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M. Dickensning Майсазордаги гуллар asarida badiiy portretning pragmatik tavsifi

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M. Dickens ning " Майсазордаги гуллар » asari da b adiiy portretning pragmatik tavsifi MUNDARIJA: Kirish ....................................................................... ................................................2 I bob. Badiiy portretning pragmatik talqini. 1.1. Badiiy nutqdagi pragmatikaning muammolari……………………...................7 1.2. M. Dickens ning " Майсазордаги гуллар » asarida xarakter va g’oyaning uzviy birligi...........................................................................................................14 Birinchi bob yuzasidan xulosa…………………………………………….......... ..23 II. Bob. Badiiylik, obrazlilik va obraz. 2.1. Badiiy portretning pragmatik o’ziga xosligi………………………...............24 2.2. Obra zlar sistemasida yangi q a h ramon konsepsiyasi............

Kirish O’zbekiston Respublikasi birinchi Prezidenti I.A. Karimovning milliy mafko’ra, ma’naviyat va madaniy qa driyatlarga doir asarlari mazk u r Bitiruv Malakaviy Ish ning metodologik asosini tash k il etadi. Adabiyotshunoslik, tarjima tarixi va nazariyasiga oid ilmiy asarlar Bitiruv Malakaviy Ishningning nazariy manbai bo’lib xizmat qilgan. Ilmiy tadqiqot R.Salomov, N.V.Vladimirova, J.Sharipov, I.Sultonov, U.Tuychiev kabi chet el hamda o’zbek tarjimashunos va she’rshunoslarning ilmiy ishlariga tayangan holda bajarildi. Mavzuning dolzarbligi shundan iboratki, lingvistikaning nisbatan yangi yo’nalishi, endigina rivojlanib kelayotgan fanning tushunchalari va muammolari adabiy asarlar misolida tadqiq etiladi, hamma nutqning turlicha ma’lumot berish imkoniyatlari ilmiy tahlil etiladi. Ushbu f

davrda tez sur’atlar bilan rivojlanayotgan ingliz tili nutqining ifodalash qobiliyati va xususiyatlarini aniqlab, o’rganish uchun negiz bo’lib xizmat qilgan. Tadqiqot predmeti - badiiy matn, xususan badiiy portret matnlari va vositalarida pragmatik tavsiflarni o’rganish va tahlil etish hamda uning tarjimada aks etishi va tarjimaning sifatiga ta’sir etishdir. Tadqiqotning maqsadi - badiiy portretdagi pragmatikani o’rganish, M.Dikensning badiiy nasriy asarlarini o’rganish va tahlil etish, badiiy matn tarkibidagi tasviriy vositalarni teranroq, tarjima qilish borasida obrazlilik va tasviriylik, ifodalash imkoniyatlarining vositalarini o’rganishdir. Tadqiqot metodi. Ishdagi tadqiqotlar davomida ilmiy qiyoslash – tahlil uslubi, tarixiy-tadqiqot uslubi, tipologiya-tahlil uslubi asosida amalga osh

Tilning muloqot jixatlarini, til belgilarining inson hulqiga, tafakko’riga ta’sirining mexanizmlarini o’rganishga oshib borayotgan qiziqish tilshunoslikning yangi yo’nalishi -lingvopragmatikaning paydo bo’lishiga olib keldi. Uning asosi sifatida Ch.Pirs va Ch.Morris ning ishlari tilga olinadi (1960). Ch.Morrisning ta’rifiga ko’ra "pragmatika - bu belgilarning ularni tal q in etuvchilarga, ya’ni belgi tizimlaridan foydalanuvchilarga munosabatidir, pragmatika til amaliyotida kuzatiladigan barcha psixologik, biologik va sotsiologik hodisalarga daxldordir" . N.Arutyunova pragmatikaning eng asosiy vazifalaridan biri u yoki bu mulo q ot kontekstlarida paydo bo’luvchi nutq, asarlarini tal q in etish nazariyasini ishlab chiqish, deb hisoblaydi. 1 G.V. K olshanskiy pragmatika atamasidan mat

oshuvining boshqa ko’pgina masalalari ko’riladi (D.Ashurova). 4 Mazkur ishda badiiy portretda tasvirlangan kishining yosh xususiyati, ijtimoiy, kasbiy maqomi va milliy tegishligi jixatdan pragmatik xususiyatlari o’rganiladi. Muloqotga kirishuvchilarning xususiyatlar, muloqot shart-sharoitlari hamda muloqot vaziyatiga qarab portret ta’riflari Yuqoridagi pragmatik omillar bilan bog’lanadigan ma’lum xususiyatlarga ega bo’ladi. Quyida biz tomondan uchta guru h ga bo’lingan qator misollar keltirib o’tiladi. 5 Misollarning birinchi guruhida tasvirlangan kishining eksplitsit ravishda ifodalangan portret ta’rifining pragmatik tavsiflari mavjud. Tasvirlangan kishining yosh ta’rifiga misol keltiramiz: Mr. Sherman was a lanky, lean old man, with stooping shoulders, a stringy neck, and blue-tinted gla

