Defense of the dissertation of Siryachenko Viktoriya for the degree of Doctor of Philosophy (PhD) in the specialty «8D02314 - Literary studies»

L.N. Gumilyov Eurasian National University, a dissertation defense for the degree of Doctor of Philosophy (PhD) by Siryachenko Viktoriya on the topic ««Reception of Chekhov’s writing in Kazakhstan»» to the educational program «8D02314 – Literary studies».

The dissertation was carried out at the «Russian Philology» of L.N. Gumilyov Eurasian National University.

The language of defense is russian

Official reviewers:

Temporary members of the Dissertation Committee:

Scientific advisors:

Kadisha Rustembekovna Nurgali

Irina Georgievna Mineralova

The defense will take place on January 18, 2025, at 02:00 PM in the Dissertation Council for the training direction «8D023 – Languages and literature» in the specialty «8D02314 – Literary studies» of L.N. Gumilyov Eurasian National University. The defense meeting is planned to be held online.

Link: https://teams.microsoft.com/l/meetup-join/19%3ameeting_ZThiNWFlMTctMzA2My00ZDI5LTk0MmItZTEzYzFmMDM2ZGIz%40thread.v2/0?context=%7b%22Tid%22%3a%225a2fd781-9261-485a-af2b-6171d0efab73%22%2c%22Oid%22%3a%2247622cd2-b7bd-4246-9664-fb2fd1c5a1c9%22%7d

Address: Астана қ., Қ. Сәтбаев көшесі, 2, оқу-әкімшілік ғимарат, №302 ауд.

