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Children images in some Kazakh fictions
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Төлебек Ақерке,
№21 жалпы орта мектебінің 10 «А» сынып оқушысы
ОҚО, Түркістан қаласы
Тақырыбы: «Children images in some Kazakh fictions»
Ғылыми жетекшісі: М.А.Алтыбаева

Annotation

1.The Theme of the work: Children images in some Kazakh fictions

2.The school: №21

3.Deadline: 2015

4.Pages: 25

5.References: 6

Characteristic of the work

1.The Aim of the work :
to study Ibray Altynsarin and Beimbet Mailin's personal objects in painting children images in their masterpieces.

2.The Method of the work :
comparative method of analyse of the research work.

3.The scientific novelty of the present work is that the theme "children image" is analyzed on the basis of certain problems of society of that time and on the basis of national mode of life of the society.

Аннотация

1.Названия работы: Образ детей в Казахских литературных произведениях

2.Школа: №21

3.Год завершения работы: 2015

4.Обем работы: 25с

5.Колличество источников литературы: 6

Характеристика работы

1.Цель научной работы:раскрыть оснавные сущности детского образа в произведении Ибрая Алтынсарина и Беймбета Майлина.

2.Методы проведенных исследовании:сравнительный методы анализа расматриваемого материала.

3. Новшество научный работы:Образ детей главной темой обсуздения того времени,прославляет националные традиций в зизни общества

Айқындама

1.Жұмыстың тақырыбы: Қазақ әдеби шығармаларындағы балалар бейнесі

2.Мектеп: №21

3.Жұмысты аяқтау мерзімі:2015

4.Жұмыстың көлемі: 25бет

5.Пайдаланылған әдебиеттер:6

1.Ғылыми жұмыстың мақсаты:
Ыбырай Алтынсарин мен Бейімбет Майлиннің шығармаларындағы балалар бейнесін нақтылай ашу.

2. Ғылыми жұмыстың әдісі:
Қарастырылып отырған жұмысты салыстырмалы түрде талдау

3.Жұмыстың ғылыми жаңалығы:
«Балалар бейнесі» тақырыбы сол кездегі қоғамның нақты проблемаларын талқылып,қоғам өміріндегі ұлттық дәстүрді дәріптейді.

Contents
Introduction
Chapter I. Children's Literature is a significant field of the world literature
1.1 General feature of children's literature
1.2 Types of children's literature
1.3 The theme "children image” in some Kazakh writers’works
1.3.1 Ibray Altynsarin is the most outstanding Kazakh children writer
1.3.2 Beimbet Mailin is the most prominent Kazakh children
Chapter
Il. Children images in some Kazakh fictions
2.1 Analysis on the children images in “The Son of rich man and the son of poor man” by I.Altynsarin
2.2 Analysis on the children images in”Tuyebai” by BMailin
Conclusion
Reference

Introduction
Children's literature as such probably started in the 17th century; it is generally believed that before then books were written mainly for adults. Additionally, most printed works were hard to come by due to their cost and were mostly available for purchase only by upper class society. Scholarship on children's literature includes professional organizations, dedicated publications and university courses.
Children's literature is usually understood to comprise books intentionally written for children to read. Nancy Anderson, associate professor in the College of Education at the University of South Floridian Tampa, defines children's literature as all books written for children, "excluding works such as comic books, joke books, cartoon books, and nonfiction works that are not intended to be read from front to back, such as dictionaries, encyclopedias, and other reference material"P* Some of this work is also very popular among adults. J. K. Rowling's Harry Potter series was originally written and marketed for children, but it was so popular among children and adults that The New York Times created a separate bestseller list. Another work dating back to the Victorian Era is Charles Dicken's "A Christmas Carol". Both children and adults continue to enjoy this story and the lessons it teaches. Often no consensus is reached whether a given work is best categorized as adult or children's literature, and many books are marketed for both adults and children.
The most restrictive definition of children's literature are those books various authorities determine are "appropriate" for children, such as teachers, reviewers, scholars, parents, publishers, librarians, retailers, and the various book-award committees.
Parents wishing to protect their children from the unhappier aspects of life often find the traditional fairy tales, nursery rhymes and other voyages of discovery problematic, because often the first thing a story does is remove the influence, leaving the central character to learn to cope on his or her own:
prominent examples of this include Snow White, Hansel and Gretel, Bambi and A Series of Unfortunate Events.
Many see such isolation of child characters from supporting adults as necessary preparation for the transition to adulthood. The school story became a common device for this, beginning with Tom Brown's Schooldays (1857) by Thomas Hughesand F.W. Farrar's Eric, or, Little by Little, although the framework had been explored as early as 1749 by Sarah Fieldingin The Governess, or The Little Female Academy. Land Huckleberry Finn in the Mark Twain stories (1876 and 1885) once Aife begins for Tom Sawyer Aunt Polly's ineffectual tutelage is shaken off. In the classic British novels Tom's Midnight Garden and Jessamy (Barbara Sleigh, 1967), for example, the responsibility is enhanced by isolating the child not just spatially, but in time, through the use of time slip. Arthur Ransome used the device of children acting for themselves extensively in his Swallows and Amazons series (1930^48) and included poignant discussion of it.
When we talk about the Kazakh Children Literature first of all we talk about the Kazakh children's writers like IbrayAltynsarin, Beimbet Mailin and Berdibek Sokpakbaev who are famous for their classic children heroes as Asan and Usen, Tuyebai and Kozha.
The subjects of the present research work are the peculiarities of children images in the works of Ibray Altynsarin “The Son of rich man and the son of poor man” and ”Tuyebai” by Beimbet Mailin. The object of the work is "children images" which Ibray Altynsarin, and Beimbet Mailin concerned themselves primarily with an idyllic picture of boyhood lives of their children characters.
The aim of the paper is to study Ibray Altynsarin and Beimbet Mailin's personal objects in painting children images in their masterpieces. Therefore the aim of the research has defined the following tasks:
— to analyze the children images in the children works of Ibray Altynsarin and Beimbet Mailin;
— to define the real essence of the children images portrayed in the works of IbrayAltynsarin and Beimbet Mailin.
Structurally the research work consists of introduction, main part, conclusion and bibliography.
The introduction consists in the information about the historical development of the children's literature, types of children's books and the biographies of Ibray Altynsarin and Beimbet Mailin.
The main part contains two chapters. The first chapter deals with the analyses on children images in " The Son of the rich man and the son of the poor man" and ”Tuyebai”. In these chapters we will try to analyze the children images in the above mentioned works.
The actuality of the theme may be explained by two facts, firstly, the truth of the social life, of any other country can be portrayed by painting childhood life of the main character and secondly by the fact that the cultural mode of life of any other country can be painted by representing the childhood life of the main character, i.e. through depicting childhood life of a character the author may satirize adult conventions and may also may deal with certain problems of society.
The scientific novelty of the present work is that the theme "children image" is analyzed on the basis of certain problems of society of that time and on the basis of national mode of life of the society.
The theoretical value consists in revealing the facts that children image is one of the essential truth of life.
The practical value consists in the fact the present work is an effective means for teaching young generation for generosity, real love, moral and for teaching them to avoid from the worst qualities of human being like greediness, boastsome.

I. CHILDREN'S LITERATURE IS A SIGNIFICANT FIELD OF THE WORLD LITERATURE

1.1 General feature of the Kazakh children's literature
Children's literature - is the foundation of forming person's world look, it is the first meaning of life. Perhaps, therefore, children literature has its own special products, themes, ideas, motives for the plot, literal -visual means for the visual language. In this context, children literature as a branch of the literature, needs a special scientific interest.
One of the peculiarities of children's literature, as opposed to literature in general, is that children's feelings, their perception, cognition, sensual,in particular, emotions, reasoning, open them up the way to the world in the future. The literature does not only form determined concept, growth, development in childhood, and it is also the fundamental basis for spiritual development.
Like the concept of childhood ,children’s literature is very much a cultural contruct that continues to evolve over time. Children’s literature comprises those texts that have been written specifically for children and those texts that children have selected to read on their own/and the boundaries between children’s literature and adult literature are surprisingly fluid.
Although children’s literature is intended primarily for children , it is more accurate to view such texts as having dual audiences of children and adults. Adults, particularly parents, teachers and librarians , often function as gatekeepers who identify appropriate texts for children.
Investigation of the language of Kazakh children literature revealed the need for its classification of age-appropriate level of children’s development. The question of the age categorization of children's literature has not found the solution. For example, S. Ahmetov, one of the founders of the Kazakh children's literature, did not pay attention to the issue . But the age-especially of children 2-3, 5, 7-8, and 10-15 years are quite substantial. In every age children need such

