Glossary for Literary Science

Glossary for Literary Science
ARCHAISM (Greek archaios ancient) is an obsolete, obsolete word (or grammatical form). A.s are used in historical works to give the color of the period, to individualize the speech of the protagonists (in accordance with the times). For example, the first sentence of M.Ali's novel "Sarbadorlar": "On the 18th of Shawwal 764 AH, when a caravan of thirty camels arrived at the Kesh Gate of Samarkand, the time was over." The first sentence sets the reader's attention to a different time, based on the words used in the sentence. While reading the novel, Temur, who was infected by the spirit of the past, said, "At first he tried to form his own army," "he began to send spies to different cities," "Drums were played. a natural jelly is thrown around the necks of the three of them ... they were taken to the bottom of the tree. ” In addition, A.s are sometimes used to give style a solemnity, and sometimes for friendly humor or satire. An example of this is the letters of G. Gulom to his friends Charkhi, Ulfat, S. Abdulla, O. Valikhanov. In particular, a letter to Charkhi:
As'ada kallohu fiddorayn.
The letter love clock touched our hands in a hurry. Our heads went beyond the sky. We were very pleased with the information about the debochai pens of Sheikh-i-Shuyukh, the great scholar Kiromiddin. We hope to have a dastras soon, of course. When it comes to the issue, I think it's a case of going backwards without going myself- It seems difficult to resolve by letter. I do not intend to travel to Fergana in the near future. Maybe in the meantime I will turn to Hoqandi Firdavsmonand, the city of his master, to resolve his gentlemen's requests, inshallah. Bogi: Assalomu alaykum.
Ghafur Ghulami Shoshiyi Karatashiy ".In his letter, G. Ghulam seeks to restore the old style by using A. and barbarisms: the construction of sentences typical of the style of the madrasa intellectuals, the use of Arabic-Persian words, words and syntactic devices . In addition to giving a solemn spirit to the letter, they also express the poet's tendency to friendly humor, his irony to the Charkhi teacher, who remained faithful to the old traditions.
ARCHEOGRAPHY (Greek archaios ancient, I write grapho) is an auxiliary field of historical science dealing with ancient written monuments. A. develops the theoretical basis, practical procedures and methodology of preparation of ancient manuscripts for publication. A.'s responsibilities also include reading ancient writings, determining age, author, place and time of writing.
ARCHIVES, literary archival studies (lat. Archivum document storage, Persian. ???? study) is considered as one of the ancillary branches of literary criticism, in most cases, as an integral part of source studies. A. performs functions such as preserving, arranging, describing sources related to the history of literature. With the increase in the number of institutions that store sources on the history of literature (various creative associations in the state archives, funds of literary publications; literary museums, house-museums of writers), the role and importance of A. in literature also increased. is becoming popular.
ARCHITECTONICS (Greek architectonic building art, architecture) -used in literary criticism in the sense of the external structure of a literary work, the integration of its main parts (chapters, chapters; curtains, appearances) into one whole; sometimes also used as a synonym for the term composition, but in this sense the term is not popular. Because now a literary work consists of different levels, different aspects of composition (text composition, plot composition, etc.) are discussed, so A. is considered as one of these aspects. The compositional term YA also covers the concept of A.
ARCHETIP (Greek archetypon - the first basis of the image, model) - a stable "scheme", intellectual construction and patterns, motifs and their various combinations inherent in human thinking, creative imagination. The concept of A. became popular in connection with the teachings of the Swiss psychologist K.Yung. According to him, A.s have lived in human memory since the earliest times of human society as a “collective unconscious” and manifest themselves in various forms in the creative process. That is, A.s are universal in nature, and traces of them can be seen from the earliest times to modern literature. A. From constructions and schemes a peculiar fund of "plot and plot cases" is formed, which move from work to work, from period to period. According to K.Yung, A. is first and foremost a phenomenon of form, enriched with his life experience and acquiring a concrete meaning only when he awakens in the mind of the artist living in a certain period. For example, in the story of Cain and Abel, which narrates the first murder on earth, envy and invisibility led to murder, but the same motive is revived in world literature in various combinations (Shakespeare. Othello; A. Pushkin. "Mozart and Soleri"). Similarly, the motive of the master's wife urging the servant to intimacy ("Aesop's Life", "Joseph's Tale", etc.) has been widespread since ancient times, and it periods different In literature, in particular, in Uzbek literature it is also manifested in combinations (Cholpon. "Yesterday"; U. Hamdam. "Balance"). Or the incest motif in "King Oedipus" is reflected in the story "In the Port" by Guy de Maupassant, "The Story of Karakalpakstan" by T. Kayipberganov, "Between Two Doors" by O. Hoshimov, "Soldiers" by M. Ali. All of the cases in question have the first basis, which has existed since ancient times - A., which takes on different forms depending on the characteristics of the specific period.
