FUNDAMENTALS OF CREATIVE LABORATORY
Turayeva Dilnoza, Sariboyeva Maqsuda, Primov Abdulatif,
doctor of philosophy in philology, associate professor; candidate of philological sciences, associate professor; senior teacher
Gulistan State University, district 4, Gulistan, Uzbekistan.
(
torayeva1983dilnoza@gmail.com
moviy69@mail.ru, abdulatibprimov@gmail.com
https://doi.org/10.5281/zenodo.10439279
Key words:
Сreative laboratory, artistic idea, creative intention, world of artistic creativity, creative psychology,
artistic-aesthetic interpretation, innovation, creative plan, psychobiography.
Abstract:
This article reveals the process of artistic creation, the emergence of a literary work as a creative intention, and
the characteristics of artistic interpretation are directly related to the personality of the creator, as a special literary phenomenon, as
one of the leading features of Uzbek literary studies in the period of independence. It is based on the writer’s creative laboratory
based on the ideological-emotional attitude of the author to the events described in the literary work , the selection of the system
of images, his poetic perception of the problem and his artistic judgment through them.
INTRODUCTION
The
consistent
improvement
of
the
development of literary and aesthetic views in world
literature is the basis for the emergence of scientific
concepts related to the gradual development of artistic
thinking. Therefore, the study of the uniqueness of the
artistic world, a critical approach to it is bound to
benefit the development of the literature of every
nation. Therefore, it is necessary to examine
scientifically the process of literary creativity, to study
the factors related to the birth and materialization of
creative
intention,
theoretical
justification
is
important.to show the peculiarities of artistic-aesthetic
interpretation, and the problems related to the
manifestation of the creative personality.
World literature, the process of artistic
creation, the author’s ideological-emotional attitude to
the described events, the selection of the system of
images and the poetic perception of the problem
through them, the artistic judgment, aesthetic ideal,
worldview, cultural-educational level, life experience,
skills, power of talent and potential, problems of
aesthetic interpretation, in general, specific aspects of
the writer’s creative laboratory is studied consistently.
The creative process related to the emergence of a
literary work was considered one of the scientific
directions in the literary studies of every period. In
particular, the origin of the work from the ideological
intention and the features of artistic interpretation
create the need for a deep knowledge of the literary
phenomena, to determine its aesthetic tasks, and
through this to reveal the essence of the achievements
of literary studies. Because, it allows to make
methodological,
theoretical-methodological
and
conceptual scientific generalizations and conclusions
on the basis of the artistic-aesthetic views of the new
era, determining its place in the history of literature on
the basis of the creative laboratory, creative “I”, the
structure
of
its
views,
the
comprehensive
understanding and explanation of historical-individual
issues such as the aesthetics of appropriation which are
modern literary studies. Therefore, the research of the
problem of artistic idea, creative imagination and
aesthetic interpretation becomes relevant.
LITERATURE REVIEW
In world literary studies, there are a lot of types
of theoretical literature that cover the main aspects of
the approach to the artistic work and the scientific
research methods that help to understand the reality.
Sociologists of the world’s literature, philosopher-
aesthetes: O.Kont, I.Ten, A.N.Pipin, A.N.Sakulins;
Sent-Byov, biographical of A.Moruas; E.Enneken,
V.Vund,
E.Elster,
E.Bertram,
E.Grosse,
A.A.Potebnya,
D.N.Ovsyanko-Kulikovskiy,
A.G.Grofed,
L.S.Vigotskiy,
M.M.Baxtinlars
psychoanalyst;
formal
of
V.Shklovskiy,
V.V.Vinogradov, V.M.Jirmunskiy, Yu.N.Tinyanov,
B.V.Tomashevskiy, G.O.Vinokurs; Claude Lévi-
Strauss, LS Vygotsky, R. Barth, Yu. Lotman, DS
Likhachev,
M.
Bakhtin's
structural-semiotic
researches,
as
well
as
Klod
Levi-Stross,
L.S.Vыgotskiy, R.Bart, Yu.Lotman, D.S.Lixachev,
M.M.Baxtin’s many studies in hermeneutic methods
prove our opinion. The important thing is that during
the years of independence, the interest in this type of
research increased dramatically, and the positive
effects
following
them,
creative assimilation,
combining them with the research methods of
traditional literary studies, and striving to attract
national literary material were also recognized.
