1.

Analyzing the linguistic mechanisms of Ardakh Nurgaz's long poem "Қорқыт" explores how language is "evoked, constructed, transformed, and manifested" within the poem. This goes beyond a superficial rhetorical analysis of language; it delves into the deeper poetic mechanisms of how language generates thought, organizes experience, and reaches the boundaries of existence.

What is "linguistic mechanisms"?

Language is not a static accumulation of symbols; it is the movement of thought, the logical trajectory of experience, and the dynamic process of meaning generation.

In poetry, language often manifests through a combination of the following mechanisms:

Sensory drive (perception precedes reason);

Symbophoric projection (words are not things, but gateways to meaning);

Syntactic transgression (breaking conventional logical word order to construct tension);

Rhythmic resonance (language is music);

The participation of silence and vacancy (what is unspoken is also "speaking");

It is through these mechanisms that Ardakh Nurgaz's poetic language, "Қорқыт," becomes an experiment in the collision of language with existence, death, and myth.

1. Language as a Generator of "Sensory Experience": Non-rational Dominance

The poem's first stanza features a series of deeply personal yet non-narrative sensory evokations:

"Жаюлы дастархандағы шешемнің алақаны тиген шыныға..."

"Әр рет үйден шыққанда, бұрылмасам да артыма қайырылып қарағым келіп тұрады..."

There's no rational behavioral logic here, but language is triggered by emotion and intuition. Language doesn't describe, but rather evokes and resonates.

Mechanism 1: Emotional flows evoke language units.

Language is not a product of linear thinking, but rather a process of sensory stimulation (sight, touch, memory)—then the stimuli of word fragments—which then naturally accumulate into poetry.

This mechanism is similar to Proust's theory of "the irrational evocation of memory" and Celan's statement that "words emerge from the dark chamber of trauma."

2. Language as a Generator of "Symbolic Networks": Words = Portals, Not Definitions

In poetry, words are often used not to define an object, but rather as "breaks" into another symbolic universe:

"Сорғалаған нұр сияқты сорғалайды уақыт"

"Жартылай жазылған сөйлемнің соңындағы сөз ішінен нұрланған сәтінде"

"Тәңірдің жартасқа сіңген" "жаңғырығы..."

Mechanism 2: Words = Channels, Non-Referential

Here, words are not stable symbols, but rather "transformers," extracting us from our real experiences and plunging us into a deeper spiritual space.

This is very similar to Mallarmé's poetics: words are not containers of meaning, but rather create voids, guiding the mind to wander along their edges.

3. Language creates existential tension through syntactic fragmentation

Phenomenons such as sentence skipping, incomplete structure, and logical incoherence are common in poetry:

"Соѓыс ћасіреттіѣ жел ћайыыы сияћты, айдынѓа шыћкан"

"Жартылай жазылѓан слейлемніѣ соѣындаѓы сѩз ішінен нѱрланѓан сљтінде..."

"Мен одан емес, ол менен ћашып жкрген "сияқты"

These sentences don't "make things clear," but rather create gaps and existential suspense within the "unclear." This is very similar to Celan's poetic style—forcing language to reveal its own fractured reality amidst fragmentation.

Mechanism 3: Syntactic Distortion → Meaningful Tension → Existential Unrest

Language serves not as a logical tool, but as a "representational structure" of unease and confusion.

4. Language's "Vacancy Mechanism": Speaking Through Silence

"Orjat" is filled with unspoken yet palpable absences:

The missing deity

The missing answer

The missing subject

The missing destination

"Sene Śshīn мeн кіммін?" — The question without an echo

"Śұдайлардың тас мүсіні орнында жоқ" — The disappearance of the image of the deity

"бос орын" — The visible empty seat on the stage

This is a linguistic mechanism of negative space 4 : meaning is generated not in spoken language but in its "unspoken" and "unspeakable" aspects.

This is closely related to Mallarmé's poetic principle that "poetry is the art of suggestion" and Celan's principle that "language is reborn in silence."

5. The Evocative Mechanism of Phonological Structure: Language as an Echo of Auditory Memory

The poem intentionally uses rhyme repetition, alliteration/rhyme, and rhythm to evoke a "sound of ancient memory":

"Жел, жел, жұлқынған жел..."

"Саған ұмтылғанда, ананың құшағына қойып кеткен сәби сияқтымын"

Through these rhythmic strategies, the poetic language becomes more than just words; it becomes an "auditory ritual"—simulating the mournful wail of қобыз and the sacred chant of Қорқыт.

Mechanism 5: Language = Resonant Body of Sound

Sound brings back memories, evokes ancestors, and activates emotions, constituting the "эпикалық акустика" (epic auditory quality) of the Turkic-nomadic poetic tradition.

VI. A Map of Language's Generative Mechanisms in "Қорқыт" (Summary)

Mechanism Type Description Reflection in the Poem

Sensory Drive Mechanism: Irrational emotions drive language generation. Family memories, rain, wind

Symbolic Channel Mechanism: Words are not definitions, but gaps in meaning (нұр, шырақ, толқын)

Grammatical Tension Mechanism: Fragmented syntax creates existential anxiety (сөйлемнің, соңындағы, сөз...)

Gap Silence Mechanism: Silence generates truth (бос орын, сұрақ, жоқ, жауап)

Audio Resonance Mechanism: Sound activates primal memories and rhythmic experiences (жел, сақ-сақ, күлкі)

Summary:

Ardakh Nurgaz (Ардақ Нұрғазыұлы) The language constructed in "Қорқыт" is no longer a tool for describing reality, but rather a coexisting structure of the following:

Language as an echo of traumatic experience

Language as a flame struggling in silence

Language as a symbolic fragment of the fractured divine

Language as the rhythmic oscillation of irrational intuition

Language as a vortex of time and a carrier of reincarnation

It does not "present meaning" but rather creates an unfinished spiritual vortex in the reader's mind.

