Work Of Writers Research Articles

COLLOQUIAL STYLE IN ENGLISH AND IT'S TRANSLATION PROBLEMS INTO UZBEK

Style is a reference language that has its own vocabulary, fixed combinations, sentences, and syntactic devices, and is a linguistic system that differs from other types in its internal elements, mainly expressive features. Elements of a particular style are easier to identify when they differ from other style elements. For example, the style of parables, the style of folk epics, the style of speech, the style of newspaper language, the style of office, the book style, the style of literature, the style of science, the style of science and technology, the style of publicism, the style of speech, the style of written speech style, etc. Style is a set of basic, typical ideological and artistic features of a writer's work that are repeated in his works. All of these must have their own alternatives in the translation. One cannot be replaced or substituted for another. In this article we discuss about information colloquial style in English and it's translation problems into Uzbek.

ҚАЛИХАН ЫСҚАҚ ШЫҒАРМАШЫЛЫҒЫНДАҒЫ ПОРТРЕТ ПОЭТИКАСЫ

The article discusses the types and functions of a literary portrait on the example of the work of Kalikhan Iskak. There are such features as oriental metaphorism, characteristic of the portrait characteristics of the writer, individual details that allow the reader to visually present the portrait feature of the images. In most of K. Iskak's portraits, there is a close connection between the external appearance and the internal character. In some of the writer's works, the individuality in the portrait image of the hero becomes his constant characteristic, sometimes some portrait features in the representation of images grow into synecdochic names. In the novel "Aksu-zher zhannaty", people who met the main character ironically ask about the health of his father "Does he still stink of cologne?" This statement gives rise to dubious thoughts in the head of the son. Recurring motives, cause reader intrigue, encourage the main character to conduct his own investigations. With the help of a seemingly insignificant detail used in the creation of olfactory imagery in a portrait sketch, the author creates a certain symbol. The smell of cologne fascinates the reader, intrigues, the author focuses the reader's attention on the word cologne. Thus, the subtext of this symbol in the author's reception is revealed. It turns out that cologne is a sign, a symbol. That is, in the ordinary sense, "cologne" should be fragrant, but on the contrary, in the novel this word acquires an absolutely opposite meaning. This is due to the most difficult dramatic and terrible situation in the history of the Kazakh people and it turns out that the participants and perpetrators of this bloody massacre with the help of cologne wanted to kill the smell of blood on their hands. Cologne acts as a kind of mask, i.e. this symbol is intentionally used by the writer as a means used to conceal the stench of the word, the wrong deed, the inner uncleanness of the character. Thus, the metaphorical meaning of the subtext is determined. Yesimkhan uses cologne for disguise, for mimicry, to hide the vile smell of his terrible deeds. In the final part of the article, the following conclusions are given: in the portrait image, the individual style of the writer is also recognizable, which makes it one of the principles of the style of the author's narrative, its constant evolution takes place; in the work of K. Iskak, we do not observe a certain portrait; writers' portraits differ in the variety of techniques used: both a complete description of the hero's appearance and an emphasis on an immediately striking feature; an appeal to portrait characteristics in different situations, an addition from different angles; an assessment of the features of the face and body through the eyes of other characters. A characteristic feature of the writer's work in creating a portrait characteristic is the introduction of symbolic meaning, subject and semiotic symbolic meaning into it.

Love as a macroconcept of V. Tokareva's artistic conceptosphere (on the example of collections of works "Short Beeps", "About what did not happen", "To say – not to say...")

The article is devoted to the analysis of love as the dominant concept of the artistic world by V. Tokareva on the material of the collections of the writer's works published by the publishing house "ABC-Atticus": "Short beeps" (2015), "To say – not to say ..." (2019), "About what did not happen" (2021). The purpose of this study is to examine the artistic world of the writer through the prism of the concept of "love". The solution of the following tasks contributes to the achievement of this goal: to explore the concept of "love" as a macro concept, to identify its most significant life-meaning landmarks, to analyze the structure of images that fill this concept with new content and meanings. The research methodology is based on conceptual and functional methods, there are elements of comparative and descriptive methods, component analysis of the text. The study found that the writer returns to the concept of "love" in short stories and novellas, exploring this feeling at different levels of human relationships; love for objects of the material world is considered. The macro concept "love" is the center of the writer's conceptual sphere. It is he who holds together the conceptual sphere of V. Tokareva and allows us to perceive the multifaceted art world as a single one. The writer's creativity from the point of view of the influence of artistic concepts on the formation of the conceptual sphere has been studied sporadically and requires further development. The results obtained in the course of the study can be used in the practice of university teaching of special courses dedicated to the artistic concept, as well as in conducting seminars on the history of Russian literature. The scientific novelty of the study lies in the proposed interpretation of the macro concept "love".

