130
Maqollar donishmandlik ramzi. Ular o`quvchi va tinglovchilarni fikrni chuqur, ixcham, aniq va
obrazli qilib ifodalashga o`rgatadi, kishilarni, ayniqsa, yosh avlodni milliy ruhda tarbiyalshda muhim vosita
vazifasini o`taydi.
Foydalanilgan adabiyotlar ro’yxati:
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2.
Razzoqov.H, Mirzayev.T, Sobirov.O, Ikromov.K. O`zbek xalq og`zaki poetik ijodi.- Тоshkent,
“O`qituvchi”,2016-107-115b.
3.
KUSHBAKOVA, M., Zarina, R. U. Z. I. M. U. R. O. D. O. V. A., & Shahram, A. S. L. O. N. O. V. (2020).
Innovative Methods and Ways to Teach and Learn Foreign Language. ECLSS Online 2020a, 146.
4.
Yangiboyevna, N. S., & Ravshanovna, M. U. (2022). BIOLOGIK FAOL QO'SHIMCHALARNING
TIBBIYOTDAGI AHAMIYATI. BARQARORLIK VA YETAKCHI TADQIQOTLAR ONLAYN ILMIY JURNALI,
542-545.
5.
Rajabboevna, A. R., Yangiboyevna, N. S., Farmanovna, I. E., & Baxodirovna, S. D. (2022). THE
IMPORTANCE OF COMPLEX TREATMENT IN HAIR LOSS. Web of Scientist: International Scientific Research
Journal, 3(5), 1814-1818.
6.
Aslonov, S., & Ruzimurodova, Z. (2020). INGLIZ TILINI O ‘QITISHNING INNOVATSION
USULLARI. Студенческий вестник, (12-5), 72-74.
7.
Aslonov, S. S. (2020). O’ZBEK VA INGLIZ TILIDA JINS MAZMUNINI BILDIRUVCHI SO’ZLAR
TAHLILI. Студенческий вестник, (16-10), 55-58.
8.
Aslonov, S. S. (2020). Ingliz tili stilistikasi fanini o’qitishda fonostilististikaning o’rni. Интернаука, (16-4),
57-59.
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Ruzimurodova, Z., & Aslonov, S. (2020). WHAT TO TEACH TO THE STUDENTS? TO TEACH
STANDARD ENGLISH OR WORLD ENGLISHES?. In МОЛОДОЙ ИССЛЕДОВАТЕЛЬ: ВЫЗОВЫ И
ПЕРСПЕКТИВЫ (pp. 367-369).
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Zarina, R., Shahram, A., & Umida, K. (2020). Using games to teach management in higher education
institute. Asian Journal of Multidimensional Research (AJMR), 9(3), 49-52.
SCIENCE FICTION
Kushatova Nargiza Rustamovna
SamDChTI, assistant teacher
Melikov Farrukh
Head of the chair Foreign languages TPPI Tadjikistan
Annotation:
This article
is devoted to investigation of
the aspects of science fiction. The
investigation is done
on
science
fiction sources and analogy of unrealistic
portraying.
Key
words:
science fiction, portraying, realistic case, political agitation,
th
e evolution of
science fiction, fantastic revolution,
ro
und the mind,
psychology.
Science fiction consists of stories in books, magazines, and films about events that take place in the
future or in other parts of the universe. Fiction based on imagined future scientific or technological advances
and major social or environmental changes, frequently portraying space or time travel and life on other
planets.
Antecedents of science fiction can be found in the remote past. Among the earliest examples is the
2nd-century-CE Syrian-born Greek satirist Lucian, who in
Trips to the Moon
describes sailing to the Moon.
Such flights of fancy, or fantastic tales, provided a popular format in which to satirize government, society,
and religion while evading libel suits, censorship, and persecution. The clearest forerunner of the genre,
however, was the 17th-century swashbuckler Cyrano de Bergerac, who wrote of a voyager to the Moon
finding a utopian society of men free from war, disease, and hunger. (
voyager eats fruit from the biblical tree of knowledge and joins lunar society as a philosopher—that is, until
he is expelled from the Moon for blasphemy. Following a short return to Earth, he travels to the Sun, where
a society of birds puts him on trial for humanity’s crimes.
In creating his diversion, Cyrano took it as his mission to make impossible things seem plausible.
Although this and his other SF-like writings were published only posthumously and in various censored
versions, Cyrano had a great influence on later satirists and social critics. Two works in particular—Jonathan
131
(1726) and Voltaire’s Micromégas (1752)—show Cyrano’s mark with their
weird monsters, gross inversions of normalcy, and similar harsh satire.