works that are correspond to the definite age. If age difference of the adult people are 3-4 years it may not be felt, however in childhood - it is absolutely different groups with the corresponding rate development life-cycle requirements.
The content and form of Kazakh children literature, composition of its genre similarity to oral folklore of other people have their own unique features that were developed in the course of historical development of the Kazakh people. For example, a lullaby, children's songs, game situations, songs about animals and their babies, nature, tongue twisters, nursery rhymes and jokes, as well as small prose: distribution tales, parables, fairy tales, stories, etc. These works of children's literature are divided according to the age difference and the possibility for perception, that is, they first form perception, learn the pronunciation of words developing it, through them, the child gradually begins to know the world around him.
The overall growth of the Kazakh culture ability supplies a flourishing folk art. In the contemporary Kazakh children's literature there are all kinds of different genre folklore: tales("Ertөstіk", "Aldar-Kөse", "Nasir Қozha"etc.), fables (translated Krylov's fables:"Құmyrsқa men shegіrtke" - "Dragonfly and mu-ravey "," Қasқyr men қozy "-" The Wolf and the Goat ""Miamil Men kөzіldіrіk" - "Monkey and eye-glass "), parables (" Asan kaigi "," Zhirenshe Sheshen "," Korkut "), short stories (" Ku Bala, "" Ekі erіnshek "," Ush zhalkau "). All of them carry the national consciousness, traditions and customs, educational moments of our ancestors. Along with the oral literature creativity becoming a person re- Child describes the following works of the written literature contributes for the children’s becoming individuals: A.Kunanbaev’s "Kara sоzder", I.Altynsari "Zhomart", "Taza Bulak", "Kobylandy", O.Turmanzhanov "Eshkі Degen zhanuar" "Tort tulіktіn tоlderіn sуyuі",M. Dulatov" Mektepke ","Mektepten "I. Zhansugurov "Kyz","Zhazgy shіlde" etc.
At the age of 10-15 years, the child begins to have more sober, realistic view of things, changing from sensuality to the discretion. Therefore, there are many works with a large plan where the plot develops more interestingly, and, accordingly, the images artistic heroes are revealed more wide, because of the richness of linguistic material. At this stage of development, there are selective approaches to the works and to the children's books, according to their needs and their level of development. Generally, they are works of S.Toraigyrov "Okyp zhyrgen zhastarga "Abaya’s " Gylym Tappai maktanba "A. Baitursynov’s "Kyryk Cape", S. Shaimerdenov’s "Kar" Z. Shukirova "Arpalys"N. Akysh’s "Keremet Jaz", etc.
Thus, we concluded that specificity of Kazakh children literature due to the age especially completely outlook.