winged body swept ominously and silently past. A hawk, driving down out of the blue, had barely missed him. Portret ta’rifi tasvirlangan kishining yoshini belgilaydi. a lanky, lean, stooping shoulders, a stringy neck, blue - tinted glasses leksik birliklari birgalikda Old man keksa kishini portret ini yaratadi. Shunday qilib, Yuqoridagi leksik birliklari eksplitsit ravishda tasvirlangan kishining yosh tavsifini beradi. Portretning ijtimoiy ta’rifiga bo’lgan keyingi misolni ko’rib chiqamiz: At the Lyceum Theatre the crowds were already thick at the side -entrances. In front a continuous stream of hansoms and four wheelers were rattling up, discharging their cargoes of shirt - fronted men and be - showed, be diamonded women. We had hardly reached the third pillar, which was our rendezvous, b

Ushbu qahramon kiyimining portret ta’rifi ya’ni qahramonning milliy tegishliligini aniq ko’rsatadi: a yellow turban, white loosefitting clothes, and a yellow sash. Shunday qilib, ushbu portret ta’rifining pragmatik vazifasi qahramonning millatini eksplitsit ravishda belgilab beradi. Shuni qayd qilish kerakki, qahramonning faqat yoshini, ijtimoiy ma qo mini yoki kasbini tavsiflaydigan portret ta’riflash kamdan-kam uchraydi. Tahlil ko’rsatishicha, Yuqoridagi tavsiflarning portret ta’riflari ko’pincha bir-biri bilan uzviy bog’liqlikda keladi. Qa h ramonning ikkita pragmatik tavsifi qo’shilib kelgan misolni keltiramiz: Miss Morton entered the room with a film step and outward composure of manner. She was a blond young lady, small, dainty, well gloved, and dressed in the most perfect taste. The

ularning pragmatik ma’nosi esa qahramonning yosh jixatidan, kasbiy, shuningdek ijtimoiy tavsifini belgilab beradi. Misollarning ikkinchi guruhi implitsit (ochiq bo’lmagan) ravishda ifodalangan qahramon portret ta’riflaridagi pragmatik tavsiflarini mujassamlantirgan. Aytilgan fikrda portret tavsiflanishidagi pragmatik ma’lumotning fa q at ma’lum signallargina mavjud . Shunday signallar tariqasida stilistik usullar va badiiy tafsilotlar kelishi mumkin. Portretning ijtimoiy tavsifi leksik birliklar bilan implitsit ravishda beriladigan misolni ko’rib chiqamiz. Q ah ramonning portret ta’rifida the great Astrakhan collar leksik birligini biz badiiy tafsilot sifatida qaraydigan bo’lsak, u qah ramonning ijtimoiy ma q omini tavsiflaydi. Ma’lumki, qorako’l- boy kishilarning kiyimi edi. Portret ta’ri

Qahramon qo’llarining thin, workworn hand kabi ta’rifi qahramonni uning kasbiy tegishliligi borasida tavsiflashning pragmatik vazifasini bajaradi. Ozg’in, mehnat bilan suligan qo’llar jismoniy mexnat bilan band bo’lgan kishini tavsiflaydi. Bu holda hand somatik so’zi thin, work worn an iq lovchilari bilan birgalikda pragmatik ma’lumot. Kasbiy yo’nalish signali sifatida yuzaga chiqadi, qizi g’ i shundaki, ushbu kontekstda thin, work worn anilovchilari q a h ramonning h issiy holatini ifodalashning qo’shimcha stilistik ahamiyatini kasb etadi. Ushbu misolda qahramonni badiiy qiyoslash stilistik usuli or q ali obrazli ta’riflash berilgan. Qahramonning obrazini yaratish uchun ishlatilgan bird, bloodhound h ayvon nomlarini muallif bejiz tanlamagan, chunki ular kasbiy detektiv-iz q uvarning asosi

