37IRSTI 02.91.01
Z.B. Malgaraeva, I.M. Akylbaeva
L.N. Gumilyov Eurasian National University, Nur-Sultan, Kazakhstan M.S. Narikbaev KAZGUU University, Nur-Sultan, Kazakhstan
The movement of steppe memory in time and space of a nomad: memory studies
Abstract. In the article considers with the problem of the steppe memory of a nomad within the limits of memory studies. The article deals with the problem of nomad steppe memory in the framework of memory studies.Steppe memory is presented as a system of intuitive memories from the past to the present and future. The movement of the steppe memory in time and space is investigated by means of codes. The scientific paper states, that cultural codes are carriers of the steppe memory, identity, knowledge, values and represent the internal historical, cultural reserves and heritage of the steppe civilization. The representation of steppe memory occurs through visual and cultural codes. Visual and cultural codes are the specific language for the transfer of national identifiers. The visual codes of the Kazakh nomad consist in the remodeling of the steppe memory through the art of the artists of Kazakhstan in the XXI century. The scientific paper attempts to make sense of the cultural code of the Kazakh culture through the visualization of two frequently encountered images - the image of a woman and a yurt. Comprehension of cultural codes occurs in the historical and philosophical feedback of the woman's image in the Turkic and Kazakh culture. Speaking in a broad context, the main identifiers that are within the visual and cultural codes are a person
— a nomad, a Kazakh, a woman in the Turkic and Kazakh culture of a steppe civilization, cultural markers
— steppe, aul, genus, yurt, mental patterns — intellectual syncretism, hospitality, respect and reverence for elders. Codes as data carriers of the steppe memory of the past move national identifiers into the present and future, creating harmony of the traditional world projecting into the modern world.
Key words: steppe memory, memory studies, visual and cultural codes, Kazakh nomad, the woman's image in the Turkic and Kazakh culture.
DOI: https://doi.org/10.32523/2616-7255-2019-129-4-91-103
Introduction
Steppe memory is an important reflection and identifier that have the ability to comprehend and transmit information about the past to the present and the future. The search for identifiers of the steppe memory of the modern Kazakh - nomad is caused by the need for critical reflection on the choice: what to remember about your past and how to do it, and what to forget. How to form and not lose the current identity in the modern world? What artifacts and cultural codes most convey the inner spirit and worldview of the people?
Today, the steppe memory is faced with modern challenges. Identifiers of steppe memory are between two cross-border points of influence of innovations and traditions. On the one hand, the impact of globalization, clip consciousness, the European model of values that promote tolerance and liberalism, competitiveness and unification. On the other hand, at the turn of the 20th and 21st centuries, the time comes for a renaissance (revived) system of steppe memory based on national values and trends reflected in the past experience of a Kazakh nomad. In addition, the steppe memory of Kazakhstan and its identifiers were placed in a system of ideological regimes «Gameover» on «playagain.»
The study of memory is one of the competitive areas in the scientific community, allowing interdisciplinary research into the problem of steppe memory.
It discusses various nuances and techniques that can shed new light on history and its actualization in contemporary discourse. For example, the work of M. Halbwachs «The Social Framework of Memory» (Halbwachs, 2007) shifts the focus of historians from the «past» object to «memory» and «collective memory», guided by the idea of the inevitable self-preservation of
the most important artifacts and themes in collective memory. The concept of Frances Yates («The Art of Memory»), using the examples of philosophical systems of the Renaissance, considers memory as a magical method for revealing the secret harmony of the earthly and transcendental spheres (Yeats, 1997).
What is steppe memory? It is known that memory is a fairly mobile substance in time and space. It includes three dimensions of time: past, present, and future. Each generation, looking back at the past, looks at it from the point of view of today. "The past is available to us not the way it was, but only as a "reconstruction", the rules of which are set today, "...society requires people from time to time not just mentally replay the previous events of his life, but also retouch them to clean up and add, so that we remaining convinced of the accuracy of our remembrance ascribe a charm to them, which was not possessed by reality" (Safronova, 2018, p. 19).
Today, the problem is even more relevant. The world goes from local to global. Modern man is at the intersection of the influence of civilizations, cultures, worldviews, which reinforces the problem of adequate understanding and preservation of national identifiers of the steppe memory, especially in the context of the civilizational loss of nomadism to settled culture. «The steppe more readily recognized the state in man than man in the state; learned to think in the category of a blood-related tribe, but failed to understand its unity on the scale of a nation and people. She easily accepted the cardinal ideas of world development in the steppe, just as easily parted with them; I didn't suffer the torment of the birth of a lofty idea that could raise the entire steppe in a single impulse» (Auezov, 2016, p. 92).
Steppe memory is a multidimensional space of times where the macrocosm and the micro world collide. The steppe gave rise to the freedom of the nomad in relation to space. The movement of a nomad in the steppe is directed in any direction, including circular movement, linear and curved.
Today, steppe memory manifests itself in various forms, including a new identification model based on visual cultural codes, which are still in a state of reinterpretation. Codes act as intermediaries and carriers of steppe memory, identity and knowledge. They represent the internal reserves and benefits of the heritage of the steppe civilizations.
In visual cultural codes, cultural and historical memory is concentrated, the identity of the people, supporting the connection between past, present and future.
In the article, the steppe memory of a Kazakh nomad will be presented:
- remodeling of the steppe memory from the past to the present and the future by analyzing the most recognizable markers - visual codes of a Kazakh-nomad, represented by the art of Kazakhstani artists of the 21st century;
- cultural codes are examined through the historical-philosophical feedback of the image of women in Turkic and Kazakh cultures.
Methods
The complex nature of the study of the steppe memory in space and time within the framework of memory studies was carried out using the Approaching Visual Materials method, presented by the art of 21st century artists in Kazakhstan. This approach made it possible to directly touch and comprehend the movement of the nomadic steppe memory in space and in time. A look into the past makes us take a fresh look at the influence of visual codes of the steppe memory on the outside world in the present and their advancement into the future.
The method of remodeling the experience of the past using historical and philosophical analysis made it possible not only to describe past events, but to interpret the steppe memory and the complex nuances of the images and ideas of the past that these identifiers broadcast over time and what happens to them today.
Conducting historical and philosophical feedback on the image of a woman in Turkic and Kazakh culture will show the accumulated experience of identifiers that give a new understanding
of the female image in the steppe memory and what we can learn from it.
Results
Kazakhstani society today is in search of identity and faces a choice of what to retain and what to remember about its past, what to pass on to the next generation and how to do it. The best guide for this would be images of collective steppe memory (cultural codes), intuitively splashing out into pictures, poems, music. Codes where the state, society, people, people can find themselves. Through them, the soul wakes up and becomes ready for a logical-reflective understanding of history.