1.2. Types of Children's literature

As a term, “children’s literature” does not easily fit into any cultural or academic category. Its richness is reflected in the vast amount of theories that permeate and surround the term. From feminist studies to new historicism, litrary theory playces the child context relationship on varying ideological and political axes. The reconceptualization of its history and the postmodern growth of radical alternative litrary “histories” further complicate a retelling of the history of children’s literature. Consequently, it becomes not only a difficult but also a contentious task to both identify general features that constitute children’s literature and trace its history. But it is because its boundaries are so ambiguous that children’s literature is so exciting and rich.
Children's literature has been around for ages. This type of literature is usually chosen by the parents, but some kids choose their own books to read. Most of them contain illustrations and are pretty straight forward. In the past years, children literature had become famous amongst book readers and today there are many types of children's literature ranging from picture books to bestsellers that have also come to be loved by adults .Typically, Children's books are classified by the following genre:
Picture Books. Children's books that provide a "visual experience" - telling a story with pictures. There may or may not be text with the book. The content of the book, however, can be fully explained or illustrated with pictures. Note that picture books do not even need to tell stories - they might illustrate letters of the alphabet or numbers. A picture book may even tell a story entirely with illustrations. Many times, these books are published in a small size, something that children can actually hold in their small hands - these books are called hand -books. (Note that "hand-books" are not a genre, but are a format for a book.) There are fun books for young, non-reading children to play with. Often, they can tell the story based on the illustrations, pretending to "read" the book .
Picture Story Books.Children's books that contain pictures or illustrations that complement the story, often mirroring the plot. Both the text and the illustrations are important to the development of the story. The pictures are the "eye-candy" that get people's attention, but the text is also needed to complete the story. In well-written picture books, the 2 work together in a seamless fashion. As we read and enjoy the book, we don't even think about which is more important, the illustrations or the text. Often, the pictures are what set the mood or allow us to anticipate what will happen next.
Traditional Literature. Stories that are passed down from generation to generation, changing slowly over time are called traditional literature. In many ways, this is what makes them so fascinating - they provide a link between the past and the future. The stories, while retaining much of their original flavor and content have to evolve in subtle ways to remain meaningful in different eras. Traditional literature is a great starting point to introduce children to the concept of a story and introduce them to different types of stories or genres, and We can further break traditional literature down as:
Folktales. These feature common folks, such as peasants, and commonplace events. There maybebe some "make-believe" elements, like talking animals, but the stories, overall, sound logical.- even realistic. Folk tales seek to explain things about life, nature, or the human condition.
Fairy Tales. Also called "magic stories," these are filled with dreamlike possibility. Fairy tales feature magical and enchanted forces. They always have a "happily ever after" ending, where good is rewarded and evil is punished.
Fables. Short stories, in verse or prose, with an moral ending. These types of stories are credited Aesop (6th century ВС), who told tales of animals and other inanimate objects that teach lessons about life.
Legends. While based in history, these stories embellish the life of a real person. The facts and adventures of the person are exaggerated, making the individual famous for their deeds.
Myths. Some stories have to be told as related tales to be meaningful. Myths portray themselves as representing a distant past. They contain common themes
and characters, often "gods." Myths attempt to explain the beginning of the world, natural phenomena, the relationships between the gods and humans, and the origins of civilization. Myths, like legends, are stories told as though they were true.
Historical Fiction. These are stories that are written to portray a time period or convey information about a specific time period or an historical event. Authors use historical fiction to create drama and interest based on real events in people's lives. The characters may be real, based on real people, or entirely made up. In many ways, these types of books can be more powerful teaching tools than nonfiction, especially for children. Often, historical fiction presents history from the point of view of young participants. There are few contemporary accounts of how children have experienced and participated in history - children's historical fiction attempts to help readers see how history affects people of the same age. When these books are written for young readers, they are called chapter books because they expand the concept of a story by presenting a tale in segments, each building on the last and leading to a final resolution (Note that "hand-books" are not a genre, but are a format for a book). Children's historical fiction features youth a playing an important, participatory role in history.
Modern Fantasy. This broad genre is probably easier to define by example or by what it is NOT. The stories are contemporary or are nondescript as to when they occur. They are imaginative tales require young readers to accept elements and story lines that clearly cannot be true - readers must suspend disbelief. The stories may be based on animals that talk, elements of science fiction, supernatural or horror, or combinations of these elements. When written for young readers, these books are called chapter books - a format that breaks a story into sequential chapters that move towards a final resolution [4]. "Charlottes Web," "Winnie the Pooh," "Alice in Wonderland", "Willie Wonka and the Chocolate Factory," and "The Wizard of Oz" are all examples of modern fantasy written for young readers up to 12 years old.
Realistic Fiction. Books that are written for today's youths, representing contemporary times, based on real-world situations are called realistic fictions. Similar to historical fiction, except these stories are based on current events. They feature children as their main characters and often allow young readers to "experience" different settings, cultures, and situations than what is the norm for their lifestyle. Children's realistic fiction features main characters of approximately the age (or slightly older than) the book's intended audience. The books present a "real-world" problem or challenge and show how a young person solves that problem. By nature, children's realistic fiction is positive and upbeat, show young readers how they too can conquer their problems. When written for young readers (up to 12 years old), these books are called chapter books (a format, not a genre)
Non-fiction or Informational Books.Books that are designed to help readers learn more about real things. They provide young readers information without the literary devises common to fiction. They can be a challenging genre for children because a given presentation about the real-world has to assume something about a reader's abilities, understanding or interests. The challenge is to match high interest topics with appropriate reading levels and background knowledge. For example, may children are interested in jets and rockets, but few are ready to read "rocket science." In schools, these books have traditionally been used for academic study and research projects. Today, more and more librarians are recognizing the value of ALL reading - both fiction and nonflction. Perhaps the best way to reach out to "unmotivated readers" is to find a high-interest topic and a book that matches that young reader's abilities and understanding. Many reading specialists and librarians believe that we do not promote enough non-fiction to young readers. Studies tend to show that many children that are not interested in fiction will become motivated readers if introduced to appropriate nonfiction - this is especially true of non-majority youth.
Biography .A form of non-fiction that is based on the life of a person. Children enjoy reading stories about other people - biographies and form an effective "bridge" between storytelling and nonfiction - after all - everyone's life is a story! Because biographies are almost always published about notable people in notable fields, biographies are often used to introduce children to the concept of nonfiction. Biographies can also be extremely motivating - young children love to dream about what they will be when they grow up. The lives of famous, important people let children see how the process of growing up shapes the opportunities, choices, and challenges people face in life.
Poetry and Drama. Poems and drama are important genres that introduce children to verse, prose, rhythm, rhyme, writing styles, literary devices, symbolism, analogies, and metaphors. From a librarian's point of view, they are important because the they are written at different reading levels so that a young reader's interests can be matched with text that is consistent with their abilities. This is especially important for "reluctant readers" that may read below their age group. The simple language used in some poems and drama can be appreciated by readers of varying abilities, providing a context to teach a variety of language arts skills.
All these books are available for all ages of children and can be found easily in stores or online. They are a great way of educating the child in an exciting manner as well as impart the society's values and diversity in the world as well as in the children at school.

