ILM-FAN VA INNOVATSIYA
ILMIY-AMALIY KONFERENSIYASI
in-academy.uz/index.php/si
23
THE PECULIRATIES OF THE EPIC IMAGE IN MODERN ENGLISH AND UZBEK
STORYTELLING
Baltaeva Barnokhon
Urganch RANCH University of Technology
Teacher of the "Uzbek and Foreign Languages" department
https://doi.org/10.5281/zenodo.13888830
Abstract.
In this article going the discussion of the poetic features of Uzbek stories of
the XXI century. Generalized theoretical conclusions have been drawn about the nature of the
story, its compositional nature. The article also focuses on the study of the artistic nature of
the principles of renewal of Uzbek storytelling in the XXI century, their specific image. It is
based on the fact that the story is the leading genre in the system of epic thinking, its
contemporary nature and its reflection of a certain reality.
Key words:
epic, lyric, poetry, plot, character, anthologies, genre, drama, compositional.
Аннотация
. В данной статье идет обсуждение поэтических особенностей
узбекских рассказов XXI века. Сделаны обобщенные теоретические выводы о характере
рассказа, его композиционной природе. В статье также уделяется внимание изучению
художественной природы принципов обновления узбекского сказительства в XXI веке,
их специфического образа. В его основе лежит то, что повесть является ведущим
жанром в системе эпического мышления, ее современность и отражение определенной
действительности.
Ключевые слова.
эпос, лирика, поэзия, сюжет, персонаж, антологии, жанр, драма,
композиционный.
Ushbu maqolada XXI asr o'zbek qissalarining poetik xususiyatlari haqida so'z boradi.
Hikoyaning tabiati, kompozitsion tabiati haqida umumiy nazariy xulosalar chiqarildi.
Maqolada XXI asr o‘zbek hikoyachiligining yangilanish tamoyillarining badiiy mohiyatini,
ularning o‘ziga xos obrazini o‘rganishga ham e’tibor qaratilgan. Unda hikoyaning epik
tafakkur tizimida yetakchi janr ekanligi, uning zamondoshlik xarakteri va muayyan voqelikni
aks ettirishi asos qilib olingan.
Kalit so‘zlar:
doston, lirika, she’riyat, syujet, xarakter, antologiyalar, janr, drama,
kompozitsiya.
INTRODUCTION.
Epic has two definitions. Folk poetry and fairy tales are referred to as
epic in literary and historical contexts (Russian folk epic, old epic, etc.). The term "epic"
theoretically designates a genre in which an enlarged portrayal of human characters is the
primary element. Greek ἔπoς means "word" in the context of epic poetry, although lyric
poetry (whose lyre serves as a musical instrument) and theater (whose Greek term signifies
"action") are different. Epic poetry is a narrative genre that describes a person's life path,
specifies the events in which he participates, the activities he performs, and other details, in
contrast to lyric poetry, which reflects sensations, and drama, in which characters perform on
stage directly.
RESEARCH MATERIALS AND METHODOLOGY.
People's relationships with each other
are displayed. An epic image is one that is based on a fully realized, complex human character
that symbolizes a particular individuality and is depicted at a finished (i.e., beginning and
ILM-FAN VA INNOVATSIYA
ILMIY-AMALIY KONFERENSIYASI
in-academy.uz/index.php/si
24
ending) point in his life's journey (in the storyline). Hegel stated that an individual portrayed
in an epic manner "carries many gods within himself, and he closes in his heart all those
forces that exist scattered in the circle of gods; all Olympus is gathered in his chest"; this sets
them apart from dramatic images, which feature a person portrayed in a story about himself
rather than in his independent action on stage.
We can discuss three primary forms of the epic genre: small, medium, and huge,
depending on how well the life process in which human character is revealed is shown. Some
contradictions are limited to a certain point in human history, while others encompass well-
known eras. Lastly, some contradictions bring together the most intricate problems,
necessitating comprehension of a wide range of life's experiences. The artist decides to reflect
them in a way that corresponds to the complexity of the phenomena of life he works with, and
conversely, to what degree he has truly understood their complexity.
The large form of the epic genre depicts a person's life path in all of its complex
manifestations, interwoven with the lives of other people, and shown as multifaceted as he is;
in contrast, the small and medium forms focus primarily on one developed character and only
show the other characters incidentally. The small form of the epic genre shows a person only
at a certain moment of his life; the medium one covers a certain period of his life, a number of
such moments.
Thus, the distinction between these three epic forms lies in the fact that each one depicts
a distinct life process that sets it apart from the others in terms of structure. The point is not
so much that we are looking at forms of the life process that get more and more complex, but
rather how to quantify the differences between one epic form and another. The key thing to
remember is that every one of these forms represents a distinct and distinctive type of human
action during the course of life.
As a result, we see how these many epic genre forms have evolved across each literary
age. It is evident that the historical context always determines the particular uniqueness that
these forms receive from one artist to another, but we also notice similarities between them
because they share a compositional structure that is consistent in how they depict human
characters: in a single moment of life, in a particular period of life, in interacting with others,
and in multiple periods.
RESULTS AND DISCUSSION.
In the following we will talk about epic descriptions in the
writings of English and Uzbek contemporary storywriters and the topics in their stories. One
of the famous women writers Mansfield write about women.
