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Мақолада Эркин Аъзамнинг насрий асарлари мисолида инициация мотивининг турли кўринишлари ҳамда уларнинг трансформацияси ўрганилган. Адибнинг “Боғбололик Кўкалдош” ҳикояси сюжети халқ эртакларидаги каби инициация мотиви асосига қурилгани асосланган. “Отойининг туғилган йили”, “Жавоб”, “Байрамдан бошқа кунлар” қиссаларида конфликт қаҳрамондаги инициация зарурати туфайли юзага келгани ҳамда мазкур мотив уларда қўйилган ижтимоий проблематикани ифода этишда муҳим функция бажаргани асослаб кўрсатилган.

 

  • Internet havola
  • DOI
  • UzSCI tizimida yaratilgan sana 10-12-2019
  • O'qishlar soni 561
  • Nashr sanasi 18-09-2019
  • Asosiy tilO'zbek
  • Sahifalar73-79
Ўзбек

Мақолада Эркин Аъзамнинг насрий асарлари мисолида инициация мотивининг турли кўринишлари ҳамда уларнинг трансформацияси ўрганилган. Адибнинг “Боғбололик Кўкалдош” ҳикояси сюжети халқ эртакларидаги каби инициация мотиви асосига қурилгани асосланган. “Отойининг туғилган йили”, “Жавоб”, “Байрамдан бошқа кунлар” қиссаларида конфликт қаҳрамондаги инициация зарурати туфайли юзага келгани ҳамда мазкур мотив уларда қўйилган ижтимоий проблематикани ифода этишда муҳим функция бажаргани асослаб кўрсатилган.

 

Русский

В статье на примере прозаических произведений Эркина Агзама рассмотрены различные варианты мотива инициации и их трансформация. Показано, что сюжет рассказа «Кукалдош из Богболо», как и в целом ряде народных сказок, построен на основе мотива инициации. Также доказано, что в повестях «Год рождения Атаи», «Ответ» и «Дни кроме праздников» конфликт возникает на основе мотива инициации, и что данный мотив выполняет важную функцию в художественном воплощении поставленной в них социальной проблематики.
 

English

The article examines the various forms initiation motive and transformation in the example of works by Erkin A'zam's prose. The story of E.A'zam "Bog'bololik Ko'kaldosh" ("Kukaldosh from Bogbolo") repeats the motives of folk tales: the constant humiliation of the stepson by stepmother and others – the success of the hero's departure from the environment in which he was born – succeeding in every challenge he encounters, achieving what he was aspiring for. The story follows a transformation of the above motives: the hero encounters a disrespectful attitude not only from his stepmother but also from his biological mother and father; Also, the hero does not have a specific task, a difficult task to do, to leave the environment.

Initiation of the youngest son in folk tales is reflected in the story "Bayramdan boshqa kunlar" ("Days other than the holiday"), which was transformed. The hero of the story, Bakir, is set against his brother-in-law Zokir and sister-in-law's husband Chinnibek, not his own brothers. In folk tales the expression of the "rich – poor" or "rich brother – poor brother" is the motive for the initiation of the social context in the story of E.A'zam in a modern style.

There are two important signs that indicate that the hero has gone through the initiation process: 1. The hero must perform a difficult task. 2. He should receive the prize. The episode of protagonist character's winning and abducting an award by the antagonist character is not included in folk tales for fun only, it has a moral message. The award seeks to prove that the antagonist has accomplished a difficult task and has undergone an initiation process.

Most of the protagonist-type characters of E.A'zam are always in a "challenge" phase, with the character trailing behind the stages of transformation and resurrection. In the hero of the story "Sovuq" ("Cold"), Urmanov does not undergo transformation because he is unable to comprehend the essence of the "challenge". Askar Shodibekov in the story "Otoyining tug'ilgan yili" ("The year Otoyi born") has won a minor victory in his relationship with Ahmadkhonov, he feels that the challenges and the phase of maturity in life will last a long time.

The protagonist of the "Bog'bololik Ko'kaldosh" story is the only character who has been able to complete the initiation process in E.A'zam's works. Initiation of Ko'kal takes place within the context of everyday life. A full-fledged person is a subject of social and political relations for E.A'zam. Despite the transformation of some characters in the later works of the writer, we cannot see their resurrected life.

Characters have been spiritually refreshed and resurrected, but society is unable to accept them in that case. This shows that the social environment in which the heroes of E.A'zam's works lived, did not care about the injustice and the future. At the same time, a society or state with an infantilism rooted in the people who fails to initiate the process is also unlikely to have a fully independent position with respect to other societies and countries.

Muallifning F.I.Sh. Lavozimi Tashkilot nomi
1 Sheraliyeva M.I. doktorant Andijon davlat universiteti
Havola nomi
1 1. Инициация и миф // Мифы народов мира. Энциклопедия. – Москва. Электронное издание, 2008. – С. 446 – 447. 2. Ефимкина Р.П. Пробуждение Спящей Красавицы. Психологическая инициация женщины в волшебных сказках. Монография. СПб: Речь. – 263 с. 3. Элиаде М. Тайные общества. Обряды инициации и посвящения. – Москва – Санкт-Петербург: Университетская книга, 1999. – 356 с. 4. Бедненко Г., Танцующие туфельки. Интернет ресурс. URL: http://pryahi.indeep.ru/psychology/mine/red_shoes.html (Дата доступа: 23.05.2019) 5. Аъзам Э. Жавоб. – Тошкент: Ёш гвардия, 1986 – 272 б. 6. Мелетинский Е.М. Герой волшебной сказки. Происхождение образа. – Москва: изд-во Восточной литературы, 1958. – 264 с. 7. Шералиева М. Ҳозирги ўзбек насрида киноя. Монография. – Тошкент: Academnashr, 2016. – 224 б. 8. Аъзам Э. Боғбололик Кўкалдош // Аъзам Э. Олам ям-яшил. Ҳикоялар. – Тошкент: Адабиёт ва санъат, 1984. – 160 б. 9. Аъзам Э. Байрамдан бошқа кунлар. – Тошкент: Ғ.Ғулом номидаги Адабиёт ва санъат нашриёти, 1988. – 270 б. 10. Пропп В.Я. Морфология сказки. – Москва: Наука, 1969. – 168 с. 11. Историческая поэтика. Итоги и перспективы изучения. Ред. коллеги: М.Б.Храпченко, Г.П.Бердников, Н.К.Гей, С.Г.Бочаров, И.Ю.Подгаецкая. – Москва: Наука, 1986. – 336 с.
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