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FRAGMENTATION IN AMERICAN AND UZBEK POSTMODERN LITERATURE:
A COMPARATIVE ANALYSIS
Rokhila Bafoeva
Teacher of History and Philology department Asia International University.
Author’s phone number: +998 91 448-67-12
E-mail:
rokhilabafaeva050796@gmail.com
https://doi.org/10.5281/zenodo.15190728
Abstract.
American literature started to show especially fragmentation around the middle
of the 20th century. Works of writers like Ernest Hemingway and Thomas Pynchon mirror this
quality. Writers with postmodern influences have produced works in Uzbek literature like Jamila
and Hamid Olimjon.
Keywords:
fragmentation, postmodern literature, American literature, Uzbek literature,
narrative structure, identity, cultural memory, Thomas Pynchon, Hamid Olimjon, nonlinear
storytelling, intertextuality.
ФРАГМЕНТАЦИЯ В АМЕРИКАНСКОЙ И УЗБЕКСКОЙ
ПОСТМОДЕРНИСТСКОЙ ЛИТЕРАТУРЕ: СРАВНИТЕЛЬНЫЙ АНАЛИЗ
Аннотация.
Американская литература начала демонстрировать особую
фрагментацию примерно в середине 20-го века. Произведения таких писателей, как
Эрнест Хемингуэй и Томас Пинчон, отражают это качество. Писатели с
постмодернистским влиянием создали произведения в узбекской литературе, такие как
Джамиля и Хамид Олимжон.
Ключевые слова:
фрагментация, постмодернистская литература, американская
литература, узбекская литература, повествовательная структура, идентичность,
культурная память, Томас Пинчон, Хамид Олимжон, нелинейное повествование,
интертекстуальность.
AMERIKA VA OʻZBEK POSTMODERN ADABIYOTIDA PARCHALANISH:
QIYOSIY TAHLIL
Annotatsiya
. Amerika adabiyoti XX asr o'rtalarida ayniqsa parchalanishni ko'rsata
boshladi. Ernest Xeminguey va Tomas Pynchon kabi yozuvchilarning asarlari bu sifatni aks
ettiradi. Postmodern ta’sirga ega yozuvchilar o‘zbek adabiyotida Jamila, Hamid Olimjon kabi
asarlar yaratdilar.
Kalit so‘zlar:
parchalanish, postmodern adabiyot, Amerika adabiyoti, O‘zbek adabiyoti,
hikoya tuzilishi, o‘ziga xoslik, madaniy xotira, Tomas Pynchon, Hamid Olimjon, chiziqli
bo‘lmagan hikoya, intertekstuallik.
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Introduction
. Among the distinguishing traits of postmodern writing is fragmentation. It
shows up as disturbed stories, jumbled storylines, several points of view, and nonlinear
timeframes. Reflecting the complexity of human view, memory, and experience, this literary
device questions conventional narrative frameworks and provides a fresh approach to interact
with books. Although fragmentation is a topic of much research in American postmodern
literature, its existence in Uzbek literature is a recently developing area of interest. This paper
investigates the structural, thematic, and cultural ramifications of fragmentation as used in
American and Uzbek literature.
Main part.
Particularly with the advent of postmodernism, fragmentation in American
literature became very evident in the middle of the 20th century. Writers like David Foster
Wallace, Don DeLillo, and Thomas Pynchon questioned accepted narrative by using broken
stories.
Emphasizing themes of uncertainty, alienation, and the collapse of meaning, this method
captures the confusion and anarchy of modern life.
For instance, Pynchon's 1973 severely fractured book Gravity's Rainbow combines
metafictional elements, historical occurrences, and conspiracy theories. The absence of a defined
story and the changing viewpoints provide an intense but usually confusing reading experience.
Likewise, DeLillo's White Noise (1985) uses fragmentation to attack mass media,
commercial society, and the deluge of knowledge in contemporary life.
American postmodern writers often challenge ultimate truths, defy linear narrative, and
mirror the fractured character of human cognition by techniques of fragmentation. The method
fits more general philosophical worries about the boundaries of language and the flux of
meaning.
Research Methods and Materials.
