Ключевые слова: счастье, восприятие, концепт, казахский, язык.
Introduction
The aim of this article is to investigate the conceptual base of the word ‘happiness’ in
the perception of native speakers of the Kazakh language. For this purpose young people
from the age of 19 to 22 were asked to write an essay on the way they understand the
notion of ‘happiness’. Their written works were analyzed and the basic conceptualization
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of that notion has been elaborated. In Kazakh, the word e are more than 1,000 terms
that designate colours; this is mostly reasoned by Kazakhs’ traditional engagement in
breeding. A vast majority of colour denominations refer to colours of horses, sheep,
camels and cows, for example, Боз[boz]whitish-grey; Сүр[sür]grey, pale; Құла[ķula]
light brown; Торы[torї]bay; Жирен[žiren] chestnut. Idioms are an attractive source of
investigation due to the fact that they keep the memory of historical and everyday events
of the nation experienced through centuries. They are mostly defined as semantically
complex, compositionally permanent, morphologically and syntactically fixed, at the
same time some idioms appear to vary lexically, morphologically and syntactically.
Literature review
The notion of «colour» has been the object of numerous studies; among them the
well-known work on colours by Berlin and Kay [4] who elaborated a sequence of eleven
basic colour terms in a fixed sequence based on studies of 78 languages. Sahlins (12)
develops colour structures (a pair of white and black; a triad of red, white and black and a
system of four colours: red, green, yellow and blue). Sharpe (13) describes studies based
on Semantic Differential (SD), which operates with three variables: evaluation (positive
to negative), potency (weak to strong) and activity (passive to active). Together with a
set of bipolar adjectives (e.g., good - bad), they serve as instruments to assess dimensions
of colour effect. Different studies based on SD showed that there is no relation between
languages and the scale ratings of colour.
Kononov [8] conducts a semantic analysis of colour denominations in Turkic
languages with a bigger focus on Қара ([ķara] black. According to him, Қара has the
meanings of a) Big, abundant; b) Chief, great; c) Strong, severe; d) Pure; e) Land, earth;
f) North; g) Cattle, crowd, army, ordinary people, a slave, mass; and h) an intensifier
of quality or characteristic. He defines Ақ ([aķ] whiteas having the notions of 1) white;
2) pure, innocent, honest, correct, beautiful/ wonderful; 3) ash grey; 4) white of the eye;
a wall-eye; and 5) dairy. Ancient Turks attached different colours to parts of the world:
white referred to west, black – to north, blue – to east, and red determined south.
In Kazakh linguistics, colour denominations have been studied both from structural
and semantic-cognitive perspectives. Colour designating terms in Kazakh comprise basic
colours, for example, Қызыл ([kїzїl] red), Сары ([sarї] yellow), Жасыл ([žasїl] green),
Көк ([kök] blue), Қара ([ķara] black), Ақ ([aķ] white); Сұр ([sür] grey); their derivatives,
for example, Көгілдір ([kögildir] pale blue), Күлгін ([külgin] violet); and compound
words, for example, Сарықызыл ([sarї qїzїl] orange). Very few studies have been done
on the conceptual representation of colours in Kazakh. Laulanbekova [9] in her research
points out that the Kazakhs since ancient times attached certain colours to four parts of
the world, i.e., blue – to east, white - to west, red – to south, and black – to north. Kazakhs
have attached much importance to the colour of ‘blue’ which was associated with the
heavens, and, correspondingly, the same importance has been given by them to east;
they prayed and set yurts’ (nomadic shelters) entrances facing east. Laulanbekova also
notes that colours in Kazakh reveal definite conceptual notions which reflect the way of
living of nomads, cultural and historical events in their life, and specific perception of
the surrounding world. She distinguishes three basic colours that are characteristic of the
world of the Kazakhs – Ақ [aķ] white, Ала [ala] multicoloured and Қара [ķara] black.
According to her, Ақ ‘white’ has concepts of a location of Gods, eternity life, and a sign
of cleanness and innocence; Ала ‘multicoloured’ is a mediator between the top and the
down without clear distinction between white (the heavens) and black (the earth); and
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