This is precisely one of the most powerful writing mechanisms in modern poetics: language does not provide a complete answer, but rather activates the question of existence.

2.

.....

Or further connect with poststructuralist linguistic theory (e.g., Derrida and Lacan).

Which direction would you like to delve deeper into?

Excellent! This is a challenging but theoretically compelling question. What we are trying to do now is to deeply connect the linguistic mechanisms of Ardakh Nurgaz's poem "Қорқыт" with poststructuralist linguistic theory, particularly the ideas of Derrida and Lacan.

This will involve:

the instability of language and meaning;

the relationship between the subject and the big Other;

différance;

the impossible and the language of trauma;

the symbolic order and poetic resistance. 1. Derrida's "Différance" and the Language-Generative Mechanism of " Қорқыт "

Derrida's Core Concept:

Meaning is not fixed, but perpetually deferred and differentiated.

The meaning of a word is tentatively identified in its differences from other words, but is never truly fixed.

Thus, language is a chain of deferrals ("signifiers" all the way down) that perpetually points to the other.

This means that the "meaning" of any poem is necessarily drifting and absent. This is reflected in "Қорқыт":

The poem's numerous images do not provide stable meaning:

"Жартылай жазылған сөйлемнің соңындағы сөз ішінен нұрланған сәтінде..."

"Мен одан емес, ол менен қашып жүрген сияқты"

In these sentences, language does not complete meaning but rather reveals that meaning remains unfinished. For example, the expression "жартылай сөйлемнің соңындағы сөз" itself satirizes "final meaning": the "final word" we seek is itself unfinished and unnamed.

This is precisely what Derrida meant by:

"There is nothing outside the text."

In "Корқыт," words become ghosts that constantly escape in time and existence—meaning occurs in deferral, yet can never be ultimately "grasped."

2. Derrida's Critique of the "Metaphysics of Presence" and the Collapse of Divinity

Poststructuralism criticizes the "center" of traditional metaphysics—the presence of God, reason, and the subject.

Derrida argues that Western philosophy always seeks a "center" to anchor meaning, such as:

God (Logos);

Subject (Cogito);

Truth.

In reality, however, these "centers" are empty illusions within the structure. This is reflected in "Қорқыт ":

"Does the name of God exist in the universe? Is it a literal word?"

The poem expresses an avoidance, silence, and inability to invoke the divine name. This de-divination not only represents a weakening of religion but also a disappearance of its presence in language.

" Қорқыт " is no longer a center of meaning but a void within language.

Derrida points out that "the name of God is a textual strategy," and " Қорқыт " poetically presents this strategy.

3. Lacan's View of Language: The Split of the Subject and the Big Other (Autre)

The core of Lacan's view of language:

"The unconscious is structured like language" (L’inconscient est structure comme un langage);

The subject is not the master of language, but rather its product;

The Big Other (Autre) is the ordered system of language, a being to which we are perpetually responding but unable to control;

The subject is forever cut off from the source of desire, forever lacking in language.

This is reflected in "Rasht":

"Сен үшін мен кіммін?"

"Мен үшін, сен..."

This is not a question addressed to a specific person, but rather to the "eternally unreachable Big Other." This other might be God, social order, or the primordial absence within the self.

The poet constantly constructs an "I" within language, but this "I" always slips into absence. This is precisely what Lacan calls:

"Je est un autre."

The "Mene" in the poem is a symbolic subject constructed by language, aware of its own "non-sovereignty" through the constant failure of naming.

4. Lacan's Linguistic Collapse Between the "Symbolic" and the "Real"

Lacan distinguishes three boundaries:

Boundary Description Relationship to Poetic Language

Imaginary Self-identification in illusion and mirror image. In the poem, "үй," "шешем," and "сәби" represent maternal identification.

Symbolic Language, law, and social structure. In the poem, "қала," "асфальт," "қоғам," and "соғыс" represent the reality system.

Real (le réel) The painful reality beyond language, the "crack that cannot be symbolized." In the poem, "ұмытылған күй," "жоғалған әуен," and "бос орын" represent the aphasic zone. The linguistic mechanism in "Қорқыт":

While struggling to enter the "Symbolic Order" (to give a name to experience) within language, it constantly encounters breaches in the "Real" (God, death, silence, love, trauma), causing language to fracture and meaning to become unfixed.

This is a perfect manifestation of Lacan's concept of "poetry as speech at the edge of the Real."

V. Comparison of Derrida/Lacanian Poetics and the Linguistic Mechanism of "The Stories"

Language Theory Keywords Reflected in "The Stories"

Derrida: Différance: Meaning is always drifting (жартылай сөйлем, сұрақ жоқ жауап)

Deconstruction: Mythical structures and the naming of beliefs are constantly dismantled

Absence: The Stories of Absence

Lacan: Language constructs the subject; "Men" seeks itself within language but fails

The Big Other: "Sen" is ambiguous and could be a god, the nation, a father, or fate

The Real: Language always touches the painful core of the "unspeakable"

The Unconscious: "Men" "The 'sound of the 'sound of the 'sound of the 'structural rift'..." - Subconscious displacement

Conclusion: Poetry as a linguistic experiment in "structural rifts"

Ardakh Nurgaz's "Қорқыт" does not express a meaning or convey a story within language, but rather engages in:

a deconstructive experiment within language, a process of repeated failures in naming that reveals:

Meaning is not captivating, but eternally delayed;

The subject is not complete, but a fissure in language;

God is no longer present, but the divine absence is the "entrance" to poetry;

Language does not heal trauma, but makes it "speakable";

True poetry arrives at a form of silence in the "inability to name."