Science in science fiction is the study or analysis of how science is portrayed in works of science
fiction, including novels, stories, and films. It covers a large range of topics, since science takes on many
roles in science fiction. Hard science fiction is based on engineering or the "hard" sciences (for example,
physics, astronomy, or chemistry), whereas soft science fiction is based on the "soft" sciences, and
especially the social sciences (anthropology, sociology, psychology, political science, and so on).
Likewise, the accuracy of the science portrayed spans a wide range - sometimes it is an extrapolation
of existing technology, sometimes it is a realistic or plausible portrayal of a technology that does not exist,
but which is plausible from a scientific perspective; and sometimes it is simply a plot device that looks
scientific, but has no basis in science. Examples are:
•
Realistic case: In 1944, the science fiction story
Deadline
by Cleve Cartmill depicted the atomic
bomb. This technology was real, unknown to the author.
•
Extrapolation: Arthur C. Clarke wrote about space elevators, basically a long cable extending from
the Earth's surface to geosynchronous orbit. While we cannot build one today, it violates no physical
principles.
•
Plot device: The classic example of an unsupported plot device is faster-than-light drive, often called
a "warp drive". It is unsupported by physics as we know it, but needed for galaxy-wide plots with human
lifespans.
Criticism and commentary on how science is portrayed in science fiction is done by academics from
science, literature, film studies, and other disciplines; by literary critics and film critics; and by science
fiction writers and scientific fiction fans and bloggers.
Science fiction, abbreviation SF or sci-fi, a form of fiction that deals principally with the impact of
actual or imagined science upon society or individuals. The term
science fiction
was popularized, if not
invented, in the 1920s by one of the genre’s principal advocates, the American publisher Hugo Gernsback.
The Hugo Awards, given annually since 1953 by the World Science Fiction Society, are named after him.
These achievement awards are given to the top SF writers, editors, illustrators, films, and fanzines.
Science fiction is a modern genre. Though writers in antiquity sometimes dealt with themes
common to modern science fiction, their stories made no attempt at scientific and technological
plausibility, the feature that distinguishes science fiction from earlier speculative writings and other
contemporary speculative genres such as fantasy and horror. The genre formally emerged in the West,
where the social transformations wrought by the Industrial Revolution first led writers and intellectuals to
extrapolate the future impact of technology. By the beginning of the 20th century, an array of standard
science fiction “sets” had developed around certain themes, among them space travel, robots, alien beings,
and time travel (
see below
Major science fiction themes). The customary “theatrics” of science fiction
include prophetic warnings, utopian aspirations, elaborate scenarios for entirely imaginary worlds, titanic
disasters, strange voyages, and political agitation of many extremist flavours, presented in the form of
sermons, meditations, satires, allegories, and parodies—exhibiting every conceivable attitude toward the
process of techno-social change, from cynical despair to cosmic bliss.
Science fiction writers often seek out new scientific and technical developments in order to
prognosticate freely the techno-social changes that will shock the readers’ sense of cultural propriety and
expand their consciousness. This approach was central to the work of H.G. Wells, a founder of the genre and
likely its greatest writer. Wells was an ardent student of the 19th-century British scientist T.H. Huxley,
whose vociferous championing of Charles Darwin’s theory of evolution earned him the epithet “Darwin’s
Bulldog. ” Wells’s literary career gives ample evidence of science fiction’s latent radicalism, its affinity for
aggressive satire and utopian political agendas, as well as its dire predictions of technological destruction.
By the 21st century, science fiction had become much more than a literary genre. Its avid followers
and practitioners constituted a thriving worldwide subculture. Fans relished the seemingly endless variety
of SF-related products and pastimes, including books, movies, television shows, computer games,
magazines, paintings, comics, and, increasingly, collectible figurines, Web sites, DVDs, and toy weaponry.
They frequently held well-attended, well-organized conventions, at which costumes were worn, handicrafts
sold, and folk songs sung.
References:
1.
^ Marg Gilks; Paula Fleming & Moira Allen (2003). "Science Fiction: The Literature of Ideas".
WritingWorld.com. Archived from the original on 15 May 2015. Retrieved 22 December 2006.
2.
^ von Thorn, Alexander (August 2002). "Aurora Award acceptance speech". Calgary, Alberta. ^
132
Luckhurst, Professor in Modern and Contemporary Literature Roger; Luckhurst, Roger (6 May 2005).