Halbwachs wrote, «History usually begins at the moment when tradition ends, when social memory fades or collapses» (2005, p. 10). Therefore, collective memory does not coincide with history; it creates a connection between the past and the present. We can say that collective memory helps us navigate in society, in the space and time of history, to see a nation as if in 3-D format. In addition according to many researchers, the starting point of collective memory is the visual codification of historical heritage.
Steppe memory is the main national identifier of modern Kazakhstan. The steppe is a mobile substance in time and space. The steppe created a nomad nomad, subjugating him to himself, but at the same time gave unique identifiers that passed civilizational filters of time and space. They are enclosed in codes that transmit the world of the past to the world of the present and future.
Steppe memory can be considered as communicative memory. They are very close in internal understanding. Communicative memory is poorly formalized; rather, it is an oral tradition that arises in the interactive context of human relations in everyday life, a kind of «living memory» that has existed for three generations: children - fathers - grandfathers (Romanovskaya, 2010, p. 40). In the steppe memory, there is the practice of transmitting national identifiers from father to son, from the older generation to the younger. Today we can note that this practice of transferring the experience of the past is a phenomenon of the survival of society, the state and the people.
The recognition of the steppe memory is manifested in the visual cultural codes represented in the art of contemporary artists Erbolat Tollebaya and Carmine Barbaro and their historical and philosophical rethinking.
Codes carry information (identifiers) that express the mental identity and unity of the peoples born and brought up by the Steppe and the steppe memory: nomad - nomad, triad of steppe culture: aul - clan - yurt (family); the unity of the nomad, nature, the universe, the cosmos; a woman as a keeper and translator of the values of the steppe memory: family unity, hospitality, respect and reverence for elders, etc.
Debate
Art as a visual code of the steppe memory. We will focus on modern artists of Kazakhstan to see in practice how the steppe memory carries identifiers of the Kazakh nomad and the phenomena of new experience in time and space? Here the steppe memory is considered as a place of consensus of historical and cultural memory.
Performances by contemporary artists Erbolat Tolepbaya and Carmine Barbaro, born in different countries of Kazakhstan and Italy, but who see more than what is visible. It was they who managed to show and convey the visual code of the steppe memory through painting. Memory in paintings as a phenomenon and a magical method of the relationship of the transcendental and real worlds in the paintings of artists is ambiguous.
The paintings of these artists are distinguished by their desire to experience the "impression" of the inner, new world of the Kazakh - nomad. Through their paintings, the values of tribal roots, traditions, customs, families immersed in vast steppe spaces as a movement in space and time from the past to the present and future are transmitted as visual codes.
In the paintings of the artist Yerbolat Tolepboy «Warm yurt», «Morning», «Under the sun» and Carmine Barbaro «From nomadism to independence», «Three grandmothers» the presence of
the past is placed through the images of the steppe, nomads, yurt in the modern, sovereign world of Kazakhstan. A new understanding is being created of the relationship of the past world with the present, as «a world embedded in the world».
The main identifier of the steppe memory in the paintings of artists is humanity, a nomad man, a nomad. The visual code of the steppe memory in the paintings raises the problem of spirituality, the aspirations of a man - a nomad up like a nomad - bucks from the Turkic time. The movement of the nomad personifies the idea of the rotational movement of the earth. Thus, the steppe memory conveys the natural syncretism of the nomad's thinking, which manifests itself in the fusion of the steppes with the elements of space, the sun, sky and the surrounding world. Spirituality and matter are united in the steppe space.
A nomad is placed in space and time, where there is an understanding of «lack of time» as a reminder of his spiritual, cultural experience and worldview. Space and time in the steppe memory of a nomad - Kazakh were translated by the expressions: «Bie sauym uakyt» - «time between two milking of mares», «sut pisirim uakyt» - «time to boil milk», «shakyrym» - «the distance at which the call of a person is heard», «gozy kosh zher»- «the path of one transition of kids during the move» (Koyanbaeva, 2011, p. 30).
The perception of space as a universe, a world in the steppe memory of a nomad is interesting. These are associations with the geometric shapes of a circle or quadrangle. Even in the past, a Kazakh - a nomad, the ancient Turks represented the world quadrangular. «There were many enemies on four sides», writes the author of the Great Inscription of the Kul-Tegin Monument. «Having gone to war, the peoples of the four countries — they conquered all, forced everyone to peace» (Auezov, 2016, p. 72).
However, the continuous movement in a circle and the subjugation of the nomad to the steppe space created a type of housing that was quickly and easily removed from the place, the most adapted to nomadic life - Yurt. The circle as a perfect geometric figure, movement in a circle is a perfect life form. In this system, the nomad is included as an element of the universe and space. It is syncretic with the outside world. Where is the center of the world for a nomad? This is a triad: Steppe - Aul, Rod - Yurt, Family.
Auls in the steppe memory were centers of upbringing and training in the system of «a big house and a big family» in the life of a Kazakh nomad. Aul traditionally included 3-4 generations from one ancestor. The bearers of moral values and steppe memory are the elders (elders), on whose veneration the upbringing of the young generation in the family is based. Respected elders were aksakals who have vast life experience, participated in the education of youth at home - aul. The wisdom of the aksakals was to teach the mind, traditions, customs and respect. They had the right to scold or explain if they saw the impudent and rude attitude of the young towards others.
Respect for elders has been formed since childhood. Young people were educated by respecting the older generation in the family and aul, while addressing them only as «Siz» which is polite form of address. They were brought up as a support for the younger generation, as well as traditional values and qualities, reverence and love for the motherland - the steppe.
Clear structuring of space by a nomad as a world of order and harmony in a circle. «The very first, honorary circle «Ulken uy» - a white yurt, the elders of the village, the second circle «Otau» - the gray yurt of married sons, then the gray yurt that belonged to the closest relatives of the elder. The next circle of the yurt is brown or black - the members of this community serving the village. Economic space (koshars, wells, pastures, etc.) - the fifth circle» (Koyanbayeva, 2011, p. 30).
In all traditional cultures, the house was Imago mundi - the image of the Universe (Borbasova, 2016). The yurt is the same age as nomadism and, in a sense, its symbol», - writes historian A. Seidimbek (1985, p. 207).
The symbolism of a yurt with an open doorway reflects the connection of the real traditional
world with space, it is a portal to another reality. Today, the yurt acts as a "living memory» that has existed for many generations. It represents a model of the world and the perception of the phenomenon of space by a nomad as an endless steppe, a continuous circle. In the form of a yurt, it represents a hemisphere. Scientists Zh. Karakozova and M. Khasanov note an interesting fact: «As a quadrangular shape of the hut could have arisen only among woodlands (parallel to tree trunks determined the shape of the dwelling), triangular wigwams repeat the sharp geometry of rocks, sakli - mountains, plague - glaciers, the hemisphere of a yurt is a small copy of the sky above the steppe and organically «fit» into the natural landscape. In other words, our ancestors also owned art, which is akin to Chinese Feng Shui or Indian Vastu» (2011, p. 15).