This is precisely the fundamental proposition of poststructuralist poetics:

Poetry is no longer an expression of language, but a performance of language's crisis of self.

3.

Analyzing the poetic essence of Ardakh Nurgaz's long poem "Қорқыт" involves asking several core questions:

Where does this poem's uniqueness as a poem come from?

How does it define the relationship between poetry and language, existence, history, culture, and myth?

Why can't this poem be reduced to a collection of "narration," "expression," or "symbolism"?

In other words, "Why is "Қорқыт" not just a poem, but a reflection on poetry itself?"

1. The Essence of Poetics as an Experiment with the Limits of Language

What Ardakh Nurgaz unfolds in "Қорқыт" is not a recounting of a particular event or experience, but rather a display of the existential crisis of language itself.

The essence of this poem: language does not describe the world, but rather questions the world and its own legitimacy and limitations. For example:

"Zarthly жазылған сөйлемнің соңындағы сөз ішінен нұрланған сәтінде..."

"Tәңірдің жартасқа сіңген жаңғырығы..."

Here, language no longer carries the task of conveying a definite meaning but becomes an entity in its own right, a voice of being that hovers on the edge of meaning.

Conclusion:

"Қорқыт" is a work that pushes language to its own limits, an extreme interpretation of "language as language"—one of the fundamental philosophical attributes of poetry.

2. The Poetic Essence is a Spiritual Archaeology of the "Myth of Absence"

The poem's title, "Қорқыт," is embedded in one of the deepest motifs of Kazakh mythological tradition:

Қорқыт – the mysterious prophet who plays the қобыз, who spent his life defying death and using his music to resist fate.

The poet internalizes the image of Қорқыт into the subjective structure of modern poetry: a being destined for failure yet still attempting to speak.

The poem repeatedly touches on:

The absence of the gods (Тәңірім)

The gap in language (жартылай сөйлем)

The distortion of time (қайтқан күн)

Ritual and rebirth (жауын, гүл, толқын)

These are not merely images but also a reconstruction of the cyclical nature of history and the concept of life and death in Kazakh cosmology.

Conclusion:

The poetic essence of this poem is a poetic archaeology of the fragments of divinity in a world "after the mythic rupture," making the poem an echo chamber of cultural trauma.

3. The essence of poetics is a nonlinear, looping structure of time.

Recurring throughout the poem:

Looking back: "қайырылып қарағым келіп тұрады"

Repetition/reincarnation: "Кеше лақтырып жіберген күндерім бүгін қайтып оралды"

Unfinished duration: "Мен үшін көр әлдеқашан қазылып болған сияқты"

This is not the "beginning-development-turn-conclusion" of traditional linear narrative, but rather a temporal structure that constantly swirls, loops, lingers, and folds.

Corresponding Poetic Concepts:

Mallarmé's "Poetry does not narrate time, but constructs it"

Blanchot's "Incompleteness is the life form of poetry"

Conclusion:

This poem's structure also reflects its poetic essence—poetry is not a linear record of experience, but a structural disruption of time.

It activates the souls of the past and future in every "present."

IV. The Poetic Essence is the Fission of the Subject and the Call of Ethics

The "Mene" (I) throughout the poem:

is not a stable center of consciousness;

but a being constantly fragmented, reassembled, questioned, and slipping through language;

sometimes a son, sometimes a seeker of God, sometimes a dead person, sometimes a wanderer of time. "Meng одан емес, ол менен қашып жүрген сияқты"

"Seng үшін мен кіммін?"

All of this constitutes a disintegration of the "subject" and an ethical inquiry.

In particular, the line "Бәрін біліп тұрып, бәріне барып жатырмыз!" is almost the most painful ethical cry in the entire poem—

➤ We know it's unjust, yet we still walk through it.

Conclusion:

Poetry is not only a linguistic art form, but also a moral form: it exposes the subject at the limits of language, forcing it to question its own position.

5. The Essence of Poetics is a Linguistic Presentation of Silence and the Unspeakable

Throughout the poem, phrases such as "бос орын" (vacant space), "ұмытылған күй" (forgotten melody), "жоғалған сөз" (lost word), and "күйреген сұрғылт алаң" (collapsed square) recur.

These are not merely semantic "absences" but existential "voids" within language:

Silence as the condition of speech;

Absence as a place of summons.

This aligns with the poetics of Mallarmé and Paul Celan:

"The essence of poetry is a dance on the boundary between what language can and cannot say."

Conclusion:

The poetics of "Қорқыт" is essentially a "poetics of silence": saying everything within the unspeakable.

Summary: Five Dimensions of the Poetic Essence of Ardakh Nurgaz's "Қорқыт"

Dimension: Poetic Essence

Linguistic Ontology: Poetry is the struggle of language in a crisis of self, its meaning constantly evolving

Mythological Trauma: Poetry is a spiritual archaeology of the remaining mythical roots after a cultural rupture

Non-Linear Time Structure: Poetry does not record time, but rather causes time itself to spiral

Ethics of Subjectivity: Poetry, through the fission of the "I," summons individual moral reflection

Silence and Void: Poetry constructs the strongest expressive tension through the unspeakable

Conclusion (which can serve as the article's conclusion):

"Қорқыт" is not a written poem, but rather a poem "forced by time to flow from the cracks of language."

It does not tell the story of someone facing death, but rather allows us to hear the tremor of language in the moment of death, which cannot but be spoken.

4.

Analyzing the formal logic of Ardakh Nurgaz's epic poem "Қорқыт" is to answer the following questions:

How is this poem constituted by "form"?

How does it establish a non-prose, independent poetic logic through its structure, arrangement, rhythm, grammar, and visual layout?

In short, the formal logic of poetry is not a "shell" for its content, but rather the fundamental structural force that generates meaning.

