American Journal Of Philological Sciences
27
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue06 2025
PAGE NO.
27-30
10.37547/ajps/Volume05Issue06-09
Biographical Approach to Fiction
Abdulkhamidova Khikmatoy Akhrojon kizi
St
PhD in philological sciences, Lecture, department of literary studies, Fergana State University, Uzbekistan
Received:
12 April 2025;
Accepted:
08 May 2025;
Published:
10 June 2025
Abstract:
Biographical analysis is a type of analysis based on an approach to a work of art through the author me.
The author's high personal observations are reproduced in the work. Analysis of these states in relation provides
integration between the creator's life statement and his work.
Keywords:
Author “I”, hero “I”, chronotope, biographical analysis, spiritual psychologism, biosphere of the author,
landscape.
Introduction:
Biographical analysis is the analysis of a
work of art based on its essence and the material that
reflects the creator's creative world. Unlike
biographical information, biographical analysis covers
personal issues that reflect the real motivations that
inspired the creation of the work, the product of artistic
intentions, the creator's psychological state in artistic
creation, and the creator's experience in transforming
the material of the work into a work of art. Regarding
the manifestation of these factors in the work, Yuriy
Borev commented on it as "a method of interpreting
the work of art through the creator's personality"
[14.167], and Bakhodir Karim in his article "The
personal destiny of the artist plays a key role in the
interpretation of his work" [14.167].
Analysis of relevant literature
The artistic space depicted by the artist is associated
with the geographical space in which he is located. At
the same time, the knowledge acquired by the artist
through thinking and a strong memory further expands
and enriches these images. "Astronomical time (some
European scholars believe that it is calendar time, such
as Scaliger and V. Grigorian) is closely related to the life
and biography of the protagonist in the work of art.
Therefore, the interpretation of astronomical time
should be combined with the concept of biographical
time." [15.234] The expression of aesthetic ideals and
artistic intentions through the possibility of language is
one of the main characteristics of the novel. The writer
creates a model of space and time based on the central
idea. This model is initially formed in the creative mind.
This created artistic space is considered to be an artistic
model of the world described by a specific writer, that
is, to shape the world through metaphor. Therefore,
the work reflects the characteristic elements of the
creator's biosphere, as well as the innovations of the
space and time in which he lives. These elements help
to understand the work when analyzing the work of art.
If we pay attention to the theoretical views of Professor
B. Karimov, we will find that he emphasizes that
"literary space hardly determines the aesthetic value of
the work or the artistic skills of the writer, but literary
space is the writer's "country". In his essay on "creative
heritage", the French writer Balzac pointed out that in
a literary sense, the author owns his territory and the
citizens of different identities. [14.88] In addition, the
theme of wandering enters the prose of the
independence period through the biosphere of Issajun
Sultan and is reflected in the image of heroic characters
who strive to understand their identity in different
times and places. "When observing the unity of time in
artistic works from the perspective of literary tradition,
we often observe the individualization of artistic time.
For any unity of time is realized according to the
attitude of the characters to time. In a work of art, the
attitude of the characters to time is reflected
differently in different works through the attitude of
the characters and the author. This work is
characterized by the heroic biographical time in some
works, and may appear in some types of time. [ 13.B -
12 ] Therefore, although the image of space and time in
which the writer lives is not fully reflected in the artistic
reality depicted, his artistic biosphere is connected to
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
this biography through the image of deliberately
depicted details. We can distinguish some specific
elements. The wandering of the shoemaker in "The
Eternal Wanderer" can be interpreted as an expression
of people who are forced to go into exile to survive.
Especially in the words of Issajun Sultan, " This
wandering, which is also my trait, is the heritage of
mankind from Adam. Wasn't he exiled from heaven to
the earth? Wasn't he exiled? The descendants of
mankind are eternal wanderers." This work embodies
the idea that since everyone is a self-examiner, the sign
of constantly understanding one's own identity is a
human need. Before the creation of the novel, the
author showed the view of creative preparation in
other works in the form of small and medium-sized epic
genre samples, which helped to expand the content
scope of this biographical space-time div. The works
"Little Pink", "Creation" and "In the Footsteps of Hazrat
Khizr" can be evaluated as preparations for the plot of
the novel "The Eternal Wanderer".