In particular, Charles Augustin Saint-Beauve
(1804-1869) interprets the author’s biography and
work as a whole in his works written on the basis of
the principles of the biographical method. His
scientific works “Literary portraits, critical essays” ,
“Joseph Delorme’s life, poems and thoughts” , as well
as “Literary portraits” by A. Morois , “Olympia or the
life of Victora Hugo”, “Honore de Balzac” , Yan
Parandovsky Studies such as “Alchemy of Words”,
“Conversations with Goethe” by IP Eckerman,
“Andre Morois” by F. Narkirer, “The Art of
Interpretation and Evaluation” by Yu.Borev, and
“Literary Portraits” by V.Bakharov have made their
mark on this issue and indicate high importance in
world literary studies. ATSeitlin, P.Medvedov,
Yu.Oklyansky,
B.Meilakh,
TAKuzminskaya,
LMLeonov,
BAGrifsov,
MBKhrapchenko
and
L.Tolstoy have also researched this issue.
MATERIALS AND METHODS
Life events start from the creative laboratory
and are formed in connection with the creator’s heart,
outlook and spiritual world. The emergence of the idea
of a work of art, its completion, all the doors that
passed through the writer's mind during the writing
process show that the creative laboratory is a unique,
individual event. Therefore, the new reality born in the
process of artistic creation, in particular, examples of
narrative, short story and novel genres of epic prose,
can be objectively researched on the basis of the
secrets of the laboratory of concrete literary creativity.
The following methods were used to reveal the results
of the writer’s creative laboratory:
sociological
psychoanalytical
structural
hermeneutic
comparative
historical-typological
ANALYSIS AND RESULTS
The biographical method is important in
discovering the essence of artistic creativity, the
psychology of a creative person, and the essence of a
poetic work. In fact, this method is based on a pair of
writers and works of art. That is, the work of art is read
through the person of the writer. In the science of
literary studies, summarizing all this, the essence of
artistic creation, the creator’s psychology is studied on
the basis of the biographical method, which is
important in discovering the roots of the artistic work.
“Biographical method is Greek, bios – life, grapho –
to write. The personality of the creator is reflected in
the work of art, therefore, its many aspects are
understood in the context of the biography of the
author”[1]. The creator’s “I” is transferred to his works
to a certain extent. The creative product should be
considered as an artistry based on the writer’s
personality.
The creative laboratory of the writer is created
by various factors that stimulate the birth of a
creative intention, its transformation into an artistic
idea, and the process leading up to the appearance of
an artistic work.
A.Rasulov defines the term biography as
“biography”. In Greek it means “history of life”,
“destiny in writing”, he explains it based on Alisher
Navoi’s attitude to this word: “Alisher Navoi”
respected the word “case” and used it productively and
skillfully. “Hol” is an Arabic word. The plural is
“condition”, that is, “condition”. Alisher Navoi used
such combinations as “hasbi hol”, “holot adosi”,
“holot mood”, “pleasure mood” in different places.
“Case” actually means spiritual life, spiritual
movement, like “biography” [2]. So, the root of this
word, which has received increasing attention in
modern literary studies, goes back to our classical
literature. However, as a method, it was formed in the
West and became more active in our modern literary
studies. Literary critic B. Karimov writes: “The
biographical method is based on a pair of writers and
works of art. It pays serious attention to the creator's
personal life, living environment, mental and
psychological state, personal interests, inspiration
factors that motivated the writing of the work, creator's
laboratory, and a number of such historical-individual
issues” [3]. From the above considerations, it can be
understood that the study of all aspects of the creative
process together with the personality of the writer is a
biographical method. Its theoretical formation and
study is mainly a process closely related to the writer’s
life and work. In literary studies, there are different
views on this issue, each of them aims to reveal aspects
specific to the biographical method. A work of art is
nourished by the heart and mind of the creator.
