Symbolics of ‘The White Cloud of Genghis Khan’ by Chinghiz Aitmatov Through the Spectacle of Mythopoetics
Bibliographic record
Abstract
The presented article is devoted to the most important aspects of the interaction between mythologization and the principles of constructing a symbol in the text structure of original prose fiction. The author attempted to reveal the process of transforming the mythologization and symbolization of the image into one of the conceptual components of the link-building mechanisms in a 'novella towards a novel’ by Chinghiz Aitmatov - ‘The White Cloud of Genghis Khan’. The author focuses on the myth, acting in the structure of the novel ‘The Day Lasts More Than a Hundred Years’ at the level of symbolic-ideological, idea-bearing, and spatio-temporal paradigm while being aesthetically implemented through composition, plot, image/coding system, certain motives, symbols, and other artistic and aesthetic means and thuswise forming various combining components of cited works into a single structurally whole artistic expression.Aitmatov's artistic endeavour is characterized by the original focus of the myth in solving such universal ontological issues as ‘good’, ‘evil’, ‘betrayal’, ‘meaning of existence’, ‘mystery of death’, etc. Also, to depict the contrast between the eternal universal categories, Aitmatov often resorts to binary opposition. Thus, since the latter performs a structure-forming function in the architectonics of the artwork (determining the dynamics of the plot development), it also helps explain the dynamics and statics of characters and their actions in time and space. The article reveals the features of mythopoetic means that perform auxiliary functions of expanding the philosophical, ideological, and original artistic concept of the literary work. The conducted study summarized and identified three ways of considering a symbol as a text-generating and text-binding factor: in terms of peculiarities of the author's writing techniques, from the standpoint of its involvement in the general poetics of the writer, and the point of view of the formation of a literary text’s conceptual and philosophical basis.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.005 | 0.012 |
| Scholarly communication | 0.004 | 0.002 |
| Open science | 0.000 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.003 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".