女性主义视角下《冬牧场》英译中哈萨克牧民形象与文化记忆研究(英语论文)

ChapterOneIntroductionThischapterfocusesonthebackground,purposeandsignificanceofthestudy,aswellasthestructureofthechapters,inordertoprovideabasicframeworkforthelaterstudyoftheEnglishtranslationofWinterpasturethroughfeministtheory.1.1ResearchBackgroundAsanimportantpartofKazakhnationalculture,theimageandculturalmemoryofKazakhherdersplayanimportantroleinpresentingatruepictureofXinjiangsocietytotheworldandinmaintainingnationalunity.Andbyincorporatingafeministperspectiveintothisstudy,thispaperprovidesanewtheoreticalwayofinterpretingthisissue,payingspecialattentiontotheexpressionofwomen'ssubjectivityinnomadicsociety.LiJuan'sWinterpasturerecordsthenomadiclifeofKazakhherderswithdelicatefemalestrokes,anditsEnglishtranslation,asanimportantcarrierofculturaldissemination,notonlyservesasawindowforinternationalreaderstolearnaboutthecultureofChina'sethnicminorities,butalsohasspecialsignificanceintoday'scontextofglobalculturaldiversityprotection.Moreover,withthein-depthpromotionoftheBeltandRoadInitiative,thetranslationanddisseminationofsuchethnographicworkswillundoubtedlyplayanimportantroleinpromotingmutualunderstandingamongcivilizations.Sinceitspublication,Winterpasturehasreceivedwidespreadattention,winningmajorliteraryawardssuchasthePeople'sLiteraturePrizeandtheZhuZiqingProsePrize,andwasdescribedbytheChineseWritersAssociationas“animportantharvestofprosecreationinthenewera”.ThebookwaspraisedbythePeople'sDailyfor“depictingthecontemporarypictureofnomadiccivilizationwiththeuniquewarmthandtenacityofwomen”.Asarepresentativewriterofcontemporaryprose,LiJuan'sworkshavebeentranslatedintoEnglish,French,Germanandotherlanguages.TheEnglishtranslationbyBritishtranslatorJackHargreavesandChinesetranslatorYanYanhasbeenincludedinthekeybibliographyofthe“ChineseLiteratureOverseasPromotionProject”andbecominganimportanttextforthestudyofChina'sminorityculturesintheinternationalacademiccommunity.1.2ResearchPurposeandSignificanceThisstudyhastheoreticalvalue.Ontheonehand,thispaperinterpretstheEnglishtranslationofWinterpasturefromafeministperspective,aimingtoshowtherealfaceofKazakhherders'livesfromtheaspectsofherders'imageandculturalmemory,payingspecialattentiontowomen'srolesandcontributions,thusenrichingtheresearchperspective;Ontheonehand,thestudymainlyexplorestheapplicationdimensionsoffeministtheoriesinthetranslationresearchofminorityliterature,exploresthecross-culturaltransmissionofwomen'snarratives,andprovidesnewmethodologicalinsightsforthestudyofwomen'swritingincross-culturalcontexts.OntheOtherhand,thestudymainlyexplorestheapplicationoffeministtheoryinthetranslationresearchofminorityliterature,exploresthecross-culturaltransmissionofwomen'snarratives,andprovidesnewmethodologicalinsightsforthestudyofwomen'swritingincross-culturalcontexts.1.3PaperLayoutThisthesisisdividedintoninechapters,formingathree-dimensionalstructureof“theoryconstruction-textanalysis-conclusionreflection”.Thefirstchapterintroducestheresearchbackground,thesignificance,thepurposeandthestructureofthethesis.Thesecondchapterisliteraturereview,whichsummarizesthecurrentstateofresearchonBeauvoir'sfeministtheory,theEnglishtranslationofWinterPasture,andtheimageandculturalmemoryofKazakhherders,andpointsoutthetheoreticaldeficienciesofexistingresearchindifferentdimensions.Chapterthreepresentsthetheoreticalframework,introducesthethreetheoreticalmodelsused,namelyBeauvoir'sfeministtheory,theimageofKazakhherdersandculturalmemory,andanalysestheapplicabilityofthetheories.Chapterfourpresentstheresearchmethodsused,mainlytextualanalysisandqualitativeanalysis.Chaptersfivetosevenaretextualanalysis,analyzingtheimageandculturalmemoryofherdersembodiedinthetext,andfocusingonthesubjectivityandvalueofwomeninnomadicsocietyunderfeminism.ChaptereightistheconstructionoftherelationshipbetweentheimageandculturalmemoryofKazakhherders,whichwillanalyzetheinteractionbetweentheimageandculturalmemoryofKazakhherders.Finally,Chapternineisconclusion,whichdrawsconclusionsbasedontheaboveresearchandgivesthedirectionofthenextresearchbasedonthelimitsoftheresearch.ChapterTwoLiteratureReviewThischaptersystematicallypresentsthecurrentstateofdomesticandinternationalresearchonBeauvoir'sfeminism,theEnglishtranslationofWinterPasture,andtheimageandculturalmemoryofKazakhherders,andsummarizestheachievementsandshortcomingsofcurrentresearchinordertoclarifythedirectionofresearchfocus.2.1Beauvoir’sFeminism2.1.1StudiesatHomeAccordingtoCNKI’slateststatistics,asofMay2025,asearchonCNKIforthekeyword“Beauvoir'sfeminism”yielded266results.Amongthem,119essaysusethetheoryofBeauvoir’sfeminismtointerpretdomesticandforeignliterarytexts,mainlycoveringfemalegrowth,femaleidentityconstruction,femaledilemmainterpretation,etc.14essaysapplythetheoryofBeauvoir'sfeminismtotheanalysisofplaysorfilms;108essaysuseTheSecondSexasatheoreticalsourcetostudythetheoreticalconnotation,basicviewpointsandpracticalvalueofBeauvoir’sfeminism,andmanyofthemcombineitwithMarxismtostudythetheory,basicviewpointsandpracticalvalueofBeauvoir’sfeminism.Amongthem,therearemanystudiesthatcombineitwithMarxisttheory,whileothersarescatteredinthefieldsofethicsandjurisprudence.Thus,itcanbeseenthatBeauvoir’sfeminismiswidelyusedfortextualanalysisinChina,butitismostlyfocusedonnovels,andresearchonethnicminorityproseliteraturehasyettobefurtherexplored.2.1.1StudiesAbroadInGoogleScholar,thesearchwiththekeyword“Beauvoirfeminism”returneddatashowing286relateddocuments.Ofthese,218aretheoreticalanalyses,mainlyfocusingontheinterpretationofthetextofTheSecondSex,theformationofBeauvoir’sfeminism,themultidimensionalinterpretationofthetheoreticalconnotationsofBeauvoir’sfeminism(e.g.ethics,psychoanalysis,etc.),andsomeofthepapersfocusonthestudyofthecoreconceptof“theOther”,thecomparisonandcontrastwithotherfeministschools,andthecombinationofothertheoriesandfeminism(e.g.neo-liberalism,Marxism,Sartreanexistentialism,phenomenology);68oftheseareappliedanalyses,whichapplyBeauvoir'sfeminismtothestudyofliterarytextsandfilmsinordertoanalysethegenderperspectivescontainedtherein,and31oftheappliedanalysesapplyittothestudyofspecificcultures,suchasTheIntersectionalityofNigerianCulturesinGenderRelationsandFeminismintheLiteratureofSouthVietnam.ItisevidentthatBeauvoir'sfeminismhasbeenappliedtonumerouscultures,butnoapplicationorresearchhasyetbeenseenonChineseminorityliterature.2.2EnglishTranslationofWinterPasture2.2.1StudiesatHomeAccordingtothestatisticsofCNKI,asofMay2025,atotalof9papershavebeenpublishedonthetopicof“EnglishtranslationofWinterPasture”,ofwhich4papersanalysethetranslatedtextfromtheperspectivesofecologicaltranslationstudies,conversationalmeaningtheory,bi-geometricinteractionframeworkandtranslationaesthetics;2papersfocusontranslationmediation,analyzingthemultiplicityandcollaborationofactorsandthebehaviourstudyoftranslatorsinforeigntranslations;and3paperscarryoutthestudyoftranslationfromtheperspectivesofparatexts,ecologicalandhumanisticlandscapes,andnon-fictionwriting,respectively.Itcanbeseenthatthecurrentstudiesarerelativelyfewandhavenotbeenanalyzedfromafeministperspective,norhavetheytouchedontheconceptofculturalmemory.2.2.2StudiesAbroadAsearchonGoogleScholarforthetitleofthebookWinterPasture:OneWoman'sJourneywithChina'sKazakhHerdersreturnedonlythetranslationitself,onetravelarticleandonelinguisticsarticle.ThetitleofthearticleisStylisticreproductionintheEnglishversionofwinterpasturefromtheperspectiveofthestylisticmarkerstheory,whichcategorizesthestyleofthetextfromthestylisticmarkerstheory.ItcanbeseenthatforeigncountrieshavenotyetanalyzedtheEnglishtranslationofWinterPastureintermsofliterature,norhavetheyappliedtheoriessuchasfeminismandculturalmemory.2.3ImageandCulturalMemoryofKazakhHerders2.3.1StudiesatHomeAccordingtoCNKI,asofMay2025,therearetwopapersonthetopicof“theimageofKazakhherders”,entitledComparativeStudyofKazakhandHanVernacularNovelsinChinaandKazakhPastoralSocietyinthePerspectiveofChangesintheLandSystem-TakingXinjiangXinyuanCountyasanExample.ThefirstarticlefocusesonKazakhvernacularnovels,introducingtheimagesoflocalcustoms,localcharacteristicsandtheimageofKazakhpeopledepictedinvernacularnovels,whilethesecondarticleexaminesthelandpracticesofKazakhpastoralsocietyinthecontextofagrarianchange.ThenumberofstudiesissmallandtheoverallimageofKazakhherdersasagroupisnotstudiedseparately.Asearchforthekeyword“culturalmemoryofKazakhherders”didnotyieldanyliterature,whichshowsthattherearenostudieslinkingKazakhherderswiththetheoryofculturalmemory.2.3.2StudiesAbroadTherearefewerforeignstudiesontheimageandculturalmemoryofKazakhherders.AGoogleScholarsearchfor“imageofKazakhherders”and“culturalmemoryofKazakhherders”yieldsnoresults,suggestingthatthelackofforeignresearchonthesetwoaspectsasseparateobjectsofstudy.Thesearchterm“Kazakhherders”yielded216results,withstudiesfocusingonanthropologyandethnography,historicalmemoryandidentitypolitics,andecologyandsustainabledevelopment.The120dataitemsareusedforanthropologicalandethnographicresearchfocusingonethnichistory,thedevelopmentofanimalhusbandry,andmusicandsongwriting,suchasPlaceNamesintheSteppesofWesternMongoliaandSongwritinginKazakhstan;59dataitemsfocusonhistoricalmemoryandidentitypolitics,focusingontheexplorationofpasthistory,theimpactofcolonialrule,andthehistoricallegacyofsocialistcollectivization,suchasPoliticsandPoeticsofEthnicity:TheUrbanNarrativeofKazakhIdentity;and37dataitemsbelongtotheareaofecologyandsustainabledevelopment,whichfocusesonexploringhowherderscopewithpoorecology,theprinciplesofgreeneconomy,andthecurrentadoptionofthepolicyofgrazingmoratorium,suchasKazakhsintheborderareaofErzis:thetransformationofmodernnomadiceconomicactivities.Currentresearchfocusesonmacro-socialchangeandlacksagenderperspective,andthereisnosystematicstudyofthetransmissionofculturalmemoryintranslationsofKazakhliteratureandalackofrelevanttranslationresearch.ChapterThreeTheoreticalFrameworkThischapterwillfocusonthetheoreticalfoundationsusedinthisstudy,namelyBeauvoir'sfeministtheory,theimageandculturalmemoryoftheKazakhherders,tolaythebasicframeworkfortheanalysisthatfollows.3.1Beauvoir’sFeminismSimonedeBeauvoir(1908-1986)wasoneofthemostimportantfeministthinkersofthe20thcentury,andherideashaveprofoundlyinfluencedthedevelopmentofmodernfeministtheory.HermostfamousbookisTheSecondSex,publishedin1949,whichcompletelyoverturnedtraditionalconceptsbystatingthat“womenarenotborn,butaremolded.”Shearguedthatsocialculture,institutions,anddailyhabitstogetherconstructedwomen’ssubordinatestatus,makingthemtheOtherofmenanddeprivingthemoftheirindependentsubjectivity.Hertheoryprovidedanimportantfoundationforthelaterfeministmovementandinfluencedacademicfieldssuchaspostcolonialtheoryandcooliestudies.Thetheorycanbedevelopedintothefollowingpoints:3.1.1theOtherBeauvoirstates,“TheOtheriswhatthesubject(theSelf)isnot.ThemansetshimselfupasAbsolute,thewomanisdefinedasRelative.”DrawingonHegel’s“master-slavedialectic”andSartre’sexistentialism,BeauvoiremphasizesthedichotomyoftheSelf-Other,aframeworkinwhichthemaleestablisheshimselfasthe“subject”andthefemaleisrelegatedtotheroleof“theOther”.“theOther”referstothosewomenwhoaredominatedbymenunderthepatriarchalsystemandhavelosttheirself-consciousnessandfreedom,andcanonlybeinasubordinateposition(Yao,2024).Itcanbereflectedtypicallyintheinherentsocialrolesofwomen,suchas“goodwifeandmother”and“chastewoman”.3.1.2SocialConstructionandGenderBeauvoirstatesthat“womenarenotborn,butareformed.Nophysical,psychologicaloreconomicdestinycandeterminetheimageofthehumanwomaninsociety.”Beauvoircompletelyrejectedbiologicaldeterminismandemphasizedthat“femininity”isnotinnate,butistheresultof“washing”and“internalization”ofwomenunderthestatuteof“civilization”.“internalized”bywomenunderthestatuteofcivilization,whichispreciselydominatedbymen(ZhaoSiqi,2016).Startingfromexistentialism,shearguesthathumannatureisshapedthroughthepracticeoffreedom,butwomenaredeniedtherighttochoose.Througheducation,familydivisionoflabor(e.g.,girlsareencouragedtoplaywithdollsandtakecareofhouseholdchores),andgenderexpectations,societyforceswomentointernalizetraitssuchas“passivity”and“sensibility”,completingthetransitionfrom“man”to“woman”.Theprocessofalienationfrom“man”to“woman”iscompleted.3.1.3ExistentialPathstoFreedomandLiberationBeauvoirpointstotheprofoundcontradictionbetweenwomen’sfreedomandtheircondition:“Womenarefree,buteverywheretheyarebound.Theybearthefullweightofexistencelikeallmen,buttheydonothavethesamepowertobearit”.Beauvoir’sconceptoffreedomimpliesthatwomen,likemen,arebornwithoutafixedessenceorinherentfinitude(QiuYongxu,ChiaQi,2024),andsheadvocatesthatwomenbreaktheconfinementof“inherence”throughtranscendentalaction,i.e.refusingtobeconfinedtorepetitivelaboursuchaschildbearingandhousework,andinsteadpursuingcreativeendeavorstoachieveself-definition.definition.However,itrecognizesthatstructuraloppressionmakesitdifficultforindividualfreedomtoberealizedandemphasizestheneedforcollectiveresistanceandsocialchange.3.1.4BodyPoliticsandReproductiveCriticismBeauvoirstatesthat“Thefemalebodyisnotanaturalfact,butabattlegroundforhistoricalideas”.Beauvoirwasanearlyexponentofhowthefemalebodyisinstrumentalizedbypatriarchy:physiologicalexperiencessuchasmenstruationandpregnancyarestigmatizedas“fragile”,whilethemalebodyisseenastheuniversalstandard.Women’sreproductivefunctiontrapstheminthehome,anditisthischildbearing“femininity”thattrapswomenintheir“inwardness”as“theother”(FengXia,2020).Shecriticizesthe“mythofmotherhood”thatlinkschildbearingtowomen’sdutiesandarguesthatwomenshouldtakecontroloftheirbodilyautonomy(e.g.contraception)andrefusetobereducedtoreproductivevehicles.3.2ImageofKazakhHerders3.2.1DescriptionKazakhherdersarethecorebearersofthenomadiccivilizationoftheEurasiansteppe,mainlyinXinjiang,KazakhstanandCentralAsia,andhaveforgenerationsinheritedalifestyleof“livingbythewaterandgrass”.Herdersliveinfamilyunits,closelyconnectedbybloodorneighborhood.Theyliveindetachablefelthutsanddependonlivestocksuchashorses,sheepandcamelsfortheirlivelihood.TraditionaleconomicactivitiesofKazakhherdersincludeherding,milking,dairyprocessing(e.g.,yogurt,cheese),feltmaking,andleathercrafts.Theirculturalheritageisrealizedthroughoralepics(e.g.,theAyits),dongburamusic,folkproverbs,andembroiderypatterns.ContemporaryKazakhherdersfacethechallengesofpasturedegradation,governmentsedentarizationpolicies,andintergenerationalculturaldisruption.China’spolicyof“returningpasturetograss”sincethe1980shasacceleratedthetransformationoftraditionalnomadiclivelihoods,withsomeherdersmovingtosemi-sedentaryorurbanlife（LuoYi,2021）.Despitethis,Kazakhherdersarerecognizedasasymbolof“ecologicaladaptivewisdom”and“culturalresilience”,andtheirtranshumancesystemwasinscribedonUNESCO’sIntangibleCulturalHeritageofHumanitylistin20CharacteristicsDiligentandResilientThequalitiesof“hardwork”and“toughness”intheimageofKazakhherdersarethecorefeaturesoftheirnomadicculture.Kazakhherdersareknownfortheirhardworkingandtoughnationalcharacter,whicharedeeplyrootedintheirnomadictraditions.Theherders’annualmigratoryroutesarelongandtheirgrazingareasarelarge.TheannualgrazingareaoftheherdersinFuyunCountyineasternAltaycoversfivetypesoflandforms:mountains,basins,rivervalleys,theGobianddeserts,inorderfromnorthtosouth(fromhightolow),andthreeclimaticzones,namelythenorthernmiddletohighalpineclimaticzone,thelowmountainclimaticzoneandtheplainclimaticzone,inorder(ChenXiangjun,2018).Duringtheirlongnomadiclife,theKazakhshaveaccumulatedawealthofwisdomforsurvival,andoldproverbssuchas“springsheepdependonwinterpreparations”vividlyreflecttheirphilosophyofsavingforarainyday.Ancientproverbssuchas“thesheepinspringrelyonwinter'spreparation”vividlyreflecttheirphilosophyofsavingforarainydayandbeingindustriousandpragmatic.Inthefaceofthechangingclimateonthesteppe,theherdershavedevelopeddozensofuniquewaystocopewithit,showingamazingadaptability.WarmandGenerousTheimageofKazakhherders’hospitalityisdeeplyrootedintheirnomadictraditions.Onthevaststeppe,entertainingguestsfromafarisnotonlyacodeofetiquette,butalsoareflectionofthewisdomofnomadiclife.Eveninwinter,whensuppliesareattheirscarcest,Kazakhherdersdonothesitatetobringouttheirfamilies'besthorsemeatanddairyproductstotreatunfamiliartravelers,andthiskindofgeneroushospitalitystemsfromtheneedtohelpeachothersurviveonthesteppe.DuringthetranshumanceoftheKazakhsinFuyunCounty,Altay,thereisacustomthatthefirstherderstoarrivemustgivemilktea,yoghurt,naanandmeattotheherderswhohavejustarrived.Theyaretaughtfromanearlyagethatpreyshouldnotbeeatenaloneandthatfoodshouldbeshared