Therefore, to a certain extent, the personality of the
creator is reflected in his writings. Therefore, studying
the writer’s work in connection with his personality is
not a search for something about the writer’s
personality and biography from the sample of
creativity, but the reader gets spiritual nourishment
from it as an example of artistry. Russian scientist
Yuriy Borev, applying the biographical method to the
analysis of an artistic work, says “... the method of
reading a work of art through the author's person”, and
his opinion about this is that “The individual fate of
the artist plays a key role in the interpretation of his
work”[4]. According to this method, in the science of
literary studies, attention is paid to his life experiences
and personality as the main feature of a writer’s work.
In literary studies, writing a work related to the
biography of a writer has a long history. In this regard,
there are many achievements in Western literary
studies. The application of the principles of the
biographical method in literary criticism of the 19th
century is first associated with the name of the French
researcher Sharl Ogyusten Sent-Byov (1804-1869).
He is recognized as the founder of the biographical
method.
Scientific-theoretical
bases
of
the
biographical method were studied in the scientist’s
studies such as “Literary portraits, critical essays”,
“Joseph Delorme's life, poems and thoughts” [5]. At
this point, it is appropriate to cite the following
comments of Charles Augustin Saint-Beauve about his
interest in studying the biography of the creator: “I am
interested in the letters, thoughts, different aspects of
the character, moral image of great writers, in a word,
the biography of each has always been interesting.
Especially since no one before me was engaged in
such a comparative biography, it gave me special
pleasure to strive and try to create its plan myself” [6].
The scientist who has studied the creative biography
of a number of French writers such as P’er Kornel,
Deni Didro, Lafonten, Jozef Delorma, Viktor Gyugo
observes their works in connection with their
personality. After Sharl Ogyusten Sent-Byov, another
French literary critic Andre Morois (1885-1967) wrote
a biography of the writer in the works “Literary
portraits”, “Olympia or the life of Victora Hugo”,
“Honore de Balzac” [7], written on the principles of
the biographical method and theoretically researched
his work as a whole.
The theoretical aspects of the biographical
method are rarely studied in Uzbek literary studies.
Alisher Navoi’s works such as “Holoti Sayyid Hasan
Ardasher” and “Holoti Pahlavon Muhammad”, which
contain valuable information about great people, can
be cited as the first experiments related to the writer’s
biography. In our classic literature, there was a
tradition of writing biographies of well-known people,
including writers and poets, citing examples from their
works. In the literary studies of the next period, this
issue took on a more scientific tone. In particular, it
can be noted that in the history of Uzbek literary
studies, Fitrat managed to restore the biography of a
number of creators of the Turkic peoples based on
their works. It is appropriate to consider his researches
as early examples of creating a scientific biography.
During the Shura period, this issue was approached a
little differently. For example, when studying the life
and work of writers such as A. Qadiri, Cholpon, Fitrat,
U. Nasir on the basis of the biographical method, one-
sided views appeared under the influence of
ideological requirements. “There is an integral
connection between the state of the writer and his
work. The environment in which the writer lived, the
political-ideological climate, the names and actions of
the rulers are gradually being forgotten. But the work
of art created by the writer lives on. In these layers of
the work, the writer’s state of mind always shows
itself” [8]. Therefore, on the basis of the biographical
method approach, the author’s life and work should be
considered as a whole based on his personality, and
special attention should be paid to the authenticity of
the evidence and the naturalness of the images. Then
this fact becomes a valuable resource based on the
requirements of the biographical method, unlike a
simple
“reference”. In literary studies, the
biographical method studies the author’s work as an
expression of his life experiences. And biography as a
genre creates biography. Biographical method and
biographical genre are different from each other.
Although the object of research of these two literary-
scientific processes is the author’s biography, in
literary studies, the study of the writer's work in
connection with his personality is considered a
biographical method, and the biographical genre
focuses on creating the author’s biography. For
example, Oibek’s “Childhood”, A. Qahhor’s “Tales
from the past” were written based on the requirements
of the biographical genre, I. Sultan’s “Navoi’s Heart
Notebook”, N. Rahimjonov’s “Biography of a work of
art”,
A.
Rasulov’s
“Ilmi garibani komsab,
O.Sharafiddinov’s Cholpon, “Understanding the
Cholpon”, U. Normatov’s “Toughness to Understand
Cairo”, “The Miracle of Power”, D. Kuronov’s
“Cholpon’s Life and Creative me’rosi”, B.Karim’s
researches such as “Abdullah Qadiri: criticism,
analysis and interpretation” were created based on the
biographical method.