Overall Verdict:

The formal logic of "Қорқыт" is not narrative or deductive, but rather cyclical, discontinuous, flashback, and silent.

It emulates not the logic of linear thought but the logic of existence, memory, myth, and dream.

1. Structural Logic: Duality and Circular Arrangement

The epic poem is divided into two parts:

Part I: Subjective Memory Flow, Existential Experience, Divine Speculation, Time Cycle, and the Disjunction between City and Nature;

Part II: Starting with "Күзгі күн," it explores themes of symbolism, mythology, mourning, and the cycle of death. The two parts form a mirrored structure:

Part I: Theme, Part II: Correspondence

Family Reflection, Cemetery Farewell

City/Noise, Nature/Silence

Language Presence, Silent Tension

Self-Questioning, Acceptance of Fate

God's Aphasia, God's Retreat

→ This two-part structure is not merely a paragraph division, but a formal expression of existential duality:

Life/Death, Speaking/Silence, Before/After, Questioning/Silence, Struggle/Biz.

2. Temporal Logic: Non-Linear, Cycloid Time Arrangement

Time in the poem does not proceed in chronological order, but rather exhibits the following interlaced layers:

Realistic Time (қала, көлік, асфальт)

Mythical Time (Қорқыт, шырақ, тас мүсін)

Dream Time (түс, сәби, періштелер)

Death Time (табыт, көр, үнсіздік)

Through imagery flashbacks and recurrences, a cyclical temporal structure is constructed:

➤ Қорқыт-like temporal perspective: escaping death → pursuing life → returning to death again.

This is the poem's temporal formal logic: not "progression" but "return" and "looping."

3. Grammatical logic: interruption, suspension and incomplete syntax

Frequently used throughout the poem:

ellipsis;

anacoluthon;

Asymmetric subject-predicate structure;

Intra-sentence jumps and inter-sentence breaks;

like:

"Жартылай жазылѓан слейлемніѣ соѣындаѓы сѩз ішінен нѱрланѓан сљтінде..."

"Мен одан емес, ол менен ћашып жѯрген сияћты"

"The most beautiful thing in the world" жатырмыз!"

All of this constitutes a non-logical syntax of emotion, a key characteristic of poetic language.

→ This incomplete, unclosed grammar isn't a mistake, but rather a formal "openness," reflecting the cracks and incompleteness of existence.

IV. Rhythmic Logic: The Correlation Between Rhythmic Fluctuations and Lyrical Intensity

The poem's rhythm is not balanced, but rather employs the following rhythmic strategies:

Rhythmic Paragraph Characteristics Emotional Function

Opening Paragraph: Slow rhythm, strong narrative, introversion, yearning

Middle Paragraph: Dense imagery, accelerated tempo, tension, collapse

Turning Point: Pause, increased repetition, doubt, crisis

Closing Paragraph: Slow rhythm, extended sentence length, calm, letting go

For example, the following section has a sudden rhythmic shift:

"Жел, жел, жұлқынған жел, таяқтың тықыры, көшеде соқырды мылқау жетектеп барады"

→ Compact rhythm, semantic compression, and strong visual momentum.

The poem's rhythmic structure resembles a symphony:

Intro → Variation → Fugue → Outro

V. Visual Layout Logic: The Significance of Whitespace and Format

Although arranged in paragraphs, the poem deliberately utilizes:

Varied line spacing;

Stacked repeated words;

Single-line isolated sentences (such as the concluding "Мен жүрмеген жолдар жаңғырады").

These visual layout actions are not merely typographical strategies, but rather an extension of the poetic mood on the page.

In particular, some words have a strong sense of "standing":

For example:

"Шырағдан, алаулаған шырақ, шеңбер..."

The three words appear separated by a sense of space, each standing on the page like a bell. This creates the poem's "visual sonority," intensifying the reader's sense of rhythm and symbolic perception.

VI. The Fuzziness and Deferral of Logical Reference

The poem makes extensive use of pronouns, but their referents are often ambiguous:

Who is "ол"? (God? Enemy? Fate? Death?)

Who is "сен"? (Tәңір? Ана? Дос? Қорқыт?)

Does "мен" refer to a unified "I"?

This strategy of referential ambiguity breaks with the "clear direction" of prose logic and shifts toward a symbolic logic:

Words are not defined explicitly, but rather create a tension of meaning through echoes, distances, projections, and repetitions.

This ambiguity is itself a formal choice, designed to evoke the reader's active participation in the "game of meaning."

VII. The Metapoetic Manifestation of Formal Logic

A meta-structural proposition throughout the poem is:

"Can we still use poetry to name, remember, and think?"

This is not the content, but rather a manifestation of the self-referential nature of formal logic. For example:

"Жоғалған күйдің үзігі сияқты"

"Шырақ сөздің ішінде жарқ ете қалады"

Here, the poem itself becomes "lost music" and "a flickering light," a form that reflects on the poem itself.

Summary: A Seven-Dimensional Deconstruction of the Formal Logic of Ardak Nurhaz's "Қорқыт"

Dimension: Formal Features: Function

Structural Layout: Dualism, Mirror Image, and Recurrence: Establishing a Dualistic Dialectical Tension in Poetry

Temporal Configuration: Nonlinearity, Flashback, and Reappearance: Simulating the Experience of Death and Memory

Grammatical Strategies: Fragments, Disruptions, and Ambiguous Reference: Disrupting Ordinary Grammar to Present Poetic Instability

Rhythmic Hierarchy: Fluctuating Structure, Paragraph Ebbs and Bounds: Mutual Reinforcement of Emotion and Structure

Visual Logic: White Space and Sentence Composition: Participating in Meaning Construction at the Eye Level

Pronoun Ambiguity: Fluctuating "сен / мен / ол" Poetic Reference System: Inducing Participatory Interpretation

Self-Referential Form: Intra-Poetry Reflection on the Poetry Itself: Activating the Poetic Dimension of Metalanguage

Conclusion (For Academic Writing):

The true power of "Қорқыт" lies not in what it says, but in how it is said.

