O`quv ishlari bo`yicha prorektor A. Soleyev “ ” 2021-yil

Tayanch tushunchalar
Adabiy turlar va ularning predmetlari. Epos, lirika va dramaning 1) muallifning hayotga munosabati; 2) “Vaqt hissi”, 3) Hajmi va tashqi ko’rinishi; 4) Xarakter; 5) Syujet; 6) Badiiy til jihatidan farqli qonun-qoidalari. Janrlar. Epik tur janrlari. Epos, roman, doston; qissa, povest, poema; ballada, masal, latifa, xanda, hikoya; ocherk, felyeton, xotira.
Adabiyotlar:

1. 
   T. Boboyev. Adabiyotshunoslik asoslari, T., «O’zbekiston», 2002, 459 -477- betlar.
   
2. 
   D. Quronov. Adabiyotshunoslikka kirish, T., A. Qodiriy nomidagi Xalq merosi nashriyoti, 2004, 166-181-betlar.
   
3. 
   H. Umurov. Adabiyotshunoslik nazariyasi, T., A. Qodiriy nomidagi Xalq merosi nashriyoti, 2004, 208-224-betlar.
   

Mavzu: Lirikaning janrlari
Reja:

1. 
   Lirikaning kichik janrlari (fard, musallas, ruboiy, tuyuq, to’rtlik)
   
2. 
   Lirikaning o’rtacha janrlari (g’azal, marsiya, ashula, qo’shiq, sonet)
   
3. 
   Lirikaning yirik janrlari (tarji’band, tarki’band)
   

Thomas Gray and “Elegy Written in a Country Churchyard” Pre-Romanticism---the latter half of the 18th century; strong protest against the 4bondage of classicism, a recognition of the claims of passion and emotion; William Blake and Robert Burns as representatives William Blake--- “The Songs of Innocence” and “The Songs of Experience;” The poems from “The Songs of Innocence” indicate the conditions which make religion a consolation, a prospect of illusory happiness; the poems from “The Songs of Experience” reveal the true nature of religion which brings misery to the poor children. Robert Burns---remembered mainly for his songs written in the Scottish dialect Sheridan---the only important English dramatist in the 18^th century. The Rivals and The School for Scandal, the true classics in English comedy.

“Kishini mashg’ul etgan, to’lqinlatgan, shodlatgan, qayg’uga solgan, zavqlantirgan, hayajonlantirgan nima bo’lsa, qisqasi, subyektning ichiga nima kirsa, unda nima paydo bo’lsa, shularning barchasini lirika o’zining qonuniy boyligi kabi qabul qiladi” (V.Belinskiy, 184-b). Demak, lirik asar shoirning sezgi mevasi, bir oniy ilhomining natijasi, bir zumda “pishib” yetilgan poetik fikr va tuyg’usining ifodasidirki, ularning ko’pi sarlavha (nom)siz bo’ladi, birinchi misra yoki radif nomi bilan nomlanadi:

“Bu narsa - ta’riflash uchun mazmuni tutqich bermaydigan, muzika sezgisi kabi, lirik asarning xossasidir” (V.Belinskiy, 189-bet). “Uni na aytib berish va na izoh qilish mumkin; lekin uni shoir qalamidan qanday chiqqan bo’lsa, xuddi shunday o’qib berish bilan ikkinchi odamda ta’sir qoldirish mumkin; agarda uni so’z bilan aytib berilsa yoki prozaga aylantirilsa, u qanotlari chiroyli rang-barang kapalak hozirgina ichidan uchib ketgan xunuk, o’lik bir chag’anoqqa aylanadi... bu narsa shuning uchun ham qiyinki, sof lirik asar go’yo bir kartinaga o’xshaydi, lekin unda muhim narsa kartinaning o’zi emas, u bizda uyg’otgan sezgidir” (V.Belinskiy, 141-142 betlar); bu sezgilarning turli-tumanligini o’zida jamg’argan va ularni voqye qiluvchi lirik tafakkurning janrlari ham xilma-xildir; R.Orzibekovning hisoblashicha, birgina mumtoz o’zbek she’riyatida 30 ga yaqin lirik janr va shakllar (R.Orzibekov. O’zbek she’riyati janrlari. SamDU nashri 1998, 10-bet)bor... Bular:
Debocha, nazira, faxriya, marsiya, soqiynoma, qasida, ta’rix, bag’ishlov, hasbi hol; madhiya, qo’shiq, ashula, alla, lapar, yor-yor; mushoira, shiru-shakar, muvashshah, g’azal, tuyuq, ruboiy, fard, masnaviy, mustazod, sonet, tarjeband, tarkiband; to’rtlik, musallas, murabba, muxammas, musaddas, musabba, musamman, mutassa, muashshar va h.
Bularning hammasi ham o’zining muayyan janriy xususiyatlariga ega; katta – kichikligidan qat’i nazar bo’lishi mumkin bo’lgan hayotning barkamol va betimsol obrazini – san’atning buyuk asarlarini voqye qilgandirlar; ularning ba’zilarini o’rganishning o’ziyoq, mulohazalarimizni isbot etadi.