The specifics of the genre transformation of the international plot of Tristan and Isolde in the socio-cultural discourse of Kazakhstan (based on the epic "Kozy Korpesh and Bayan Sulu")

This article examines the process of genre transformation of the international romantic love story of Tristan and Isolde within the context of Kazakhstani sociocultural discourse, using the epic story "Kozy K & ouml;rpesh and Bayan Sulu" as an example. The analysis draws on a comparative typological approach, elements of folklore typology, and discourse-analytical methods. From a semiotic perspective, it examines how universal archetypal motifs of "love - fidelity - tragedy" are interpreted through local genre repertoires (epic, heroic novel, lyric-epic songs, and stage productions), being represented in the historical and cultural context of Kazakhstan through performative acts of storytelling and performance as recurring practices that shape the subjectivity of the performative context, through which new meanings emerge in epic stories and the symbols of the epic are transformed. It is concluded that the transformation of the story occurs at the level of the motif complex. The proposed concept of the ethnic identity of cultural memory bearers in Kazakhstan, based on the transformation of the Tristan-Isolde story and its Kazakh version (Kozy K & ouml;rpesh - Bayan Sulu), appears theoretically productive. It is formed through the localization of motifs of love and sacrifice, and the symbolism of tribal, nomadic, and ritual elements, into a multilayered 'semantic loop', whereby semantic elements of the story are reversely reintroduced into the narrative, intertwining with indigenous national motifs to create a new meaning that constitutes the ethnocultural identity of the Kazakhs.