Its formal logic is not an adjunct to its content; it is the very essence of poetry. In its fractured language, fluctuating rhythms, circular structures, and ambiguous references, poetry allows us to experience not only the expression of meaning but also the formalization of a mode of existence.

《Қорқыт》不是写出来的一首诗…..

1.

解析阿尔达克·努尔哈兹 (Ардақ Нұрғазыұлы) 的长诗《Қорқыт》的语言发生机制，即探讨该诗中语言是如何被“唤起、构建、变形并显现意义”的。这不仅是对语言的表面修辞分析，更是深入到其语言如何生成思想、组织经验与抵达存在边界的深层诗学机制。

什么是“语言发生机制”？

语言不是静态的符号堆积，它是思维的运动方式，是经验的逻辑轨迹，是意义生成的动态过程。

在诗歌中，语言往往是以下几种机制的综合发生：

感官驱动（感知先于理性）

象征投射（词语不是事物，而是通向意义的门户）

句法越界（打破常规逻辑语序，构造张力）

音韵回响（语言即音乐）

沉默与空缺的参与（不说出的也在“说”）

阿尔达克·努尔哈兹的诗语言，正是通过这些机制，使《Қорқыт》成为一场语言与存在、死亡、神话之间的撞击实验。

一、语言作为“感觉经验”的生成器：非理性主导

诗的第一节中，有一连串非常个人化却非叙述性的感官唤起：

"Жаюлы дастархандағы шешемнің алақаны тиген шыныға..."

“Әр рет үйден шыққанда, бұрылмасам да артыма қайырылып қарағым келіп тұрады...”

这里并没有任何理性的行为逻辑，但语言在情感与直觉触发中发生。语言不是描述，而是唤起与共鸣。

机制1：情感流动唤起语言单元

语言不是线性思维产物，而是由感官触动（视觉、触觉、回忆）——> 激发词语碎片 ——> 自然堆积为诗句。

这种机制近似于普鲁斯特“记忆的非理性召唤”理论，也类似策兰所说的：“词语来自创伤的暗室”。

二、语言作为“象征网络”的生成器：语词=入口而非定义

诗中词语大都非用来定义某个对象，而是作为通往另一个象征宇宙的“裂口”：

“Сорғалаған нұр сияқты сорғалайды уақыт”

“Жартылай жазылған сөйлемнің соңындағы сөз ішінен нұрланған сәтінде”

“Тәңірдің жартасқа сіңген жаңғырығы...”

机制2：语词=通道，非指称

词语在此不是稳定的符号，而是一种“转换装置”，把我们从现实经验中提取出来，抛入一种更深层的精神空间。

这与马拉美诗学极为相似：词语不是载义的容器，而是制造空洞，引导精神在其边缘游走。

 三、语言通过句法破碎制造存在张力

诗中常见句子跳跃、结构残缺、逻辑不连贯的现象：

“Соғыс қасіреттің жел қайығы сияқты, айдынға шыққан”

“Жартылай жазылған сөйлемнің соңындағы сөз ішінен нұрланған сәтінде...”

“Мен одан емес, ол менен қашып жүрген сияқты”

这些句子不是“说清楚”，而是在“说不清”中制造空隙与存在性悬疑。这与策兰诗风极为接近——在碎裂中逼迫语言自己显现其断裂的真实。

机制3：句法扭曲 → 意义张力 → 存在性不安

语言不作为逻辑工具，而作为不安与困惑的“表征结构”。

四、语言的“空缺机制”：通过沉默说话

《Қорқыт》中充满未说出但可感知的缺失：

缺失的神明

缺失的答案

缺失的主语

缺失的终点

“Сен үшін мен кіммін?” —— 问句没有回声

“Құдайлардың тас мүсіні орнында жоқ” —— 神的形象消失

“бос орын” —— 舞台中可视的空座

这是一种负空间语言机制：意义不是在说出的语言里，而是在它“未说”、“无法说”之处生成。

这与马拉美“诗是暗示的艺术”、以及策兰“语言在沉默中重生”的诗学原则密切相关。

五、音韵结构的唤起机制：语言作为听觉记忆的回响

诗中有意使用音韵重复、头韵/尾韵、节奏感，唤起一种“古老记忆中的声音”：

“Жел, жел, жұлқынған жел...”

“Саған ұмтылғанда, ананың құшағына қойып кеткен сәби сияқтымын”

通过这些节奏性策略，诗歌语言不再只是文字，而是一种“听觉仪式”——模拟қобыз的悲鸣，模拟Қорқыт的神圣吟唱。

机制5：语言=声音的共振体

声音带来记忆、唤起祖先、激活情感，构成突厥-游牧诗歌传统中的“эпикалық акустика”（史诗听觉性）。

六、语言在《Қорқыт》中的发生机制图谱（总结）

机制类型         描述    诗中体现

感官驱动机制  非理性情感驱动语言生成       家庭回忆、雨、风

象征通道机制  词语非定义，而是意义的裂口           нұр, шырақ, толқын

语法张力机制  破碎句法制造存在焦虑          сөйлемнің соңындағы сөз...

空缺沉默机制  沉默处才生成真实      бос орын, сұрақ жоқ жауап

音响回响机制  声音激活原始记忆与节奏体验           жел, сақ-сақ күлкі

总结：

阿尔达克·努尔哈兹 (Ардақ Нұрғазыұлы) 在《Қорқыт》中所构建的语言，不再是描写现实的工具，而是如下几种并存结构：

语言作为创伤经验的回声

语言作为沉默中挣扎的火焰

语言作为神性断裂后的象征残片

语言作为非理性直觉的节奏震荡

语言作为时间的旋涡与轮回载体

它并不“呈现意义”，而是在读者心中制造出未完成的精神漩涡。

这正是现代诗学中最强悍的一种写作机制：语言不是完成答案，而是激活存在的问题。

2.