1.3 THE THEME “CHILDREN IMAGES” IN SOME KAZAKH WRITERS’ WORKS
1.3.1 Ibray Altynsarin is the most outstanding Kazakh children writer
Ibray Altynsarin - a prominent Kazakh educator, teacher, writer, ethnographer and folklorist.He was born and raised in the area Arkaragae in Kostanai region. He died in these lands, on the banks of the Tobol River. He went to school, opened the Orenburg Boundary Commission for Kazakh children (1850). After leaving school he worked as a secretary to his grandfather, Balgozhi Zhanbyrshyuly, who was a military sergeant in Orenburg Boundary Commission (1857-1859), worked as a translator in the Orenburg regional administration. In 1860, he was assigned to open in Orenburg strengthening (Torgai) School for Kazakh children, defining its teacher of the Russian language in this way began the school. He devoted his entire life to work for education and teaching children. The money raised by the people, with the direct participation were built schools and boarding schools, and January 8, 1864 the grand opening of the new building. Alongside with education and teaching Ibrai was assigned for other duties. Under direct instructions from the Orenburg general governor, he was 4 times a district judge (1868-1874), and chief executive officer of Torgai County.
Having started to work as inspector, Ibrahim further enlivened education and extension work. In Elekskom, Kostanai, Torgay, Irgiz regions alternately two-class Russian-Kazakh schools were opened. Ibrahim Altynsarin helped in supplying the schools with books. Taking into account the nomadic way of life of the people, Ibrahim suggested the best methods and new forms of work to the Russian system of public education. As a result, April 10, 1888 in Omsk, he opened a teacher training school for the teachers from the Kazakh people. Ibrahim continued the work and he put a lot of effort to open schools, which train the necessary specialists in economics, agriculture, the various branches of arts and crafts. He even left a will in which he owned land that could be used for the construction of
an agricultural college, opened in Kostanay. Historical importance was the discovery of the female boarding schoolsby Ibray Altynsarin in Torgau, Kostanai, Karabutak and Aktobe.
Using his education and new ways and means of that time, he attached great importance to the education of children in their native language. To this end, he wrote a textbook, "Kazak hrestomatiyasy" didactic manual "Initial training manual Kazakh Russian language." Ibray Altynsarin wrote many works, raising children’s love of country, industry and generosity. Even nowadays these works have not lost their relevance.
Altynsarin engaged not only in teaching and educational work. He was keenly involved in social and political life, writing articles related to science, education, labor, art, religion, ethnography. His artistic work has had a particular impact on the formation of Kazakh literature.Name Ibrai Altynsarin found in all regions of Kazakhstan, his name is given for the areas, for the villages, for the schools and for the streets.

1.3.2 Beimbet Mailin is the most prominent Kazakh children writer

Beimbet Mailin was born in 1894 in Aktobe in the village Dambarskoy in the Kustanai Region. He soon lost his parents and was brought up by her grandmother Baydas. He took lessons from the mullahs to understand Kazakh letter in Arabic graphic image. From his early ages, Beimbet had a special desire to learn. Growing up, he enrolled in a Medrasse in Ufa. In Medrase students study religious subjects crammed edification, Hadith Quran and Beimbet found more time to study the Russian language. When he studied in madrasse, Beimbet willingly visited Russian school. Soon, he began to read in the original Russian classics of Tolstoy, Gogol, Chekhov, Gorky and Korolenko. Especially he became interested in Chekhov. His first work "Monument sludge” was published in the journal "Sadak", and it was admitted successful. Unfortunately, the creative joy of youth was quitted by his illness and Beimbet, after studying a half year, had to be treated in Troitsk. Fortunately there he met with Mukhamedzhanov Seralin, the editor of the magazine "Aikap", and with Sultanmakhmut Toraigyrov who was working in publishing, who later became one of the most prominent Kazakh writers. Meeting with a professional writer has strengthened the attraction of Beimbet to the literature. After Troitsk, Myleene returned to his native village, where he began to teach Kazakh children. In his spare time, he actively engaged in creative work. His works about the village life were published in this period in many newspapers and magazines.
In 1919-1921, when the Soviet Government was established in Turgai region, Beimbet Myleene began to take an active part in the social life of the village. And soon, he was appointed as the inspector of the training department of Dambarskoy. Then became head of the education department of the region and the Deputy Chairman of the parish council. But he did not forget about work.
From 1922 to 1923 B. Myleene lived in Orenburg, the capital of the Kazakh SSR. He worked in newspapers and magazines, writing articles, essays and poems. In Orenburg, he published his first collection of poems, which quickly sold out among readers. In 1924, the writer on behalf of the party organs in Kustanai launched a new newspaper in Kazakh named "Jean village" ("new village"). After running it for a year and to establish a timely release of the newspaper, went to the Kyzyl-Orda, the new capital of Kazakhstan, became literary staff of the newspaper "Enbekshi Kazakh" (now "Egemen Kazakhstan"). Then there was the chief editor of fiction, led the newspaper "Kazakh adebieti", was part of the editorial board of a number of literary magazines and anthologies. At this time, he actively engaged in literary work: writing poems, satires, essays, short stories, novels. "Monument sludge", "rural municipality Kultay", "poor man's equality" and other works Mailin become popular among readers. Especially the readers were fond Myrkymbay, poetic image - simple, hard-working poor Kazakh, embodies the original features of the national character.
Beimbeta Mailin’s creative performance was very successful in the period of 1923-1937 years. He published 55 books. He lived only 43 years, he managed to write a few novels, 10 short stories, 15 poems, many poems, essays, satires, 20 plays, librettos and scripts. These large canvases prose as "Azamat Azamatych", "Neighbours", "Red Flag", "Fight", written in the early thirties, attracting vivid imagery, rich colors, vibrant sparkling dialogues.
Creative activities of Beimbeta Mailin earned him well-deserved fame. In 1932, the community celebrated the twentieth anniversary of Kazakhstan celebrated writers of B. Mailin. It was one of the first literary anniversaries in the country. Almost all of the creativity of a writer devoted to his new ideals, believing that there will come a brighter future. But, like many people of his generation, he suffered the Stalinist repression and was the victim of lawlessness. Good name of Beimbet Mailin was restored in 1957 after the rehabilitation. His books have been returned to the readers again pleased with their hearts. Memory of one of the founders of Kazakh literature is alive and will live among the people forever.

