Time of national culture opens diachroniccut of cultural-historical evolution, fixes specificity of correlation "time-nature-society-person", specificity of connection of objective and subjective time rhythms of ability to live as they were differently shown in various civilisations, within the limits of concrete historical time. Within the limits of local societies always there is аритмия, a discrepancy of time forms and existence of its components: individuals, their ability to live, conditions of this ability to live. Time of national culture is manyvectoral: person masters rhythms of own, natural and social life and retrospective and perspective. Convertibility of time can become way of association of cultural phenomena occurring at different times, enriching it.
Original representations about time are inherent in the nomadic people. Time for the nomad not vector, but cyclic. Interestingly not time current, and that in it occurs, time - not empty activity, and the interval of a life filled with events. With concept of recurrence of time representation about indissoluble communication of the past, present, future communicates also. Traditions and customs are the past living in the present: the generation is possibility to feel as communication between the present and future. For the Kazakh folklore the openness of art time, combination in айтысе, the epos several time numbers is characteristic at once.
In the Kazakh folklore past and present synthesis acts as an integrated whole. The ancestors which for a long time have died, constantly exist in consciousness live, helping or counteracting them. Time is perceived in a statics, нелинейно, heroes always remain young, two actions cannot be depicted simultaneously if they are made in two places by two various characters. The static perception of time defines ethical and aesthetic estimations and characteristics. The hero remains to them up to the end as well negative up to the end will be negative.
«The unity of perception of time has defined integrity of an ideal of the steppe soldier - the protagonist of medieval Kazakh poetry. A life - for the sake of terrestrial pleasures, destruction - for the sake of fight» [18]. Deviations from this norm cannot be. Worthy the one who will appear in fight by the first, - such drew legend and legend ancestors. The constant appeal to ancestors, to the past rich with nice events as to the standard, has caused extraordinary optimism of medieval Kazakh poetry. During crisis of a nomadic society - disintegration of Golden Horde, conflicts between the khanates which have arisen on its fragments, civil strifes - the understanding of time in unity of the past and the present has disappeared. There is no already former optimism, prospects of the future do not promise anything good. There are new values: not daring and courage, not pleasure by terrestrial pleasures, and work, knowledge, mind, kindness. There are elements of criticism of the modern validity.
«The new perception of time which has put forward a new ideal of the person... Stands out through creativity of poets XVIII-XIX centuries and marks a birth of the new literature, its the first, still uncertain steps» [19]. For the Kazakh oral literature art time is characteristic. In it time numbers can be combined some. Time is not limited by certain limits, it covers during a short instant the historical events which have left on time in an extreme antiquity, and not so old events, and simultaneously proceeding with it. The oral form did time changeable, there was a free transition from one event to another. The orientation of time and its type are defined by expansion of figurative thought of the subject who has been not constrained by any chronological frameworks. Often spatial width compensates conciseness, brevity of time or, on the contrary, spatial limitation is compensated by time expansion.
The figurative model of the world [20] which have arisen in folklore and the oral literature of Kazakhs, in the is art-time structure has emotional and rational sense. The art space bears the certain information - the function necessary for art such. The image of road has huge value not only because in it the unity of existential definitions acts most clearly but also because the space becomes concrete, is sated with time, real vital sense. Road - a life measure. Not only road-mission, but also road as alternative of good or harm. The art space, containing images of mountains, steppes, the sky, “correlates with qualitatively essential, lasting time, transferring space nomadic in unity of its objective existential co-ordinates”
It is one of examples of rapprochement of concept and an image when conceptual representations about time and space and perceptual representations about time and space make sanguineous complete unity »[21]. This chronology became a basis of creation of an image of art space and time in the Kazakh literature. For it are typical (in particular, it concerns prose) constant switchings of a literary narration from the past in the present, allowing to connect sketches from nature to descriptions of philosophico-historical and moral-ethical character. Art time and space are safely designed. Correlation and combination of various historical epoch, resettlement and collision of time layers, spatial jumps - here the major lines of existential transformations in the national literature of the Kazakh ethnos.
Various existential transformations, as well as diverse forms of art convention, serve the purpose of art development of the validity. For the Kazakh literature the is art-philosophical maintenance where the authentic intertwines with a myth where the heroic legend borders on steadfast moral-psychological research [22] is characteristic. Many modern products are deprived spatial and time limitation. Existential scale and universalismare similar to the cosmogonic designs peculiar to most ancient mythological thinking. Universal spirituality, communication of space with a human microcosm, eternity with momentary caducity pull together these products with мифопоэтическими the representations fixed in ancient monuments of verbal art.