The Ideological Structure of V. M. Shukshin’s Short Story “Inscape”

The story "Inscape" discussed in this article is associated both with the writer's works of fiction and with his epistolary and publicist speeches. The programmatic article “Questions to myself”, written in the same year as the story “Inscape”, raises a sensitive for Shukshin issue of the influence of urban, virtually philistine culture on the rural one. To his mind the problem is that the city drains various kinds of “cultural surrogate” into the village. The story “Inscape” goes about urban fashion designers who include a deliberately provocative element in the fashion show – a demonstration of a beach outfit. They seek to impose a philistine pseudo-culture on the village in the name of establishing modern uninhibited relations. Like many Shukshin’s characters of the late sixties and early seventies, the main character of the story “Inscape”, for whom the cynicism of the townspeople was unacceptable at first, eventually succumbs to temptation.

Between Modernity and Myth: Alexey Varlamov's Novel "The Dome»

The article considers the artistic worldview in A. Varlamov's novel "The Dome" (1999). The author of the article clarifies the place of this novel in the writer's works, the balance of the confessional-autobiographical discourse with the mythopoetic thinking characteristic of the writer himself and the central character-the intellectual. The representation of the province and Moscow of the late Soviet and "perestroika" time is analyzed as well as the heterogeneous university environment ranging from the auditorium to the dormitory and informal youth movements. Special attention is given to the study of the semantics and structure of the urban topos of Chagodai, its specific historical and mythological origins and meanings. Utopian models of the Dome, the Kingdom of God on Earth are considered in detail from the perspective of the author's image, the life experience of the central character, public life collisions of the frontier time. Conclusions are drawn about the prophetic nature of this work, where the artistically recreated realities of the end of the previous century serve as the basis for anxious forebodings about the prospects for the the life in the country in the coming decades.

Qur'anic Reminiscences in the Cultural Space of I.A. Bunin's Creativity

In the centuries-old history of the development of mankind, the culture of space and time of the East was understood and comprehended in different ways. Contemplating and feeling the East, adopting the ideas and provisions of the Holy Scriptures of the Koran, as the great and immutable truths of mankind, Bunin creates his own interpretation of what he saw, where the value orientations of the East become the main object of his attention. This article highlights the important components of the metaphysics of Bunin's literary text, analyzes the specifics of the embodiment of Qur'anic motifs in the writer's work, emphasizes the importance of I. Bunin's use of the codes and ciphers of the Holy Book of Muslims, clarifies the features of the embodiment of the semantic contents of the Qur'an in the writer's poetic heritage. The article deals with verses that are directly consonant with the theme of Qur'anic surahs and verses, reveals the exact adherence of verses to the Qur'anic meaning and reveals their additional meanings, analyzes poems that are an original continuation of the subject matter of the source. Structurally, all the "eastern" texts of Bunin are presented in the figurative and linguistic elements of his poetics, the construction of the stanza, a special syntax, repetitions, pauses give them a special solemnity and majesty. Poetically penetrating the world of important Muslim shrines, Bunin pushes the boundaries of space and time, creating in his poems a synthesis of East-West culture.

FEATURES OF THE FORMATION OF KINOPOETICS IN THE FICTION DISCOURSE OF VLADIMIR NABOKOV

The article considers the manifestation of cinematography in V. Nabokov's fiction discourse. The analysis of the peculiarities of the origin and functioning of cinematography in the fiction discourse of V. Nabokov is important for understanding the place and role of cinema in the author's novel work and, in particular, for understanding some semantic, ideological and plot aspects. The analysis is based on the analysis of the author's English-language novels: «Laughter in the Dark», «Lolita», «Pale Fire» and «The Original of Laura». The article also aims to continue the research of cinema poetics in the novel work of V. Nabokov in general. The article examines the influence of cinematography on the life and work of the writer V. Nabokov. We update the essential role of cinematography in the Berlin period of the writer's work. We trace the implementation of cinematography through the author's dramaturgical work. In English-language novels, we note cinematic elements and trace their place and meaning. We turn to the script of the film adaptation of «Lolita» and the writer's epistolary with directors S. Kubrick and A. Hitchcock. We trace the reflection of technical, semantic, and aesthetic elements in the artistic discourse of V. Nabokov.

