4-5 June 2013 Proceedings Science Book Publishing House Yelm, wa, usa

KOST GORDIENKO: VARIETY OF THE CONFLICTS

IN THE WORKS OF THE MASTER

T. M. Sharova

Melitopol State Pedagogical University named Bogdan Khmelnitsky, Melitopol, Ukraine, [e-mail]
Conflict is an opposition, a clash that in a literary work is embodied in the plot. In literary criticism it is necessary to distinguish between life and artistic conflicts. The writer not only brings to his work a variety of life's contradictions and collisions, he embodies them at the event, the fate of characters that are created by him. The social importance of written material will depend on the degree of veracity and content-richness of the artistic conflict.

Examining various aspects of artistic conflict (Hromyak R., J. Kiselev, N. Yevtushenko, T. Hundorova, etc.), one could argue that this concept is concerned with the clash of opposing interests and views, extreme stress and aggravation of contradictions. The conflict usually leads to action, complications, fighting, accompanied by complex collisions. In terms of conflict collisions that may appear in a work of art the creative work of K. Gordienko is interesting. In the texts of the writer usually there are not one but several conflicts (depending on the genre characteristics of the work). This indicates that the creativity of the artist is multidirectional and diversified. This also displays his desire to reach as many burning issues of our time.

The phenomenon of the creativity of K. Gordienko is barely comprehended by Ukrainian critics, although in general, it should be noted that to his personality is devoted relatively a little number of significant analytic studies (O. Zinchenko, V. Romanovsky, G. Helfandbeyn and others). In the personality of K. Gordienko Ukrainian literature had bright and artistically convincing master of words. His creativity showed great potential of the Ukrainian literature.

Works written by K. Gordienko can be called a milestone in Ukrainian prose both by content and by form. On a broad social background appear new types of the era that is contemporary to the writer. The focus of the writer is images of ordinary people, peasants, and workers, their conflict and post-reform orders in the village and in the fields. Typical features of characters display themselves in carefully detailed descriptions of appearance, clothing, behavior and speech of the characters presented on the basis of social and individual psychological details, though still kept the traditional lyrical-epic folklore characteristics.

In the writer's creativity problems associated with the life of Ukrainian peasantry in agrarian reform became central, their literary realization led to the emergence of a number of novels that make up the best part of the writer’s prose heritage. In the writings of K. Gordienko traditional motifs are often heard, sometimes they are canonical for the entire literary process.

The merit of prose works of K. Gordienko can be considered the fact that he depicted the broad range of problems in his prose. The writer gives actual problems of contemporary reality in his prose works. He wrote essays on life of serf peasantry, the masses of workers in the post-reform daily, created a series of stories about the fate of the long-suffering women, developed a new theme in the Ukrainian literature that touched the life of petty bureaucracy, different ranks of the intelligentsia, reflected the growing protest of the masses against all kinds of oppression.

In prose works of K. Gordienko aesthetic and ideological foundations of his creativity coincide. Firstly, this is awareness of the value of life as a criterion of morality, and secondly, it is the idea of ​​autonomy, powerlessness of man before cruelty of life, perception of beauty as an escape from loneliness and death. The huge sea of people agitates before us on the pages of books written by Kost Gordienko. The works of the writer are significant for knowledge of public and social relations of life, human psychology, such a broad reflection of social and personal lives of the characters that without exaggeration they can be called the art encyclopedia of the Ukrainian village [2].

The main character in the works of Kost Gordienko is the people, more precisely, the mass of the poorest and most oppressed peasantry, that passionately protests against the evils of the past and present, that is against feudalism and capitalism.

In the works of K. Gordienko are the following types of conflicts:

- Conflict of parents and children ("Girl under the apple tree", "Another’s cornfield harvested", "Buymyr");

- Conflict of towns and villages ("Girl under the apple tree");

- Conflict of morality and moral turpitude ("Girl under the apple tree", "Zarobitchany");

- The eternal conflict between good and evil ("Buymyr");

- Conflict of war and peace ("Buymyr", "Zarobitchany");

- Conflict between man and nature ("Girl under the apple tree", "Zarobitchany");

- Conflict of ordinary people and power ("Another’s cornfield harvested", "Buymyr").