Abstract (English): ABSTRACT Dissertation work of Siryachenko Viktoriya Vladimirovna «Reception of Chekhov’s writing in Kazakhstan», submitted for the degree of Doctor of Philosophy (PhD) in the educational program «8D02314 – Literary Studies». Abstract: Research Relevance. The work of Anton Pavlovich Chekhov has become a significant phenomenon in world culture, establishing unique approaches that influenced the development of theater and literature throughout the 20th century and continue to impact global literary creativity today. Chekhov's works, marked by innovative traits such as deep psychological insight and attention to the internal experiences of characters, paved the way for new aesthetic and philosophical objectives. His creative method draws researchers worldwide, inspiring various national literary traditions, including Kazakh literature. However, the influence of Chekhov’s poetics on Kazakh literature is a complex issue requiring in-depth, layered analysis. On the one hand, Chekhov’s principles have become an integral part of Kazakh literary heritage, yet their interpretation within the context of Kazakh cultural values and traditions may highlight unique aspects of national perception. Studying the interrelations between Kazakh literature and other literatures not only reveals the processes of cultural exchange over centuries but also shows how Kazakh authors adapted global ideas and literary forms to fit their own cultural characteristics. Systematic study of literary connections in Kazakhstan began in the mid-20th century when researchers started to examine the influence of world classics, including Russian literature, on the works of Kazakh authors. Modern comparative literary studies in Kazakhstan seek to expand the scope of analysis, focusing not only on traditional forms of influence but also on new modes of artistic interaction fostered by globalization and cultural digitalization. This discipline aims to encompass a wide spectrum of cultural influences and, in particular, to identify the characteristics of Russian and Kazakh literary interrelations and the ways in which Kazakh authors integrated Chekhovian traditions into their works. Kazakh literary and theatrical creativity has undergone an accelerated developmental trajectory, blending ancient folklore traditions with elements of other cultures, particularly Russian and European. The enrichment and inspiration derived from Chekhov have played a crucial role in the evolution of Kazakh art, helping it reach new expressive heights and more accurately convey the inner lives of characters. Chekhov's plays have often been staged in Kazakh theaters, underscoring an interest in his ability to portray multi-layered emotional states and transitional eras—topics that resonate with Kazakh literature as well. The interaction between Kazakh classic authors and Chekhov’s work is of great interest to researchers today. This interaction sheds light on the key aspects of Kazakh poetics, identifying which Chekhovian elements were adopted and adapted within the national context and which were transformed to meet cultural needs. Studying Chekhov's influence on Kazakh literature is vital not only for understanding intercultural connections but also for revealing the national distinctiveness of Kazakh creativity, its aesthetics, and its artistic heritage. Examining Russian-Kazakh literary links and the influence of Chekhovian traditions on the work of individual Kazakh writers requires the accumulated expertise of comparative literary studies. Both foreign and domestic literary scholars have achieved substantial results in comparative literary studies: new materials and facts have been discovered, and new dialogues between different creative figures have been identified. In Kazakhstan, thorough and systematic study of comparative literary issues began in the mid-20th century, focusing on the influence of world literary classics on the works of specific Kazakh authors. Today, comparative literary studies continue to explore new forms of artistic interaction and the nature of future literary connections. The forms of literary interaction are complex, so studying the process of influence should not be limited to superficial diagnosis. Influence often appears in an author's work as deep internal emulation. It is also essential to consider phenomena shaped by global literary trends within the framework of national literature. Any work enters into diverse extratextual relationships with its surrounding reality, which allows common features to emerge not only among individual works but also among literary trends, movements, and eras. International literary connections determine a writer's role in the history of world literature. Examining artistic tradition continuity reveals how foreign artistic experiences influenced the writer’s creative laboratory. When discussing Kazakh writers, it is essential to mention their international literary connections. These links were largely receptive, reflecting Kazakh classic writers' understanding of world literary heritage. Kazakh literature's connections with other national literatures were both synchronous (influenced by contemporaries) and diachronic (inheriting traditions from earlier eras). These links were usually not accidental but socially and contextually determined, shaped by specific national, social, and literary development. The presence of Chekhovian traditions in Kazakh classical literature is not coincidental; such connections were dictated by the needs of national literature. This creative interaction facilitated a qualitative leap, allowing Kazakh literature to assimilate the experiences of world literature. The