Historical time adjoins with mythological and is often opposed mythological as a reality - ancient and not growing old dream of mankind. Language of ethnos, its paint, is art-graphic norms very difficultly give in to transformation. Remain constants and the figurative means born in bowels of traditional outlook [23]. All system of figurative thinking, aesthetic representations of the people depends on system of customs, from the traditions developed in compliance with features of the ability to live. The mental warehouse and national character are shown in national art and the literature in the form of original lines of national culture which often clothe in forms of customs and traditions. Eposes "Kyz-Zhibek", «Kozy-Korpesh and the Bayan Suly», for example, is a history, a life, customs of nomadic Kazakhs. Therefore for the Kazakh literature having rich orally-poetic tradition, development of the poetry which is based on oral addition, on improvisation [24] was quite natural. The art tradition of folklore, oral poetic creativity is rich and various. But as in it the outlook of ancient Kazakh ethnos is reproduced, it owing to the epical, mythological produces rather conditional descriptions [25].
The originality of a way of life of ethnos in many respects defines also an originality of its art thinking. Dependence of the Kazakh language, more precisely, dependence of is figurative-speech means on attitude and attitude of the people is found out practically in all spheres of the use of figurative speech. It has affected the sound nature of speech, on spatial designations [26]. Traces of a national mentality, especially Kazakh concepts and representations are appreciable in turns of speech, metaphors, the Kazakh poetry about the earth and waters, about steppe and mountains, about the nature and nomads. «The tradition is expressed tested, habitual to the national thinking, graphic receptions corresponding to national aesthetic tastes and all riches of a national language» [27].
So, the inner world of Kazakhs is transferred in steady, habitual for traditional consciousness and folklore tradition epithets, turns: a white beam, a light wish, warm blessing, moonlike, a white dome etc. At the same time with the black intentions, black earth, black night, a black stone - the words creating emotional colouring and perception. In language the comparisons connected with the phenomena, by the closest to a life of Kazakhs, - the nature, livestock, in general fauna are used. A hyperbole - one of traditional receptions of the Kazakh epos. The properties inherent in ancient oratory of Kazakhs, - the distant approach, a hint, allegorical meaning, and sometimes and direct speech - are present practically at all literary works.
History of the Kazakh poetry - the evident certificate of how traditional concepts of ethnos reflect a life, acts, feelings of individuals traditional forms. In it the reflexion, instructive maxims, morals questions (kindly and angrily), a family, a life, the relation to the woman etc. prevail. To a social problematics the Kazakh poetry addressed much less often, only during the special historical periods, for example in country revolt under the guidance of Isatai Taimanov and Mahambet Otemisov and, of course, during the epoch of Abai. During such periods social interests of poets (Byhar, Shortanbai, Myrat, Sherniaz, Maxambet, Syinbai, etc.) become aggravated. It gets thematic riches only since the time of Abai. Everyday philosophy, didacticismof Kazakh poetry have predetermined its function of the compiler of traditional sights at humanity, nobleness, harm, violence, etc.
Childbirth and genres of the Kazakh literature have the folklore and mythological memory. Folklore products stand and at sources of the Kazakh novel originating from the national epos, focused on complete coverage of a life, historical event. Its originality consists that novel formation went through folklore, the oral and written literature, the leading part in which was played by poetry. From an aesthetics of folklore, the aesthetics of the collective creativity expressing an estimation by traditional consciousness fine, tragical, invented, etc., the Kazakh literature has come to formation and development of individual creativity.
There are epoch when a question of art which owing to an originality of cultural conditions of development of the people can take up functions of social philosophy. It. It is quite applicable to creativity of Abai with which name self-identification of the Kazakh literature in respect of comprehension of its role in the decision of a national problem of education is connected. Abai, the founder of the realistic lyrics, the first in the Kazakh literature has applied a method of critical realism. On the foreground of literary process it has put forward a problem of art judgement общегражданских, socially-moral problems. In creativity of Abai cultural self-determination of the Kazakh ethnos has got new quality. Educational and critical realism, lyroepical poetry, the is art-psychological analysis of soul of the person, origin patriotic themes in the lyric poet, development of traditions of Russian and east cultures have caused reorientation of the Kazakh literature from didactics to realities of a life [28].
