Syujetning klassik shakli, asosan dramatik, epik va liro-epik asarlarda uchraydi. Syujet (fransuzcha syujet) - tasvirlanayotgan yoki bayon etilayotgan narsa degan ma’noni anglatadi. Qahramonlarning o’zaro murakkab munosabatlari asar syujetini tashkil qiladi. Qahramonning o’zaro munosabatlari esa voqeada namoyon bo’ladi. Shu ma’noda voqea-hodisalar sistemasi asar syujetining asosini tashkil etadi. Shunday asarlar ham bo’ladiki, ularda voqealar tartibi ko’zga yaqqol tashlanib turadi. Odatda, sarguzasht xarakteridagi asarlar syujetida xuddi shu holat seziladi. Masalan, X.To’xtaboyevning «Sariq devni minib...» romanida syujetning shu turi mavjud. Shunday asar bo’ladiki, ularning syujetda xarakterlar ham shaklan, ham mazmunan birinchi o’rinda turadi. Bunday asarlarda voqealar tizmasi u qadar tashkil qiluvchilik kuchiga ega bo’lmaydi. Asarda voqea-hodisalar xarakterlar mantiqi asosida tartiblashtiriladi. Voqealar tartibi esa tez tez o’zgarib, yangilanib turadi. Ba’zan bir bobdagi voqea keyingi bobda davom etmaydi. Voqeadan mantiqan voqea kelib chiqmaydi. Odatda, avtobiografik asarlar shunday xarakterga ega bo’ladi. Masalan, Oybekning «Bolalik» N.Safarovning «Navro’z» va hakozo.
Sharq qadimdan she’riyat tuygʻulari oʻlkasi boʻlgan. Shu boisdan Sharq badiiy adabiyotida, ayniqsa, lirika keng rivojlangan. Drama hayotni harakatda ifodalab, muallif nutqisiz aks ettiradi. Adabiyotda qorishiq turlar ham mavjud. Mas, lirika va epos xususiyatlari birlashib liro-epik turni tashkil etadi. Liro-epik turga poema, ballada, doston, masal kabilar kiradi. Epos, odatda, 3 ga boʻlinadi kichik epik shakl (latifa, ocherk, ertak, hikoya), oʻrta epik shakl (qissa) va katta epik shakl (roman). Lirika mazmun va shaklga koʻra, gʻazal, muhammas, marsiya, ruboiy, qasida, sonet, qoʻshiq va boshqalarga boʻlinadi. Dramatik adabiyotning ham mazmunan 3 xili bor drama, komediya va tragediya (fojia). Adabiyot sanʼatning boshqa turlari kabi mafkuraviy hodisadir. Adabiyotda voqelikni aks ettirish tamoyiliga koʻra, adibning ijodiy usuli paydo boʻladi. Voqelikdagi tipik hodisalar umumlashtirilgan holda haqqoniy aks ettirilsa, realistik adabiyot deyiladi. Yozuvchi ayni voqelikni emas, balki u haqidagi oʻz orzu umidlarini ham ifoda etsa, romantik adabiyot boʻladi25.
The article provides a gradual presentation of the historical works that led to the artistically perfect depiction of the epic horse in the epics. The place of the horse in the history of the Turkic peoples, the confessions of historians in this regard, the findings of the horse in ancient manuscript sources, in short, the ideology of the Turkic peoples is compared with the image of a war horse in the epics.
As characteristic of the war horses described in folk epics, they appear to be the most perfect of the natural horses, as well as the horse features expressed in mythological and totemistic beliefs. In this respect it was understood that the war horses in the epics must be directly or indi- rectly dependent on water horses and celestial horses in order to be true tulpars.
In this article, we will take a closer look at the natural, religious beliefs and views that underlie the creation of the epic horse image in folk epics.
The article also includes “nomadic mavaniyer”, “animal-mother” traditions and beliefs, “Devonu lug'otut-turk” and commentary on Turkish words related to the horse, analysis of the image of the horse in the Karvash folk epics and interpretations took place.
