Paper abstract:

Beautiful female images of Kyrgyz literature created by poets and writers find a response in the hearts of readers. Kanykey from the heroic epic "Manas", Ajar K. Bayalinova, Jamila Ch. Aitmatova and other female images of Kyrgyz literature created by talented artists in different eras. All of them are deeply individual, each of them is endowed only with its inherent character traits, but they are united by one thing – high spirituality and moral purity. They show different female character traits in different social situations in different epochs and are a symbol of each epoch.

The Kyrgyz people have always appreciated the sacred purpose of women. It is women who pass on age-old values, folk traditions and customs from generation to generation, which is the priceless wealth of our people. Women mothers are not only guardians of family values, but also symbols of morality and wisdom, peace and harmony. The Kyrgyz people have always appreciated the sacred purpose of women. It is women who pass on age-old values, folk traditions and customs from generation to generation, which

There are countless famous women in Kyrgyzstan. Let's recall the first state activist who came from among Kyrgyz women. This is Kurmanzhan Datka, who was popularly nicknamed the "Alai Queen". There are many legends about this great woman. Out of respect and devotion to her people, the Alai Queen did not save her own son Kamchibek from the gallows on the square of the city of Osh. She is also considered a poet. A bright trace in the history of Kyrgyz art was left by B. Beishenalieva, S. Kumushalieva, M. Omurkanova, T. Tursunbayeva and others.

In the work of Ch. Aitmatov, the image of a woman is a reflection of life, an expression of the author's position, it is a special way of influencing the reader. In the rich work of the artist, one can distinguish a whole galaxy of female images that embodied these qualities. The rich life material in the stories "Face to Face" and "Jamila" assumed the solution of a complex creative task, which the author achieved through the image of a woman's fate and character.

Paper abstract:

This article attempts to question how each era leaves its mark on the Manas epic. Early recordings of the epic were made by V.V. Radlov (Wilhelm Radloff) and Ch.Ch. Valikhanov in the second half of the 19th century. Having collected samples of folk literature from almost all the Turkic peoples of Eurasia in his classic ten-volume collection, Academician V. Radlov did a very valuable job for subsequent researchers. A separate volume of this fundamental work is entirely devoted to the Kyrgyz language and folklore. An excerpt from "Manas", written down by Ch. Valikhanov in 1856, was lost and was discovered only in Soviet times in the manuscripts of Kh. Fayzhanov.

In Soviet times, scientific recordings of the epic were originally carried out by Yu. Abdrakhmanov, K. Miftakov, Turkologists P. Falev, K. K. Yudakhin, V.M. Zhirmunsky, K. Rakhmatullin, A.N. Bernshtam, writers M. Auezov, K. Malikov and others.

The main argument of the article is aimed at identifying records and publications of the epic that have undergone transformation for historical and ideological reasons of a certain period: pre-Soviet, Soviet and post-Soviet.

The article uses manuscripts and notes of Ch. Valikhanov, V. Radlov, K. Miftakov in Latin with Kyrgyz transcription from the collection of the Department of Manuscripts and Publications of the National Academy of Sciences of the Kyrgyz Republic. Among modern recordings, classical editions by S. Orozbakov and S. Karalaev (S. Orozbakov's version, published in four volumes, as well as a complete 9-volume edition and S. Karalaev's version in five volumes) are used. volumes). In addition, consultations were held with the early recordings of Manas.

Paper abstract:

This paper is devoted to the work of Zuura Soronbaeva (1924-2012), one of the first Kyrgyz women prose writers. My goal is to show that her stories and novels, written exclusively in Kyrgyz, can be considered as an intense dialogue with her readers, a dialogue which took place during her travels as a journalist through the towns and villages of her native Issyk Kul. As attested by her personal archive, Sooronbaeva received a large number of letters, to which she often responded. Many of these letters and responses are integrated on various levels of the narrative. Together with first person-narration, dialogues, a great number of sayings and proverbs (makal-lakap), they give the narrative tissue an undeniable “oral” quality. The works of Sooronbaeva enjoyed a large popularity at a time when reading still mattered, especially for readers who could read Kyrgyz, and even more for those who were limited to it. I will argue that it is this genuine dialogue between the writer and her public that “liberated” her work from the call to which exclusively male writers responded, such as Kasymaly Baialinov, Nasiridin Baitemirov, or Tügölbai Sydykbekov, and even Chyngyz Aitmatov. The topic of the “liberation of the woman of the East” is absent in Sooronbaeva’s writing. I will illustrate my argument through the analysis of Sooronbaeva’s story “Kievtik kyz” (The Girl from Kyiv), first published in 1985; her novella Astra Gülü (Aster Flowers), which appeared in 1974, and her novel Arman (Grief), published in 2012. If I compare Sooronbaeva’s main female characters to Aitmatov’s Zhamila, the latter leaves her ail for an unknown place where she can find a new existence and freedom. As to Sooronbaeva’s women, they find themselves struggling, half-way between village and city. Most of them have to return to the village because of the weight of tradition, and ultimately, they don’t find any place of their own. Like her protagonists, Sooronbaeva traveled from city to the villages of her region and its isolated kolkhoz. Observing how life styles and beliefs changed from the late Stalin years to the 20th Congress, and when “developed socialism” became zastoi (stagnation) to be finally replaced by the chances and threats of privatization, she wonders, at the end of her life, if all that remains of her dialogue with her readers is grief and sorrow.