Shunday qilib, portret ta’riflarini tahlil qilish badiiy qahramon portretining pragmatik tavsiflarini belgilab beradi. Biz portretlarning pragmatik yo’naltirilgan uchta turini ajratdik: 1) yosh jixatidan, 2) ijtimoiy, 3) kasbiy jixatdan. Tahlilning ma’lumotlari yosh, kasbiy, ijtimoiy jixatdan tavsiflarning quyidagi turlarini ajratish imkoniyatini beradi: a) eksplitsit (bevosita) ta’rif; b) implitsit (bevositali) ta’rif; v) aralash turdagi ta’rif. Ushbu maqolaning eng muhim xulosalaridan biri badiiy portretdagi pragmatik va stilistik tavsiflarining uzviy bog’liqligi haqidagi fikr bo’lib, bu o’z navbatida tilning umumiy muloqot nazariyasi doirasida pragmatika va stilistikaning o’zaro bog’lanishidan dalolat beradi. 1.2. M. Dickens ning " Майсазордаги гуллар » asari da rakter va g’oyaning

ko’rsatilmaydi va nima uchun? Bunga javob shuki, har bir individual yozuvchining mahorati va o’z oldiga qo’ygan maqsadidan izlash to’g’ri bo’lar edi. Bundan tashqari, hikoyadan tuliqro q boyro q bo’lgan va undan yirikr oq shaklga rivojlanib yetadigan q issa janri xarakterning tadrijiy rivojlanishini tasvirlash uchun ancha kengro q imkoniyatlar ochib beradi. Demak, hikoya- q issa janri uchun xarakterni tasvirlashning yagona usuli bo’lmay, uni yozuvchining maqsadi belgilaydi. Xarakterlar rivoji, ayni q sa, so’nggi yillar hikoyachiligida ko’pro q sezilmo q da. Bunga sabab. Yuksak sur’atlar bilan o’sib borayotgan jamiyatimiz, uning quruvchilari hayoti va xarakterini bir emas, bir necha epizodda kengroq va chuqurroq, ko’rsatib berishga intilishdir. Ingliz hikoyachiligida bu tendenstiya hozirgac

Yuksak san’atkorlar hikoyasidagi xarakter taqdirida ma’lum darajada davr va mamlakat, qolaversa, jamiyat taqdiri aks etadi, bor bo’yi namoyon bo’ladi. Lekin hikoyada xarakter asosiy mezon bo’lishiga qaramay, u hikoyaning mazmuniga aylana olmasa, qahramon xarakteri asar g’oyasiga singdirib yuborilmasa va, aksincha, asar g’oyasi qahramon xarakterida o’z ifodasini topa olmasa, asarning g’oyaviy-badiiy qimmati yo’qoladi. Va aksincha, insonning, obrazning xarakterini tasvirlash ikkinchi o’ringa tushib qolib, faqatgina qiziqarli syujetga berilib ketish ham salbiy oqibatga olib keladi. Aniqrog’i, voqea tutuqsiz sochma holatlar bo’lmay, ma’lum bir obraz xarakterining ichki dunyosi ochish uchun xizmat qilishi, shu xarakter tevaragida jipslashuvi lozim. Bundan kelib chiqadiki, hikoya janrida insonni

was bein infringed upon. His mother's movements were restricted to the length of a stick, and the length of that same stick restricted him, for he had not yet got beyond the need of his mother's side. He did not like it. Nor did he like it when the man-animals arose and went on with their march; for a tiny man-animal took the other end of the stick and led Kite captive behind him, and behind Kite follower White Fang, greatly perturbed and worried by this new adventure he had entered upon. They went down the valley of the stream,far beyond White Fans widest ranging, until they came to the end of the valley, where the stream ran into the Maskenzie River. Here, where canoes were cached on poles high in the air and where stool fish-racks for the druing of fis, camp was made; and White

M. Dickens ning " Майсазордаги гуллар » asari ni olaylik Asar qahramoni bilan hech kim do’stlashmaydi, chunki u gapira olmaydi. Ikki d o’ sti bor, biro q ular ham, o’ziga o’xshagan tilsiz bo’lgan singarilar. Uni hamma q uvib soladi. Ko’rinib turibdiki, qahramon hayoti ayanchli bir ahvolda. Lekin u bilan tili bor bir bola do’stlashib qoladi. Tilsiz mavjudot bilan tili bor odamning do’stlashuvi juda nozik masala. Uning sababini ochib berishga bir necha sahifa, ehtimol, butun boshli hikoya talab qilinishi mumkin edi. Hikoyada bir tafsilot orqali uni tasvirlash esa katta mahoratni talab qiladi. Jek London bir necha satrlik fikr tasvirlar bilan dohiyona ravishda buning uddasidan chiqa olgan. Masalan : "He came down a shelving bank to the stream. He had never seen water before. The foot