АЛЕКСАНДРА БОСТРОМ – ДЕТСКИЙ ПИСАТЕЛЬ

Тhe article attempts to indicate the place and significance of A.L. Bostrom as a children's writer of the late XIXth – early XXth centuries, and for the first time outlined ways to analyze the writer's works intended for children's reading, which inscribe a significant page in the history of children's literature in the region. Here we consider the poetics of her two books, which can be described as a book for girls "Two little Worlds", where the formation of the psychology and character of a little girl takes place under the influence of a change in the socio-cultural context; and a book for boys “How Yura gets to know the life of animals”, where the main element is the popularization and practical application of scientific knowledge about nature. In the process of studying regional literature, the need to popularize forgotten names became obvious, which includes the name of the writer A.L. Bostrom. Her work at one time met the needs for high-quality prose for children, and, most importantly, it was an example of a special, female "useful" writing for children. The manner of narration, the image of a woman as the first mentor of a small child, to some extent, should have served as a model for the behavior of enlightened parents.

GERMAN WRITER IN MEXICO: THE PHENOMENON OF B. TRAVEN AND WAYS OF IT STUDYING

The article is devoted to a review of the artistic phenomenon of B. Traven. The purpose of the article is to analyze the methodological approaches to the study of the writer's work, which were formed in the philological science of many countries: Germany, Mexico, Russia, the USA, Australia, Uruguay. It is noted that during the writer's lifetime there was a tendency to find out his identity, so the biographical approach was the most powerful. The main disadvantage of this area was the neglect of the analysis of the creative work of the writer. Modern researchers involve the figure of B. Traven in cultural linguistics, cultural studies, civilizational, intermedial studies. Changes in vectors in the study of the work of the mysterious writer coincide with worldview changeson the European and American continents. But despite all the worldview shifts, few are interested in the poetics of B. Traven. Studies of the actual artistic features of his work, the internal poetic patterns of his style have not yet formed the necessarymethodological tools. It is concluded that B. Traven appears as a phenomenon demanded by the current situation of cultural diffusion. His creative figure embodies the idea of blurred borders and boundaries –state, personal, linguistic, genre, artistic –and as such can concentrate in itself the problems of a whole range of philological research. Further study of the phenomenon of B. Traven in the stream of cultural-historical method is offered, which allows to analyze the work of the writer in the contextof aesthetic, socio-economic, political paradigms of the epoch.

К источникам мотива массового психоза в романе М.А. Булгакова «Мастер и Маргарита»

The aim of the work is to analyze the motive of mass psychosis in the novel “Master and Margarita” by M.A. Bulgakov. It is relevant nowadays, when the tendency of close study of madness motive in the writer's works as a particular case of madness motive in Russian literature is outlined in literary criticism. The subject of the research is the consideration of this motive as a technique of parody, creating a unique satirical palette of the sociopolitical life of the country in the era of 1920–1930. Therefore, the methodology of the article includes, along with traditional historical, cultural and mythopoetic approaches, a psychographic commentary. As a result, sources from various humanitarian spheres of human activity are involved in the analysis: fiction, historiography, cultural studies, religion, and psychiatry. Among them: a methodological guide to organizing mass singing “Mass Feasts” (1927) by E.F. Ryumin, , the history of burials in the Vagankovo Cemetery “Men of the Forties” (1869), the novel by A.F. Pisemsky and the related ideology of early twentieth-century literary movements (Symbolism and Proletkult), I.S. Lukash’s emigrant novel “Devil” (1922), a journal version of N. Ognev’s (M. G. Rozanov) novel “Diary of Kostya Ryabtsev” (1926–1928), work by English religion historian D. Robertson “Primordial Christianity” (Russian translation 1930), and N. Kalashnikov’s essay “The Count Cagliostro, the Sorcerer of the Last Century” (1893). Particular emphasis is placed on the psychiatric practice of subduing violent patients. It is concluded that to recreate the motive of mass hysteria Bulgakov’s parody goes from high to low, from laughter to a stamp of horror on the face.