“As a woman writer, Mansfield is very much concerned with the position of women in
society. Stories of women take up most of her compositions, in which she captures various
women’s plight and pain. Her female characters can be neatly divided into three categories:
victims in the family, invisible women at the workplace, dolls and rebels. Poor or rich, single
or married, Mansfield’s women characters are all victims of their society. A discussion of
Mansfield’s stories about women can enrich understanding not only of the complicated
conditions of women in Western society at her time but also of her contributions to modern
literature, especially to the female culture ” [2].
One of Mansfield's most successful stories is "Bliss", an embodiment of human power. Its
methods of expression are unique, original and new. Unlike nineteenth-century realism, the
traditional limitations of plot, development and conclusion are a triumph of style. Although
ILM-FAN VA INNOVATSIYA
ILMIY-AMALIY KONFERENSIYASI
in-academy.uz/index.php/si
25
Woolf and Joyce were not central figures in the modernist movement, resolutely tries to
master the new methods of such writers as the period as well as modern changes in the visual
arts, moods, impressions and in Mansfield's stories. Special attention is paid to the expression
of fleeting emotions. Many of Mansfield's stories are based on a moment of insight, that is, the
level of self-awareness of the character will rise. But this understanding rarely leads to
happiness. For example, "Pickled Cucumber" suddenly realizes that her former lover
understands her better than she herself understands and suffers. But she does not gain
anything from this. Because Mansfield's characters are made for women lives in a world of
limited possibilities. His works do not conform to a certain structure. Instead, Mansfield takes
a normal view of society and juxtaposes it with unexpected circumstances. This allows the
reader to understand the various meanings described in the work allows for interpretation.
Mansfield was considered one of the best writers of her time. His works are small often
included in short story anthologies. Class stratification, loneliness, women's rights, realism
wrote stories about appearance, interpersonal relationships, and childhood experiences.
When it comes to Uzbek storywriters we can discuss the works of Zulfia , she also write
about women and their position in the society in her stories. She tries to highlight the
character and its spiritual world. In her story “Women” and “Khilola” the characters seem to
change their moral because of the problems in the society.
“Most of the heroes of Zulfia’s works are strange people with characteristics. The hero of
one of the stories is unmarried girl Dildar lives first with a hairdresser and then with a thief.
But she has human qualities such as honesty, responsibility, discipline, dedication, she strictly
demands the same from the rest. It is considered normal in the West. The male-female
relationship is a world of spiritual associations in our mentality. Adiba’s story "Sin" is
influenced by global influences a woman's life full of adventures is reflected. Also the image of
Steel in the story, it is difficult to evaluate with ordinary views. Being a thief, he is true brave
and courageous men” [3].
CONCLUSION. S
tories affect the way people think and change the readers lifestyle and
attitude to other people that she or he knows in real life. In general, the narrative genre is not
only the most perfect example of the art of words. It shows that it is also artistic and aesthetic
thinking and vision of the era and society that it created. At the same time, the story, like other
literary genres, represents the human mind, soul, div, mind that are capable of reflecting the
harmony of concepts. This is a genre that is capable, to a certain extent, of artistically
reflecting the connection of its formation with society.
References:
1.
https://uz.wikipedia.org/wiki/Epik_tur
2.
Aihong Ren. CS CANADA. Studies in Literature and Language.Vol.5 No 3 (2012)
3.
Sitorabonu Ataullayeva. KETRIN MENSFILD IJODIDA AYOL OBRAZI. ILMIY-METODIK
ELEKTRON JURNAL. 2023-yil. 14-son.
4.
Sitorabonu Ataullayeva. KETRIN MENSFILD IJODIDA AYOL OBRAZI. ILMIY-METODIK
ELEKTRON JURNAL. 2023-yil. 14-son.
5.
Рузметов, Х. К., & Сапаева, Д. Н. (2016). Жорж Дюруа: феномен" Милого друга".
Молодой ученый, (17), 555-557.
ILM-FAN VA INNOVATSIYA
ILMIY-AMALIY KONFERENSIYASI
in-academy.uz/index.php/si
26
6.
Sapayeva, D. N. (2023). Compounding in Various Types of Discourses. Nexus: Journal of
Innovative Studies of Engineering Science, 2(9), 9-12.
7.
Сапаева, Д. Н. (2021). ИНГЛИЗ ВА ЎЗБЕК ТИЛИ ДЕРМАТОВЕНЕРОЛОГИК
ТЕРМИНОЛОГИЯСИДА МЕТОФОРИК КЎЧИМ. In КУЛЬТУРОЛОГИЯ, ИСКУССТВОВЕДЕНИЕ
И ФИЛОЛОГИЯ: СОВРЕМЕННЫЕ ВЗГЛЯДЫ И НАУЧНЫЕ ИССЛЕДОВАНИЯ (pp. 41-45).
8.
Sapaeva, D., Babajanov, K., Shomuratova, B., Sadullaeva, N., & Sayfullaeva, R. (2020).
Features of abbreviations used in medical terminology. Journal of critical reviews, 7(5), 808-
811.
9.
Sapaeva, D., Babajanov, K., Shomuratova, B., Sadullaeva, N., & Sayfullaeva, R. (2020).
Features of abbreviations used in medical terminology. Journal of critical reviews, 7(5), 808-
811.
10.
Narbaevna, S. D. (2022). Scientific medical text in the medical paradigm linguistics.