The national culture always, «at all stages of the development resisted to official culture and developed the special point of view on the world and special forms of its figurative reflexion» [29]. But the Kazakh folklore (legends, fairy tales, epic poems), national creativity in the form of daily informal conversation, has been processed by all kinds of the literature and art, being present in them as a code of national originality and self-identification. The hero of folklore personifies an allegorical image of justice. It is invincible, all-powerful, kind. It is the hero [30]. Writers transfer on modern events and on contemporaries the ready epic form, i.e. Transfer on them the tsennostno-time form of the past, attach them to the world of fathers, the beginnings and tops, as though canonise them during lifetime. « Epic familiarising with the world of ancestors and initiators of the hero-contemporary is the specific phenomenon which has grown on soil for a long time of ready epic tradition »[31]. And again arisen Kazakh novel has not rejected pathos of epic attitude. It kept feeling of a reality in scales of is art-epic idealisation, and only separate folklore motives (a powerful horse, fine acts, etc.) as style of expression of attitude of ethnos remain in the form of characteristic signs of idealisation.
Intellectualism, mythologize, philosophico-historical motives of the Kazakh novel are caused appreciably by that authors "work" with the "ready" cultural space set not only traditional consciousness, but also humanitarian culture as a whole, including philosophical, psychological, historical, philological knowledge. Historico-philosophical, historical and cultural, psychological prose often эссеистична. Active essay letter form expresses aspiration of the writer, having armed with convention means to get into deep layers of consciousness of the hero. But it is as though aphoristically perfected, it is plastic, evident or effective, bright this information has been embodied in their products, it is imposed on uniform смыслотворческую a problem - self-finding of the person by familiarising with the nature, the people, spirituality. The Kazakh novel gravitates to is complete-spiritual reconstruction of the validity in artistic images, showing in the best samples «art philosophy» world and the person.
Interaction of the folklore, epic, mythological moments of art development of the world and the novel can be considered and in diachronical to a number: as a problem of transplantation of artistic images and past products in the new cultural environment where they rationally also are aesthetically processed. Entered in perfect other sociocultural environment the art phenomenon gets new quality. In this case the image becomes less multiplane, turns in some kind of art abstraction, a symbol. It freely moves in cultural-historical space. So, the Kazakh writers willingly used legends and legends in the literary creativity. They served S.Mukanovu as means of acquaintance with history and ethnography. M.Auezov has expanded historical horizons of the novel-epopee by means of legends. A.Nurpeisov transforms a mythical Dark blue wolf into a harm symbol. A.Kekilbaev for the first time
A.Kekilbaev used for the first time the legend about mangurts, describing cruelty of aggressive wars. C.Ajtmatov reconstructed this legend as the philosophical parable warning against oblivion of the past, from stagnation of historical memory.
To a legend and a myth they sometimes address in the didactic purposes. Metaphoricalness, allegoricalness, convention invariably are present at their art processing. «Mythologizing» direction aspires to comprehend universe laws. It is dipped into a haze of centuries, touching millenia, idolises the nature. Spirits, aryahi, demons, gods and goddesses live in different objects-stones, trees, mountains, birds, fishes, bearing in themselves idea of transformation, passing from one condition in another. In ascertaining of firmness of laws of a universe not passing, but also tragical sense. Transition from a life to death, from physics to metaphysics is imperceptible, irrational, not subject to logic from the point of view of human life. The changeable and many-sided world at the same time remains eternal.
The world symbolics in the Kazakh prose focuses on values of traditional attitude, first of all on contemplation as a way of the relation to the world and with the world. Contemplation as the primordial cultural tradition of the Kazakh ethnos assumes the multilevel maintenance. It and a way of development of the nature, and perception of beauty of the Universe, its infinity, and movement comprehension. The ideal represents cultures from the vital world of the person. Universal idea of national consciousness of traditional sense is the idea of the dialogue perceived as the creative beginning. And the most important thing: acts of the person should inspire him, in aspiration to it the invincible inclination of the person is put in pawn to leave from chaos to harmony, from a shade to light. The originality of aesthetic sphere nomadic the Kazakh ethnos became an archetype of its modern art thinking