Bagdagul Zhanibekova; Zhainagul Beisenova
Volume 9, 2 (Themed Issue on Modern Realities of National Languages of CIS Countries) , August 2021, , Pages 203-211
Abstract
This study investigates the originality of Alimzhanov’s aesthetic position, which is largely determined by the nature of the writer's understanding of the new scientific paradigm developed between the 20th century and the first third of the 21st century. Elements of the aesthetic system of classical ...
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This study investigates the originality of Alimzhanov’s aesthetic position, which is largely determined by the nature of the writer's understanding of the new scientific paradigm developed between the 20th century and the first third of the 21st century. Elements of the aesthetic system of classical Kazakh and Russian literature played a crucial part in the development of Alimzhanov’s ontology. Anuar Alimzhanov’s aesthetic position is a return to folk origins and his spiritual heritage, which conditioned the interest of the authors of this study in investigating the issues of foreign ethno-cultural aesthetic foundations and resources in artistic creativity, including the unconscious poetic element. Describing the myth, the authors of the study note its imagery, which is inherent in art. An important notion in Alimzhanov’s concept of being is value in its ethical aspect. Alimzhanov asserts the ontological independence of the past, which is the reason that the writer often acknowledges the proximity of the recollected world with the relevance of the humanistic values of the present.