(XiaLeiming,1999).ThissharingculturehelpsKazakhherderstobuildtheirsocialnetworkintheharshnaturalenvironmentandaddsawarmthtothelonelynomadiclife.ReverentandRootedThewisdomofKazakhherderstoliveinharmonywithnatureisdeeplyengravedintheirphilosophyoflife.Overthecenturies,thisnomadicpeoplehavedevelopedauniqueviewofnature,takingreverencefortheheavensandtheearthandobediencetonatureasthefundamentalguidelinesforsurvival.Duringthelongtranshumancejourney,theherdersmaintaintheirdevotiontonature.Aftereachtranshumance,theherderswouldorganizetheirbelongingswithoutleavinganypollutionontheland.Kazakhherdersalsousuallydonotmakeanychangestothewatersourcewhentheypickwater,nottomentionpullingupthegrassaroundthem,preferringtokeeptheoriginalnaturalstateeveniftheytaketheirowntimeandeffort.(ChenXiangjun,2018)Herdersreverednatureandcherishedtheirlivestock,sothereweremanyproverbsabouttreatinglivestockwellintheirdailylives.TheKazakhpoetHarman(1957)wroteinhisNomadicSong:“Onelivestockhasonenature,andlivestockcanunderstandhumanfeelings.Howmuchyoucherishthem,howdeartheyaretoyou!”Kazakhherdersdonottreatlivestocknotonlyasanimals,butasmembersofthefamily,givingthemhuman-likelifeandemotions.SimpleandNobleThelifeofKazakhherdersissimpleandrustic,yetfullofdetails.Theyliveinasimplefelthouse,withthemostprimitivecookingutensilstocookfood,butalwaysbeabletodrinksimplemilkteaoutofasolemnsenseofceremony.Evenifitisapieceofordinarynaanbread,Kazakhherderswillusebothhandstorespectfullyreceive,thissubtleactioncarriesthenomadiccivilizationoffoodgratitude.herderswilldecoratetheirfelthouseswithcolorfuldecorations,andwillalsoweartheirtreasuredembroidereddressesduringthefestivals,andusetheirancestralsilverbowlstoservehorsemilkwine,turningordinarydaysintosolemncelebrations.ThiskindofnobletemperamentinsimplicityisthemosttouchingspiritoftheKazakhherders.3.3CulturalMemoryofKazakhHerders3.3.1Definition“Memorynotonlyreconstructsthepast,butalsoorganizespresentandfutureexperiences.”(JanAssmann,2015)GermanscholarsJanAssmannandAleidaAssmannproposedtheconceptof“culturalmemory”onthebasisofpreviousresearchonmemory,whichisconsideredtoincludetexts,pictures,rituals,etc.,thatareessentialandrepeatedlyusedbyasocietyatacertaintime,andatthecoreofwhichisthetraditionofpoliticalidentitysharedbyallmembers.Itscoreisatraditionofpoliticalidentitysharedbyallmembers,throughwhichthepeopleconcerneddefineandestablishtheirself-image,andonthebasisofwhichtheyrealizetheircommonattributesanddifferences(PangYueh,2024).InthecaseofKazakhherdergroups,Kazakhculturalmemoryreferstothedynamicprocessofmaintainingcollectiveidentityandhistoricalcontinuitythroughsymbols,rituals,narrativesandpracticespasseddownfromgenerationtogenerationbyKazakhherders.Inexploringthemeansofmemorypreservation,AleidaAsman(2016)notesthat“thewrittenwordiscelebratedasthemostreliablemediumofmemory,”whilethecharacteristicsoftheKazakhnomadiccivilizationmakeitsculturalmemorymoredependentonoraltransmissionandecologicalrelevance.3.3.2FeaturesOralTransmissionTheculturalmemoryofKazakhherdershaslongdependedonoraltransmission,asinthecaseoftheepicpoemAitysandfolkproverbs(Makal-Matal).Themobilityofnomadiclife,whichlimitedtheuseofwriting,ledtheKazakhstodevelopahighlydevelopedoralnarrativesystem,encodinghistorical,ethical,andecologicalknowledgeinsongsandstories.EcologicalEmbeddingTheculturalmemoryofKazakhherdersisdeeplyboundtothesteppeenvironment.Theirtranshumanceroutes,thenamingofplants(e.g.,themedicinalgrass“Jüzgen”),andtheirknowledgeofastrologicalnavigationreflectadaptationstospecificecosystems.SocialCollaborationThetransmissionofKazakhnomadicmemoryisbasedoncollectivepractices,suchasgroupdancing(KaraJorga)andsharingoffoodanddrinkduringToi(celebrations),andthecollaborativebuildingofafelthousebytheAulcommunity.EthnographerChenXiangjun(2010)foundthatsuchactivitiesreinforcethecollectiveethicalmemoryof“coexistenceandco-prosperity”.GenderDimensionTheculturalmemoryofKazakhherdershasacleargenderdimension,withmenandwomentransmittingtheirculturalmemorythroughdifferentformsandvehicles.Womentransmitfamilyhistoryandmoralnormsthroughembroiderypatterns(suchasthe“ram’shorn”,whichsymbolizesvitality),lullabies(Besikjyry),andmarriageandfuneralceremonies,whichmenperpetuateecologicalknowledgethroughepicchanting,horse-tamingtechniques,andmigratorydecision-making.3.3.3ClassificationTheUnitedNationsEducational,ScientificandCulturalOrganization(UNESCO),throughtheConventionfortheSafeguardingoftheIntangibleCulturalHeritage,definesthefivedomainsofthe“intangibleculturalheritage”asoraltraditions,performingarts,socialpractices,traditionalcraftsandnaturalknowledge.”Thisclassificationfocusesonholisticsafeguardingandemphasizestheinseparabilityofculturalmemoryfromthenaturalenvironment.Basedonthisclassification,thispaperwillcategorizeKazakhculturalmemoryintotangibleandintangibleculturalmemory,mainlybasedonthedifferenceofcarriers.Inthefieldofmaterialculturalmemory,wewillmainlydiscusstheimplementsandcostumesinthenomadicsociety,andinthefieldofintangibleculturalmemory,wewillanalyzethetextbasedonthefivefieldsoforaltradition,performingarts,socialpractice,traditionalhandicrafts,andnaturalknowledge,correspondingtoeachother,withaviewtopresentingamorecompleteculturalmemoryoftheKazakhherders.MaterialCulturalMemoryThematerialmemoryofKazakhcultureisdeeplyengravedinthedailyartifactsofnomadiclife,whichcarrythewisdomandculturalcodesofmillenniaofexistence.Asacentralsymbolofnomadicculture,theartofbuildingtheKazakhyurthasbeeninscribedontheUNESCOIntangibleCulturalHeritageofHumanitylist.Thekerege,awillowwoodframe,ismadeofaretractablediamond-shapedstructure,whichallowsthewholebuildingtobedisassembledorassembledwithinonehour,adaptingtotheneedsofthegrasslandtranshumance.Theleathercrafttechniquesforhorseharnessesincludetheuseofhand-sewingtechniques,abrasiveembossingembossing,inlaying,leatherappliqué,andfelting.(PrinceYu,2022)Thesematerialcarriersarenotonlylivingutensils,butalsolivingarchivesofculturalmemory.ResearchonartifactsintheXinjiangMuseumhasshownthateverypatternoftraditionaldressrecordstribalhistory,andeveryartifacttellsthecollectivememoryofthisnomadicpeople.IntangibleCulturalMemoryTheintangibleculturalmemoryofKazakhcultureconstitutesthespiritualbloodlineofnomadiccivilization,whichcontinuesfromgenerationtogenerationthroughlivingtransmission.Intermsoforaltradition,theKazakhshavearichvarietyofepics,whichcanberoughlydividedintogil,historicalheroicepics,andheisa,characterizedbyacombinationoftherealandtheideal,andintheheroicepicsamorenaturalmethodoflinkingisgenerallyadopted,sothattheplotofaheroicepicislaidoutandnarratedasifitwereacont