A yurt includes a nomad in his space, covering it from above and personifying the relationship of the triad of space, the steppe and the nomad. As noted by Imanbaeva Zh.A. «Cosmos was also thought of as a huge body, which had a head, trunk and legs. All thoughts were formed on types, so the sun symbolized the head of the world, its rays - the body of this world, the earth - the legs of the world. Also in the yurt: the shanyrak of the yurt is its head; torso - domes, uyks; legs - kerege» (2018, p. 33).
The image of a woman occupies a large place in Turkic culture and modern Kazakh painting. The object of study as a cultural code is a mental feature of the image of a woman in Turkic culture. «All the features of the nomadic lifestyle of the Kazakhs are reflected in their culture», Akiner believes (Akiner, 1995, p. 18, 19).
A special vision of the image of a Kazakh woman is reflected in the painting «Three Grandmothers» by Carmine Barbaro. According to the artist, the work was written at the time of the evening feast - iftar - the evening when they gather at the dastarkhan to perform the Auyz ashar ritual in the Muslim month of Ramadan (Carmine Barbaro, 2018). Through female faces, the author of the picture shows the movement of the steppe memory in time, uniting the world of traditions and modernity. In the picture, the Kazakh woman is the personification of the visual code of transferring the traditions of family foundations, warmth, the traditional communication system through steppe hospitality, intergenerational communication and respect. In the paintings, a woman is usually covered with a white headdress, surrounded by children, household items. A woman is a carrier of traditions of hospitality and respect as identifiers in the steppe memory. Hospitality as the cultural code of the steppe memory today is not only an attribute of the Kazakh, but has a deep sacred meaning as the virtue, good and happiness that accompanies family, clan, aul from generation to generation. Steppe wisdom says that where there is no hospitality, then there is no joy and happiness, there is no desire of people to love their own kind.
Respect was brought up by women in a Kazakh family. The woman is the main educator. In the family hierarchy, the most respected and revered was the older generation - grandparents. In the steppe memory, wisdom says: «A house where there are old people is full of glory and wealth.» Caring for the older generation, for elderly parents is the main responsibility of children. The wisdom of the Kazakh family is: «How do you raise a child, you will receive such respect in old age».
«There was an idea that the central figure in the societies of nomads of antiquity and the Middle Ages was a male warrior. This statement seems quite logical and is supported by information from numerous written, archaeological, ethnographic, iconographic and other sources. At the same time, in recent decades, materials have appeared in the light of which such a picture of gender history is not so unambiguous. So, the results of archaeological excavations of a number of monuments of the Scythian-Sarmatian period, including the burial places of «outstanding» women, who obviously occupied a rather high place in society, and their social role was clearly not limited to housekeeping, were introduced into the scientific interpretation and interpreted» (Tishin, 2015, p.4).
As everyone knows, in a nomadic society the status of any person, including the leaders
themselves, was not uniquely formally fixed. Direct economic dependence on natural factors, a nomadic mobile lifestyle, permanent external challenges (both natural and anthropogenic in nature) and other factors made the life of every member of society relevant and socially relevant. But this was especially true for women, whose role went far beyond their traditional natural capabilities. The Turkic woman was not only a mother, daughter, beloved, etc., she often became a warrior - defender, at certain times the head of a family or clan, an economic partner.
Therefore, the Turkic woman was not belittled by social prohibitions and customs. «In Turkic society, women were not oppressed and deprived of their rights» (Sadri Maksudi Arsal, 2002, p. 275). Customs rather gave her the opportunity to reveal herself in such a way that society, thanks to every woman, became stronger, more united. Therefore, the images of strong and beautiful women were reflected in the Turkic culture, as well as national cultures formed on its basis.
History has preserved the names of famous women who have become the greatest pride of Turkic civilization.
Chechek was the daughter of the Khazar Khagan Bagatyr (Bihar), who married the Byzantine emperor Constantine (733). After the adoption of Christianity, she was called Irina. She enjoyed the influence of the nobility. «All of Constantinople imitated her clothes, and she was called «checkyon» or «tsitsakiy». The emperor wore such a cloak on great celebrations. She brought this cloak as a gift to her husband from her native Khazaria. Soon all of Europe began to wear such raincoats. Her son Leo was emperor of Constantinople in 755-780 and he was called Leo Khazar because of respect for the motherland of his mother» (Halipaeva, 2015, p. 114).
Rabia was Kumyk woman captivating Istanbul with her beauty. «The Turks called her «Dagestan Guzel», novels were dedicated to it (Namyk Kemal «Zhesmi»). She was born in Tarki in the second half of the 16th century, and married Osman Pasha. As the historian Yilmaz Oztuna writes, «she went down in history as the most beautiful woman of the fourteenth century» (Halipaeva, 2015, p. 114). Kumychka Rabia Mikhridil captivated Turkey not only with external, but also with internal beauty, upbringing and dignity.
Proud and beautiful Kipchak woman Appak, who became the wife of the great poet Nizami. «Appak had an extra ordinary mind, an internal culture, she perfectly knew folk tales and songs, heroic legends of her people. She played a significant role in the fate of the poet, inspired him to create captivating female images: Shirin, Nushabe, Nistardanjahan» (Halipaeva, 2015, p. 115).
Domalak-ana (real name Nurila) - the third wife of the famous Kazakh batyr, Baidibek bi. For a deep knowledge of the traditions, the Koran, skillful possession of the Word, the people respectfully called her «El ana» - «Mother of the Family». Baidibek bi affectionately addressed her with "Adal zharym» - "Just Beloved" for her affection and patience (Dysenbaev, 1991, p.19).
In the work of Hafiz Tanysh «Sharaf-name-i-shah» the daughter of the Kazakh khan Kasym is mentioned. According to V.L. Vyatkin, «the ruler of the Uzbeks, Ubaidallah Khan, after the victory over the Safavids and Baburom sent his ambassadors to Kasym Khan to woo one of his daughters to him» (Atygaev, 13). In «Musahir al-bilad» of Muhammedyar ibn Arab Katagan it is reported that Kazak Khanim (a daughter of Kasym Khan was called this way in Bukhara; real name was Kutlug Sultan Khanim) was the mother of Abd al Aziz Khan, the heir to Ubaidullah Khan. It is known that later Kazak-Khanym gained the respect of the inhabitants of Bukhara with her mind and religiosity. Owning large land plots, she was involved in charity work and improvement of the mahalla» (Nurtazina, 2009, p.49).
