй РеСПУблИКИ (ВАК КР) по следующим направлениям:

ТЕХНИЧЕСКИМ наукамФИЗИКО-МАТЕМАТИЧЕСКИМ наукамПЕДАГОГИЧЕСКИМ наукамПОЛИТИЧЕСКИМ наукам

Приказ ВАК КР № 035 от 29.01.2015

УВАЖАЕМЫЕ АВТОРЫ,Ждем ваши статьи в очередной номер журнала.Рекомендуем ознакомиться с измененными ПРАВИлАМИ оформления статей и ОбРАтИть ВнИМАнИе,

что автор лично подает статью в печатном виде в редакцию, заполняет личную карточку, оплачивает в кассу, а затем уже высылает или сдает электронный вариант статьи.

Прилагаем Правила оформления научных статей для нашего журнала

Правила оформления статей для авторовжурнала «Вестник Международного университета Кыргызстана»

форма представления статей:1. на первой странице указываются: Слева сверху УДК, справа сверху инициалы и фамилия автора, название

учреждения, в котором выполнена работа. Через строку по центру прописными буквами название статьи. Число авторов статьи не должно превышать четырех человек по направлению.

2. Аннотация (в объеме 350-500 знаков) для граждан Кыргызской Республики на кыргызском, русском и английском языках, для граждан СНГ и дальнего зарубежья на русском, английском и ключевые слова.

3. текст должен состоять из разделов:a) Актуальность, отражающая состояние вопроса и задачи исследованияb) Анализ и методы, результаты их обсуждения; новизну исследования.c) Выводы или заключение,d) Объем библиографического списка не должен превышать более 10-ти названий.

4. Объем статей: Не должен превышать (5-9 листов).5. Иллюстративный материал:

a) таблицы должны быть озаглавлены, содержать четко обозначенные графы;b) ссылки на рисунки и таблицы указываются в тексте в соответствующих местахc) каждый рисунок или график должен иметь комментарий;d) список литературы составляется в алфавитном порядке по фамилиям авторовe) сначала отечественных, далее зарубежных.

6. В списке следует указать:a) для книг – фамилию и инициалы авторов, полное название работы, место и год издания, издательство,

страницы (от и до), либо общее количество страниц монографии;b) для журнальных статей – фамилии и инициалы авторов, полное название статьи, название журнала,

год издания, том, номер страницы;c) для диссертаций – фамилию и инициалы автора, докторская или кандидатская, полное название работы,

год и место издания;7. Статья представляется в редакцию в двух экземплярах: напечатанном и электронном. Печатный

оформляется на одной стороне листа формате А-4 (210 х 297 мм), в редакторе Word for Windows, тип Times New Roman, шрифт: размер 12 кегль, через 1,0 интервала, выравнивание – по ширине листа; поля: слева и справа 25 мм; сверху и снизу по 20 мм.

иллюстрации – в формате *TIF*JPG.8. Статья сопровождается рецензией от члена редакционной коллегии, преподавателя или ученого со званием

(обязательна печать ОК).9. Для публикации статьи автор лично заполняет карточку с данными, где указывает контактный телефон и

электронный адрес для связи с ним.Редколлегия оставляет за собой право на орфографическое редактирование статьи. Рукописи не

возвращаются. Статьи, оформление которых не соответствуют указанным требованиям, к публикации не принимаются.

В научных публикациях должны строго соблюдаться авторские права.

Рукописи принимаются в редакции журнала по адресу:г бишкек, пр.чуй 255, кабинет 106 (в). тел: (0312 613-946) E- mail: [email protected]

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Весmник МУК - Международный Университет Кыргызстана

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