The method fits more general philosophical worries
about the boundaries of language and the flux of meaning. Rich in classical poetry, folkloric
tales, and epic storylines, Uzbek literature is But current Uzbek literature has started to
investigate postmodern approaches like fragmentation in response to globalization and shifting
literary paradigms. Though not as well researched as in American literature, fragmentation in
Uzbek writing often results from changing cultural identities, historical memories, and
modernizing concerns.
Results and Discussions.
To capture the complexity of Uzbek society, writers like Hamid
Ismailov and Isajon S Fulton include fragmentation into their stories. The Dead Lake (2006) by
Ismailov has a nonlinear framework combining past and present, realism and mythology.
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The fractured narrative reflects the protagonist's quest of identity and belonging in a
society fast changing. In order to investigate personal and communal memory, S Fulton's works
also use changes in viewpoint, stream-of- consciousness narrative, and intertextuality.
The cultural setting is among the main contrasts between American and Uzbek literary
fragmentation. While American postmodernism often welcomes anarchy and uncertainty, Uzbek
literature employs fragmentation to balance modernism with legacy. To provide a complex
literary experience, Uzbek writers often combine historical accounts, Soviet-era inspirations, and
modern ideas.
American and Uzbek writers employ fragmentation in some similar ways despite having
rather distinct historical and cultural contexts. Literary traditions from both sides examine
identity, history, and the essence of reality by means of fractured stories. Still, the thematic
concerns and motives vary. American postmodern writers often use severe fragmentation,
therefore upsetting syntax, story coherence, and character development. Uzbek literature, on the
other hand, often subtly incorporates fragmentation in order to strike a mix between modernist
experimentation and conventional narrative.
• Thematic Concerns: American writers often criticize existential crises, mass media, and
capitalism by means of fragmentation. Conversely, Uzbek works use fragmentation to negotiate
historical memory, post-Soviet changes, and national identity.
• Reader Engagement: The scattered stories in American literature can put readers in a
condition of uncertainty or active interpretation, therefore supporting the subjective nature of
meaning. Fragmentation acts as a link between past and present in Uzbek literature, pushing
readers to interact with historical and cultural themes more reflectively.
There are many ways that fragmentation shows itself:
Postmodern works challenge readers to see the text as a whole by using many pieces,
memories, and promises taken together.
• Links between events: Every fragment is autonomous and may be seen as an individual
event, therefore offering many ways to understand the work.
• Ways of negotiating knowledge and memory; furthermore, national identity in Uzbek
culture;
• Complicated interactions between people and society via fragmentation.
Fragmentation and its directions have relevance in the following spheres:
1. Researching Cultural Heritage: Postmodern fragmentation’s special qualities enable
one to examine Uzbek and foreign cultural legacy. This is very important in deciding where
Uzbek literature fits in a worldwide scene.
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2. Creative Transformations: Fragmentation lets one explore creative processes as a
postmodern literary phenomena. Given Uzbekistan's increasing curiosity in modern literary
trends and new forms, the research might underline creative stylistic approaches in the works of
native writers.
3. Education and Science: The study helps to shape literary studies for instruction and
learning. Including postmodern literature in courses helps students to develop critical thinking
skills and analyze literary works in their appropriate setting. Examining the links between
American and Uzbek literature helps one to better understand social issues and psychological
conditions by means of insight into the interactions between individuals and society, memory
and reality.
Conclusion
. One of the most effective literary devices available to change the
perspective on and interpretation of tales is fragmentation. In American literature, it provides a
forum for postmodern doubt, questioning accepted wisdom about truth and meaning.
Fragmentation serves as a tool for cultural negotiation in Uzbek literature, both
addressing historical legacy and modern changes. Examining fragmentation in both literary
traditions helps us to better appreciate how differently cultural settings reflect and influence
human experience.
Further investigation on fragmentation and postmodern tactics will be crucial in
determining how current Uzbek narrative is shaped as Uzbek literature develops in the global
literary scene. Examining American and Uzbek approaches to fragmentation not only enhances
literary studies but also emphasizes the universal but culturally particular ways in which authors
test narrative forms.
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