While reading a work of art gives the reader
aesthetic pleasure, the process during its creation
requires a lot of creative work and research from the
writer. In the implementation of this process, the writer
uses his creative potential. In the process of artistic
creation, the writer's talent, inspiration, work, outlook
and fantasy play an important role. Exploring the
writer’s creative lab begins with knowing these
factors. Creativity consists of various literary factors -
the birth of an artistic idea, a creative plan, starting to
write, choosing a hero, and making good use of
unexpected situations. Each work goes through a
certain maturation period in the writer’s mind and
thoughts of before it is written on paper. Therefore, all
researchers of the creative process rightly study the
birth of the first plan depending on the inner world of
the writer. So, as the artistic work reaches the mind of
the artist before it is finished, it is appropriate to study
the specific aspects of the creative process first,
depending on his inner world. The creator shapes the
reality he feels in his consciousness. The basis for this
is the commonality between the possession of talent,
knowledge and world view. First, as the creative
process is born in the mind of the writer, it is necessary
to pay attention to the essence of this concept.
Consciousness is the process of perceiving and
understanding the external world that is unique to
humans. In the explanatory dictionary of the Uzbek
language, it is defined as “Consciousness is the
reflection of reality in the human brain that includes
all of its mental activity and is directed towards a
certain goal” [9]. So, the creator feels and perceives
reality through consciousness and directs it towards
the goal.
When approaching each work, studying it
based on the nature of the creative talent, its
uniqueness should be considered as a great blessing
given to that writer by God - a product of talent. The
factors underlying the creative process are revealed by
the talent of the writer. Talent is a complex mental
phenomenon. Talent is a combination of the writer’s
creative powers and his desire to create, and his ability
to do so. Talent plays an extremely important role in
the creative process - only talented individuals create
a true work of art. In the creative process, for the
writer, the talent given by God is in the main place.
Incessant search in the creator illuminates the talent,
makes it even higher. Polishing the talent and growing
it is related to the creative work of the writer.
Creativity is more than just innate talent. As much as
talent is important for a writer in the process of artistic
creation, the result of creative labor that creates it is
just as important. It is not for nothing that work brings
out ninety-nine percent of Gorky’s talent. As the result
of creative work, talent shows its results. “In order to
be a writer, many, incomparable qualities must be
embodied in one person. Second, the talent, hard work,
sense of time and space, intelligence, bravery,
perseverance, purity of mind and div, sense of
justice, selflessness, ability to wonder and know, and
dozens of other qualities... Professional knowledge too
[10]. As the artist shapes the concepts in his thinking
as an artistic work, he brings them to the surface
through creative work, relying on his talent. From the
connection of both spiritual and physical forces, a high
artistic work comes to the field. K.S.Stanislavsky
writes: I learned that creativity is, first of all, the
gathering of all the spiritual and physical forces in the
universe into one point. Not only seeing and hearing,
but all the five sense organs in a personal converge to
that point. In addition, the div, mind, mind, will,
feeling, memory, and imagination are gathered
together and directed to creation, to what is depicted.
The owner of talent “lives” in that world with all his
being while experiencing the creative process. He
strives to realize his goal only when he is mentally and
physically ready for the creative process. Since the
starting point of the creative process is the heart of the
writer, the spiritual preparation of the writer takes the
main place. The art of words always needs literary
factors that condense the forces of talent and heart, pen
and skills in a single destination. More importantly,
emotional thinking paves the way for the text to be put
into practice in order to consistently enhance the
aesthetic synthesis. Infusing the pen with a magical
power, it illuminates the aesthetic logic within,
resulting in a tangle of mysteries and fruitful moments
of inspiration. It seems that the creative process takes
place at the expense of spiritual fulfillment, and the
extent to which the writer suffers in it prepares the
ground for the successful release of the upcoming
artistic work. The word artist is primarily interested in
the aesthetic value of the creative process. Only if the
writer builds the essence of artistic interpretation on
the basis of his personality, his work will be viable. As
the artist pays attention to the surroundings not with a
simple view, but with a careful look, even the unseen
real events can act as a creative impetus for him. The
extent to which this work has grown or, in general,
taken a different direction during the writing of this
work, is realized in the writer's creative laboratory.