METHODS
The migration of the writer's life environment in his
works, as well as the customs, cultural elements and
creative lifestyle of a specific period in the works,
constitute the biographical space-time in the works of
art. Understanding the works of art from the
perspective of biographical space-time helps us
understand the essence of the colors conveyed by the
works.
The image of wind is widely used in Isajon Sultan's
novels. This natural phenomenon left an imprint in his
childhood consciousness (specifically in the creator's
biosphere or biography), and this image was re-
embodied in the process of creating artistic works. We
consider wind as a theme that ensures the change of
time and space in the novel. Free thinking, as well as
the realization of the creator's artistic intention, allows
the writer to change the space of the image, that is, to
move to another space. It also plays the role of
accelerating reality or connecting it with another reality
and guides the author's gaze along the clues of the plot.
The wind in the writer's novel rises from the level of
natural phenomena to the level of imagery, which is the
manifestation of the personality of the creative image.
If this is reflected in the novel "Genetics", then in "Pochi
Dabadar" the era is born with the protagonist. In the
novel "Ozod", the wind, which entered the work as a
theme, eventually rose to an artistic image. From this,
we can see the gradual development and rise of wind
as an artistic element in Isajon Sultan's works. It initially
entered the work as an image element, transforming
from a part of the landscape to an image. The wind
becomes a theme for a specific purpose by changing
the space of the work and the artistic time that occurs
in the changed space. That is, the author uses it as a
force that drives the reality of the work (i.e., constructs
a landscape-image-theme relationship). The novel
unfolds in the form of the author's creative journey on
the great creative path. The reality covered in it is
reminiscent at first glance of Alisher Navoi's epic poem
"Lison ut-tair". The birds in the epic seem to interpret
the images in the novel "Ozod" as creators, as if they
were given life. Although the author refers to literary
characters through metaphorical allusions, such as in
"Lison ut-tair", the author's name is kept secret. Their
unique creative ideas are directly conveyed or
displayed through allusions, and memories play an
important role in them. The themes of wind, journeys,
tests and encounters in the novels "Ozod", "Boqiy
darbadar" and "Genetic" are realistic works influenced
by Eastern ideas. Through these works, Isajon Sultan
introduced neorealism into Uzbek literature.
Although the theme of genetic engineering
(interpreted by Y.Solijonov) that runs through all three
novels is widespread not only in Uzbek but also in world
literature, the inclusion of an oriental perspective
vividly expresses one of the core ideas of the novels -
the stages of self-awareness. The creation of re-
educated characters such as the beggar, the genetic
engineer and the tourist in search of the tulip of
happiness reveals the personality of the author. The
novels introduce some images that directly affect the
development of the characters. For example, Ozod is
depicted as a gust of wind, and the beggar is depicted
as his spiritual "I", his constant companion. Moreover,
although these images are not real people, they
resonate with the characters in the works. They express
their attitude towards the interpretation of events or
influence the formation of the characters' thinking. This
influence is reflected in the characters' appearance and
inner world. This is evidenced by the fact that critics
assert that the interpretation of the works is like the
text itself. With the emergence of the protagonists in
the works, the creative "I" is also formed, which is
clearly visible in the protagonist's thinking. "Ozod
learns from the wind, and his thoughts, feelings,
desires, and concepts grow deeper and deeper. The
path to this depth and spiritual state is achieved
through the accelerated sublimation of his inner
essence from the external landscapes and conditions
reflected around him. Because the goal (destination)
pursued by "Ozod" is clear, and his desire is full of faith
and belief, the secret of all signs is in the mirror.