ATRIBUSION (Lat. Attribution - to attribute) - one of the main scientific problems (tasks) facing the field of textual studies, the author of a literary work, determining the time or place of writing, heuristics. The problem is finding documentary evidence from a variety of sources (e.g., commentaries, historical works, archival materials, memoirs, etc.); a comparative study of the ideological, artistic, linguistic and stylistic features of a work of unknown authorship with a work of the author's pen, which is undoubtedly attributed; the writing of the work (secretary, calligraphy school, letter and its popular period), the study of the features of bibliography (paper, ink, cover, ornaments, etc.). With all this in mind, only A., which is based on a complex approach, is considered scientific.
APHORISM (Greek aphorismos definition, concise expression) - a generalized idea, the author of which is known, expressed in a concise form and effectively. There are differences in the definitions given to A.: in some sources A. must have a definite author, and this is the main thing that distinguishes him from articles, while in others this condition is not set (see aphoristics). A.s vary in appearance. In some cases A. is created specifically, in which case it can be considered a genre in its own right (e.g., A. Qahhor’s famous saying, “Literature is stronger than the atom, but its power should not be spent on chopping wood”). After all, in this case it is based on the life experience of the creator
in which case we are talking about a phenomenon of form that allows us to express a generalized opinion on any issue. For example, A. Mukhtor's "Tunnels", O. Hashimov's "Inscriptions in the notebook frame" contain many good examples of this genre. However, in many cases, the concise idea from this or that work is also popular as A. "tends to flirt with people who say").
APHORISTICS is a type of literary creation, the expression of an exemplary generalized idea based on a specific life experience in a concise artistic form (using methodological means such as antithesis, parallelism, analogy, paradox, etc.). A. ignores the individual-specific aspects of reality and focuses on the general, typical aspects: it is based on the purpose of expressing a particular judgment, not on the purpose of describing or expressing feelings. That is, A. deals with thought, not with image. At the same time, it is not science, the idea in A. differs from scientific thinking: if scientific thought is obtained on the basis of a detailed analysis of a particular object, aphoristic thought is based on the author's personal (spiritual, spiritual, political, domestic, etc.) experience; if the correctness of a scientific opinion is proved by a series of proofs, the aphoristic thought cannot make a claim of objective truth, for its correctness is not proved, it is felt. If A. is understood as a type of literary creation, its genre manifestations can be such as proverbs in folklore, gnomes in written literature, chrysanthemums, sentence, apophthegma, maxima.
ARTISTIC ANALYSIS (ar. ???? examination, solution) is an emotional-intellectual activity aimed at understanding the essence of the content of a literary work, studying its existence as a holistic aesthetic phenomenon in various aspects, revealing its originality and determining its value. The term analysis is synonymous with the term analysis, which is widely used in science used. Both terms imply the division of the whole into parts in order to understand it, the study of the essence of the part in its whole composition, its relation to other parts, and its place in the emergence of the whole. Some compare the work of art to a living organism, but oppose the analysis, relying on the view that "dividing it into parts is nothing more than turning it into an inanimate body." But this kind of view is unfounded. For, first of all, reading the analysis in literature is also understood, only in this case it is understood to read the work of art as a researcher.YA is not a goal of the researcher to divide the work into parts, it is a tool to study the existence of the work as an artistic phenomenon, the factors that affect the mind and psyche of the reader, the basis for its understanding in one way or another. Second, B.t. in the process there is always the practice of interpretation (where interpretation is synonymous with "interpretation"), in the broadest sense the word "interpretation" is a utterance or written work (scientific, philosophical, religious, artistic, etc.). ) to understand the content, to understand and explain it in a certain whole (the aim of the literary critic is not only to understand, but also to explain). In other words, interpretation is to translate the “language of images” in a work of art into the “language of logic,” to understand and explain the content expressed through images. Therefore, in order for it to be truly scientific, the interpretation must be based on analysis. After all, if the interpreter does not have a deep knowledge of the literary text, if he can not adequately imagine the parts of the work, their interrelation, his interpretation acquires a subjectivity far from scientific. On the other hand, given that fiction thinks through images, and that image is a product of associative thinking, it is also clear that interpretation does not exist without a subject. This is because the content aspects of the image, created as a product of the artist's associative thinking and reflected in the play, can be restored only in the mind of the subject (that is, on the basis of his associative thinking). These are analysis and interpretation in the process of understanding a work of art is a shining proof of its existence at all times. Unlike the average reader, a literary critic relies on analysis in interpreting a work of art, and his interpretation is also considered scientific because it is based on analysis. In this sense, analysis is the scientific basis of interpretation, the study and reading of a work of art as a researcher.