K. Gordienko developed progressive tendencies and traditions of Ukrainian prose of the early twentieth century. In his writings appeared new types, characters, conflicts of Ukrainian village of that period. The writer gives a lot of problems that related primarily peasants and ordinary people who were forced to become laborers for a better future for themselves and their children. This deadlock lived not only in the artist’s soul, but also in real life. The writer, the Democrat K. Gordienko explored lives of the poorest Ukrainians, breaking with the whole range of life's problems:

- Suppression of rural laborers ("Another’s cornfield harvested");

- Unemployment ("Zarobitchany", "Girl under the apple tree");

- Dissatisfaction of the people with their situation ("Buymyr", "Zarobitchany");

- The sad fate of talented people ("Ostap Tur’s family");

- The dignity of the ordinary man ("Another’s cornfield harvested", "Buymyr");

- Conviction of truckling, fawning ("Zarobitchany", "Ostap Tur’s family").

The writer’s creativity became an expression of sentiments and aspirations of the Ukrainian people due to true description of their miserable existence. K. Gordienko focuses on internal psychological conflicts caused by deep penetration into the inner world of man. Peasant type in the works of the writer has a hierarchy, which can be divided as follows: unfortunate peasants, farmers, rich, indifferent people without their own position.

The inner world of the ordinary man can be traced through the psychology of the characters, but also because of social status in the society. For example, in the story "Zarobitchany" written by K. Gordienko dominates conflict-opposition, conflict-separation, and conflict - a clash. Poor and unlucky peasants, exiled by hunger and poverty from home in search of work and prosperity for the family are forced to roam the vast expanses. They are offended by fate, desperately unhappy, humiliated, despised, and seems irrevocably lost, desperate, and nobody needs them [2].

In pre-war criticism researchers wrote that daily life is the element of K. Gordienko; it is almost the major manifestation of the main characters and, hence, artistic disclosure of their characters. However, this idea requires corrections and additions. Gordienko is social almost in everything that becomes the object of his artistic research, and therefore daily life, which he knows thoroughly, interests him primarily as the side of life, where originally, but basically the same as in the areas of economic and social, everything is permeated with social psychology, where social relations and class conflicts of rural reality find their "everyday" mirroring. For the writer, sharp and dramatic human clash "in the narrow circle" in most cases is a manifestation of the struggle of opposing social forces or differences between old and new in the psyche, in the minds of people. Thus, the history of marriage of Oryna Chumak ("Another's cornfield harvested"), her daughter-in-law staying in the family of the rich man from a village named Khvirtka clearly demonstrates the collision of socially unequal marriage when extortionary way of life makes of a woman from a poor peasant family a slave, shameful and resentful in her feelings. In the work "Ostap Tur’s family" quarrels between mother-in-law and daughter-in-law, son and father have a collision between views of minor proprietors and collectivists in their basis. Such conflicts are solved in different ways and they are found in the story "Skvar and Son" and are seen on many pages of the novel "Grain".

Recent works of the writer such as "Another’s cornfield harvested", "Girl under the apple tree" and especially "Ostap Tur’s family" convincingly demonstrate different conflicts. In comparison with the previous writer's works the life in them is given broadly, but at the same time compiled, promising and artistically bright, and compositional harmony and wholeness, sharply conflicting and dynamic collisions in the plot, originality and high culture of language are peculiar for them [5, p. 115].

In some novels of K. Gordienko the plot is basically a sketch or even a sketch-publicistic. There is an impression of cooperation of writer and journalist in one person, but the author remains here as a subtle stylist, a master of verbal pattern, especially in the voice of the characters. Compelling example of this might be "Winter's tale", which basic conflict the author defined as follows: "After the meeting tired and thoughtful girls were eyewitnesses and at the same time participants of sharp clash of two forces, that is the human heart, a clear mind that can be called conscience of the party against degenerate selfishness, stupidity, callousness, careerism" [1, p. 89].