II. CHILDREN IMAGES IN SOME KAZAKH WRITERS’ WORKS

2.1 Analysis on “The Son of Rich Man and The Son of Poor Man”
Every young generation of Kazakh grew through reading Ibray Altynsarin’s “Rich’s son and Poor’s son (or it is learnt by heart as “Asan and Usen”). As it is known Asan is rich man’s son while Usen is poor man’s son, they are at the same age. As for Asan, he is lazy and spoilt and he is incapable of doing anything. Through Asan’s incapable and awkward image Ibray Altynsarin tries to teach generation to love labour and to be reserved as Asan always cries if something else happens suddenly as in the following examples:
“Бiр күнi ел көшкенде қыр астында ойнап жүрiп, ескерiлмей, екеуi жұртта қалыпты. Бiр мезгiлде үйге баралық деп келсе, ауыл жоқ, құр жұрты жатыр. Асан айқай салып, жылай бастады;
Бiраз жер өткен соң сүрлеу екi айрылды. Мұны көрiп Асан жылай бастады:– Ендi қайсысына түсемiз, – деп;
Бiраз жер жүрген соң Асан қарным ашты деп жылады .
If he is hungry and if the way is divided into two, the only one thing that he can do is to cry.
Due to these facts no one wants to be Asan. Because he is a son of richman. And as it is known the rich man is an obvious rascal as any other Kazakh rich men like Itbay, Karabay and Shigabay who are famous for being greedy. On the contrary all pupils and young generation want to be Usen. Ibray’s Usen is a boy who is capable for anything and is inclined for life. Usen makes everything possible. Usen finds a way from any difficulty.
“Бiр мезгiлде үйге баралық деп келсе, ауыл жоқ, құр жұрты жатыр. Асан айқай салып, жылай бастады, Үсен ойланып тұрды да айтты:– Жылағанмен еш нәрсе өнбес. Көшкен ауылды iздеп табалық ”
Бiраз жер өткен соң сүрлеу екi айрылды. Мұны көрiп Асан жылай бастады:– Ендi қайсысына түсемiз, – деп, Үсен қарап жүрiп, бiреуiне
түстi:– Мынау сүрлеу, бүгiн жүрген көштiң сүрлеуi екен – малдың жас тезегi бар, – дедi.
Usen does anything else wisely and silently. In short Usen leads Asan. If it were not for Usen, Asan would die of hunger. Asan catches a duck and tries it, as for its sees he boils them.
“– Жолдан адасып көп күн жүрсек, бiзге тамақ, керек болар, үйректi де ұстап алайық, – дедi ”
As we see Asan is awknard and on this ground he always wants to stay beside his rich father. He is too careless. He has nothing to do with their gazing and looking for their village, but he plays with the duck that Asan has caught for the same of making a meal.
Үйректі Асан- Тірі алып, ойнап баралық-деді .
When it gets duck he sleeps and the hungry wolves that surround them he doesn’t make him to worry about anything. However our Usen is careful and takes notice from anything else.
“Біраз отырған соң Асан, күндіз көп жүріп шаршаған бала ұйықтап қалды. Үсен ойлады әкем айтушы еді, елді жерді ұрысы, далалы жердің бқрісі болады,- деп, ұйықтамай отқа күндізгі алған балығын пісіріп, ермек етіп отыра берді”.
Ibiray’s Asan begins to cry if the road is divided into two and he see that the road is divided into two his logic is limited and he begins to cry. But Usen looks at the road and thinks. He sees the new droppings of the sheep and notices the way where the village have taken the road. He leads his satellite and all his predictions are true.
Alongside with being capable of doing anything else Usen is wise because he has learnt much thing from his father and because he was made to do all things like to look after ship, to carry water beside his father.
Мен әкемнiң ұстағандарын көрiп едiм, – деп, манағы жұрттан тауып алған қылдан есiп тұзақ iстедi де, оны апарып үйректiң ұясына құрды. Мұнан соң Асанды шақырып алып, екеуi бiр таса жерге, қалың шөптiң арасына барып жатты. Көп ұзамай-ақ үйрек қайта ұшып, жан-жағында адам көрiнбеген соң, ұясына келiп қонды. Бiтегенеден соң Үсен түрегелiп, жүгiрiп ұяға барып едi, үйрек ұша алмай далбырлады да қалды; қараса, үйрек мойнынан тұзаққа iлiнiп қалған екен;
Үйректi Асан– Тiрi алып, ойнап баралық, – дедi. Үсен айтты:– Жоқ, әкем: үйрек, қаз адал құстар, мұқтаждықта құдайтағала бұларды адамға алып, тамақ етуге бұйырады, бiрақ тiрiлей байлап-матап әуре ету обал деп айтушы едi, әуре етпей бауыздап алалық, – деп, манағы жұрттан тауып алған пышақтың сынығымен бауыздап алды.
Even though Usen is young he behaves himself as an adult one.
“Түн болған соң, балалар екеуi де қорқайын дедi. Сөйтсе де Үсен сыр бiлдiрмей ендi жүрсек адасармыз деп тоқтады, тезек терiп от жақты. Бiраз отырған соң Асан күндiз көп жүрiп шаршаған бала, ұйықтап қалды. Үсен ойлады: әкем айтушы едi: «елдi жердiң ұрысы, далалы жердiң бөрiсi болады» деп, ұйықтамай отқа күндiзгi алған балығын пiсiрiп, ермек етiп отыра бердi; есiтуi бар едi: от жағып отырса, қасқыр келмейдi-мiс деп ”.
In short Ibray introduces the lifestyle of his time. Ibray creatively portrays two children images in a hardship and emphasizes that capability of human being helps to find a way. He slighty teaches pupils and young readers to love labour habits, laziness through incapability of Asan. The image of Usen is bright and it prompts any other reader to value the labour, to live and to learn forever.

