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THE DESCRIPTION OF HEROES' USING ARTISTIC PSYCHOLOGISM IN ENGLISH
AND UZBEK LITERATURE (ON THE EXAMPLE OF A. KAHHAR'S "SAROB" AND
VIRGINIA WOOLF'S "TO THE LIGHTHOUSE")
Yusupova Zilola Sunnatillo qizi
Master of Asia International University
Email:
https://doi.org/10.5281/zenodo.14975619
Abstract.
This article examines artistic psychologism in Kahhor’s Sarob and Woolf’s To
the Lighthouse, highlighting their portrayal of human consciousness. Woolf’s stream-of-
consciousness explores memory and perception, while Kahhor’s realism depicts moral decline in
Soviet Uzbekistan. The study reveals how both authors deepen character development and
explore personal and societal conflicts.
Key words:
artistic psychologism, character development, internal monologue, stream of
consciousness, psychological realism, illusion, reality, Virginia Woolf, Abdulla Kahhor,
modernist literature, Uzbek literature.
ОПИСАНИЕ ГЕРОЕВ С ИСПОЛЬЗОВАНИЕМ ХУДОЖЕСТВЕННОГО
ПСИХОЛОГИЗМА В АНГЛИЙСКОЙ И УЗБЕКСКОЙ ЛИТЕРАТУРЕ (НА
ПРИМЕРЕ «САРОБ» А. КАХХАРА И «НА МАЯК» ВИРДЖИНИИ ВУЛФ)
Аннотация.
В статье рассматривается художественный психологизм в
романах Каххара Сароб и Вулф На маяк, раскрывающий человеческое сознание. Поток
сознания Вулф передает восприятие и память, тогда как реализм Каххара отражает
моральный кризис в советском Узбекистане. Исследование показывает, как оба автора
углубляют характер персонажей и раскрывают личные и социальные конфликты.
Ключевые слова:
художественный психологизм, развитие персонажа, внутренний
монолог, поток сознания, психологический реализм, иллюзия, реальность, Вирджиния
Вулф, Абдулла Каххар, модернистская литература, узбекская литература.
INTRODUCTION
The exploration of human psychology in literature has long been a defining feature of
some of the most profound and thought-provoking works across different literary traditions, as
authors have continuously sought to unravel the intricate workings of the human mind, revealing
the depth of internal conflicts, existential anxieties, and emotional struggles that shape an
individual’s perceptions and decisions. One of the most effective means by which authors
achieve this depth is through the use of artistic psychologism, a technique that allows for an in-
depth portrayal of a character’s inner world by exposing their private thoughts, subconscious
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fears, suppressed desires, and moral dilemmas through various narrative strategies, including
internal monologues, stream-of-consciousness narration, and symbolic imagery. While English
modernist literature, particularly the works of Virginia Woolf, is widely recognized for its
pioneering use of these techniques to present consciousness as a fluid and fragmented
experience, Uzbek literature, with its strong tradition of psychological realism, also offers
remarkable examples of artistic psychologism, particularly in the works of Abdulla Qahhor,
whose novel Sarob presents a strikingly deep psychological study of a man’s disillusionment and
moral decay. This article seeks to provide a comparative analysis of these two literary
masterpieces by examining the ways in which Woolf and Qahhor employ artistic psychologism
to construct compelling, psychologically rich protagonists whose internal conflicts serve as a
reflection of broader philosophical, social, and historical concerns.
MAIN PART
Virginia Woolf’s To the Lighthouse stands as one of the most profound examples of
modernist literature, not merely because of its rejection of conventional narrative structures, but
more importantly, due to its innovative use of stream-of-consciousness narration and its ability to
capture the elusive and often contradictory nature of human thought and perception, which in
turn allows the novel’s characters to emerge as deeply layered and psychologically complex
individuals whose emotions, desires, and insecurities are constantly shifting.