In his works the writer expressed the desire to understand and comprehend the underlying foundations of human existence. K. Gordienko is interested in the image of the hero, filled with a sense of exhaustion and frustration, the hero, who is able to rise against the system for his own freedom. Such a hero is a means of understanding of the reality, the disclosure of the nature of human existence, because through the description of the emotional experiences the writer defined the basic life conflicts. The leading motive in his works is quest for freedom, and above all - freedom inside. The writer experienced the influence of existentialism that is why he tended to social criticism and sought to understand the actual problems of contemporary reality: the existence of man in society, the absurdity of life, fear, despair, alienation and loneliness of a man. [3]

The sharpness of social conflicts in the works about the lives of the children causes a broad and varied use of antithesis in the plot and in the composition. This method helps to separate the fighting of the child and fighting around him. Antithesis reveals the true purity of baby’s soul, that can’t make up with the surrounding evil. In the centre of the writer's works is the life of the child, and the rest is a social background. Every detail just better reveals the theme stated by the author, ensuring the unity of form and content. Works on children's themes are mostly sharp conflicts that can be interpreted in different ways, from the perspective of the present and the past years [4].

Works of K. Gordienko are filled with victorious power of a true word; through his childhood memories passes a sad note of deceit, lies, fraud. In his prose works the writer presents contemporary life, thereby emphasizing the destructive power of trust of ordinary people in the higher circles of society. K. Gordienko exposes lies, condemns it, but he cannot struggle against it only with a word. After reading the works of K. Gordienko it is possible to highlight the main conflict collision in them that is the truth of life. Not in all works of the writer is felt a holiday, feeling that everything goes well, forces a strong feeling of intrusion and understanding that people were driven to despair.
Literature

1. Gordienko K. O. Winter's tale / K.O. Gordienko. – Kyiv: Soviet Writer, 1965. – 179 p.

2. Gordienko K. O. Works: [in 2 volumes] / K. Gordienko. – Kyiv: Dnipro, 1969. – .

Vol.1. – Kyiv: Dnipro, 1969. – 693 p.

3. Zinchenko A.I. Bone Gordienko [literary-critical essay] / O. Zinchenko. – K.: Soviet Writer, 1987. – 176 p.

4. Con I.S. The child and society: a manual for schools / I.S. Con. – Moscow: Academy, 2003. – 335 p.

5. Maslov I. S. Gordienko Bone / I. S. Maslov // Literary Kharkiv [Directory] – H.: Independence, 1995. – P. 112-115.

THE NATURE OF GENRE

AND TOPIC SCALE OF THE PROSE AGE

Ozoda T. Tojiboyeva

a doctorate in the Uzbek Literature

Department Tashkent State Pedagogical University

named after Nizomiy, Uzbekistan, [e-mail]

The Uzbek prose that possesses ancient traditions further developed in XVIII-XIX centuries, and in comparison with the previous ages, the scale of prose widened and spread out. While poetry became dominant in literature, by the end of those periods there were so many prose novels created that they became unforgettable in a literary world. In the first half of XIX century, mainly tradition in classic literature took a leading role. In folklore style, the capacity of folks’ books containing prose increased. From the second half of the age, people’s intelligence began to expand.

In the Uzbek literature, end of XIX and beginning of XX’s are known as a complete and peculiarly difficult period when it started to step in the new age literature from classic literature. As Uzbekistan was joined to Russia, there were also changes begun in social, political and cultural life. Since early ages Eastern folks’ literature had used to get rich due to the basement of co-relation in creation and now, by becoming aware of world news they tried to depict the unity of Eastern and Western traditions. In this point of view, scientists state two kinds of diversity of that period: progressive romanticism literature – the continuum of past traditions, and the second one is democratic literature – steps of formation of new kind of literature to fit with modern time. In turn, new born social environment also changed the demand on genres. The necessity for the genre masnaviy ( Arabic style of poetry, where each couplet has a different rhythm) which had become leading genre for centuries remarkably fell off. As soon as periodical publications came to exist, small genres were so comfortable to publish news and fictions that prose formed short annotations and announcements became more as a story. Due to people’s tastes, levels and desires, poetic novels also started to be written in prose. In this period, prose novels that could depict the peculiar face of that age could develop and appeared on the following directions:

