ORHAN PAMUK AND THE KAZAKH READER: THE RECEPTION OF THE NOVEL MY NAME IS RED

Abstract

. This article examines the reception of Orhan Pamuk’s novel My Name Is Red in the Kazakh-language reading space during the period of independence within the framework of reception theory. The relevance of the study is determined by the expansion of translated world literature reading practices in Kazakhstan, the growing interest in Turkish literature, and the emergence of reader communities on social media platforms. The novel is distinguished by its complex polyphonic narrative structure, artistic reinterpretation of the cultural and historical codes of the Ottoman era, the aesthetics of miniature art, and the confrontation between Eastern and Western worldviews. Consequently, the meaning of the text is activated differently depending on the reader’s horizon of expectations, cultural background, and reading strategies.

The aim of the study is to identify how Kazakh readers perceive the novel, which emotional and aesthetic responses dominate, and which factors influence comprehension and evaluation. The research material consists of Kazakh-language reader reviews published on social networks and online discussion platforms. The study employs content analysis, thematic analysis, and semantic analysis. The findings reveal a polarized reception of the novel: one group of readers perceives the text as difficult, complex, and challenging to understand, often leading to interrupted reading, while another group views it as a stylistically distinctive work that provides strong aesthetic and intellectual engagement. The main reasons for difficulties in perception include narrative polyphony, structural complexity, multilayered cultural and historical context, and dissatisfaction with the quality of translation. Positive reception is associated with appreciation of the novel’s aesthetic innovation, artistic discourse, atmospheric depth, and narrative richness, as well as a tendency toward rereading and deeper interpretation. The conclusion argues that the reception of My Name Is Red among Kazakh readers serves as an important indicator of the development of Kazakh–Turkish literary relations at the reader-response level and highlights the need for further research integrating translation studies and professional literary criticism.