The works of ChingizAytmatov and the contemplation of the bookstore

The article summarizes the influence of the works of ChingizAitmatov on the thinking and imagination of the reader. On the basis of the author's artistic thinking and philosophical observations, the author analyzes the universality of the description of national problems. It is also noted that the writer's works encourage the reader to think, analyze and grow spiritually.

Уранический герой в романе М. Пуига «Поцелуй Женщины-Паука»

The article examines the image of the Uranian (homosexual) hero and his role in the novel «Kiss of the Spider Woman» by the Argentinean writer Manuel Puig. It is shown that the main character, being part of a dichotomous pair, embodies the feminine, becomes a symbol of the struggle not only social, but also political. In addition, the image of the Uranian hero is closely connected with the image of the starlet, which occupies an important place in the writer's work. It is concluded that the Uranian hero reflects the author's search for his own «I» and the writer's attempt to comprehend the nature and position of homosexuals in contemporary society.

«Писателю никто не пишет»: советская корреспонденция Сесара Вальехо

The article is dedicated to the history of the interaction of the Peruvian poet, writer, essayist and public figure César Vallejo with the Soviet Union, mainly after his three trips there in 1928, 1929 and 1931. Relying on the materials of the Russian archives RGALI and RGASPI, the creative and publishing plans of the writer are reconstructed. Vallejo repeatedly made attempts to return to the USSR, publish his reports and books in Russian, stage his plays Lock-out (1930) and Presidents of America (1934) on the Soviet stage. The correspondence with International Union of Revolutionary Writers (IURW) in 1933–1935 was not productive: Vallejo's Moscow correspondent F.V. Kelin did not answer the writer regularly and did not explain the reasons for his silence. The article contains fragments of diary entries by F.V. Kelin and his reports to the IURW, which indicate that the figure of Vallejo in the USSR was considered in the context of the author's social activities in Spain and work in the Union of Revolutionary Writers of Spain. Soviet literary functionaries tried to instruct the writer, expected active cooperation with the IURW, which for various reasons Vallejo could not carry out. Despite the irregular interaction, the Soviet episodes of the writer's work have become very important components of his creative biography, and his literary ties with Soviet Russia are a unique example of the cooperation of a Latin American poet with the literary institutions of the USSR in the late 1920s and early 1930s — at the stage of emergence and consolidation of contacts with writers of leftist views in Spain and Latin America. The appendix contains letters from C. Vallejo to F.V. Kelin, as well as a letter from the IURW to Vallejo (1931) and a memorandum from F. Kelin to the IURW (1931).

Odakle izviru priče? - identitet i poetika

We use Andrić's posthumously published short story collection The House on Its Own (1976) to illustrate how the questions of artistic creation and identity are connected in this writer's work. We interpret the collection in the context of Jung's analytical psychology, Bakhtin's idea of the polyphonic character of truth, Andrić's own poetic writings from The Signs by the Road, and his short story Conversations with Goya whose theme and structure had already announced the narrative technique in The House on Its Own. We focused on this collection's dominant narrative technique and its purpose. Each of the stories emerges from the meeting of two individuals: the writer/narrator and the character that confides in him. The writer embraces the characters, empathizes and comprehends through emotion the other and the different in them. At the same time, the characters resemble the narrator in having multilayered identities and feeling the need for overcoming their trivial everyday life. The narrator's truth is subordinate to the characters' stories: the validation of someone else's words about oneself is simultaneously a validation of their personality and a form of self-validation. In The House on Its Own, the reader receives insight into the creative process itself and the role it plays in keeping these complex identities consistent. We point to the relation between Andrić's creative technique in this collection and Jung's technique of active imagination and we interpret the house on Alifakovac, in the spirit of Jungian analysis, as a metonymy for the narrator himself.