Literary Fable (from the Russian kalka: "khudojestvenniy vimisel") is a product of the writer's creative imagination and imagination, manifested in the creation of artistic images, life situations, events, etc., which do not have a real basis or a complete analogy in reality. an important component of artistic creativity. Significantly, from antiquity to the seventeenth and eighteenth centuries, B.t. was considered the primary condition of creativity, the defining feature of poetry (fiction), which was opposed to prose works from B.t. Even now, B.t. remains a distinctive feature of a literary work (see fiction) and a literary work of art. It is easy to understand the essence and significance of B.t. in the example of works on a historical subject. The writer studies historical sources, collects information about facts, events, and their participants. His next task is to artistically process what he has learned: in artistic reality, the facts come to life, events take place, and individuals live. The same is true of the re-creation of past lives using artistic imagination, in which the role of B.t. is incomparable. When approached in this way, it becomes clear that there is also a great deal of conditionality in contrasting the “image of the historical figure” with the “tissue image”. For example, the sources mention Abdullatif's patriarchy. O.Yakubov, who made an artistic observation of a well-known fact, is interested in the roots of the tragedy: to understand the factors that led to the child's upbringing - the environment in which he grew up, the complex relationships in this environment, the reasons for the child's lack of love for the father. strives. Dry plot scheme for "Ulugbek's treasure"facts B.t. and, as a result, the Abdullatif is manifested in the eyes of the reader with all its complexity. So, although we describe Abdullatif as a historical figure, B.t. has also played an important role in its creation. The same can be said of a real-life event, of works on a modern subject based on real prototypes, and of any work of art in general. After all, as long as the elements of artistic reality move in a coherent whole and the living characters in it, this is possible only because of the artist’s artistic imagination, and in this B.t. an important component acts as a “cement”.
ARTISTICITY is a set of features that determine the affiliation of a work to art, which was born as a product of creative and spiritual activity. Imagery is the primary condition of B., which means the perception of reality through artistic images, thinking through artistic images. Imagery is a central feature of art, and B. does not exist where it does not exist. B. is a historical category, the requirements and criteria of which vary depending on the spiritual and aesthetic needs of each period, the artistic taste. However, there are also stable conditions in which B. is an ore. In particular, one of the important conditions of B. is the harmonious unity of content and form, their compatibility. This condition of B. means that the content that is important to man (for humanity) is beautifully expressed, that the artistically perfect work becomes an organic whole. Integrity requires that there are no superfluous, random, insignificant elements in the play, that all the elements of form in it are focused on the formation of the content, the aesthetic object. There is no surplus or deficiency in an artistically perfect work that can withstand this condition, and nothing can be added or taken away from it, and in both cases the integrity is compromised. On the basis of such integrity the unreal world becomes an artistic reality. This is the reality no matter how monand, it still retains the conditionality property, which is another important requirement of B. conditionality. The fact that artistic reality is an unreal world created by means of images can be approached as an aesthetic object only if it accepts artistic conditionality. It is only because of this that artistic reality is not confused with reality, and the work of art is not only left at the level of the text, but is re-imagined as an aesthetic object. The basis of the re-creation is that the work of art is directed to the reader, which is another important feature of B.C. The work of art is originally written for a specific reader, in which a place is prepared for that student to occupy and then to revive the artistic reality. This turns the reader into an aesthetic subject, encouraging him to recreate the aesthetic object. Reading YA is a creative process because the reader is not an ordinary consumer of the content conveyed by the writer, but an artist who recreates the artistic reality based on the characters. Creativity can only be said to have originality, which is an important condition of B.C. After all, a true work of art is a unique, original phenomenon. It reflects the spiritual state of the artist in the moments of creation, the MEANING that is obvious in those moments. Just as the spiritual state in the moments of creation is unique, so is the MEANING that is unique only in the process of re-creation in the process of reading. Although the meaning is the life experience of an individual artist, the product of his spiritual and spiritual research, in the moments of creation he was separated from reality and stood in the arms of IDEAL, in the status of a universal human being. The same is true of the universality of meaning The same situation ensures the universality of meaning, that universality is another sign of B. Because of this universality, a true work of art can be about the whole world, no matter who it is written about, about everyone, no matter what corner it is written about, it can become a spiritual property, a value of humanity.