Science Fiction. Polity. ISBN 978-0-7456-2893-6
3.
^ Mark A. Mandel, Conomastics: The Naming of Science Fiction Conventions ( 7–9 Jan. 2010),
https://www.ldc.upenn.edu/sites/www.ldc.upenn.edu/files/ads2010-conomastics.pdf Archived 13 April
2018 at the Wayback Machine
4.
^ Jump up to:a b Wertham, Fredric (1973). The World of Fanzines. Carbondale & Evanston: Southern
Illinois University Press.
5.
^ Jump up to:a b Westfahl, Gary (2005). "Aliens in Space". In Gary Westfahl (ed.). The Greenwood
Encyclopedia of Science Fiction and Fantasy: Themes, Works, and Wonders. Vol. 1. Westport, Conn.:
Greenwood Press. pp. 14–16. ISBN 978-0-313-32951-7.
6.
^ Parker, Helen N. (1977). Biological Themes in Modern Science Fiction. UMI Research Press.
7.
^ Card, Orson Scott (1990). How to Write Science Fiction and Fantasy. Writer's Digest Books. p. 17.
ISBN 978-0-89879-416-8.
8.
^ Peter Fitting (2010), "Utopia, dystopia, and science fiction", in Gregory Claeys (ed.), The Cambridge
Companion to Utopian Literature, Cambridge University Press, pp. 138–139
9.
^ Hartwell, David G. (1996). Age of Wonders: Exploring the World of Science Fiction. Tor Books. pp.
109–131. ISBN 978-0-312-86235-0.
10.
KUSHBAKOVA, M., Zarina, R. U. Z. I. M. U. R. O. D. O. V. A., & Shahram, A. S. L. O. N. O. V.
(2020). Innovative Methods and Ways to Teach and Learn Foreign Language. ECLSS Online 2020a,
146.
11.
Yangiboyevna, N. S., & Ravshanovna, M. U. (2022). BIOLOGIK FAOL QO'SHIMCHALARNING
TIBBIYOTDAGI AHAMIYATI. BARQARORLIK VA YETAKCHI TADQIQOTLAR ONLAYN
ILMIY JURNALI, 542-545.
12.
Rajabboevna, A. R., Yangiboyevna, N. S., Farmanovna, I. E., & Baxodirovna, S. D. (2022). THE
IMPORTANCE OF COMPLEX TREATMENT IN HAIR LOSS. Web of Scientist: International
Scientific Research Journal, 3(5), 1814-1818.
THE DEPICTION OF ORIENTALISM CULTURE IN THE WORKS OF WASHINGTON IRVING
Rasulova Sokhiba Ulugbekovna, Independent researcher,
Teacher of the Department English language and Literature,
Samarkand State Institute of Foreign Languages
Samarkand, Uzbekistan
Abstract:
The subject of this article is the identification of the romantic originality of W. Irving’s
short stories from the book «The Alhambra» In connection with this, the following characteristic features of
the aesthetics of romanticism are clarified: the problem of the romantic hero, his opposition to society, the
break of the ideal with reality, the role of folklore, the reception of contrast, etc. In the context of revealing
the peculiarity of romanticism W. Irving, the creative evolution of the writer and the artistic structure of his
short stories, reminiscent of a fairy tale. The problems and the subject-composition structure of Irving’s
works, based on the motive of adventure, are considered in detail; the uniqueness of the artistic chronotope
with elements of magic, the combination of myth and reality in the depiction of heroes; the plot-forming role
of the reception of contrast, the specificity of cultural, historical and spiritual realities borrowed by the writer
from Arabic and Spanish legends and fairy tales; the importance of fiction and irony as a means of
understanding the contemporary writer of reality. All this gives grounds to draw a conclusion about the
romantic context of the works of the writer – the founder of American romanticism.
Key words:
fiction and irony, romantic, orientalism, characteristic feature, work, poem, translations,
scholarly collecation, American romanticism.
In the history of culture, the era of the turn of the century (1790-1860) was named as an era of
romanticism, which is based on a sharp protest against bourgeois reality. American romanticism was
recognized to reflect the new laws of social life, the emerging norms of new social institutions [1,42]. A
characteristic feature of the aesthetics of romanticism is the gap between ideals and reality, romantics seek
their ideal in the field of dreams, oppose the unattractive bourgeois world to a fictional world, their dream.
Romanticism in literature and art is a way of realizing romance as one of the properties of a person’s
thinking. The essence of romance is a dream, an ideal idea of the relationship between the inner reality of the