2.2 Analysis on “Tuyebay” by Beimbet Mailin

The children work “Tuyebay” that was written by first person narrative portrays the most pitiful social inequality of the Kazakh people under the control or the richmen. According the work is mainly based on portraying those unforgettable pitiful conditions of the ignorant Kazakh poor people who survived and suffered an unendurable life under the richmen’s politics. Through Tuymebay’s image who a son of a poor herdsman. The author attempted to show the cruelty and that had been shown by the brutality rich people and so called “molda” who taught “Kuran” and religious things for the children of the definite village.
Our main character Tuyebay also attended molda’s classes with other boys of the children. The molda that in the story is a cruel and strict one and he takes opportunity of his position in the village that he hits boys who is not ready and is not able to read as he does.
“Менің тәугі оқыған жылым ғой, молданың қандайының жақсы, қандайы жаман екенін мен қайдан білейін: менен басқа бұрыннан мектеп көрген балалар өзара: «Өте қатаң молда» деп сөз қылысады ” .
On this ground all parents of all children who attend molda’s classes invite him to their place for a meal as a guest. And the narrator can get rid of his cruelty through inviting him every Thursday and his grandmother gives the molda 5 pens. For paying much attention to his grandson.
“- Молдекесі, кенже балам еді, өзі өте қорқақ, тым ұра бермессіз, - деген. Оның үстіне бейсенбі сайын тоң май болса, жұка нан пісіріп, молдекемді конақ қыламыз. Конаққа ылғи мен өзім шақырамын” .
“ - Молдекесі, шәкіртіңе батаңды берші, - деп, келген сайын әжем бес тиындық қара бақырды бармағына қыспай жіберген емес”.
Due to his poverty Tuyebay cannot invite him to his place as his father is a slave of the richman called Esmahanbet.
“Басқа балалардың бәрі де жұма сайын шақырады, шақырмайтынжалғыз-ақ Түйебай. Түйебайдың әкесі көрші ауылдағы Ермағамбет дейтінде малайлықта. Қатыны, екі баласы біздің ауылда. Жұлым-жұлым қара үйі бар”.
Tuyebai is a bit lazy but he is as witty as other boys. However molda detests him from the first day. And this thing can be explained by poverty that Tuyebai and his family suffer.
Бәріміз бірге оқыдық, сабақтаспыз, зеректігі бізден кем емес, бірақ бастап оқығаннан-ак Түйебайға молданың қылығы келіспеді. Алғашқы кездерде «ақымақ, хайуан!» деп сөгетін болды. Жүре-жүре құлағын бұрайтынды шығарды. Бірқатар окыған жиырма шақты баланың ішінде Түйебайдан бұрын таяқ жегені болмады ”.
However Tuyebai never used to cry too much. The scene which presents the lesson for which the narrator and Tuyebay were late shows us the molda treated him too cruel and hit him much but the molda didn’t hit the boy who also was late like Tuyebay. This is the best evidence of the inequality in the society. Tuyebay’s endurance and his reserved quality is the best evidence of portraying poor people’s children’s comfessing their poverty and inequality among wealthy people’s children.
Кешігіп қалған баланы молданың ұратын әдеті. Мен қорықпаймын, әжем кеше сұрап алған, Түйебайдың сылтауы шамалы, сондықтан оның таяқ жейтініне менің де, өзінің де көзі жетеді. - Неге кешіктің? - деді.
Түйебай үндемей тізелеп, бүкірейіп отырып, имандығын аша бастады. Үндемеген сайын молданың ашуы үдейін деді.
Неге үндемейсің, доңыз, жат бері, - деп қолындағы екі айыр қамшысымен сандығының жанын көрсетті. Түйебай барып жата алмады, сен тіл алмайтын кім едің деп молда қамшымен осып жіберді .
To our great astonishment our Tuyebai is stubborn kaisar that after being hit too much Tuyebay decided not to come as this was the most unendurable insult that made him cry too much.
Күн бата босатты. Бәледен құтылғандай жүгіре басып жөнелдік. Түйебай өксігін әлі басқан жоқ. Ауылға жақындай бергенде маған қарап көзін жеңімен сүртіп:
-Сен ертең келесің бе? - деді.
-Сен ше?
-Келмеймін, - деді. - Шоқынып кетсем де, енді молданың алдын көре алман! - деп өкіріп қоя берді. Аяп кеттім, менің де көзіме жас келді.
Even though he could get rid of unendurable hitting and insult of the molda, Tuyebay could not get rid of dreams and longings for acquiring the same condition as any other children of his age.
Through Tuyebay’s image we dare say that the author wants to prove that due to the social inequality in the XIX century in Kazakhstan most of Kazakh children suffered unhappiness and poverty, and these conditions in the society influenced on the characters of the people of this period. Beimbet Mailin who acquires a deep omniscience, succeeds in proving a great influence of the social conditions on any other member of the society, precisely on the children. In Beimbet’s Tuyebay we see a helpless image of the child that had been forced by the social inequality, i.e. though our Tuyebay could get rid of molda’s hitting, he could not get rid of poverty that made him a slave.

