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

Tayanch tushunchalar
Ko’rgazmali obraz. Suratli (fotografik) obraz. Badiiy obraz. “Obraz” atamasi. Badiiy obraz va inson. Umumlashtirish. Individuallashtirish. Badiiy to’qima. Estetik ta’sirdorlik. Tasavvur va aql ishtiroki.
Savol va vazifalar
1. Obrazning qaysi xillarining bilasiz?
2. “Obraz” atamasining ma’nosini sharhlang.
3. Badiiy obrazning asosiy xususiyatlarni chuqur o’rganib, obraz ta’rifini yod oling.
4. Badiiy obraz yaratishda tasavvur va aqlning ishtirokini tushuntiring.
Adabiyotlar
1. T.Boboyev. Adabiyotshunoslikka kirish. T., “O’qituvchi”, 1979, 40-49-betlar.
2. A.Ulug’ov. Adabiyotshunoslikka kirish. T., “Universitet”, 2000, 13-16-betlar.
3. L.I.Timofiyev. Osnovы teorii literaturы. M., 1959, 14-59-betlar.
4. Vvvedeniye v literaturovedeniye, M., “Vыshaya shkola”, 1988, 38-44-betlar.
5.H.Umurov. Adabiyotshunoslik nazariyasi (I qism), S., 2001, 34-46-betlar.
Mavzu: Obraz yaratish yo’llari va turlari
Reja:

1. 
   Obraz yaratish yo’llari: jamlash va prototip
   
2. 
   Obrazlarning turlari
   
3. 
   Hayot va obraz o’rtasidagi me’yor
   
4. 
   Personaj. Qahramon
   

Poetry in/of Life The question of the poetry of life in literature presents two separate and related possibilities of reference. If it is life itself which is poetic and the subject of agency, the problematic of creativity is complex indeed. A more usual way of approach is to consider that it is the living of life that is poetic, or not. Both are interesting questions, and perhaps collapse into one in the context of literature. T.S.Eliot put the question in choruses from The Rock: „Where is the Life we have lost in living? which suggests a useful distinction between life and the active living of it. One can lose ones life, in Eliots phrase, in vacant afternoons of distraction measured out in coffee spoons. Shakespeares reminder that the coward dies many times before his death has an everyday corollary, that the idle dead can go on half alive, without passion and without poetry in their hearts. On the other side of it, one paradoxically can raise her individual life to a poetic level in losing it, e.g. in the spiritual conviction that no greater love than to lay down ones life for another. Life as such, merely to be alive, is surely not poetic, with the possible miraculous exception of the moment of birth. If lived life is poetic, it requires more than a continued presence. If poetry is anything it is affirmation, neither resignation nor endurance will satisfy out sense of its importance. From this point of view, it is not life but a sense of engaged life which carries the poetic. Life understood as poetic counterpoint to death, is love. Where death itself is without meaning, so is life, and the dead continue to live or not, indifferent to the poetry of life. Where there is no love, or care, no concern, no celebration, nothing to sing, no impulse to dance, then life lacks even the impulse of the poetic.
Adabiyotshunoslik ilmining kuzatishlariga ko’ra obraz yaratishning ikki yo’li mavjud:
1. Jamlash yo’li bilan obraz yaratish. Bu haqda N.G.Chernishevskiy “San’atning voqyelikka estetik munosabatlari” asarida shunday yozadi: yozuvchi “ko’pgina individual shaxslarni kuzatadi; bularning hyech qaysi tip bo’lib xizmat qila olmaydi; lekin u har biridan umumiy tipik xususiyatlarini aniqlaydi; barcha tasodifiy xislatlarni chiqarib tashlab har xil kishilarga xos bo’lgan xususiyatlarni badiiy bir butunlikka birlashtirish yo’li bilan xarakter yaratadi.”¹
Yozuvchi hayotda ko’rgan, bilgan kishilarining xarakterli xislatlarini miya sandig’iga joylab qo’yaveradi. Tug’ilgan g’oyaga muvofiq tasavvuri ishga tushadi-hayotni bichib, to’qiydi. Tasavvur qalbini, ongini uyg’otadi va unda joylashgan materiallardan, xislatlardan, detallardan keragini tanlab oladi va ularni faollik bilan yakka shaxsda birlashtiradiki, undan tasvirlanishga mo’ljallangan obraz qismati bilan reallashadi. Otabek va Kumush (“O’tgan kunlar”), Qobil bobo (“O’g’ri”), Turobjon (“Anor”) kabi ko’plab obrazlar ana shu yo’nalishning mahsulidir.
2. Prototip asosida badiiy obraz yaratish. Prototip (yunoncha protos-ilk, dastlabki; tupos-nuqta, nishona)-badiiy obraz uchun asos, nuqta bo’ladi. Hayotda mavjud bo’lgan tarixiy yoki zamondosh shaxsga tayanib yozuvchi obraz yaratar ekan, albatta, yuqorida ta’kidlangan obraz yaratishning barcha unsurlaridan foydalanadi. “Agar badiiy obrazni jonli organizm deb faraz qilinadigan bo’lsa-prototip shu organizmning skeleti, badiiy to’qima-uning eti, estetik ideal esa qoni-joni. Tirik organizmning etini skeletidan, skeletini qoni-jonidan ajratib bo’lmaganidek, badiiy obraz “organizmi”dagi prototip badiiy to’qimadan, badiiy to’qimani estetik idealdan uzib olib bo’lmaydi. Ular bir-birlariga payvandlashib, qo’shilib-chatishib ketadi” (T.Boboyev, 53-bet). “Zaynab va Omon”dagi Zaynab, “O’tgan kunlar”dagi Musulmonqul cho’loq, “Navoiy” romanidagi Alisher Navoiy, “Yulduzli tunlar”dagi Bobur kabi qator obrazlar ana shu yo’nalishning ixtirolaridir.
Jamlash va prototip asosida yaratilgan obrazlarning jamini adabiyotshunoslik fani shartli ravishda turlarga bo’lib o’rganadi. “Odamlar daryodek gap: hammasining suvi bir xil, hamma joyda o’sha suv, lekin daryo goh keng bo’ladi, goh tor, goh tez oqadi, goh sekin, suvi goh tiniq bo’ladi, goh loyqa, goh sovuq, goh iliq bo’ladi. Odamlar ham shunday...” (L.Tolstoy). Shu sabab badiiy obrazlar judayam rang-barang, turfa xildir.