Hansha Bopai was the eldest wife of Abulkhair Khan. «Her marriage with Abulkhair in terms of the strength of mutual affection of the spouses and their complementarity ... is comparable with the well-known examples of such harmonious marital tandems as Julius Caesar and Cleopatra, Prince Igor and Princess Olga, Emir Timur and his elder wife Bibi Khanum, Sultan Babur and his wife Sultan-Nigar-Khanym and others» (Erofeeva, 2007, p.387). The historian Levshin noted an unprecedented detail: Khansha Bopai «had a seal with her monogram - a difference that was
very unusual among the people who were used to treating women as slaves, removing them from any participation in public affairs» (Erofeeva, 2007, p.388). It is known that «the appearance of Abulkhair together with his wife in front of the kurultai significantly strengthened the authority and weight of the initiatives put forward by Abulkhair» (Erofeeva, 2007, p. 388).
After the death of Abulkhair Khan, Hansha Bopai continued his policy. Her correspondence with the Russian ambassador A. Tevkelev and other officials of the tsar's administration was preserved. Until the death of Hansha Bopai, despite the difficulties in relations with the Russian administration, she tried to maintain relations with the tsar's administration. The authority of Hansha Bopai among the people was so high that the mausoleum where she was buried was for a long time a place of pilgrimage for many Kazakh women (Karibayev, 2015, p. 115).
A reflection of the enormous significance of a woman's social statuses, for example, in Kazakh society is the variety of steady addressed to her: kyzym (daughter for older siblings), karyndas (sister for older brothers), anam (mother for children), asyl azhem (noble grandmother), sinlim (sister for older sisters), apa (older sister), bikesh (girl), suyiktim (beloved), zhybai (wife, my soulmate), qurbim (true friend), gashigim (beloved), zhanim (soul), qalqam (sweetheart), zharym (dearly beloved wife), yerkem (spoiler), aruim (my beauty) , zheneche (elder daughter-in-law), baldyzym (sister of the wife), qudasha (younger sister of matchmakers), etc. Mother and wife, daughter, sister and grandmother have such great importance in the life of Kazakhs.
What did the researchers write about women in Turkic and Kazakh culture? Researchers especially noted freedom, courage, caring, industriousness, chastity of Turkic women. «Their women are chaste, and nothing among them is heard of their shamelessness. Girls and women ride and deftly ride horses like men. We also saw how they wore quivers and bows. And both men and women can ride long and hard» (Karpini, 27).
The Iranian author Gardisi in his work «Zayn al-Akbar», in the section on Karluk Turks, wrote that Turkic women were distinguished by a high degree of morality and chastity» (Sadri Arsal, 2002, p. 275).
«Their women always walk with an open face; they are excellent riders», - wrote a 19th-century French scholar Karoly Ujfalvy von Mezokovesd about Kazakh women (2006, p. 240).
The role of women in a nomadic society. In the Oghuz epic collection «Book of Dede Korkut» the installation of an ideal wife for a nomad is reflected in the image of a caring housewife: « The support of the house is the one that, when a guest comes from the steppe to the house, when her husband is hunting, she will feed that guest, give him water, respect and let him go» (Barthold, 1962:13). A similar characterization of the role of women in society can be seen from the adage attributed to Genghis Khan: «A man is not the sun to show himself everywhere to people [ at the same time]. A wife, when her husband goes hunting or to war, must keep the house in order and tidy so that when a guest stops at the house, he will see everything in order, and she has made a good meal and cooked everything that the guest needs. [Such a wife] naturally creates a good reputation for her husband, raises his name, and [her husband] at public meetings will rise like a mountain. Good qualities of a husband are recognized by the good qualities of a wife. If the wife is bad and irrational, dissolute and dishonorable, then the husband is known by her! « (Rashid ad-Din 1952, p. 261).
«The Turkish sociologist M. Ziya (Gokalp) believed that women had the right to participate in meetings of the nobility (the kurultai) in pre-Islamic Turks, and the kagan made decisions together with his wife, Khatun» (Tishin, 2015, 5).
The girl was to become not only the support of the house, but also the one who, to a large extent, was the support of her husband, to contribute to the formation of her companion as a batyr, a hero. In numerous dastans (Yer-Targyn, Kozy Korpesh and Bayan-sulu), a woman acts as a support for a man. In periods of history, difficult for Kazakhs, women took up arms and defended the land on a par with men. The warriors - Gaukhar, a wife of Kabanbai batyr; Nazy, a daughter
of Kabanbai batyr; Bopay batyr, a sister of Kenesary Khan; Aitolkyn, a daughter of Abylay Khan; Yesenbike, a daughter of Karasay batyr, Aibike, a daughter of Bulanbai Batyr.
In Turkic society (in the northern Uyghur state), according to Chinese sources, women also performed the role of religious servants (Sadri Maksudi Arsal, 2002, p.252). Interestingly, the Turks have no words to express such concepts as a prostitute and «illegitimate». «The words expressing these concepts are taken from the Persian language. All this speaks in favor of the fact that ... women were chaste and honest» (Sadri Maksudi Arsal, 2002, p. 271) and society appreciated and reproduced this type of woman. The same song is narrated about Burla-Khatun and her son, who was ready to die for the sake of preserving his mother's honor (Barthold, 1962, p.28).
However, the most significant social role of a woman is the status of mother. Mothers of many sons have traditionally enjoyed high status, especially if her sons or grandchildren became famous among the people, famous batyrs and fair judges. In the epic «The Book of Dede Korkut», Kazan Bei, turning to his enemy, agrees that he stole his wealth, his wife, and his son. He asks him only to return his mother «Listen, giaur! Give my mother to me, I will go back without a battle» (Barthold, 1962, p. 29).
The traditional Kazakh mother is characterized by sensitivity, modesty, hard work, restraint, kindness, aesthetics (especially in the education of girls), justice. Many Russian researchers of the 18th-19th centuries living for a long time in the steppe noted this remarkable quality of Kazakh women. Russian researcher of the 18th century Y. Gaverdovsky, who stayed for a while in a Kazakh house, wrote that, as a guest, he received so much attention and care «even with an advantage against her own children; therefore, she deserves the name of my second mother» (Gaverdovsky, 2007, p. 272).
American researcher I. Laude-Cirtautas, a professor at the University of Seattle, is surprised to give an example of the affectionate expressions used by Kazakhs in referring older to younger. The researcher writes: «When dealing with children, their speech acquires gentle intonations. The author was struck by the care and kindness of the Kazakhs about children, who, in turn, respect the elders. Older people express their love and affection for children using diminutive and diminutive suffixes, various constructions of goodwill and blessing. Laude-Cirtautas gives such expressions addressed to both boys and girls, boys and girls, for example, kalka (dear), shiragim (my light), kozym (lamb), etc.; expressions when referring to boys and girls of any age (Zhuldyzym - a star, kunim - a day); expressions used only when referring to boys and youths (botam, tulparim, batyrim, torem - ruler); only to girls and young women (karashashym, altynym, aruyim, aiym). Even words with a derogatory meaning are used as affectionate terms (tintegym - mischievous) (Laumulin, 2016, p. 179-180).
