Said Ahmad's creativity and creative style

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Gayratova, G., & Khurramov, M. (2022). Said Ahmad’s creativity and creative style . Результаты научных исследований в условиях пандемии (COVID-19), 1(02), 199–203. извлечено от https://inlibrary.uz/index.php/scientific-research-covid-19/article/view/8032
Gulzoda Gayratova, Bukhara State University

Uzbek language faculty  Student Teaching philology and languages

Mansur Khurramov, Tashkent State Pedagogical University

Student Faculty of Military Education

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Аннотация

Said Ahmad is a prose writer and playwright, known in Uzbek literature as a master of short prose and storytelling. His novels and humorous stories, written with great artistic skill, have made a significant contribution to the development of our national literature. For his unparalleled services, Said Ahmad was awarded the Order of Merit and the Order of Friendship, as well as the honorary titles of "Hero of Uzbekistan", "People's Writer of Uzbekistan", "Honored Artist of Uzbekistan"

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Gulzoda Gayratova, Student Teaching philology and languages of Bukhara

State University of the Uzbek language faculty

Mansur Khurramov, Student Faculty of Military Education, Tashkent State

Pedagogical University

SAID AHMAD'S CREATIVITY AND CREATIVE STYLE

G. Gayratova, M. Khurramov

Abstract: Said Ahmad is a prose writer and playwright, known in Uzbek

literature as a master of short prose and storytelling. His novels and
humorous stories, written with great artistic skill, have made a significant
contribution to the development of our national literature. For his
unparalleled services, Said Ahmad was awarded the Order of Merit and the
Order of Friendship, as well as the honorary titles of "Hero of Uzbekistan",
"People's Writer of Uzbekistan", "Honored Artist of Uzbekistan".

Keywords: "Er yurak” (1942), “Farg‘ona hikoyalari” (1948), “Muhabbat”

(1949) “Cho‘l burguti”, “Cho‘l shamollari” and “Tunlar va cho‘llar”. Humor,
comedy, novel.


Said Ahmad was born in 1920 in Tashkent to a working class family. He

started his career early. As a young journalist and artist, he was actively
involved in the collectivization of agriculture and the eradication of illiteracy
in the early 1930s. He worked as a reporter on large public buildings.

In the early 1930s and late 1940s, he published essays and short stories

in the "Red Uzbekistan" newspaper, "Mushtum" and "Sharq Yulduzi"
magazines, and was active in radio.

Since the late 1930s, Said Ahmad has been active in the genre of fiction,

with his first collection of short stories, "Tortiq", published in 1940. The
novel "Jimjitlik" exposes the evils of the recession. In the 1940s, his
collections "Er Yurak" (1942), "Farg'ona Hikoyalari" (1948), and
"Muhabbat" (1949) were published.

In the early 50's and late 60's, Said Ahmad's work reached a higher

artistic level. He wrote dozens of lyrical and humorous stories and played a
significant role in the development of the story genre in Uzbek literature.
During these years, a new theme in the work of Said Ahmad deserves special
attention - it is a reflection of the life of the exploiters of the gray lands of
Central Fergana. These stories, from collections such as “Cho‘l burguti”,
“Cho‘l shamollari” and “Tunlar va cho‘llar”, are distinctive features of the
"rural prose" in our multinational literature.

Said Ahmad's wife is Saida Zunnunova. Comic works have a special place

in the Uzbek classical art, where the statues of Said Ahmad and Saida
Zunnunova were erected on June 10, 2013 in the National Park of
Uzbekistan in Tashkent.


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Because literature as a reflection of human life is ridiculous of human

life does not reflect the aspects, does not critically describe the defects in
man not allowed. The works that have emerged as an expression of this
situation are comic forms. Mankind came into being because of its
shortcomings, defects, lives side by side. Even the noblest person likes
others less. It is natural that there is something wrong with it. Man strives
for perfection, but it is almost impossible to achieve it completely. That is
why weeping for man, Laughter is as much a constant companion as pain is
a constant companion. Efendi's anecdotes, askiyas, chandishs, lapars are
centuries old of the Uzbek people that he has been enjoying laughter for a
long time, funny in man and in life shows that he has a fine sense of
proportion. Besides, Uzbek is so rare naturally, laughter arises in the very
nature of the conversation can be Because most Uzbek words have at least
two meaning. Apparently, the first sign of a comic book is its critical
direction the second feature is that the image is presented in a funny way.

It is worth noting that comics are available in all nations of the world

however, attitudes to it vary from nation to nation, depending on their
spiritual and moral dimensions. For example, the West paid great attention
to comedy thousands of years ago. Therefore, comic literature has been
developed in these countries since ancient times. Due to the predominance
of seriousness in our spirituality, no special attention was paid to the
development of comedy in the written literature. This is because Islamic
morality does not approve of inappropriate laughter and ridicule. This did
not allow comedy to flourish much in our fiction. But no matter what the
religious or moral beliefs, as life forces man to be among people worthy of
ridiculous situations, laughter and ridicule, naturally, artistic comedy has
also emerged and developed to a certain extent. Said Ahmad, on the other
hand, uses this method extensively to create a humorous image. It's about
exaggeration, and laughter. His laughter in miniatures such as "Qo'li
qichigan chol" and "Ishqida" is based on such exaggeration. Even the author
himself admits that in ―"Sinovchi ichuvchi" the rhetoric is combined with
boasting, but here it is used only to provoke laughter. Tired of his
"prophecies", the old woman complains to the factory director.