It developed through translations of Persian-tajik, Arabic and Russian novels into Uzbek. For example, Firdavsiy’s “Shoxnoma”, Nizomiy’s “Xisrav and Shirin” and Xisrav Dehlaviy’s “Hasht behisht” which were written in a poetic way later changed to prose and also uzbek translations of several novels such as “Arabian nights” and “ Kalila and Dimna” increased the number of prose novels. In Uzbekistan there were so many skilled translators concerned with translation works that sometimes at a time some novel was translated spontaneously in a number of cities. Consequently, it caused existence of variations of translations and it gave readers a chance to choose best of bests among them. There was much attention paid to literature and art in Xonliks’( reigns in 17^th and 20^th centuries). While Amir Umarkhan, king of Quqon, was a patron for scholars and poets at his palace, Muhammed Rahimkhan Feruz, king of Khiva, considered translation work as a prior state issue and there were directly 82 translators worked under his patronage at the palace. Because of king’s much attention to literature and science, the first stoned print in Uzbekistan was also opened in Khiva.

Due to the changes occurred in social and economic life since the mid - XIX century, the uzbek translations of Russian novels, later on constantly publishing translations on the materials of periodical publications like on “Turkiston province newspaper” was a great contribution for the development of translation. In turn, that provided landholders and farmers with the latest information in literature.

The special peculiarity of this period was that the fairness in literature and it began to make more sense for public and in addition, it was noticed disappearance of complexity, victory and epic features just like it fitted novels created until XVI century.

The uzbek prose got affluent through folklore tales, jokes and story formed small prose novels. For instance; varieties of jokes about Nasriddin Afandi or small stories related with education came out. There were relevant reasons for widely spreading of deep moral stories and legends that tell about our ancestors’ wisdom and intelligence or some lighter jokes. Leaders, chiefs and creators considered that education and morality was the best way to reach the perfection and they spread enlightenment, education and humane feelings among people through small educational novels. Each of them immensely contributed to enrich the literary treasure.

It is essential to note the role of novels and stories to be known as nation’s novels in the development of uzbek prose. There have been created lots of variants of novels which had existed to be based on several plots for centuries and those are like “Alpomish”, epic cycled tale “Go’ro’g’li”, “Tohir and Zuhra”, “Poor lover and Shohsanam”, Yusuf and Zulayho”, Storyr of Siyovush”, Princess Dilorom” and so on.

Having been inspired by the folklore, creators worked on their different patterns. Well educated people born and raised among natives published them in lithography and publicized. Today, in Uzbekistan in the fund of manuscripts of the Institute for Oriental studies named after Abu Rayhon Beruni, there have thousands of folklore stories, manuscripts and lithographs concerns that period been kept so far.

Sayyodiy’s “ Tohir and Zuhra”, Sobir Saykaliy’s “ Bahrom and Gulandom”, Andalib’s “ Story of Hasan and Husan”, “Layli and Majnun” and such novels specifically came out directly by the impact of folklore and they served as a chain to link written literature and folklore. Moreover, they remarkably influenced to the creation of the next age’s prose novels. More importantly, in accordance with the period the tradition of narrating prose of Alisher Navoiy’s novels appeared as well. Following with folklore stories, Navoiy’s novels such as “Story of Farkhad and Shirin”, Story of Layli and Majnun”, “Story of Bahrom and princess Dilorom”, “Iskandarnoma” and some others possessed their interpretation in prose. Created novels immensely contributed to the development of prose narration, meanwhile they also served to be a mean to publicize Navoiy’s novels widely throughout people and in turn, they became a source of inspiration and a good example for the new prose age. By the impact of ancient traditions and due to the activeness in social atmosphere, new age of Uzbek prose began to exist. Renaissance men played an active role in bringing new Uzbek prose sounding European to Uzbekistan. Renaissance men tried to promote styles and genres in world literature, however readers had different attitudes towards understanding new types of novels. Therefore, writers tried to conform Eastern and Western traditions in the first novels.