The quintessence of the special status of the Kazakh mother are folk proverbs: «Without a father, an orphan is half an orphan, but without a mother - a full orphan»; «Life without a mother is an extinct coal».
Legal institutions on the status of women in the Turkic and Kazakh culture. Respect for women can be traced through the legal monuments of the Turkic and Kazakh culture. According to Chinese Chronicles, in the Turkic States of the VI-VIII centuries, there was a rule: «Whoever commits violence against a young girl is fined or punished by being forced to marry this girl» (Sadri Maksudi Arsal, 2002, p. 212). To preserve the material and social status in ancient Turkic society, according to Chinese sources, there was a levirate institution: «Sons, nephews and younger brothers marry the widows of their fathers, uncles and older brothers» (Sadri Maksudi Arsal, 2002, p.213). «In the customary law of the ancient Turks, the issue of marital fidelity was given great importance. Adultery committed by a married man was punishable by death. For this offense, the same punishment was supposed in the Turkic law of the VI century, in the Yass of Chingiz and the laws of the Kazakh Khan Tevke», - writes the historian Sadri Maksudi Arsal
(Sadri Maksudi Arsal, 2002, p. 274).
Standards of the law highly supported the status of the mother. Non-fulfillment by the children of the will of the mother, especially if it is a widow who is leading an independent household, amounted to an offense. In Zheti Zhargy, a measure of punishment for disobedience of a mother by her daughter and son was stipulated. If a woman became a widow, special public institutions (amengerlik), the life of the mother and her children was protected by her husband's relatives.
Kazakh women are guardians and translators of folk wisdom. The children, even in the cradle, heard cui, legends, dastans that people loved from the mothers, grandmothers, sisters and then they sang and retold to their younger sisters and little brothers as well. This peculiarity of upbringing carried out the most important functions in society: through the songs and poetry the history of the people and its traditions were transmitted and preserved; music and folk traditions became a factor in the unity of society, raised in girls - future mothers, kindness, tenderness, emotionality.
Looking back at the history of the Kazakh people, you understand by some inner intuition that the Kazakh woman is a special woman. She is strong and clever, beautiful but shy, infinitely kind but just and strict. Due to proper upbringing, women became the mainstay of their family and family. They gave strength to their sons and husbands, helped them survive in the most tragic moments of our history, fearlessly taking the reins of power into their own hands.
Therefore, in modern Kazakh painting, such a significant space is occupied by the image of a woman: mother, grandmother, wife, sister. This is the mental past that dictates the accents of modernity.
Список литературы
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28 Кэрiбаев, Б.Б. ^азак хандыгы дэуiрiндегi аналар мен ханымдар. ^аз¥У Хабаршысы. Тарих сериясы. - № 3(78). - 2015.
З.Б. Малгараева, И.М. Акылбаева
Л.Н. Гумилев атындагы Еуразия улттыцуниверситет!, Нур-Султан, Казахстан М.С.Нарыцбаев атындагы КАЗГЮУуниверситет!, Нур-Султан, Казахстан
Кешпендшердщ уакыт пен кещстжтеп дала жадыныц козFалысы: есте
сактауды зерттеу
Ацдатпа. Макалада memory studies аясында кешпендшщ дала жадыныц мэселес карасты-рылады. Дала жады еткен заманнан GYrim^ жэне болашакка жететш интуитивт естел1ктер жYЙесi рет1нде ^сынылган. Дала жадыныц уакыт пен кещспктеп козгалысы мэдени кодтар аркылы зертте-ледг Ж^мыста мэдени кодтар дала жадыныц, бiрегейлiктiц, бшмнщ, к¥ВДЬ1лыктардыц тасымалда-ушылары болып табылатыны жэне дала еркениетшщ шю тарихи, мэдени резервтерi мен м^расын
курайтыны дэлелденед1 Дала жадыньщ репрезентациясы жYргiзiледi визуалды жэне мэдени код-тар аркылы втедi. Визуалды жэне мэдени кодтар улттык идентификаторлар тасымалдауыц белгiлi бiр тiлi болып табылады. Казак квшпендшщ визуалды кодтары XXI гасырдагы Казакстан сурет-шшершщ внерi аркылы дала жадысын кайта калпына келтiруден турады. Жумыста эйел мен киiз YЙ сиякты жиi кездесетiн екi бейнеш елестету аркылы казак мэдениетшщ мэдени кодын пайымдау эрекетi жасалады. Мэдени кодтарды пайымдау тYрiк жэне казак мэдениетвде эйелдщ тарихи-фи-лософиялык бейнесшде орын алады. Егер кец магынада айтатын болсак, визуалды жэне мэдени кодтардыц iшiндегi негiзгi идентификаторлар - квшпендшер - адам, казак, дала вркениетшщ тYркi жэне казак мэдениетшдеп эйел, мэдени маркерлер - дала, ауыл, ру, киiз YЙ, менталдык паттерндер - интеллектуалдык синкретизм, конакжайлылык, Yлкендердi курметтеу.
ТYЙiндi свздер: дала жады, memory studies, визуалды жэне мэдени кодтар, казак - квшпендшер, тYркi жэне казак мэдениетшдеп эйелдершщ бейнесь
Малгараева З.Б., И.М. Акылбаева
Евразийский национальный университет им. Л. Гумилева, Нур-Султан, Казахстан Университет КАЗГЮУ имени М. С. Нарикбаева, Нур-Султан, Казахстан
Движение степной памяти во времени и пространстве кочевника: memory
studies
Аннотация. В статье рассматривается проблема степной памяти кочевника в рамках memory studies. Степная память представлена как система интуитивных воспоминаний из прошлого в настоящее и будущее. Движение степной памяти во времени и пространстве исследуется посредством культурных кодов. В работе утверждается, что культурные коды являются носителями степной памяти, идентичности, знаний, ценностей и представляют внутренние исторические, культурные резервы и наследие степной цивилизации. Репрезентация степной памяти происходит через визуальные и культурные коды. Визуальные и культурные коды выступают определенным языком передачи национальных идентификаторов. Визуальные коды казаха - кочевника заключается в ремоделиро-вании степной памяти через искусство художников Казахстана XXI века. В работе делается попытка осмысления культурного кода казахской культуры через визуализацию двух часто встречающихся образов - образ женщины и юртаОсмысление культурных кодов происходит в историко - философском feedback образа женщины в тюркской и казахской культуре. Если говорить в широком контексте, основные идентификаторы, которые находятся внутри визуальных и культурных кодов - это человек - номад - кочевник, казах, женщина в тюркской и казахской культуре степной цивилизации, культурные маркеры - степь, аул, род, юрта, ментальные паттерны - интеллектуальный синкретизм, гостеприимство, уважение и почитание старших. Коды как носители информации степной памяти о прошлом двигают национальные идентификаторы в настоящее и будущее, создавая гармонию традиционного мира, проецирующего в мир современный.