In the work of art, a piece of life is described as
a reality that corresponds to the worldview of the
writer. Each word appears in the world of the writer's
thinking in connection with all the features of the
creative process. The fact that the artist is always in
tune with life creates a great opportunity for him to
choose the right material for life. This situation is
inextricably linked with the worldview of the writer.
There are different approaches of literary scholars
about the formation of the creative process in research
on this issue. From this point of view, A.Seytlin in his
research entitled "Writer's work" emphasizes that the
creative process should be started with the study of the
writer's inner world [11]. The artist takes all the
material for his work from life. Its subtle aspects can
also be considered very important for the writer. In
order to choose the material that serves to reveal the
reality of life, and to analyze different realities, the
creator needs strong knowledge, talent, and a broad
outlook and high thinking. “As much as talent plays a
decisive role in the process of artistic creation,
worldview is equally important. If we assume that
talent is a powerful ship sailing in the sea of creativity,
world view is a light house - a compass that guides this
ship without fail to a clear destination. Just as you can't
imagine a ship sailing across the endless sea without a
light house, you can't imagine talent without a
worldview, and a worldview without talent. “So, all
features
of
the
writer’s
creative
laboratory
complement each other, summarize each other, and
create a unified art. Therefore, they cannot be
separated from each other.
Creative fantasy is recognized as an important
aspect of literary talent. Literary critic P. Medvedev
emphasizes that the process occurring in the writer's
thinking is directly related to his fantasy: “The main
factor of creative activity is the constructive creative
imagination” [6]. In order to have a creative
imagination, a writer needs a broad worldview. After
all, the creator has a strong fantasy - a wide
imagination manifests itself through a worldview. The
world of the writer's imagination is regulated by his
level of knowledge. “If the imagination is a creative
force, it creates something new by grouping various
means of memory and experience, if it meets the
requirements of ideal reality, then the mind controls
the work created by the imagination, eliminates the
excesses that do not serve to ensure its integrity and
the unique unity of the parts. The world of creative
imagination is a broad concept, and a work of art
cannot fully embrace it. The creative fantasy used on
it serves to increase the artistry of the work.
Yu.Oklyansky, thinking about what the writer's
creative search begins, says, “...the writer’s creative
work begins with seeing. To see is to intuitively
perceive the meanings and figurative elements in life.
Intuition is the first basis and beginning of any
talent...” [ 7 ]. A real work of art is a work written by
the creator after seeing a reality, feeling it, and
realizing its essence. As a result of his observations
and research, the writer directs certain aspects of life
to a specific artistic idea. Seeing and observing in the
creative process is also an aspect of talent. For
example, a writer who has not seen war cannot feel the
horror of war until he participates in it. The images can
provide naturalness, but there is bound to be difficulty
in reflecting the mental anguish in it. So, writing what
he sees is useful for the writer to revive the reality of
life in his fantasy and show his talent. Literary critic
Izzat Sultan notes that passion plays an important role
in the creative process: “A writer cannot write his
work without passion or indifference. And the passion
that warms every work is the spark of aspiration,
selflessness, in short, great passion that fills the whole
creativity and spiritual life of the writer” [6]. In fact,
in the writer’s creative laboratory, it takes place in
different ways. What is passionate to one may seem
simple to another. In the words of Abdulla Qahhor, a
work written without feeling is like a flower made of
paper. The stirring of the inner feeling in the creator
comes to the surface in harmony with the inspiration.
In the writer’s creative laboratory, inspiration plays an
important role in the emergence of the inclination to
write during the formation of an artistic work.
“Inspiration is a spiritual fire in the writer's heart, it
fully illuminates the creative process and provides
movement” [5]. A writer who can see life events with
the eyes of the heart cannot stop creating. This
situation is brought about by a mysterious, magical
spiritual force called “inspiration”. H. Umurov notes
that there are two levels of inspiration in literary
studies. The first of these is a moderate inspiration
(vdokhnoveniye-skritoye), and the second is a full
inspiration
of
pleasure
and
excitement
(vdokhnoveniye-affect).
There are different views about inspiration in
world literary studies. Polish writer Jan Parandowski
says: “Inspiration is out of fashion now, if the word
“inspiration” is written casually, it either has a
sarcastic meaning, or it seems like a mechanical
repetition of an old metaphor” [6]. However, we must
not forget that a work written without strong passion
and inspiration has no artistic value.