One of the most defining aspects of Woolf’s artistic psychologism in To the Lighthouse
is her masterful employment of the stream-of-consciousness technique, which enables the reader
to directly enter the consciousness of her characters, experiencing their thoughts not as linear and
rational progressions but rather as fluid, fragmented, and frequently interrupted reflections that
mirror the way the human mind processes emotions, memories, and perceptions in a non-
sequential manner.
1
This is particularly evident in the portrayal of Mrs. Ramsay, whose internal
monologues oscillate between moments of nostalgia, concern for her children’s future,
reflections on marriage and gender roles, and a deeply ingrained yet often unarticulated
awareness of the fleeting nature of time.
One of Woolf’s most remarkable achievements in To the Lighthouse is her ability to
manipulate the perception of time in a way that aligns with the psychological experiences of her
characters, demonstrating how human consciousness perceives time not as a rigid, linear
sequence but rather as an elastic and subjective phenomenon that expands and contracts in
response to memory, longing, and emotional states.
2
The middle section of the novel, “Time
Passes,” is particularly significant in this regard, as it presents the passage of years in a
1
Levenson, M. (2015). Modernism. Yale University Press.
2
James, W. (2020). The Principles of Psychology. Henry Holt and Company
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condensed, impressionistic manner, emphasizing the transience of human existence and the
inevitability of loss, which profoundly shapes the psychological states of those who remain.
Unlike Woolf, who focuses on the fluid and ephemeral nature of thought, Qahhor’s Sarob
employs a form of psychological realism that is deeply embedded in the socio-political realities
of early Soviet Uzbekistan, portraying not only the internal struggles of an individual but also the
ways in which ideological pressures and historical transformations contribute to his moral and
existential crisis.
The protagonist of Sarob, Rahimjon Saidiy, is initially depicted as an intelligent,
ambitious, and ideologically driven individual who, despite his potential for greatness, gradually
succumbs to the destructive forces of internal doubt, external pressures, and self-deception,
ultimately leading to his tragic downfall.
3
Unlike Woolf’s characters, whose struggles are largely
internal and philosophical, Saidiy’s psychological collapse is closely linked to the political
transformations of his time, as his failure to reconcile his ideals with the harsh realities of Soviet
rule results in a profound sense of disillusionment that manifests in self-destructive behavior,
particularly through his increasing dependence on alcohol.
One of the most psychologically complex aspects of Saidiy’s character is the gradual yet
inevitable erosion of his ability to feel deeply, care for others, and remain committed to his initial
aspirations, which ultimately results in a form of moral and existential stagnation.
4
His
indifference toward his sister’s suffering, his neglect of Munisxon, and his inability to resist the
corrupting influence of those around him all serve as indicators of his deteriorating psychological
state, illustrating how self-deception, weakness, and disillusionment can lead an individual to
betray their own values and ultimately lose their sense of identity.
Despite the differences in narrative style, historical context, and philosophical focus, both
Woolf and Kahhor utilize artistic psychologism to construct characters whose internal struggles
serve as a mirror for broader themes related to illusion, reality, and the fragility of human
existence.
5
While Woolf’s focus remains on the fluidity of memory, perception, and time,
Qahhor’s novel presents a much more socially and politically grounded exploration of
psychological collapse, yet both ultimately reveal the ways in which human consciousness is
shaped by forces beyond individual control.
CONCLUSION
Through their innovative use of artistic psychologism, Virginia Woolf and Abdulla
Kahhor offer readers deeply introspective and psychologically rich narratives that not only
3
Said, E. W. (1978). Orientalism. Pantheon Books.
4
Qahhor, A. (1934). Sarob. Toshkent: O‘zbekiston nashriyoti.
5
Woolf, V. (1927). To the Lighthouse. Hogarth Press.
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explore the inner workings of their protagonists’ minds but also serve as profound reflections on
the human condition, memory, disillusionment, and the passage of time. While Woolf’s novel
emphasizes the fragmented and fleeting nature of thought and perception, Kahhor’s work
presents a more structured yet equally tragic exploration of a man’s psychological downfall
within a turbulent historical landscape, ultimately demonstrating that artistic psychologism,
regardless of its form, remains one of the most powerful tools for capturing the depth and
complexity of human experience.
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