Творчество А. П. Чехова и современные читательские ориентации: к вопросу о деканонизационных культурных тенденциях

The works of Anton Chekhov have been established in the Russian cultural canon and perceived as its integral part. At the same time, if we look at the history of the beginning of Chekhov’s texts in canonical corpus (starting with the October Revolution) we get a contradictory picture. In 1920–1930s writer's works, although marked by the presence of anti-Chekhov tendencies in literary criticism, were popular among mass readership. Surveys among library workers and soldiers of the Red Army attest to that fact. Since 1960, when anti-Chekhovism was over, we can see the opposite trend: a gradual decline of A. P. Chekhov's works popularity among readership. Chekhov's status of the classical writer remained unswerving until the 1990–2000s, however, the gap between “reverence” and “reading” was widened, resulting in periodical absence of his name in surveys on favorite and prominent Russian writers at the beginning of the 20th century. This referred to the street interviews among random respondents. That's why in January-April 2018 the author conducted a survey among the targeted audience — visitors of the A. P. Chekhov House-Museum in Moscow. Respondents were asked to name their favorite Chekhov works, quotes, and tell if they had Chekhov's books in their home libraries. Moreover, the author asked respondents when they were rereading the texts of the writer. Results of the survey showed an uneven acquaintance with Chekhov’s works with the prevalence of negative trends among museum's visitors: respondents read the writer’s works irregularly even if they have Chekhov`s books at home. They were not able to remember when and which texts of Chekhov they were rereading. All respondents had the greatest difficulties answering the question about favorite quotes of Chekhov's works. These facts combined with research from the early 2000s, sustain a conclusion about the nominal nature of presence of A. P. Chekhov in the list of “canonized” authors, and his actual “decanonization” that occurred at the turn of the 21st century.

«ГЛАВНЫЙ НЕРВ ЭПОХИ»: И.И. ГАРИН О Ф.М. ДОСТОЕВСКОМ

Subject of the article: "The main nerve of the era": I.I. Garin about F.M. Dostoevsky. Object of the article: the experience of reading the monograph by I.I. Garin "The Many Faces of Dostoevsky". The goal of the project: to actualize for the scientific and educational world the versatility and multi-vision of Garin of the personality and work of Dostoevsky. Methodology of work: the phenomenon of Dostoevsky, as well as the phenomenon of Garin, are unique, inimitable and significant. This context of the study became possible with the help of cultural-philosophical and comparative-historical approaches, as well as cultural and literary methods of analysis. Results of the work: consideration of Garin's work about Dostoevsky, his ideas, thoughts, approaches and research methods as new, adequate to the content and worldview of the author of the style and genre, the peculiarities of the structure of the text (aphorism and mosaicism of fragments "charged with the power of human emotions"), unique meanings of biographical chronicles of Dostoevsky. This made it possible for Garin to fix the dominant literary and cultural-philosophical characteristics, to reveal the specifics of Dostoevsky's thinking and the ideas dominating in his work, in his own language, unlike the traditional one. Field of application of the results: dialogue, reflecting a new multi-level way of researching the writer's work, which becomes the basis for the formation of a new scientific paradigm that stimulates Garin's interest in comprehending innovative phenomena in the study of Dostoevsky's world and his personality. Conclusion: the scientific novelty of the project represents Garin's unique attempt to combine the seemingly incompatible: intellectual depth with artistry in revealing the image of the great writer. “Individually-special” style today, in the XXI century, manifests itself so multifaceted that it creates its own Garin world, which attracts scientists from different directions by revealing new facets of its own consciousness and the depth of the universal. Therefore, the study of the semantic context of Garin's work about Dostoevsky is important and significant, contributes to the enrichment of scientific and creative thought. The conclusions presented in the scientific review are reasoned and logical.