RESULTS
Thus, Ozod’s thought was formed, and he began to
understand the symbols that had left their mark on
history. In his later reflections on understanding the
hidden essence, the author mentioned the characters
American Journal Of Philological Sciences
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
on the rock (Oybek) and the old man sitting under the
willow tree (Mirtmir) in the novel Ozod. Undoubtedly,
these examples stem from the fate of the masters, from
their enjoyment of the literary and spiritual heritage,
from their responsibility for the hereditary pen, and
from their deep debt to the eternal soul. [12] Thus, the
author interprets creativity as a great achievement
achieved through patience, which seems to be at the
cost of the life, hardship and contribution of those who
have already written. However, even if they have lost
their mothers, families, relatives, or even their entire
lives, the servants of creativity have never given up this
path. The author uses the examples of Oybek, Mirtmir
and Shafqat Rahmon, who persisted in their creation
even at such a cost, and proposes a great philosophy of
life. That is, creativity is based on great selflessness and
intertextuality. Thus, the author not only examines the
creators themselves, but also examines the
biographical time and space of other literary figures.
Next, the author places the protagonist in a more
distant literary context. The "Blood" section reminds us
of Abdullah Kodiri. The images in the "Traces" and
"Dogs" sections reflect the memory of the victims of
oppression, who were oppressed and buried in a
common abyss, in accordance with Muslim tradition.
Incorporating these realities into the work is an
effective way to gain insight into the life of the creator.
From the imagery of "Two Birds", we can clearly see
that the protagonist running towards the tulip of
destiny and the bird of happiness is the author himself,
and this comes from the expectation of truth. "We can
only go so far, we cannot cross its threshold", he used
the words of the Prophet Muhammad (peace be upon
him) when he ascended to heaven to support this
expectation. In the work, the wind "appears in the form
of a hierarchical sequence, both as a wise man who
guides Azad to perfection, as a wise narrator, and
finally as a messenger of divine grace. It interprets and
interprets the unexpected events, symbols and images
observed in the meaningful field of his heroic life - the
testing ground. Azad regards the wind as a mentor, and
his thoughts, feelings, desires and understandings
become increasingly profound. 12. B-48 ] And gradually
formed the spiritual and material (existence) thinking
of free people going against the wind.
The author transforms the wind, the shape of the wind,
into a whispering wind, into a "guide" that pushes his
hero toward the fate of Cholpon, Fitrat, and Hamza.
From the center of Ujongok, the epic "I" observes the
fate of the traveler Zebi. The wind that accompanies
Ozod grows during these events. This growth is the
growth of the author's "I" and his worldview.
Everything is depicted as a reflection, everything turns
to dust, everything turns to a mirage. Of course, the
author expresses these ideas in a subtle way, not
openly. Indeed, "the dynamic growth of the white-
haired youth and his transformation into an Iranian
were already reflected in the author's creative
intention. Therefore, all the fragments of structural
semantics are combined into a single compositional
center in a literary montage based on the main goal."
[12] [B-47] However, when the author's hero lives in
the work, he does not become Elan, but the hero of
Ozod. Now, no one can influence the trajectory of his
life. Because the hero's "I" is formed between three
axes. If the space of the hero in The Eternal Wanderer
extends from the national level to the world space,
then in Ozod the author's path of hero growth takes
place entirely at the national level. In this way, the
image of Ozod exists simultaneously with the wind and
not with the light. By introducing the two heroes into
the reality of lomakan (a reality without the concept of
time and space), the two novels together constitute the
spatiotemporal div of a composite reality. This shows
that in contemporary Uzbek novels, in addition to
qualitative and quantitative changes, images and
imagination
are
also
developing
(effective
transformation of the means of expression). The
influence of the Uzbek literary environment on the
work of Isajun Sultan can be understood as a new way
of disseminating national literature, which became the
basis for expanding the scope of images and
imagination.
CONCLUSION
The manifestation of the author's "self" in the
protagonist of a literary work is of great significance in
evaluating his creative worldview. In literature and art,
analyzing the influence of the author and the
protagonist on the "self" and analyzing the artwork
through the influence on the "self" can clarify its
ideological system. This shows the importance of
biographical analysis for artistic works.
Therefore, the creator's views and thoughts are
reflected in the work of art through the words of the
author and the protagonist. The writer's artistic
accomplishment lies in his ability to effectively use
these two languages to depict reality convincingly,
vividly and impressively. This ensures that the content
of the creative concept is developed from the words of
the author and the protagonist.
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