Conclusion

The above sited investigations enable us to come to the following conclusions:
In short Ibray introduces the lifestyle of his time. Ibray creatively portrays two children images in a hardship and emphasizes that capability of human being helps to find a way. He slightly teaches pupils and young readers to love labour habits, laziness through incapability of Asan. The image of Usen is bright and it prompts any other reader to value the labour, to live and to learn forever.
Through Tuyebay’s image we dare say that the author wants to prove that due to the social inequality in the XIX century in Kazakhstan most of Kazakh children suffered unhappiness and poverty, and these conditions in the society influenced on the characters of the people of this period. Beimbet Mailin who acquires a deep omniscience, succeeds in proving a great influence of the social conditions on any other member of the society, precisely on the children. In Beimbet’s Tuyebay, we see a helpless image of the child that had been forced by the social inequality, i.e. though our Tuyebay could get rid of molda’s hitting, he could not get rid of poverty that made him a slave.
In conclusion we can say for sure that the real essence of the Kazakh writers attempted to portray the images of helpless, unhappy children with a noble heart as a cause of the difficulties endured by their destiny.

References

1. International Research Society for Children's Literature, December 18, 2011.
2. The Society of Children's Book Writers and Illustrators for the Study of
Children's Literature, New York: Oxford University Press, 1997.
3. Centre for International Research in Childhood: Literature, Culture, Media
(CIRCL),January8,2011.
4. National Centre for Research in Children's Literature.November 8, 2010. Breen, Richard (2000). Oxford, Oddfellows & Funny Tales. London: Penny Publishing Limited. ISBN 1-901374-00-9.
5. Ыбырай Алтынсарин “Бай баласы мен жарлы баласы”
6. Бейімбет Майлин “Түйебай”

№21 жалпы орта мектептің 10 «А» сынып оқушысы Төлебек Ақеркенің «Қазақ көркем шығармаларындағы балалар бейнесі» атты ғылыми жұмысына

П і к і р

Төлебек Ақеркенің ғылыми тақырыбы мен зерттеу жұмысы Ыбырай Алтынсарин мен Бейімбет Майлиннің балаларға арналған тәрбиелік мәні зор әңгімелеріндегі балалардың жағымды , жағымсыз бейнелерін нақты мысалдармен дәлелдеген .Сол кездегі қоғамның нақты проблемаларын талқылап, қоғам өміріндегі ұлттық дәстүрді дәріптеп көрсете білген.
Өз тарапынан Ақерке мақсатын толығымен орындай білген және Ыбырай Алтынсарин мен Бейімбет Майлиннің шығармаларындағы балалар бейнесін нақтылауда арналған ізденістерге маңызы зор болмақ.
Шығармаларды өз бетінше оқып, салыстыра талдай отырып, жұмысын қорытындылау барысында шығармалардағы балалар бейнесінің жағымсыз жақтарын атап көрсетуде айқын шеберлік танытқан Төлебек Ақеркенің болашағынан мол үміт күттіретін шәкірт.

Мектеп директоры: Сералиева Жаннат
Ағылшын тілі пән мұғалімі: Алтыбаева Меруерт

Бағыты: «Қазақстанның тарихи ескерткіштері және болашақ дамуы бар саяхат маршруттары»

Секциясы: Тіл білімі

Ғылыми жетекшісі:М.А.Алтыбаева
Ағылшын тілі мұғалімі
Ғылыми кеңесшісі: Б.Д.Тұрлыбеков
Қ.А.Ясауи атындағы Халықаралық
қазақ-түрік университеті ағылшын
филологиясы кафедрасының
меңгерушісі,с.ғ.к.,доцент. Тәлімгер.орг Полный текст материала на тему Children images in some Kazakh fictions можно смотреть в скачиваемом файле. На этой странице приведен фрагмент материала

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