The writer describes the old man in the language of an old woman, and

the old woman's funny words make the old man's identity and image clear.
The novelty-obsessed old man impresses the reader with his restlessness.

- - Ergash: I didn't break it. It's just a little noisy.

"Old woman: Yes, let him die." When there is a commotion, the neighbors
shout. It used to be cool. Now, if we put something in it, it will boil. ” At the
end of the comedy, the old woman, who has written a petition against the
old man, is glad that he has gone to work. The old woman's funny words
show her kindness and enthusiasm for her. Through humor, Said Ahmad


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was able to vividly portray the image of an old man and a passionate old
woman.

The author's story "Qoplon" is a good example of a satirical work, which

is devoted to the criticism of people's vices, such as flattery, laziness,
arrogance in their own interests, and the way people react to the course of
action. In the image of the Sacrifice in the story, the writer portrays a foolish
man who has found the subtleties of entering the clutches of leaders he has
not yet met, who does not shy away from any insults, and who, when the
time comes, will serve the new leader. Both Tillayev and his wife, without
realizing who Kurbanboy is, are doing their best for them. They do not
understand that this work is a trick done for a temporary task. Therefore,
his devotion to Kurbanboy increased, and Tillayev promoted him from car
wash to deputy garage manager, dropping a lot of slate and tin to cover the
roof of his house. Kurbanboy, on the other hand, will leave Tillayev's house
with the appointment of a new chief. The main means of flattery is to take
the rich dog, the Leopard, and present it to the new leader in the same
manner as before. His arrogance is so strong that when he sees Kurbanboy
Tillayev in his new boss, he is not ashamed of his name. Even as the dog
recognizes its old master and caresses its tail, Kurbanboy wipes the new
leader's leather coat. At the end of the story, Tillayev sees Kaplan and says,
"I know this dog," but he says these sarcastic words, looking at Kurbanboy.
So, "dog" means Kurbanboy. In this way, the author puts forward the idea
that stupid people, such as the Kurbanboy, should not have a place in society,
among people.

Said Ahmad’s heroes have similar characteristics. But in his laughter,

humor comes to the fore and has a lot of meaning. This can be clearly seen
in the characters in "Cho'l hikoyalari", in the depiction of events, as well as
in the image of Asrora. Therefore, the leading feature of Said Ahmad's
laughter is to glorify honest, pure people, the pricelessness of life, to awaken
the joy of life, to give people love, good mood, to ignite in them a sense of
humanity. even in his serious works, an aspect of multifaceted humor is
always evident. His works have a unique tone, unique freshness and power.

Said Ahmad also made effective use of other genres, means, and images

of folklore in creating laughter. Folk tales, legends, interesting stories, wise,
brave heroes have influenced the written literature and enriched its poetics,
helped to strengthen the dynamics in the image, to create vivid images of the
heroes. Encourages laughter in the depiction of comic situations. Jokes are
often based on people's lives. They are found in almost all nations features
such as cheerfulness, original laughter, bitter sarcasm, or humorous
observation.Said Ahmad chooses from folk tales, anecdotes and stories that
suit his talent and nature. The author introduces the toponymic legend of
Kuyganyor, created by the people, in order to strengthen the realistic image,


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to give a deeply realistic description of the life of the local people, as well as
to explain the origin of the place name. The author's description of
Kuyganyar and his people is close to the way of depiction in fairy tales: The
next picture is full of humor, which is full of sorrow: ―The people here are
simple, the rich people didn't know what deception is, what deception is.
When others make a lot of money growing watermelons, they plant
cucumbers and sell them back to their cattle for less than 20 shillings. (Said
Ahmad. Ufq. P. 51). The reader who reads these lines will laugh at their
simplicity, and his respect for the ignorant will increase. Professor A.
Borovkov writes about anecdotes: It is not surprising that the fame of many
literary anecdotes is associated with the names of Navoi and Jami. Because
intelligence and quick-wittedness are considered to be the hallmarks of high
literary intelligence. Said Ahmad used anecdotes in his work. In order to
reveal the pesonajar feature in the play, he absorbs popular anecdotes into
the comic image. As a result, the national atmosphere, the brightness of the
image of the characters increases, which corresponds to the general mood
of the work and gives it a lift. For example, “An anecdote about an old man
reveals what an old man is like, an aspect of his character. The result is a
writer-specific humor. This example illustrates the humorist's ability to
absorb the anecdote into the story, the essence, the spirit of the images, the
language. It should be noted that H. Yakubov, the following opinion about
the sources of G. Gulom's humor also helps to reveal the nature of Said
Ahmad's humor: the language of the anecdotes, the laughter receptions,
have a great influence.