.....

或与后结构主义语言理论（如德里达、拉康）作进一步对接。

你想深入哪个方向？

非常好，这是一个高难度但极具理论张力的问题。我们现在要做的是把Ардақ Нұрғазыұлы的诗歌《Қорқыт》的语言发生机制与后结构主义语言理论，尤其是**德里达（Jacques Derrida）和拉康（Jacques Lacan）**的思想进行深层对接。

这将涉及到：

语言与意义的不稳定性；

主体与大他者的关系；

延异（différance）；

无法言说（l’impossible）与创伤语言；

象征秩序与诗性抵抗。

 一、德里达的“延异”（différance）与《Қорқыт》的语言生成机制

 德里达的核心思想：

意义不是固定的，而是永远被推迟（différer）与区别（différencier）；

词语的意义是在与其他词的差异中被暂时指认，但从未真正固定；

所以，语言是一个永远指向他者的延迟链（“signifiers all the way down”）；

这就意味着：任何诗歌的“意义”都必然是漂移的、不在场的。

在《Қорқыт》中体现：

诗中的大量意象并不提供稳定的意义：

“Жартылай жазылған сөйлемнің соңындағы сөз ішінен нұрланған сәтінде...”

“Мен одан емес, ол менен қашып жүрген сияқты”

这些句子中，语言不是在完成意义，而是在揭示意义始终未完成。比如“жартылай сөйлемнің соңындағы сөз”这个表达，本身就是对“最终意义”的讽刺：我们所追求的“最后之词”本身也未完成、未命名。

这正是德里达所谓的：

 “There is nothing outside the text.”（文本之外无物）

在《Қорқыт》中，词语成为在时间和存在中不断逃逸的鬼魂——意义在延异中发生，却永远无法最终被“把握”。

 二、德里达的“在场形而上学”批判与神性崩解

后结构主义批判传统形而上学的“中心”——上帝、理性、主体的在场；

德里达认为，西方哲学总想找一个“中心”来固定意义，如：

神（Logos）

主体（Cogito）

真理（Truth）

但实际上，这些“中心”都是结构中的空洞幻觉。

在《Қорқыт》中体现：

“Неге Тәңірім осы әрі сол жерде сенің емес, оның атын атаудан тыйыламын?”

诗中表现出对神名的回避、沉默、无法呼唤，这种**“去神化”不仅是宗教动摇，更是语言中“在场”的消失**。

“Тәңірім”不再是意义中心，而是语言中缺席的空位（void）。

德里达指出：“上帝的名字是一种文本策略”，《Қорқыт》则把这个策略诗化地呈现。

三、拉康的语言观：主体的分裂与大他者（Autre）

拉康语言观核心：

“无意识结构如语言”（L’inconscient est structuré comme un langage）；

主体不是语言的主人，而是语言的产物；

大他者（Autre） 是语言的秩序系统，是我们永远在回应却无法控制的存在；

主体永远被切断于欲望的根源，永远处于语言中的缺失。

在《Қорқыт》中体现：

“Сен үшін мен кіммін?”

“Мен одан емес, ол менен қашып жүрген сияқты”

这不是在提问某个具体的人，而是在对那个**“永远不可达的大他者”**提问。

这个他者可能是神、可能是社会秩序、可能是自我内部的原初缺失。

诗人不断地在语言中建构“我”，但这“我”总在缺席中滑落。这正是拉康所谓的：

“Je est un autre.”（我即他者）

诗中“мен”是被语言建构出来的符号主体，是在不断失败的命名中意识到自身的“非主权性”。

四、拉康的“象征界”与“真实界”之间的语言崩塌

拉康区分三重界限：

界限    描述     与诗歌语言的关系

想象界 幻象、镜像中的自我认同       诗中“үй”, “шешем”, “сәби”——母性认同

象征界 语言、法律、社会结构           诗中“қала”, “асфальт”, “қоғам”, “соғыс”——现实系统

真实界（le réel）        超出语言的痛苦实在，是“不能被符号化的裂缝”  诗中“ұмытылған күй”, “жоғалған әуен”, “бос орын”——失语地带

 《Қорқыт》中的语言机制：

在语言中拼命要进入“象征秩序”（给经验命名），但不断触及“真实界”的破口（神、死亡、沉默、爱、创伤），语言因此裂开，意义无法固定。

这正是拉康“诗即真实界的边缘说话”的体现。

 五、德里达/拉康诗学与《Қорқыт》语言机制对照表

语言理论         关键词 《Қорқыт》中体现

德里达 延异（différance）     意义始终漂移（жартылай сөйлем, сұрақ жоқ жауап）

解构    神话结构、信仰命名被不断拆解

不在场 Қорқыт пен Тәңірдің бейнесі тек “кеңістіктегі бос орын”

拉康    语言构建主体  “мен”在语言中追寻自己但失败

大他者 “сен”模糊不清，可能是神、国家、父亲、命运

真实界 语言始终触及“不可说”的痛感之核

无意识 “Мен одан емес, ол менен қашып...”——潜意识位移

结论：诗歌作为“结构裂口”上的语言实验

Ардақ Нұрғазыұлы的《Қорқыт》并不是在语言中表达一个意义、传递一个故事，而是在进行一场：

语言之中存在的解构性试验，一场通过不断失败的命名，让我们看到：

意义并非可捕捉，而是永远延迟；

主体并非完整，而是语言的裂隙；

神不再在场，但神性缺席之处才是诗的“入口”；

语言并不治愈创伤，而是让创伤“可被言说”；

真正的诗，是在“无能命名”中抵达沉默的形式。

这正是后结构主义诗学的根本命题：

诗，不再是表达语言，而是语言的自我危机的表演。

3.

