THEORETICAL ASPECTS IN THE FORMATION OF
PEDAGOGICAL SCIENCES
International scientific-online conference
129
INTERTEXSTUALITY IN QUTLIBEKA RAHIMBOYEVA’S POETRY
Berdiyeva Dilnavoz Orif kizi
Researcher of Karshi State University
https://doi.org/10.5281/zenodo.12579372
Abstract.
This article will focus on intertextuality and its place in literature,
its function, and in the work of the poet Qutlibeka Rahimboeva, one of the
representatives of Uzbek literature, it will highlight its artistic significance, its
expression and forms in poems, the importance of intertextuality in expressing
the idea and purpose of creative fiction.
Key words:
intertextuality in poetry, artistic text, intertextual dialogic
communication, forms of intertextuality: image method, one -time gesture or
direct quote
It is known that Intertextuality as a term was first introduced to the science
in 1967 by the French structural researcher Y. Kristeva: "Intertextuality is a
social whole that is considered as a single text expressed in the presence of
connections between texts to express the general nature of texts."
1
According to
him, any text is considered as a result of endless communication with other texts
that are an integral part of the universal "cultural text", that is, as a sum of all
printed texts that make up the cultural heritage. Y. Kristeva developed her
concept of intertextuality in 1924 on the basis of revision of M. Bakhtin's work.
"M. Bakhtin dwells on the laws of the existence of literature, every work reflects
the reality of the creator, and is in regular dialogue with the literature of his
predecessors and contemporaries. That is, he knows that the existence of
literature has an intersubjective nature. And Y. Kristeva, who emphasized the
formal side of M. Bakhtin's teaching, limits the dialogue to the scope of texts and
brings intertextuality to the foreground instead of intersubjectivity.
2
"Intertextuality appears in a literary text in various forms: intertextual
communication is manifested in thoughts, in the form of imagery, in the form of
a one-time allusion or direct quotation."
3
There is a person who learns life from
his surroundings, from nature, from the experience of his elders, observes,
follows and imitates the existence of his environment.
1
Kristeva Y. Bakhtin, words, dialogue and novel // French semiotics: From structuralism to poststructuralism /
translation from French, comp., introductory article. G.K. Kosikova M: IG Progress, 2000. P. 27.
2
Kuronov D. Dictionary of literary studies. - Tashkent. Academic edition, 2013.
3
Chotchaeva M., 2. Sosnovsky V. Postmodernism in the culture and literature of our time // Bulletin of ASU, 2017, No.
2. – Page 180.
THEORETICAL ASPECTS IN THE FORMATION OF
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International scientific-online conference
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Various forms of intertextual texts can be found in Uzbek literature and
modern poetry. In particular, we will consider the forms of expression of
intertextual texts in women's poetry, including the work of Qutlibeka
Rahimboyeva, through the following examples:
Ichkarida kimman men...
Dunyoni ko’raman asl rangida,
Jasorat qo’rquvni o’tadi yanchib.
Qochmayman nohaq-u haqning jangidan,
Tomoshabin emas, bo’laman jangchi.
Tashqarida kimman men...
Osmonni bilsa-da, yetmaydi boshim.
Zohirim mayishar turmaydi tikka.
Payg’ambar yoshidan o’tsa-da yoshim,
Sodiq xizmatkorman tirikchilikka.
4
This poem of the poetess was written based on the line “
Ichkarida ham
o’zim, tashqarida ham o’zim...”
taken as an epigraph from one of the young poets,
Jontemir Jondor. Poet Qutlibeka partially abandons the form in these lines and
completely preserves the content. At the beginning of the stanza, he asks a
rhetorical question, "Who am I inside..." and in the next four lines describes his
inner "me". The next paragraph continues in the same way, only the rhetorical
question is asked in the form of "Who am I outside..." and the answer is
described through the next lines. It can be seen that in the lines, the lyrical hero
is talking about his inner and outer "I" and not someone else. Summarizing the
expression and content of the poem, we understand that the poetess wants to
say "I am myself inside, I am also outside...".
On the example of the same poem by Qutlibeka, we will consider the next
form of expression of intertextuality:
Tashqarida kimman men...
“Baxt” so’zini aytaman hammadan ortiq,
“Baxt” so’zini aytaman hammadan oldin,
Daryoni sog’inib yotsa-da tuproq,
Holin so’ramayman, so’rayman oltin.