issue is further complicated by the fact that some works and genres remain under-researched within Kazakh literary studies. At present, Kazakh creativity requires careful examination. In other words, one of the most pressing issues in contemporary Kazakh literary studies is the scientific analysis of Kazakh literary works that have achieved significant thematic and genre diversity. During its formation and development stages, Kazakh creativity primarily relied on folklore traditions. However, in its search for new artistic means and methods of expressing psychological depth, it borrowed from Russian and European cultural experiences. Familiarity with the masterpieces of world classics has played an important role in elevating the professional level of national creativity. Chekhov’s stories were frequently read and studied in Kazakhstan's literary circles, highlighting a growing interest in his work and his sense of transitional eras, which resonates with Kazakh art. The study of Chekhov’s reception and interpretation in various countries has become a tradition. However, the comprehensive history of Chekhov’s critical, literary, and theatrical reception in Kazakhstan has not yet been the subject of specialized academic research. A thorough study of reception history stages would help determine the place and significance of the Russian writer’s work in Kazakh cultural contexts. Identifying the features of integrating Chekhov’s work into Kazakh culture, while considering national characteristics, will help reveal new facets of the author’s creativity, underscoring the relevance of this dissertation research. Research Object: Kazakh scholarly, critical, and reference articles and monographic studies on Chekhov’s work, as well as works by noted Chekhov scholars representing various receptive trends and methodological approaches. Research Subject: The perception of Chekhov's work in Kazakh culture and the specific interpretations of the Russian writer’s artistic heritage. Research Objective: To present the historical and literary foundations of the reception of Chekhov’s works within a new cultural and national environment and to characterize the unique periods of reception of his artistic legacy in Kazakhstan. Objectives to Achieve the Goal: 1) To identify and analyze Kazakh scholars' and writers' critical and literary works devoted to Chekhov, as well as theoretical, biographical, methodological, and critical publications and reference materials on his work; 2) To establish the stages of Chekhov's reception in Kazakhstan and its periodization; 3) To examine the historical and literary contexts of publishing Chekhov’s works in Kazakhstan; 4) To explore the nature and dynamics of Chekhov’s literary-critical interpretation in Kazakhstan; 5) To study the perception of Chekhov’s poetics, identifying similarities and differences in Kazakh writers' and literary researchers' understanding of his artistic world (themes, ideas, genres, plots, motifs, and images); 6) To present a comprehensive view of the perception and representation of Chekhov’s work in Kazakhstan; 7) To analyze translation strategies for Chekhov’s stories and plays translated into Kazakh and the characteristics of their translation and stage adaptation in the Kazakh cultural space. Research Material: The research material includes texts from classics of Kazakh literature: M.O. Auezov’s Kokserik (“Gray Wolf”), Akqaska (“White Forehead”); B.Zh. Maylin’s Zhertva goloda (“Victim of Famine”), Kul'push, Confession of Amirzhan, District Head Kultai, Raushan Communist, Ayranbai, Heavenly Horse of Mullah Alisha, Groom, Monument to Shuga, Dairanbai's Cow, Black Bucket, First Lesson; G.M. Musrepov’s On a Stormy Night, A Duel in the Sky, Mother’s Song; and I.B. Jansugurov’s Dala (“Steppe”). Comparative analysis was conducted on A.P. Chekhov’s stories Chameleon, White Forehead, The Horse’s Surname, The Death of a Government Clerk, The Pike, The Man in a Case, and their Kazakh translations, published in Chekhovtyn Angimeleri (“Chekhov’s Stories,” 1932) and Chekhov Anton Pavlovich. Angimeler (“Stories by Anton Pavlovich Chekhov,” 2009). Methodological Foundation: The methodological foundation includes works by domestic and foreign Chekhov scholars, specialists in comparative literature, receptive aesthetics, hermeneutics, and literary theory and history. These include articles and monographs on A.P. Chekhov’s works by Russian scholars such as G. Berdnikov, M. Gromov, V. Kataev, V. Lakshin, and A. Chudakov; works by literary scholars focused on traditions, dialogism, and intertextuality—such as M. Bakhtin, Ju. Kristeva, and V. Khalizev; specific concepts from the structural approach (Yu. Lotman), comparative-historical (A. Veselovsky, V. Zhirmunsky), historical-functional (M. Khrapchenko), and receptive (X. Gadamer, R. Ingarden, G. Jauss, W. Iser, Yu. Borev, and N. Letina) approaches. Alongside Russian and foreign materials, the works of Kazakh writers, literary scholars, and critics were analyzed, including those by Sh. Keree-Kanafieva, E. Ismailov, R. Nurgali, E. Lizunova, Sh. Satpaeva, Z. Akhmetov, B. Mamraev, N. Juanisbekov, M. Madanova, S. Ananyeva, A. Mashakova, among others. Research Methods: To meet the objectives, the study utilizes descriptive, comparative-historical, cultural-historical, comparative-typological, comparative-contrastive, and structural-analytical research methods. Research Novelty: This study introduces newly sourced critical, literary, and theatrical materials into academic discourse for the first time. It offers a comprehensive historical-literary analysis of the reception of Chekhov’s works in Kazakhstan, considering national specifics. A