Of the republic of uzbekistan andizhan state university named after z. M. Bobur faculty of foreign languages

MINISTRY OF HIGHER AND SECONDARY SPECIALIZED EDUCATION
OF THE REPUBLIC OF UZBEKISTAN
ANDIZHAN STATE UNIVERSITY NAMED AFTER Z.M.BOBUR
FACULTY OF FOREIGN LANGUAGES
DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE


Qurbonova Muqaddas
Group -221


THEME: Analysis of using Realism to encompass historical events in the novel Middlemarch by G.Eliot.
5111400-Foreign Language and Literature
(English language and literature)

Course paper



Supervisor: D.Turgunov


Andizhan 2022

CONTENTS:

Plan.
Introduction……………3
1. Analysis of ways of depicting historical period in Realistic fiction…………………5
2. George Eliot as Realist writer: fiction, characters and themes…………………10
3. Depicting Realistic tendencies in the novels of G.Eliot…………………20
Conclusion…………….29
List of used literature…………….31

Introduction.
We know that On December 10, 2012 the first President of the Republic of Uzbekistan Islam Karimov signed a decree №1875 “On measures to further improve foreign language learning system” and nowadays its appeared results.It is noted that in the framework of the Law of the Republic of Uzbekistan “On education” and the National Programme for Training in the country, a comprehensive foreign languages teaching system, aimed at creating harmoniously developed, highly educated, modern –thinking young generation, further integration of the country, to the world community, has been created. During the years of independence, over 51.7 thousand teachers of foreign languages graduated from universities, English ,German and French multimedia tutorials and textbooks for 5-9 grades of secondary schools, electronic resources for learning English in primary schools were created, more than 5000 secondary schools, professional colleges and academic lyceums were equipped with language laboratories.However, analysis of the current system of organizing language learning shows that learning standards, curricula and textbooks do not fully meet the current requirements, particularly in the use of advanced information and media technologies.In 1859, when George Eliot wrote this characteristic statement, she had already published two works of fiction but was still only at the outset of her writing career. The statement nevertheless epitomises her literary enterprise: endeavouring to affect her readers towards sympathy and feeling was an undertaking to which she remained devoted throughout her life as a writer. The narratological and rhetorical techniques Eliot used to accomplish this project are manifold, including elements as diverse as free indirect discourse and epigraphy. This investigation studies the means by which Eliot used one such technique - the narratorial comment - to shape her reader's responses to the text. George Eliot had been a writer for many years before embarking on a novelistic career. fu translator of David Friedrich Strauss's The Lift of Jesus and Ludwig Feuerbach's The Essence of Christianity, and as the author of numerous essays spanning a wide field of topics, Marian Evans established her reputation as an intelligent and erudite London journalist, editor and critic well before the publication of her first fictional work, Scenes of Clerical Lift, in 1857. 2 However, it was not until she became a novelist that the pseudonym George Eliot came into being, and it was only then that the powerful intellect which was to be associated with that name found its full expression. Almost all Eliot's novels were immediate successes, and the author was commended for managing to interweave warm human sympathy with a sharp critical intellect. This correlation between artistic genius and human emotion is particularly clearly seen in Eliot's narratorial commentary. By intruding on descriptive narrative, remarking on courses of events and characters, the narrators in all Eliot's novels present running commentary which serves to shape and shift the reader's interpretation. Although the practice of what was called 'author's intrusions' was no novelty by the time Eliot wrote her novels, and although several of her contemporaries shared the habit, Eliot's intrusions have come in for much criticism on account of their alleged obtrusiveness. Some readers have regarded Eliot's intrusions as manifestations of moralism and as explicit demonstrations of authorial control. George Steiner, for example, has argued that '[b]y interfering constantly in the narration George Eliot attempts to persuade us of what should be artistically evident' .3 W J. Harvey also expressed reservations, contending that Eliot's 'omniscient technique only becomes objectionable when the author intrudes directly into her fiction'. 4 A later observation derives from F. B. Pinion, who finds Eliot's commentary 'irritating' and indicative of the 'author's lack of restraint'.