GENRE ORIGINALITY OF OLES ULIANENKO'S WORKS

The work of Oles Ulianenko, a laureate of the Small Shevchenko Prize, poses quite a problem for Ukrainian literary studies for several reasons. In the first place, it should be noted that the topics and stylistic features of the artist's works have been issues of polemic – also, there has been much disputation on the genre identification of O. Ulianenko’s novels, since, even in terms of number, he wrote relatively fewer of them than short stories and novellas. Given that, the purpose of the article is to characterize and define the genre features of the writer's work, basing on the analysis of the novelette, novella, and novel prose of Oles Ulianenko. The methodological foundation of the research consists mainly of a triad of methods, such as hermeneutic, comparative-typological and corporal-mimetic methods to analyze artistic works. Thus, the findings of the research are as follows: Oles Ulianenko's novels, in various ways, demonstrate the presence of fundamental and antinomic novel and at the same time corporally determined factors, such as the categories of “(in) completion” and “development” in the content. The proposed interpretation of the genre specificity of O. Ulianenko's works avoids both the previous and subsequent unproductive discussions regarding the belonging of the listed texts to the respective genres, i.e. short story, novelette, novella, and novel. Accordingly, it becomes quite clear that the realization of Oles Ulianenko's artistic aspirations, besides his attempts to achieve the corresponding unattainable goal, which is focused on desperate efforts aimed at penetrating the ontological foundations of human existence, above all, corporally conditioned existence, are only possible (attempts) through the medium of a single genre mainly, namely the genre of the novel. To conclude, the genre specificity of Oles Ulianenko's novels is the fact that, first, they neglect quantitative factors, second, they are justified by the author's involvement in the corporal-anthropological foundation of ontological problematique, and, in this regard, third, they are determined by the writer's efforts to overcome limitations of human existence through the infinity of life and literature, likewise the contradictions of man – through the obviousness of meager simplicity and corporal fragility, which, after all, explain and condition each other in many ways.

РУССКОЯЗЫЧНЫЙ ЛИТЕРАТОР В СОЦИОКУЛЬТУРНЫХ КОЛЛИЗИЯХ ХХ-ХХI ВВ.: ЛИТЕРАТУРНАЯ ДИАСПОРАЛЬНОСТЬ КАК КУЛЬТУРНЫЙ ТРЕНД

The article deals with the transformation of the status and priorities of Russian-speaking writers who find themselves in a diaspora. The cultural background of literature in Russian was originally historical Russia within the Russian statehood. In the 20th century, this literature divided into the literature of the metropolis and the literature of the Russian-speaking diaspora. Since the end of the XX century, due to historical and political perturbations, literature in Russian is produced in different countries of the world, resulting not only from literary migrations, but also from autonomous literary processes in these regions and countries. It is possible to speak of both global communications in the Russian-speaking world and the existence of local Russian-speaking literary communities. Literature is created by Russian-speaking writers on different cultural bases, it acquires specific features depending on this basis, but also in conjunction with memories of the Russian literary tradition and global literary trends. The subject of the study is not the diaspora community as such, but the historical and cultural situation in which Russian-language literature, originally based primarily within certain state boundaries, goes beyond them and exists independently of those state institutions that have traditionally been associated with it in one way or another. The article characterizes the cultural phenomenon of diaspora as “ethnic marginality”, an ethno-cultural community functioning in a non-ethnic context, and considers the main historical and cultural stages of the relationship between the metropolis and the diaspora. Particular attention is paid to the crisis situation in the writer's work. Being in an alien socio-cultural environment, the writer acquired a special cross-cultural writing experience as a condition and creative reflection, caused by a change of environment and the loss of the familiar, usual values of the native culture, and by questions about one's identity, when previous experiences became an attribute of memory and reflection.

The issue of artistic image in Uzbek literary studies (In the case of prose works)

In literary studies, the art of prose works, the question of image in it, the study and analysis of the writer's own style have always been one of the most important issues. In the article, the scientific-theoretical views of Uzbek literary scholars on the issues of artistic image in prose works were studied and analyzed on the example of the stories and short stories of the writer Khurshid Dostmuhammad. The nature of the images in the writer's works, the writer's unique style of deeply illuminating the hero's psyche were studied. Also, the large-scale illumination of the spiritual and spiritual world of Abdulla Qadiri, a historical figure and Uzbek legend in the prose story "Yolgiz" was justified through examples.

Романтическая традиция в творчестве Вольфганга Хильбига

The article examines the importance of the romantic tradition in the work of Wolfgang Hilbig. It is shown that the writer's works are not only a reflection of the ideological and social conflicts of German life at the end of the twentieth century, but an example of an allusive appeal to the ideas of Romanticism and world culture in general. Romantic elements of behavior can be traced in the biography of W. Hilbig and already in his early lyrics. In the novels “Ich” and “Das Provisorium”, the theme of bourgeoisness and vulgarity of being, characteristic of romantics, sounds. In general, the work of W. Hilbig can be perceived as an expectation of a new sacred Word.