5
In this poem, the poetess contrasts her inner and outer self while
comparing her inner self and her outer self. That is, the external "I" of the lyrical
hero acts against the inner me, sometimes selfishly, even though he does not
want to, due to the demands of the society and the socio-economic environment.
4
Qutlibeka. Lightning season. Sahhof, Tashkent. 2022. P.48
5
Qutlibeka. Lightning season. Sahhof, Tashkent. 2022. P.48
THEORETICAL ASPECTS IN THE FORMATION OF
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131
In order to express our opinion more clearly, below is an excerpt from the poet
Shavkat Rahman's poem about the
"Baxt so`zi"
:
Bu so’zni bir umr aytmay yashadim,
Har shodlik kelganda yurdim sekinroq.
G’am so’zin elimdan avvalroq aytdim,
Baxt so’zin aytaman eldan keyinroq.
Pointing to this poem by Shaukat Rahman, the poetess writes that she could
not live like "the poets who sacrificed their lives for the happiness of the nation"
as described by the poet, and could not sing for their people like them. Although
the inner "I" is different, although each truth is seen in its own color, although it
rebels a thousand times, this state does not come out. The lyrical hero of the
poetess is an unhappy poetess, who said the word "Happiness" more than
anyone else and before everyone else, and on the contrary, she herself did not
feel or taste happiness. Although Shavkat Rahman used the word "Happiness" in
this sense and style before the poetess, it is not mentioned anywhere in the
poem. It is also clear that these two verses of the poem were written in imitation
of the poet's poem.
Nigohing chaqinli: boqmaysan yerga,
Chinga qarab yurdik chamadan, chendan.
Ishonch uyg’ondimi shoirga, she’rga,
Yor, qora ko’zlaring ne tilar mendan?..
6
This poem is also written without a title, and the intertext in the poem is
taken from the epic. As you can see, it is not indicated by quotation marks or
quotation marks. But the same verse is presented as an epigraph. Not only one
sentence was copied from the epic, but also the tone and rhythm of this lyrical
work were mastered.
The same type of intertextuality can be found in the works of the poetess
Qutlibeka:
Ko’zda yoshim munchoq-munchoq tizildi,
Ishq quvonchim jon-jonidan uzildi,
Yor ketgani qish zahridaн sezildi,
Daryo, eshit kuyrab yotgan so’zimni,
G’amsuv sepib so’ldirma gul yuzimni.
7
Mazkur she’rning sarlavhasi “Zuhro o’tinchi”, epigrafi esa, “Tohir va
Zuhro” dostonidan olingan “Ko’zda yoshim munchoq-munchoq tizildi”
jumlasidir. Bu jumla hech o’zgarishsiz she’rning ikki o’rnida, ya’ni shu jumla
6
Qutlibeka. Lightning season. Sahhof, Tashkent. 2022. P.48
7
Qutlibeka. Lightning season. Sahhof, Tashkent. 2022. P.14
THEORETICAL ASPECTS IN THE FORMATION OF
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bilan boshlanib, shu jumla bilan tamomlangan. Ammo bu she’rdagi intermatnda
yuqoridagi she’r kabi iqtibos keltirilmasdan, sarlavha va epigraf bilan bu
jumlaga ishora qilingan. Aslida bir belgi yoki ishoraning o’zi ham yetarli bo’lishi
mumkin. Dostondan olingan bu jumla she’rda boshlanma vazifasini o’tagan.
The title of this poem is the epigraph
"Zuhro o`tinchi"
from the epic "Tahir va
Zuhro" and the sentence
“Ko’zda yoshim munchoq-munchoq tizildi”
. This
sentence is unchanged in two places of the poem, that is, it starts with this
sentence and ends with this sentence. But the intertext of this poem refers to
this sentence with the title and epigraph, without citing it like the above poem.
In fact, a sign or a sign may be enough. This sentence from the epic served as the
beginning of the poem.
References:
1. Kristeva Y. Bakhtin, words, dialogue and novel // French semiotics: From
structuralism to poststructuralism / translation from French, comp.,
introductory article. G.K. Kosikova M: IG Progress, 2000. P. 27.
2. Kuronov D. Dictionary of literary studies. - Tashkent. Academic edition, 2013.
3. Chotchaeva M., 2. Sosnovsky V. Postmodernism in the culture and literature of
our time // Bulletin of ASU, 2017, No. 2. – Page 180.
4. Qutlibeka. Lightning season. Sahhof, Tashkent. 2022.