Ключевые слова: степная память, memory studies, визуальные и культурные коды, казах -кочевник, образ женщины тюркской и казахской культуры.
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Information about authors:
Malgarayeva Z.B. - associate professor, Department of Philosophy, L.N. Gumilyov Eurasian National University, Nur-Sultan, Kazakhstan.
Akylbayeva I.M. - professor of the Center of «Rukhani Jagyru» and the history of Kazakhstan», KAZGUU University, Nur-Sultan, Kazakhstan.
МалFараева З.Б. - философия кафедрасыньщ доценп, Л.Н. Гумилев атындагы Еура-зия улпъщ университет^ Нур-Султан, Казахстан.
Акылбаева И.М. - «Рухани Жагыры» жэне Казахстан тарихы »орталыгыныц про-фессоры, КАЗГЮУ Университет^ Нур-Султан, Казахстан.
«Л.Н. Гумилев атындагы Еуразия улттык университетшщ Хабаршысы. Тарихи гылымдар. Философия. Дштану» сериясы журналында макала жариялау ережес1
1. Журнал максаты. Мукият тексеруден еткен, гылыми кундылыктары бар тарих, археология, антропология, философия жэне дштану салаларыньщ барлык багыттары бой-ынша материалдар жариялау.
2. Журналда макала жариялаушы автор макаланыц кол койылган бiр дана кагаз нускасын Гылыми басылымдар белiмiне (редакцияга, мекенжайы: 010008, ^азакстан Ре-спубликасы, Нур-Султан каласы, Сэтпаев кешесi, 2, Л.Н. Гумилев атындагы Еуразия улттык университет^ Бас гимарат, 402 кабинет) жэне vest_hist@enu.kz электрондык по-штасына Word форматындагы нускасын жiберу кажет. Макала мэтшшщ кагаз нускасы мен электронды нускалары бiрдей болулары кажет.
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Автордыц колжазбаны редакцияга жiберуi макаланыц Л.Н. Гумилев атындагы Еуразия улттык университетшщ хабаршысында басуга келiсiмiн, шетел тiлiне аударылып кайта басылуына келiсiмiн бiлдiредi. Автор макаланы редакцияга ж1беру аркылы автор туралы мэлiметriц дурыстыгына, макала кешiрiлмегендiгiне (плагиаттыц жоктыгына) жэне баска да зацсыз кешiрмелердiц жоктыгына кетлдеме бередi.
4. Макаланыц келемi 18 беттен аспауга тиiс (10 беттен бастап).
Макаланыц курылымы
5. XFTAP http://grnti.ru/ - бiрiншi жолдыц сол жактауында;
Автор(лар)дыц аты-женi - жолдыц ортасында;
Мекеменiц толык атауы, каласы, мемлекетi (егер авторлар эртYрлi мекемеде жумыс жасайтын болса, онда эр автор мен оныц жумыс мекемес касында бiрдей белгi койылу керек) - жолдыц ортасында;
Автор(лар)дыц E-mail-ы - жакша шшде, курсивпен, жолдыц ортасында;
Макала атауы - жолдыц ортасында;
Аннотация (100-200 сез; макаланыц атауын мейлiнше кайталамауы кажет; эдебиет-терге сiлтемелер болмауы кажет; макаланыц курылысын (кiрiспе, макаланыц максаты, мш-деттерi, карастырылып отырган сурактыц тарихы, зерттеу эдiстерi, нэтижелер/талкылау, корытынды) сактай отырып, макаланыц кыскаша мазмуны берiлуi кажет).
ТYЙiн сездер (6-8 сез не сез тсркеа). ТYЙiн сездер макала мазмунын керсетш, мей-лiнше макала атауы мен аннотациядагы сездердi кайталамай, макала мазмунындагы сез-дердi колдану кажет. Сонымен катар, акпараттык^здеспру жYЙелерiнде макаланы жещл табуга мYмкiндiк беретiн гылым салаларыныц терминдерiн колдану кажет.
Негiзгi мэтш макаланыц максаты, мiндеттерi, карастырылып отырган сурактыц тарихы, зерттеу эдютер^ нэтижелер/талкылау, корытынды белiмдерiн камтуы кажет - жола-ралык интервал - 1, азат жол «кызыл жолдан» - 1,25см, беттеу жолагы - енше сай жасалады.
Таблица, суреттер - аталганнан кейiн орналастырылады. Эр таблица, сурет касында оныц аталуы болу кажет. Сурет айкын, сканерден етпеген болуы керек.
Жалпы колданыста бар аббревиатуралар мен кыскартулардан баскалары мiндеттi тYPде алгаш колданганда тYсiндiрiлуi берiлуi кажет.
^аржылай кемек туралы акпарат бiрiншi бетте керсетiледi.
Эдебиеттер тiзiмi. Мэтiнде эдiбиеттерге сiлтемелер тшжакшага алынады. Мэтiндегi эдебиеттер тiзiмiне сштемелердщ номерленуi мэтiнде колданылуына катысты жYргiзiлiде: мэтiнде кездескен эдебиетке алгашкы сштеме [1] аркылы, екiншi сiлтеме [2] аркылы т.с.с. жYргiзiледi. Кiтапка жасалатын сiлтемелерде колданылган бетттерi де керсетiлуi керек (мысалы, [1, 45 бет]). Жарияланбаган ецбектерге сiлтемелер жасалмайды. Сонымен катар,
рецензиядан етпейтш басылымдарга да сiлтемелер жасалмайды (эдебиеттер Ti3iMiH, эдеби-еттер т1з1мшщ агылшынша эзiрлеу Yлгiлерiн журнал http: // bulhistphaa.enu.kz сайтындагы макаланы рэамдеу Yлгiсiнен карацыз).
6. Макала соцындагы эдебиеттер тiзiмiнен кейiн библиографиялык мэлiметтер орыс жэне агылшын тiлiнде (егер макала казак тшнде жазылса), казак жэне агылшын тiлiнде (егер макала орыс тшнде жазылса), орыс жэне казак тшнде (егер макала агылшын тшнде жазылган болса).
Авторлар туралы мэлiмет: автордьщ аты-женi, гылыми атагы, кызметi, жумыс орны, жумыс орныныц мекен-жайы, телефон, e-mail - казак, орыс жэне агылшын тшдерш-де толтырылады.
7. ^олжазба мукият тексерiлген болуы кажет. Техникалык талаптарга сай келмеген колжазбалар кайта ецдеуге кайтарылады. ^олжазбаныц кайтарылуы оныц журналда ба-сылуына жiберiлуiн бiлдiрмейдi.
Редакцияга тYCкен макала жабык (анонимдi) тексеруге жiберiледi. Барлык рецензи-ялар авторларга жiберiледi. Автор (рецензент макаланы тYзетуге усыныс берген жагдайда) ецдеп кайта, колжазбаныц тYзетiлген нускасын редакцияга кайта жiберуi кажет. Рецензент жарамсыз деп таныган макала кайтара карастырылмайды. Макаланыц тYзетiлген нускасы мен автордыц рецензентке жауабы редакцияга жiберiледi.
