The purpose of the study is to analyse the archetype of the empty city in literature and to uncover its symbolic importance and influence on cultural and historical perception. The study examines the thematic works by Kazakh, English and American authors. The various cultural and historical contexts in which the image of the empty city appears, alongside its impact on readers’ perceptions are also considered. The main findings reveal that the empty city symbolises the collapse of a familiar way of life and experience of significant losses, embodying major historical and social upheavals. This image evokes strong feelings of isolation, alienation, and despair in characters, compelling them to seek new ways of survival and adaptation to altered circumstances. In literature, empty cities and auls often symbolise the loss of cultural identity and severance from historical heritage, becoming metaphors for societies forced to adapt to new realities. The study also identifies that, despite its bleakness and destruction, the empty city carries the symbolism of hope for revival and restoration. The protagonists strive to rebuild shattered communities, revive cultural traditions, and discover new sources of strength and inspiration, highlighting the pursuit of renewal and the preservation of cultural heritage. The atmosphere created by the imagery of empty cities intensifies feelings of fear, despair, and hopelessness, serving as a backdrop for dramatic events and the internal conflicts of characters. Collectively, the archetype of the empty city plays a substantial role in literature, enabling authors to explore and express important aspects of the human experience. It provides powerful symbolic imagery through which profound cultural and historical processes and characters’ internal experiences are conveyed. These images contribute to the creation of layered and profound literary works that resonate with readers and help them comprehend complex social and emotional themes.
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Amangazykyzy et al. (2026) studied this question.
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