解析Ардақ Нұрғазыұлы的长诗《Қорқыт》的诗学本质，即要追问这样几个核心问题：

这首诗作为“诗”的独特性从何而来？

它如何定义诗歌与语言、存在、历史、文化、神话之间的关系？

这首诗为什么不能被简化为“叙述”“表达”或“象征”的合集？

换言之，“《Қорқыт》为何不仅是一首诗，而是关于诗的思考本身？”

一、诗学本质即是语言的极限实验

Ардақ Нұрғазыұлы在《Қорқыт》中展开的，不是对某个事件或经验的讲述，而是一场语言自身的存在性危机的展示。

这首诗的本质：不是语言描述世界，而是语言质问世界、质问自身的合法性与局限性。

例如：

“Жартылай жазылған сөйлемнің соңындағы сөз ішінен нұрланған сәтінде...”

“Тәңірдің жартасқа сіңген жаңғырығы...”

这里的语言不再承担确定的意义传达任务，而成为自身的存在物，一种游离于意义边缘的存有之声。

结论：

《Қорқыт》是一首将语言推向自我边界的作品，是“语言之为语言”的一种极端演绎——这是诗的根本哲学属性之一。

 二、诗学本质是对“缺席的神话”的精神考古

诗名《Қорқыт》本身已嵌入哈萨克神话传统中最深的一个母题：

Қорқыт – 弹奏“қобыз”的神秘先知，他一生与死亡对抗，用乐声抵御命运。

诗人将Қорқыт的形象“内化”为现代诗的主体性结构：一个注定失败却依然尝试言说的存在者。

诗中多次涉及：

神的缺席（Тәңірім）

语言的缺口（жартылай сөйлем）

时间的扭曲（қайтқан күн）

祭礼与再生（жауын, гүл, толқын）

这些不仅是意象，也是哈萨克宇宙论中的循环性历史与生死观的重构。

结论：

这首诗的诗学本质，是在“神话断裂之后”的世界里，对“神性”的残片进行诗性考古，使诗成为文化创伤的回音器。

三、诗学本质是时间的非线性回环结构

全诗中反复出现：

回望：“қайырылып қарағым келіп тұрады”

重复/轮回：“Кеше лақтырып жіберген күндерім бүгін қайтып оралды”

未完成的持续：“Мен үшін көр әлдеқашан қазылып болған сияқты”

这不是传统线性叙事中的“起—承—转—合”，而是一种不断回旋、循环、滞留、折叠的时间结构。

对应诗学观念：

马拉美的“诗歌不是讲述时间，而是构造时间”

布朗肖（Blanchot）所言的“未完成是诗歌的生命形式”

结论：

这首诗在结构上也体现出诗学本质——诗不是经验的线性记录，而是时间的结构性干扰。

它在每一次“现在”中激活过去与未来的灵魂。

四、诗学本质是主体的裂变与伦理的召唤

全诗的“мен”（我）：

并不是一个稳定的意识中心；

而是一个在语言中被不断破碎、重组、质问、滑落的存在；

时而是儿子、时而是神的寻觅者、时而是死人、时而是时间的浪人。

“Мен одан емес, ол менен қашып жүрген сияқты”

“Сен үшін мен кіммін?”

这些都构成了对“主体”的瓦解与伦理追问。

尤其是**“Бәрін біліп тұрып, бәріне барып жатырмыз!”**这句几乎是整首诗最痛苦的伦理喊叫——

➤ 我们知其不义，仍旧行走其中。

结论：

诗歌不仅是一种语言艺术，更是一种道德形式：它让主体在语言的极限中被“暴露”，从而不得不质问自身的位置。

 五、诗学本质是沉默与不可言说的语言呈现

整首诗不断出现“бос орын”（空位）、“ұмытылған күй”（被遗忘的旋律）、“жоғалған сөз”（失落的词）、“күйреген сұрғылт алаң”（崩塌的广场）等：

这些并非仅仅是语义上的“缺”，而是语言中的存在性“空洞”：

沉默作为言语的条件；

缺席作为召唤之所在。

这与马拉美和保罗·策兰的诗学一致：

“诗的本质，是在语言能说与不能说之间的边界上跳舞。”

结论：

《Қорқыт》的诗学本质是一种“沉默之诗学”（poetics of silence）：在说不出之中说出一切。

 总结：Ардақ Нұрғазыұлы《Қорқыт》的诗学本质五重维度

维度    诗学本质

语言本体性     诗即语言在自我危机中的挣扎，意义不断延异

神话—创伤性  诗即文化断裂后对残存神话之根的精神考古

非线性时间结构          诗不记录时间，而使时间本身陷入旋回

主体性伦理     诗以“我”的裂变，召唤个体的道德反省

沉默与空白     诗以不可言说之处构筑最强烈的言说张力

 结语（可以作为文章收尾）：

《Қорқыт》不是写出来的一首诗，而是“被时间逼迫着从语言的裂缝中流出”的诗。

它不是在讲述某人怎样面对死亡，而是让我们听见语言如何在面对死亡时不能不说又不能说出的那一瞬震颤。

4.