Пiкiрi макулданган макалаларды редколлегия алкасына талкылап, басуга келiседi.
8. Телемакы. Басылымга руксат етiлген макала авторларына телем жасау туралы ескертiледi. Телем келемi 4500 тенге - Л.Н. Гумилев атындагы Е¥У кызметкерлерi Yшiн жэне 5500 тенге баска уйым кызметкерлерiне.
Реквизиттер:
1)РГП ПХВ «Евразийский национальный университет имени Л.Н. Гумилева МОН РК АО «Банк ЦентрКредит»
БИК банка: KCJBKZKX ИИК: KZ978562203105747338 Кбе 16 Кнп 859
2) РГП ПХВ «Евразийский национальный университет имени Л.Н. Гумилева МОН РК АО «Bank RBK»
Бик банка: KINCKZKA ИИК: KZ498210439858161073 Кбе 16
Кнп 859 - за статьи
3)РГП ПХВ «Евразийский национальный университет имени Л.Н. Гумилева МОН РК АО «ForteBank»
БИК Банка: IRTYKZKA ИИК: KZ599650000040502847 Кбе 16 Кнп 859
4)РГП ПХВ «Евразийский национальный университет имени Л.Н. Гумилева МОН РК АО «НародныйБанкКазахстан»
БИК Банка: HSBKKZKX ИИК: KZ946010111000382181 Кбе 16, Кнп 859.
Provision on articles submitted to the journal "Bulletin of L.N. Gumilyov Eurasian National University. Historical Sciences. Philosophy. Religion Series"
1. Purpose of the journal. Publication of carefully selected original scientific works in the direction of history, anthropology, archeology, philosophy, religious studies.
2. An author who wishes to publish an article in a journal must submit the article in hard copy (printed version) in one copy, signed by the author to the scientific publication office (at the address: 010008, Republic of Kazakhstan, Nur-Sultan, Satpayev St., 2. L.N. Gumilyov Eurasian National University, Main Building, room 402) and by e-mail vest_hist@enu.kz in Word format. At the same time, the correspondence between Word-version and the hard copy must be strictly maintained. And you also need to provide the cover letter of the author(s).
3. Language of publications: Kazakh, Russian, English.
Submission of articles to the scientific publication office means the authors' consent to the right of the Publisher, L.N. Gumilyov Eurasian National University, to publish articles in the journal and the re-publication of it in any foreign language. Submitting the text of the work for publication in the journal, the author guarantees the correctness of all information about himself, the lack of plagiarism and other forms of improper borrowing in the article, the proper formulation of all borrowings of text, tables, diagrams, illustrations.
4. The volume of the article should not exceed 18 pages (from 10 pages).
Structure of the article (page - A4 format, portrait orientation, page margins on all sides - 20 mm. Font: type - Times New Roman, font size - 14)
5. GRNTI http://grnti.ru/ - first line, left
Initials and Surname of the author (s) - center alignment, italics Full name of the organization, city, country (if the authors work in different organizations, you need to put the same icon next to the name of the author and the corresponding organization) -center alignment, italics
Author's e-mail (s)- in brackets, italics
Article title - center alignment,bold Abstract (100-200 words, the article title should not repeat in the content, it should not contain bibliographic references, it should reflect the summary of the article, preserving the structure of the article - introduction, problem statement, goals, history, research methods, results /discussion, conclusion).
Key words (6-8 words/word combination. Keywords should reflect the main content of the article, use terms from the article, as well as terms that define the subject area and include other important concepts that make it easier and more convenient to find the article using the information retrieval system).
The main text of the article should contain an introduction, problem statement, goals, history, research methods, methodology, results / discussion, conclusion - line spacing - 1, indent of the "red line" -1.25 cm, alignment in width.
Tables, figures should be placed after the mention. Each illustration should be followed by an inscription. Figures should be clear, clean, not scanned.
All abbreviations, with the exception of those known to be generally known, must be deciphered when first used in the text.
Information on the financial support of the article is indicated on the first page in the form of a footnote.
References. In the text references are indicated in square brackets. References should be numbered strictly in the order of the mention in the text. The first reference in the text to the literature should have the number [1], the second - [2], etc. The reference to the book in the main text of the article should be accompanied by an indication of the pages used (for example, [1, 45
p.]). References to unpublished works are not allowed. Unreasonable references to unreviewed publications (examples of the description of the list of literature, descriptions of the list of literature in English, see below in the sample of article design).
6. At the end of the article, after the list of references, it is necessary to indicate bibliographic data in Russian and English (if the article is in Kazakh), in Kazakh and English (if the article is in Russian) and in Russian and Kazakh languages (if the article is English language).
Information about authors: surname, name, patronymic, scientific degree, position, place of work, full work address, telephone, e-mail - in Kazakh, Russian and English.
7. The article must be carefully verified. Articles that do not meet technical requirements will be returned for revision. Returning for revision does not mean that the article has been accepted for publication.
Work with electronic proofreading. Articles received by the Department of Scientific Publications (editorial office) are sent to anonymous review. All reviews of the article are sent to the author. The authors must send the proof of the article within three days. Articles that receive a negative review for a second review are not accepted. Corrected versions of articles and the author's response to the reviewer are sent to the editorial office. Articles that have positive reviews are submitted to the editorial boards of the journal for discussion and approval for publication. Periodicity of the journal: 4 times a year.
8. Payment. Authors who have received a positive conclusion for publication should make payment (for ENU employees - 4,500 tenge, for outside organizations - 5,500 tenge). Requisites are posted on the journal's website.
Requisites:
1) РГП ПХВ «Евразийский национальный университет имени Л.Н. Гумилева МОН РК АО «Банк ЦентрКредит»
БИК банка: KCJBKZKX ИИК: KZ978562203105747338 Кбе 16 Кпн 859
2) РГП ПХВ «Евразийский национальный университет имени Л.Н. Гумилева МОН РК АО «Bank RBK»
Бик банка: KINCKZKA ИИК: KZ498210439858161073 Кбе 16 Кнп 859
3)РГП ПХВ «Евразийский национальный университет имени Л.Н. Гумилева МОН РК АО «ForteBank»
БИК Банка: IRTYKZKA ИИК: KZ599650000040502847 Кбе 16 Кнп 859
4)РГП ПХВ «Евразийский национальный университет имени Л.Н. Гумилева МОН РК АО «НародныйБанкКазахстан»
БИК Банка: HSBKKZKX ИИК: KZ946010111000382181 Кбе 16, Кнп 859.
Положение о рукописях, представляемых в журнал «Вестник Евразийского национального университета имени Л.Н.Гумилева. Серия: Исторические науки.
