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

Tayanch tushunchalar
Obraz yaratishning jamlash va prototip yo’llari. Realistik obraz. Romantik obraz. Epik obraz. Lirik obraz. Dramatik obraz. Xayoliy - fantastik obraz. Afsonaviy obraz. Mifologik obraz. Majoziy obraz. Kinoyaviy obraz. Satirik obraz. Yumoristik obraz. Ijobiy obraz. Salbiy obraz. Tarixiy obraz. Zamonaviy obraz. Bosh obraz. Yordamchi obraz. Personaj. Qahramon.
Savol va vazifalar
1. Obraz yaratishning qaysi yo’llarini bilasiz? Misollar bilan isbotlang.
2. O’qigan asarlaringizdagi qahramonlarni-klassifikasiya (turlarga ajrating) qiling.
3. Hayot va obraz o’rtasidagi me’yor qanday bo’lishi lozim?


Adabiyotlar
1. N.Shukurov va boshqalar. Adabiyotshunoslikka kirish. T., “O’qituvchi”, 1979, 65-70-betlar.
2. T.Boboyev. Adabiyotshunoslikka kirish, T., “O’qituvchi”, 1979, 52-58-betlar.
3. A.Ulug’ov. Adabiyotshunoslikka kirish, T., “Universitet”, 2000, 17-19-betlar.
4. H.Umurov. Tahlil san’ati, T., G’afur G’ulom nomidagi Adabiyot va san’at nashriyoti, 1978, 73-138-betlar.
  
5. Alisher Navoiy. Farhod va Shirin, T., G’afur G’ulom nomidagi Adabiyot va san’at nashriyoti, 1975.
6. Abdulla Qodiriy. O’tkan kunlar. Mehrobdan chayon, T., G’afur G’ulom nomidagi Adabiyot va san’at nashriyoti, 1994.
Mavzu: Badiiy xarakter va adabiy tip
Reja:

1. 
   Badiiy xarakter va uning asosiy xususiyatlari
   
2. 
   Badiiy xarakter ruhiyati va psixologizm prinsiplari
   
3. 
   Adabiy tip
   

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.
Xarakter. Agar obrazni yong’oqqa qiyoslasak, xarakter (yunoncha charakter-xususiyat, belgi) shu yong’oqning mag’zidir. Chunki mag’izda yong’oqning mohiyati, tirikligi, zaruriyligi, joni jamuljamdir. Shu sabab “xarakter yaratilsagina-badiiy asar yaratiladi” (N.Pogodin) degan qat’iy va asosli xulosani chiqarish mumkin. Xarakter yaratish badiiylikning o’zak masalasi deb qarashimizning boisi shundaki, xarakter badiiy ijodning juda ko’p unsurlari (syujet, kompozitsiya, til kabi)ni o’zida jamg’aradi, to’g’risi o’ziga “ishlash”ga majbur qiladi. Ya’ni xarakter asar mazmuniga nisbatan shakl bo’lsa, xarakterga nisbatan syujet, kompozitsiya, til (uslubning butun hiyla-nayranglari) shakldir. Izzat Sulton tavsiya etganidek, “asar mazmuni xarakter tasviri tufayli hayotiy aniqlik kasb etadi va shu bilan birga, bizning hislarimizga ta’sir etish xosiyatiga ega bo’ladi”. To’g’ri gap: “Har qanday muhim g’oya ham inson qismatiga aylanmasa quruq gap bo’lib qolaveradi” (Њ.Hoshimov).
Xarakterning mazmunini aniqlaydigan ikkita asosiy xususiyati bor.