In Ottoman-Turkish literature, the number of poets who wrote the epic “Leyli and Majnun” exceeds 20. Among them, the epic “Leyli and Ma- jnun” by Laurendeli Hamdi, created in 1542, occupies a special place. The epic was written not only in response to the epics of Persian authors, but in the chapter “The reason for writing the epic” Hamdi also mentions the name of the Uzbek writer Alisher Navoi. This epic of Hamdi was studied in literary criticism with the epics of Persian predecessors: Nizami, De- hlavi and Jami, but was not specifically compared with the epic of Alisher Navoi “Leyli va Majnun”. In the features of the story of both poems, the description of the characters and the development of events, similarities are found. However, there are noticeable differences in compositional con- struction, genre content and in the metrics used in the epics. The epic of Alisher Navoi consists of 38 chapters and 3623 verses, while the masnavi of Laurendeli Hamdi is much larger: it consists of 5441 verses. Hamdi not only wrote his epic in masnavi, but also included genres such as ghazal and qasida in it. Alisher Navoi, who created the first Hamsa in Turkish, com - pletely preserved all the traditions of the Hamsa.
During the study of the epic Hamdi, it became known that it has similar features with the epic of Alisher Navoi “Farhad and Shirin”.
In the article, the artistic, plot and compositional features of Khayriddin Sultan’s short story “Ajoyib kunlarning birida”, the importance of language and style, the writer’s ability to create an image and use of words are thoroughly analyzed.
The origin of the “short story” genre, its genre development, the opinions and debates of world and Uzbek literary experts on this topic are studied in comparison.
Ma’lumki, O`rta Osiyoda yashagan qadimgi aholi folklori, xususan, sak-massaget eposi namunalarining qadimgi yunon manbalaridan, xususan, Gerodotning “Tarix” asaridan o`rin olgan. Gerodot skiflar diyori bo`ylab qilgan sayohatlari chog`ida o`zining mahalliy aholining boy og`zaki ijodi, ayniqsa, qahramonlik va jasoratni tasvirlovchi epik asarlari bilan tanishgan. SHuning uchun ham u uz “Tarix”ida skif qabilalari hayoti bilan bog`liq u yoki bu rivoyatni keltirishdan avval so`zni “aytishlaricha”, “menga aytib berishlaricha”, “hikoya qilishlaricha” kabi birikmalar bilan boshlaydi. Bu esa Gerodot asarida keltirilgan skif folklori namunalari bevosita og`zaki an’anaga borib taqalishidan darak beradi. Gerodotning “Tarix” asarida keltirilgan “skif hikoyalari”ning negizi folklorga borib bog`lanishini D.S.Raevskiy va L.A.Lelekovlar ham qayd etishgan.
In this article, Khayriddin Sultanov, one of the major figures of modern Uzbek literature, discusses how life events are artistically
reflected in his stories and short stories. In the writer’s works, the reality of life, the historical truth, the complex inner experiences of a person
are impressively reflected artistically, and the reality is viewed from the perspective of high humanity. In the writer’s stories such as “Dunyoning siri”, “Ghulomgar- dish”, “Qog‘oz gullar” and the short stories “Saodat sohili”, “Yozning yolg‘iz yodgori”, “Ko‘ngil Ozodadur... ”, people’s daily life, worries, attention is paid
to the truthful coverage of their aspirations and relationships. The author’s short stories focus on convincingly revealing the spiritual experiences of
a person. The events recorded in the writer’s short stories are similar to events in life. The characters in them look like real people. The thoughts and worries of these heroes will not leave anyone indifferent. The article mentions such features of the writer’s work.
This article discusses the search for dialectical, historical, cultural differences and similarities between works created on the theme of Faust in world literature, literary analysis. The article examines rare works created by representatives of English, French, Russian and German literature on the topic of Faustianism.
Тоponim komponentli frazeologiyaliq birlikler, olardi anıqlaw, xarakteristikalaw, kontekstag’i konnotaciyasi menen uyqas kelmewi mumkinligin aniqlawg’a járdem beredi. Frazeologiyaliq birliklerdiń ózgeriwi olardıń semantikasini keńeytiwge, miynettiń syujet sızıǵı hám obrazlı sistemasına kiriwine járdem beredi. Ingliz toponimik frazeologiyaliq birlikleri kórkem kontekstte tekǵana kórkem ádebiyatqa baylanıslı miynettiń ekstralingvistik fonın sáwlelendiredi ha’m avtordıń arnawlı bir xarakter, hádiyse yamasa jaǵdayǵa bahasin aniqlap beredi
Ushbu maqolada xalq og‘zaki badiiy ijodi namunalarida diniy motivlar talqini “Ollonazar Olchinbek” dostoni misolida tahlilga tortiladi.