In writing a work, not only the result itself is
important, but also the factors that lead to this end. The
creative process is different for every writer. In this
context, the Spanish writer, winner of the Nobel Prize,
Juan Roman Jimenez, says: “When I write, I copy
what comes out of me on white. The rest is unclear to
me. I will work on it methodologically and
theoretically, of course”[9]. American writer Amy Tan
said, “I like to listen. I know that there are many things
that I have heard from those around me that will be left
out for my future work. But among the thoughts I
listen only to those that correspond to my world view,
the rest I just hear... ” Creativity and inspiration do not
choose an opportunity. He knocks on the door
whenever he wants. For this reason, it is impossible to
choose a specific moment for writing. We pay
attention to the creative laboratory of Abdulla Qahhor:
“I can’t correct a written sentence or even a page
nstead of erasing every word on an entire page, I copy
that sentence, even page, onto another piece of paper
to write another one. On average, I copy a page fifteen
to sixteen times, without a doubt, every time I polish
the page”. Habibulla Qadiri remembers his father's
creative process: he cooks what he wants to write first
in his heart and then brings it out, and there is almost
no need to correct his written manuscripts. The famous
writer L.Tolstoy noted that he had a habit of
reworking each of his works over and over again,
making many changes every time he rereads it. Even
when he read his work after it was published, he found
some flaws here and there and wanted to correct them,
so he tried not to re-read the printed work. Therefore,
the personality of the creator, his unique character,
directly creates diversity in the creative process.
The writer’s psychobiography in some sense
finds its expression in the narrative of events in his
artistic works, in the system of his created images.
Such individuality shows the originality and unique
nature of the work of art. It is natural to interpret his
artistic work against the background of changes in the
writer's life, restlessness, restlessness, mental and
emotional experiences, excitement and painful pains,
suspended or fixed worldview. In the artistic work, the
complexities of the creative process of the writers,
which do not repeat each other, find their expression.
In a deeper understanding of the essence of a work of
art, the study of the writer's creative laboratory, along
with the criteria of artistry, serves to deepen the
understanding of the writer's creative evolution.
Results:
1
In the research, the importance of the
personality of the writer in studying the
theoretical aspects of the biographical method
and other scientific approaches, the role of the
artistic text, the spiritual and moral maturity of
the contemporary student through the image of
the perfect person in the works, and a scientific
attitude was expressed in the research process.
2
It is determined that the achieved results will
serve as a source for future scientific research
in social, psychological and philosophical
directions.
3
In historical works it is one of the effective
means of protecting the people from moral
threats, and it has been proven that it serves the
improvement of textbooks and training
manuals on this topic.
4
It is based on the fact that the results of the
research will serve as a reserve for the creation
of the theory of literary studies, new Uzbek
literature, the current literary process, the
methodology of literary studies, the history of
literary criticism, scientific research, textbooks
and manuals.
CONCLUSION
1. The ideological-emotional attitude of the
author to the events described in the works of art, the
choice of the system of images and the poetic
perception of the problem through them and the artistic
judgment made by them are an important core element
of the artistic content, the figurative and generalized
idea arising from the work that finds its expression in
the artistic idea.
2. In the process of creative imagination, the
artist's aesthetic ideal, worldview, cultural-educational
level, life experience, skills, talent and power of
potential are important. Because it is impossible to
carry out a creative work with a clear goal and to be
performed without a clear idea of the world of images,
era and conditions, without gathering enough
experience and skills.
3. The issue of artistic idea, creative
imagination and aesthetic interpretation is raised by
such issues as the creative writer’s “I”, the pair of the
writer and the artistic work, and the spiritual and
spiritual world. On the basis of these three important
problems, researching the creation of historical works
in a monographic way in the context of the whole
literary process, in close connection with the creator’s
personality and the specific characteristics of his
creative laboratory, allows to make excellent
theoretical generalizations.
4. An artistic work depicting a distant or near
future is not a product of live recording of historical
facts, it is dominated not by reality, but by the natural
movement of historical figures who are not separated
from their time and environment. The reality that
happens is expressed artistically.
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