Философия. Религиоведение»
1. Цель журнала. Публикация тщательно отобранных оригинальных научных работ и обзоров книг по направлениям: история, антропология, археология, философия, религиоведение.
2. Автору, желающему опубликовать статью в журнале необходимо представить рукопись в твердой копии (распечатанном варианте) в одном экземпляре, подписанном автором в Отдел научных изданий (по адресу: 010008, Казахстан, г. Нур-Султан, ул. Сатпаева, 2, Евразийский национальный университет им. Л.Н.Гумилева, Учебно-административный корпус, каб. 402) и по e-mail vest_hist@enu.kz. При этом должно быть строго выдержано соответствие между Word-файлом и твердой копией. Также авторам необходимо предоставить сопроводительное письмо.
Язык публикаций: казахский, русский, английский.
3. Отправление статей в редакцию означает согласие авторов на право Издателя, Евразийского национального университета имени Л.Н. Гумилева, издания статей в журнале и переиздания их на любом иностранном языке. Представляя текст работы для публикации в журнале, автор гарантирует правильность всех сведений о себе, отсутствие плагиата и других форм неправомерного заимствования в рукописи, надлежащее оформление всех заимствований текста, таблиц, схем, иллюстраций, а также дает согласие на проверку уникальности текста статьи.
4. Объем статьи не должен превышать 18 страниц (от 6 страниц).
5. Схема построения статьи (страница - А4, книжная ориентация, поля со всех сторон - 20 мм. Шрифт: тип - Times New Roman, размер (кегль) - 14):
МРНТИ http://grnti.ru/ - первая строка, слева.
Инициалы и Фамилию автора(ов)- выравнивание по центру, курсив
Полное наименование организации, город, страна (если авторы работают в разных организациях, необходимо поставить одинаковый значок около фамилии автора и соответствующей организации). Е-mail автора(ов) - в скобках, курсив.
Название статьи - выравнивание по центру полужирным шрифтом
Аннотация (100-200 слов; не должна содержать формулы, по содержанию повторять название статьи; не должна содержать библиографические ссылки; должна отражать краткое содержание статьи, сохраняя структуру статьи - введение, постановка задачи, цели, история, методы исследования, результаты/обсуждение, заключение/выводы).
Ключевые слова (6-8 слов/словосочетаний). Ключевые слова должны отражать основное содержание статьи, использовать термины из текста статьи, а также термины, определяющие предметную область и включающие другие важные понятия, позволяющие облегчить и расширить возможности нахождения статьи средствами информационно-поисковой системы).
Основной текст статьи должен содержать введение, постановка задачи, цели, история, методы исследования, результаты/обсуждение, заключение/выводы - межстрочный интервал - 1, отступ «красной строки» -1,25 см, выравнивание по ширине.
Таблицы, рисунки необходимо располагать после упоминания. С каждой иллюстрацией должна следовать надпись. Рисунки должны быть четкими, чистыми, несканированными.
Все аббревиатуры и сокращения, за исключением заведомо общеизвестных, должны быть расшифрованы при первом употреблении в тексте.
Сведения о финансовой поддержке работы указываются на первой странице в виде сноски.
Список литературы. В тексте ссылки обозначаются в квадратных скобках. Ссылки должны быть пронумерованы строго по порядку упоминания в тексте. Первая ссылка в тексте на литературу должна иметь номер [1], вторая - [2] и т.д. Ссылка на книгу в основном тексте статьи должна сопровождаться указанием использованных страниц (например, [1, 45 стр.]). Ссылки на неопубликованные работы не допускаются. Нежелательны ссылки на нерецензируемые издания (примеры описания списка литературы, описания списка литературы на английском языке см. на сайте журнала http: bulhistphaa.enu.kz в образце оформления статьи).
В конце статьи, после списка литературы, необходимо указать библиографические данные на русском и английском языках (если статья оформлена на казахском языке), на казахском и английском языках (если статья оформлена на русском языке), на русском и казахском языках (если статья оформлена на английском языке).
Сведения об авторах: фамилия, имя, отчество, научная степен, должность, место работы, полный служебный адрес, телефон, e-mail - на казахском, русском и английском языках.
6. Рукопись должна быть тщательно выверена. Рукописи, не соответствующие техническим требованиям, будут возвращены на доработку. Возвращение на доработку не означает, что рукопись принята к опубликованию.
7. Работа с электронной корректурой. Статьи, поступившие в Отдел научных изданий (редакция), отправляются на анонимное рецензирование. Все рецензии по статье отправляются автору. Статьи, получившие отрицательную рецензию к повторному рассмотрению не принимаются. Исправленные варианты статей и ответ автора рецензенту присылаются в редакцию. Статьи, имеющие положительные рецензии, представляются редколлегии журнала для обсуждения и утверждения для публикации.
Периодичность журнала: 4 раза в год.
8. Оплата. Авторам, получившим положительное заключение к опубликованию необходимо произвести оплату по следующим реквизитам (для сотрудников ЕНУ им. Л.Н. Гумилева -4500 тенге, для сторонних организаций - 5500 тенге):
Реквизиты:
1) РГП ПХВ «Евразийский национальный университет имени Л.Н. Гумилева МОН РК АО «Банк ЦентрКредит»
БИК банка: KCJBKZKX ИИК: KZ978562203105747338 Кбе 16 Кпн 859
2) РГП ПХВ «Евразийский национальный университет имени Л.Н. Гумилева МОН РК АО «Bank RBK»
Бик банка: KINCKZKA ИИК: KZ498210439858161073 Кбе 16 Кнп 859
3)РГП ПХВ «Евразийский национальный университет имени Л.Н. Гумилева МОН РК АО «ForteBank»
БИК Банка: IRTYKZKA ИИК: KZ599650000040502847 Кбе 16, Кнп 859
4)РГП ПХВ «Евразийский национальный университет имени Л.Н. Гумилева МОН РК АО «НародныйБанкКазахстан»
БИК Банка: HSBKKZKX ИИК: KZ946010111000382181 Кбе 16 Кнп 859.
Редактор:
Шыгарушы редактор: Дизайн:
Е.Б. Сыдыков Ж. Жумабекова Ж. Жумабекова
Л.Н. Гумилев атындагы Еуразия улттык университетшщ Хабаршысы. Тарихи гылымдар. Философия. Дiнтану сериясы. -2019. - 4(129). - Нур-Султан: Е¥У 126 б. Шартты б.т. - 7 Таралымы - 20 дана
Мазмунына типография жауап бермейЫ.
Редакция мекенжайы: 010008, Нур-Султан к;., Сатпаев кешеа, 2. Л.Н. Гумилев атындагы Еуразия улттык университет Тел.: +7(7172) 709-500 (шю 31-457) Л.Н. Гумилев атындагы Еуразия улттык университетшщ баспасында басылды