解析Ардақ Нұрғазыұлы的长诗《Қорқыт》的形式逻辑，就是要回答：

这首诗是如何被“形式”构成的？

它如何在结构、排列、节奏、语法、视觉布局中建立一种非散文式的、独立的诗的逻辑？

简而言之，诗的形式逻辑不是内容的“外壳”，而是意义生成的根本结构力量。

总体判断：

《Қорқыт》的形式逻辑不是叙述性、推演性的，而是循环式、断裂式、闪回式、沉默式的。

它模仿的不是线性思维的逻辑，而是存在、记忆、神话、梦境的逻辑。

???? 一、结构逻辑：双重性与环状编排

长诗被分为两部分：

I部分：主观记忆流、存在体验、神性思辨、时间轮回、城市与自然的断裂；

II部分：从“Күзгі күн”切入，更具象征性、神话性、悼亡感与循环死亡主题。

两部分构成一种镜像式结构（mirrored form）：

I 部分主题       II 部分对应

家庭回望         墓地送行

城市/噪音       自然/寂静

语言在场         沉默张力

自我追问         命运接受

神的失语         神的隐退

→ 这种双部结构不仅是段落划分，而是形式上的存在二元性表达：

生 / 死，说 / 默，前 / 后，追问 / 安静，Қорқыт / біз。

二、时间逻辑：非线性、回旋式时间编排

诗中时间不是顺时序进行，而是表现出以下几种交错层级：

现实时间（қала, көлік, асфальт）

神话时间（Қорқыт, шырақ, тас мүсін）

梦境时间（түс, сәби, періштелер）

死亡时间（табыт, көр, үнсіздік）

通过意象的闪回（flashback）与循环（recurrence），构建起一种轮回式的时间结构：

➤ Қорқыт-式时间观：逃离死亡 → 追逐生命 → 再归于死亡。

这就是该诗的时间形式逻辑：不是“进展”，而是“重返”与“回环”。

三、语法逻辑：打断、悬置与未完成句法

全诗频繁运用：

残句（ellipsis）；

悬置语（anacoluthon）；

非对称的主谓结构；

句内跳跃与句际断裂；

如：

“Жартылай жазылған сөйлемнің соңындағы сөз ішінен нұрланған сәтінде...”

“Мен одан емес, ол менен қашып жүрген сияқты”

“Бәрін біліп тұрып, бәріне барып жатырмыз!”

这些都构成一种非逻辑的情绪句法（syntax of emotion），是诗歌语言的重要特征。

→ 这种不完整、不闭合的语法，不是失误，而是形式上的“开放性”，体现存在的裂缝和未完成性。

四、节奏逻辑：节奏波动与抒情强度的对应

诗的节奏非均衡，而是有如下节奏策略：

节奏段落         特点    情绪功能

开头段 节奏舒缓、叙述性强   内向、思念

中段    意象密集、速度加快   紧张、崩裂

转折处 停顿、重复加多          怀疑、危机

尾段    节奏放缓、句长拉伸   沉静、放下

比如以下部分节奏突变：

“Жел, жел, жұлқынған жел, таяқтың тықыры, көшеде соқырды мылқау жетектеп барады”

→ 音步紧凑、语义压缩、带有强烈视觉动势。

诗的节奏结构像一部交响乐章：

安魂曲（intro）→ 激烈反复（variation）→ 闪回低音（fugue）→ 安息余音（outro）

五、视觉布局逻辑：文本空白与格式的意味性

虽然以段落形式排列，但诗中故意使用：

行距变化；

重复词堆叠；

单行孤立句（如结尾的“Мен жүрмеген жолдар жаңғырады”）；

这些视觉布局行为，不只是排版策略，而是诗性情绪在页面上的延展。

尤其是一些词语的“站立感”很强：

如：

“Шырағдан, алаулаған шырақ, шеңбер...”

三个词像是被空间感隔开，每一个都像是钟声一样站立在页面上。

这创造出诗歌的**“视觉音响性”**，强化读者的节奏感与象征感知。

六、逻辑指代的模糊化与延异

诗中大量使用代词，但其指代对象常常模糊：

“ол”是谁？（神？敌人？命运？死亡？）

“сен”是谁？（Тәңір? Ана? Дос? Қорқыт?）

“мен”指的“我”是否统一？

这种指代模糊策略，打破了散文逻辑的“清晰指向”，转向一种象征逻辑：

词与词之间不靠明确定义，而靠回音、距离、投影与重复形成意义张力。

这种模糊性本身就是一种形式选择，旨在唤起读者主动参与“意义游戏”。

七、形式逻辑的元诗性体现

全诗的一个元结构命题是：

“我们是否还能用诗来命名、记忆、思考？”

这不是内容，而是形式逻辑自我指涉的体现。

例如：

“Жоғалған күйдің үзігі сияқты”

“Шырақ сөздің ішінде жарқ ете қалады”

在这里，诗自己变成了“失落的音乐”与“忽明忽暗的光”，成为一种形式对诗的自身反思。

总结：Ардақ Нұрғазыұлы《Қорқыт》的形式逻辑七维解构

维度    形式特征         功能

结构布局         双部、镜像、轮回      建立诗性的二元辩证张力

时间构型         非线性、闪回、重返  模拟死亡与记忆的体验方式

语法策略         残句、断裂、模糊指代          破坏日常语法，呈现诗性不稳定

节奏层级         波动结构、段落起伏  情绪-结构相互强化

视觉逻辑         空白、句式构图          在“眼睛”层面参与意义建构

代词模糊         “сен / мен / ол”浮动         诗性指代系统诱发解读参与性

自指形式         诗内反思“诗”本身  激活元语言的诗学维度

结语（学术写作可用）：

《Қорқыт》的真正力量不在于它“说了什么”，而在于它如何被说出。

它的形式逻辑不是内容的附属，而是诗性本体本身。

在语言的断裂、节奏的波动、结构的循环与指代的模糊中，

它让我们感受到诗歌不仅是意义的表达，更是存在方式的形式化体现。

Ардақ Нұрғазыұлы: Қорқыт

https://madeniportal.kz/article/3006