The Category of Prosthetic Memory in the Works of Aigul Kemelbayeva

Abstract

This article explores the phenomenon of prosthetic memory in the works of A. Kemelbayeva, a prominent figure in contemporary Kazakh prose. The relevance of the study lies in analyzing the developmental trends of modern Kazakh literature through the prism of humanitarian theories regarding «memory.» While previous scholarship primarily focused on the author’s interpretation in relation to her persona and stance, this research provides an analysis directly linked to the concept of «prosthetic memory»—a term situated at the intersection of psychology and cultural studies. As a result of the study, the author’s theoretical framework regarding
prosthetic memory is examined, A. Kemelbayeva’s creative space is analyzed, and the fundamental roles and functions of prosthetic memory are synthesized. The findings indicate that prosthetic memory defines the historical context through the system of characters in her works. Consequently, even without witnessing historical events firsthand, the author conveys the cultural significance of an era influenced by ancestral memories passed down through generations. The cultural narrative and literary portraiture in A. Kemelbayeva’s works serve as an artistic representation of prosthetic memory. In the Kazakh prose of the independence era, the creative world of A. Kemelbayeva possesses a distinct uniqueness. In each of her works, folk perception and national identity are masterfully depicted within the framework of authorial interpretation. By constructing the system of characters and the historical context through the prism of memory, the author enriches the thematic and substantive scope of contemporary Kazakh prose. Specifically, analyzing A. Kemelbayeva's prose based on the concept of «memory» contributes to the formation of innovative scholarly inquiries in modern Kazakh literary criticism. This is because the author relies on the memories of others to convey events she did not personally experience, imbuing them with profound national color. The system of characters in the novel
«Munara» (The Tower) particularly reveals the author’s artistic persona. Thus, in A. Kemelbayeva’s prose, prosthetic memory is not merely a blurred recollection of the past, but a manifestation of historical experience mediated through authorial interpretation. The concept of prosthetic memory is of paramount importance as a significant artistic phenomenon in the study of A. Kemelbayeva’s work. The comprehensive analysis of the term «prosthetic memory» reflects the development of national literature in a new direction. In this study, A. Kemelbayeva's prose is examined as an artistic representation of prosthetic memory. In A. Kemelbayeva’s
poetics, historical themes are manifested within the framework of prosthetic memory, where its function as a cultural synthesis is reflected in the artistic space. Utilizing hermeneutic, narratological, and cognitive methods of literary analysis, the study scrutinizes the artistic structure and representation of prosthetic memory. The core of this research is the recognition of prosthetic memory as both a cultural and narrative phenomenon. The results of the article provide a new theoretical perspective for evaluating and interpreting the phenomenon of prosthetic memory in Kazakh prose.