G. Ghulam, who knew the life and work of these people from beginning

to end, used them masterfully in his work. This idea can be applied to the
work of Said Ahmad, because, as we have seen, the writer's laughter is in
harmony with the teacher's laughter. , shows that both writers are well
versed in folk art and humor.


References:
1. Karimov I.A. High spirituality is an invincible force. - T .: Manaviyat,

2008.

2. Karimov I.A. Focus on literature - focus on the future of spirituality. T

.: 2009

3. Karimov I.A. Uzbekistan on the threshold of independence - T .:

Uzbekistan 2011.

4. The dream of a harmoniously developed generation. - T .: Sharq, 1999.
5. The idea of national independence: basic principles and concepts. T.

2001.

6. Said Ahmad. Three volumes. Gulom Publishing House, Tashkent,

1981.


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203

7. Said Ahmad. What I lost and what I gained. T .: Sharq, 1998.
8. Said Ahmad. Qorako'z majnun. T.: Uzbekistan, 2001.
9. Said Ahmad. Kiprikda qolgan tong. T.: Sharq, 2003.
10. Said Ahmad. Ufq. Tashkent, 1976.
11. Gafur Gulam. Mukammal asarlar toplami. 11th, Toshkent, 1989.
12. Nazarov M. What is humor? Literature and art of Uzbekistan. 1086-

yil, 8-son.

13. Normatov U. Said Ahmad. T.: 1978.
14. Normatov U. Magic of creativity. T.: Sharq, 2007.
15. Normatov U. A true lover of horizons. T.: 2008.
16. The pride of our literature.-T.:Uzbekistan, 2007.
17. Karimov N. Landscapes of twentieth-century literature. – 1st book.

T.: Uzbekistan, 2008.

18. Mirzaev S. 20th century Uzbek literature. T.: 2005.
19. Mallayev N. Navoi and folk art. Tashkent, 1974.
20. Muhammadiyev R. Askiya. Tashkent, 1970.
21. Muqimov R. Issues of satire and satirical image in fiction.

Samarkand, 1975.

22. Turaev D. Life and subject. - T .: Ghafur Ghulam Literary Publishing

House, 1984.

23. Sharafiddinov O. Happiness to understand creativity. - T., Sharq,

2004.

24. Sharafiddinov A. Thoughts on the pass. - T., Manaviyat, 2006

Munisa Kuvondikova, student Faculty of Uzbek language and literature of

NavDPI, Supervisor: R.M. Sharipova NavDPI Uzbek literature Teacher of the

department

INTERPRETATION OF SYMBOLS OF NATURE IN THE POEMS OF RAUF

PARFI

M. Kuvondikova, R.M. Sharipova


Abstract: In Rauf Parfi's poems, through the symbols of nature (wind,

snow, clouds, etc.), modern poetry uses the freedom of creation granted by
national independence, expanding the range of topics, opening the way to
the psyche and consciousness of readers through various symbols. riyat. The
study of nature and related concepts in poetry is relevant today.

Keywords: emblem, symbol, image, motif, lyrical hero, wind, cloud, rain.

The presentation of nature and related concepts in the literature is the

heart of any work. Man came into being and evolved as an integral part and
child of nature. Mankind has used poetry in order to express their feelings
and experiences more effectively. The introduction of various symbols,

Библиографические ссылки

Karimov LA. High spirituality is an invincible force. - T .: Manaviyat, 2008.

Karimov LA. Focus on literature - focus on the future of spirituality. T 2009

Karimov LA. Uzbekistan on the threshold of independence - T .: Uzbekistan 2011.

The dream of a harmoniously developed generation. - T.: Sharq, 1999.

The idea of national independence: basic principles and concepts. T. 2001.

Said Ahmad. Three volumes. Gulom Publishing House, Tashkent, 1981.

Said Ahmad. What I lost and what I gained. T.: Sharq, 1998.

Said Ahmad. Qorako'z majnun. T.: Uzbekistan, 2001.

Said Ahmad. Kiprikda qolgan tong. T.: Sharq, 2003.

Said Ahmad. Ufq. Tashkent, 1976.

Gafur Gulam. Mukammal asarlar toplami. 11th, Toshkent, 1989.

Nazarov M. What is humor? Literature and art of Uzbekistan. 1086-yil, 8-son.

Normatov U. Said Ahmad. T.: 1978.

Normatov U. Magic of creativity. T.: Sharq, 2007.

Normatov U. A true lover of horizons. T.: 2008.

The pride of our literature.-T.:Uzbekistan, 2007.

Karimov N. Landscapes of twentieth-century literature. - 1st book. T.: Uzbekistan, 2008.

Mirzaev S. 20th century Uzbek literature. T.: 2005.

Mallayev N. Navoi and folk art. Tashkent, 1974.

Muhammadiyev R. Askiya. Tashkent, 1970.

Muqimov R. Issues of satire and satirical image in fiction. Samarkand, 1975.

Turaev D. Life and subject. - T .: Ghafur Ghulam Literary Publishing House, 1984.

Sharafiddinov 0. Happiness to understand creativity. - T., Sharq, 2004.

Sharafiddinov A. Thoughts on the pass. - T., Manaviyat, 2006

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