receptive literary portrait of Chekhov is presented. Despite the vast amount of research on Chekhov’s works in Kazakhstan and the development of Chekhovian studies, the question of Russian-Kazakh literary interaction remains largely open, with the influence of Chekhovian traditions on Kazakh literature still underexplored—highlighting this dissertation’s academic novelty. Theoretical Significance: The theoretical significance lies in the potential application of the research results in modern Chekhov studies and comparative literary studies, both of which are crucial in the comprehensive examination of Russian-Kazakh literary and cultural interactions. Practical Significance: The research findings can be used in developing lecture courses on the history of Russian literature from the second half of the 19th century to the early 20th century, the history of Kazakh literature, comparative literature studies, as well as specialized courses and seminars on Chekhov’s works and the reception of Russian literature in Kazakhstan. Additionally, the findings will be valuable in preparing artistic and scholarly publications of Chekhov’s works in Russia and Kazakhstan. Key Points of the Dissertation Subject to Defense: 1. The work of Russian prose writer and dramatist Anton Pavlovich Chekhov gained extensive popularity in 19th- and 20th-century Kazakh culture. Examining this issue enables an in-depth investigation into the interaction between Kazakh and Russian cultures and literatures, as well as a more detailed study of certain aspects of Chekhov’s influence on Kazakh classical literature and drama. 2. A full analysis of Chekhov’s reception in Kazakhstan requires employing comparative literature methodology. Comparative methods provide insight into the ways Kazakh literary classics received Chekhov’s work and highlight the unique influence of his principles on their creative practices. 3. The primary types of Chekhov’s reception in Kazakhstan, available for literary investigation, include: a) Translations of Chekhov’s prose and dramatic works into Kazakh; b) Scholarly and critical articles, monographs, dissertations, and other forms of academic research; c) Evidence of Chekhov’s influence, including typological similarities in Kazakh literary works from the second half of the 19th to the 20th century; d) Stage adaptations of Chekhov’s dramatic works in Kazakh theaters, including critical reviews by notable Kazakh directors. 4. Investigating the specificity of original Chekhovian work interpretation across these categories provides an understanding of Chekhov’s literary reputation in Kazakhstan. Artistic translation becomes a form of inter-literary artistic reception of Russian classics in Kazakhstan (including Chekhov’s works), while the phenomenon of artistic bilingualism plays a vital role in the reception of foreign artistic works in Kazakhstan. A proposed periodization of Chekhov’s reception in Kazakhstan includes: 1) Initial Stage (late 19th century – early 20th century): The Kazakh intelligentsia’s acquaintance with Chekhov’s work; 2) Formation Stage (early 20th century – first half of the 20th century): The emergence of the first Kazakh translations of Chekhov’s stories and the publication of his works in Kazakh collections, along with initial references to Chekhov in Kazakh literary and cultural circles; 3) Development Stage (1960s-1980s): Engagement with Chekhov’s dramatic works, including staging his plays in the original language on Kazakh stages. Chekhov’s works saw wide distribution, with new translations and editions. Chekhov’s influence on Kazakh writers, such as M.O. Auezov, was noted in their literary and critical works; 4) Contemporary Stage (1990s to the present): Chekhov’s plays staged in Kazakh, reinterpretations, and new perspectives. New publications and translations of Chekhov’s works continue, along with ongoing critical and scholarly studies, confirming Chekhov’s presence in contemporary Kazakh cultural space and the lasting interest in his artistic legacy. 5. The formation stage (early 20th century – first half of the 20th century) stands out due to a wide variety of approaches in interpreting Chekhov’s works in Kazakhstan. During this period, the fundamental aspects of Chekhov’s art were highlighted, and critics, translators, and authors of this time addressed almost every aspect of his creative legacy, shaping Chekhov’s literary reputation in Kazakh criticism. At this stage, M.O. Auezov played a significant role in acquainting the Kazakh public with Chekhov’s works, and Chekhov’s artistic legacy profoundly influenced Auezov’s work. Both A.P. Chekhov and B. Maylin employed common realism principles in their prose. G. Musrepov’s work reveals Chekhovian principles of text organization, while I. Jansugurov’s Steppe image in the poem “Dala” aligns with Chekhov’s portrayal of the steppe in his story “The Steppe”. Dissertation Presentation: The results of this dissertation research and its main propositions were presented at national and international conferences, scientific and methodological seminars of the L.N. Gumilyov Eurasian National University’s Philology Faculty, and meetings of the Russian Philology Department at the L.N. Gumilyov Eurasian National University. Key points of the study were published in journals recommended by the Higher Attestation Commission of the Ministry of Education and Science of Kazakhstan and in scientific publications included in the RSCI, Scopus, and Web of Science databases.

Dissertation

List of Scientific Works

Consultant's Review

Foreign Consultant's Review

Conclusion of the Research Ethics Committee

Official Reviewer's Review

Official Reviewer's Review