Overall, translated novels, wide spread of folklore books and narration of poetic novels in prose defined the main directions to develop the aspect of uzbek prose and became a main source for new age of uzbek romances, stories and tales.
References

1. 
   Abdullayev B. History of Uzbek literature. T.: O’qituvchi, 1980
   
2. 
   Valijo’jayev B. From the history of uzbek epic poetry. – T.: Fan, 1974
   
3. 
   Komilov N. Muhammadrizo Ogahiy’s “Translation skills”. Nominee for the Science of Philology, lecturer. – T.: 1970
   
4. 
   Sharipov J. Regarding translation history in Uzbekistan. T.: Fan, 1965
   

ANNA AND KONSTANTIN SMORODINOV’S PROSE CYCLIZATION AS REFLECTION OF THE AUTHORS’ PHILOSOPHICAL CONCEPTS¹

E. A. Zhindeeva, E. S. Isayeva, E. A. Martynova

FGBOU VPO "Mordovia State Pedagogical Institute named after ME Evseveva, Saransk, Russia, e-mail jindeeva@mail.ру
Among the most striking features of the prose and the legacy of Anna Constantine Smorodinovs’, whose work is closely linked to the development of psychology of fiction, cycle stands out. However, up to today this aspect of the study of the authors’ works including written under a pseudonym Yuri Samarin has not become the object of a special study. Meanwhile, the study of specific forms of cyclization in the Smorodinovs’ works, the ratio of parts to each other and to the overall process of cyclization in modern Russian prose is considered insufficient that, in turn, does not contribute to the objective disclosure rich aesthetic and moral potential of the creative heritage of a number of contemporary writers. A more detailed study of this range of issues is the subject of this article.

At the heart of any study of the cyclization there is a common problem today, the artistic whole. This has been widely discussed in many works, which deal with the definition of a loop as a literary form, its main characteristics, genesis, classification, internal structure, relationship to other literary forms. We will name just a few ideas that are important for our study. Thus, in the theory of literature there are indications that some of the series of texts are endowed with "dotted plot," which provides a stronger organization context. Behind a chain of subjects the story is discerned. Here we talk about this series as summative cycle. "Summative cycle can be defined as an open set of texts, to rally the general idea" [Mikhailov, 2006: 136]. Integrative text ensembles, according to V. I. Tyupy, represent actual cycles in the strict sense of the term theory. "Removal of each text is destructive: it is, if not destroy the cycle, the radical changes it as artistic integrity" [5, 163]. Integrative cycle has its own well-defined and architectonic composition making the order of its parts-negotiable, as is the case in all the finished artistic creation: no deletions or rearrangements remain neutral as to the meaning of the multicast whole. However, the scientist also points to the fact that the number of texts are not to be too large, if it exceeds a certain "critical point in their number, then smeared architectonic ensemble cycle and integrative text is converted to a series of summative" [5, 164]. Between the cycles in the strict sense of the term and single works, there are, based on the theory of a single artistic whole, diptychs, triptychs. Rarer it includes the four-arts education, the essence of which is usually determined as a "sonata composition structures" [1, 139]. And with all the controversial and unresolved issues finally available in this study, the generalization of their positive experience today gives an opportunity to develop a theoretical platform necessary to address the specific historical and literary material on the problem of literary cyclization.

In most cases the cycle is defined as a group (set) of independent works, united on the basis of their correlation with each other, i. e, the focus is not on the unity of the loop shape, and the independence of its components. Considering the manifestation of the effect in terms of cyclization communicative sign, axiological and epistemological views of the author picture of the world, which can be seen in the triptych Yuri Samarin (joint pseudonym of Anna and Constantine currant) "Special people", which includes the following stories: "Special people", "Keys to paradise", "Thirteenth student", united with the presence of a single hero - artist Paul.

The first story is the concentration of the theory of election. An artist, designed to portray the beautiful, eternal, right, cannot get away from the real state of affairs: misery, mediocrity, poverty, pursue him. The only way that Paul chooses ultimately is this election. Together with the special people - contactees - he is trying to rebuild their lives, but in vain. The search for the meaning of life led him to the monastery ("Keys to Heaven"), which gives an idea of ​​the confrontation in the form of two different realities of life – the good and the bad. Paul reaches the highest spiritual tension when it comes to the dilemma to love / to hate everything around. And only in the woods during a thunderstorm there is an insight: the only truth – the God, and all these absolutes, nirvana, cosmic connection is empty, cold grave. The need to love our neighbor, laid originally in the character of the protagonist, wins and Paul finds solace.

The most interesting, in our view, in terms of recreating the conscious and unconscious started is the second novel - "Keys to Paradise." It is given as if an epic conflict has unfolded - the chain of events pushes from the previous story, but it has neither the final chords. From the foregoing narrative being analyzed along with the story of his hero it is turned an emotional experiences, and the psycho-motor experience is rooted, at the right time to remind itself. The underlying mechanisms of consciousness of one person out of the social, cultural, occult, family and other ties to date has not been identified, although its manifestation as the qualitative features is known for a long time. Realizing himself a part of the world during the relationship Paul sought to avoid direct conflict. Position dispassionate outside observer can take a sober look at what is happening. Depriving the usual embellishments perception of the world, emotional and volitional characteristics of a strong personality, the author chooses for his hero, sensory sensations happening. In the process of observing other people, their relationship to the God, Pasha gets the gift of seeing the essence of things. A man carrying a defect so characteristic of our time has an incomprehensible power over the main character. The author does not give an unambiguous interpretation of the depicted person as a carrier of certain categories of good or evil. People only come into contact with these parameters and not absolute in their power to take one side or another in the eternal confrontation between things and events.

Further developing spatial indicator provides Samarin rely in developing individual characteristics of heroes on the immediate sense-certainty. In this conflict there is the basis of associative movement of the plot.

The feeling of imminent death again brings together the feelings of young people. Another vision comes to Pasha: his own death in infancy seems to him. A disease hits Stas: an overdose puts him on the brink of life and death. Whether the experience, or observation, whether the military habit, with its keen desire to not just survive but not to betray the abbot leads to the lodge to the dying Stas. By indirectly through feelings of Dasha, a girl with a beach that wanted to embarrass the monk, abbot represents strength, his ability to even get to think about what the person is doing. Vladimir had to kill in Afghanistan, he saved lives and he was saved. But an absurd death of Stas which, in general, is no one's fault creates a feeling of bitterness. Mutilated fates of Stas, Pasha, Gesha, Boris, Nicholas himself (now Father Vladimir) is a part of a lot of pain that Rissia has to experience. "Squalid rustic buildings: houses, barns, bathhouse, chipped front gardens and stubby gardens, grass-ant in the court of the speckled hen droppings" [2, 26]. This is how the heroes and the authors of the trilogy see it. But the revival of it is still possible. Not for nothing there are seeing of almost all the central characters of stories A. and C. Smorodinovs’. The leitmotif is also a particular philosophical position, which is often cited as a lyrical digression in the text.

Thus, we can draw the following conclusions. Cyclic form is created at the intersection of two divergent narrative principles: the principle of discontinuity (independent parts) and the principle of unity (the presence of unifying principle, the ability to integrate a multitude of completed items). The fates of these principles may be considered separately from each other, however considered and in the future focused on their cycle.

Framework dialogue acts as a unifying factor of an independent parts and different genre models. However, in the framework of dialogue and narrative structure of Anna and Constantin Smorofinovs there is a strictly cyclical conflict between rhetoric and reality occurs which ensures the continued development of the art form in the literary heritage of the authors.
Bibliography

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   Михайлов Н. Н. Теория художественного текста / Н. Н. Михайлов. – М.: Академия, 2006. – 220 с
   
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   Самарин Ю. Ключи от рая / Ю. Самарин // Странник.- 1999. - № 2. - С. 45 - 76.
   
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SECTION 7. Jurisprudence