biridir. Realist s an’atkorlardagina tafsilot va realistik tasvir orqali isbotlash amalga oshirilishi mumkin. Peyzaj tasviri qahramon xarakterini yorqinroq ifodalaydi, uning ichki dunyosi va kayfiyatini ochib beruvchi element sifatida muhim o’rin egallaydi. Portretning qay yo’sinda chizilishi qahramon fazilati va xususiyatlarini o’ylashga yordam beradi, xarakter mantqini tuldiradi. Hikoyada va qi ssada manzaraning tutgan vazifasi, asosan, q uyidagilardan iborat. 1. Qahramon harakat qilayotgan sharoit bilan tanishtirish. 2. Q a h ramonning ruhiy holati va xarakterini ko’rsatish uchun eng yaqin komponent . 3. Lirizm va dramatizmni kuchaytirish. 4. Insonning tabiat, moddiy dunyo bilan chambarchas bog’liq ekanligini qayd etish. Ba’zi novelistlar qahramon portretini boshidayoq, chizib tanishtir

tashkil qilsa, shu dahshatlarga nafrat tinchlikka, vatanparvarlikka, mardlik, jasurlikka tahsin va muxabbat uning g’oyasidir. Demak, xarakter ham, g’oya ham bevosita syujetdan kelib chiqadi. Hikoyada har bir harakat, har bir voqea ham xarakterni ochib beruvchi vosita, ham o’z-o’zidan ro’y beradigan voqea uchun zamin bo’lishi kerak Hikoyadagi har bir voqea mana shu ikki xususiyatdan bittasi, masalan, xarakterni ochib berish uchungina xizmat qiladigan bo’lsa, bu o’rinda ko’pgina hikoyalarda uchrovchi voqealarning bog’liqligi yo’qolib, ma’lum tarqoqlikka yo’l quyiladi. Yoki, aksincha, agar bir voqea o’zidan keyin keluvchi voqea uchun faqatgina zamin bo’lib kelsa-yu, xarakter ochish uchun xizmat qilmasa, asarda xarakter yaratilmay, quruq, bayon etish birinchi o’ringa chiqadi. Ikkala holat ham

familiarity did not breed contempt. The more he came to know them, the more they vindicated their vindicated their superiority, the more they displayed their mysterius powers, the greater loomed their god-likeness. To man has been the grief, often, of seeing his gods overthrown and his altars crumbling; but to the wolf and the wild dog that have come in to crouch at man's feet, this grief has never come. Unlike man, whose gods are of the unseen and the over guessed, vapors and mists of fancy eluding the garment of reality, wandering wraiths of desired goodness and power, intangible outcroppings of self into the realm of spirit -unlike man, the wolf and wild dog that have come in to the fire find their gods in the living flesh, solid to the touch, occupying earth - space and requiring t

Hikoyada va qissada psixologizm nihoyatda katta ahamiyatga ega, qahramon ichki dunyosining dialektikasi, qarama-karshiliklarini keng ko’lamda, atroflicha tasvirlash katta epik janrlarga xos bo’lsa, kichik janrga qahramon ichki dunyosini mayda chiziqlar orqali tasvirlash xosdir. Ya’ni hikoyalarga ko’pincha lirik, ba’zan liro-epik roman va qissaga ko’pincha liro-epik va epik psixologizm taalluqlidir. Agar psixologizm tushunchasi faqat qahramon shaxsiy dunyosining ochilishi bo’lganda edi, bu juda tor tushuncha bo’lib qolar edi. Kichik hajmli hikoyaga qahramon hayotining o’zigina emas, uning timsolida ijtimoiy hayot, ma’lum ijtimoiy nizo asos qilib olinganidek qahramon psixologiyasida ham jamoat psixologiyasining bir uchquni o’z ifodasini topmog’i lozim. Qahramon q a lbini ocha bilish uchun d

Birinchi bob yuzasidan xulosa. Bitiruv Malakaviy ishimizning birinchi bobi hikoyalardagi qahramonlar va badiiy nutqning g’oyaviy uyg’unligi kabi pragmatik muommolar o’z ifodasini topgan. Shuningdek bu bobda biz badiiy asar pragmatikasi haqida lingvopragmatik olimlarning qarashlarini taniqli Amerika yozuvchisi M. Dickens ning " Майсазордаги гуллар » asari dan keltirilgan misollar yordamida pragmatik muammo va tavfsiflar tadqiq etdik. Xarakter shakl va mazmunning ajralmas tarkibiy qismi o’laroq, hamma vaqt badiiy mahorat va talant mezoni bo’lib koladi. U murakkab to’qnashuvlar, ba’zan fojiaviy munosabatlar tuguni tariqasida faqat ijobiy bo’libgina qolmay, salbiy bo’lishi ham mumkin. Xarakterning ma’naviy mohiyati uning ijobiy yoxud salbiy ekanligini belgilovchi asosiy ko’rsatkich hisobla

ma’lumot berar ekan, borliqqa nisbatan ob’yektiv munosabatda bo’ladi. Bunday paytda u o’z fikrini neytral so’zlar va intellektual nutq shakli yordamida ifodalaydi. Bunda nutq ifodalash belgisining ehtimoliy ma’lumot darajasi, harakatning normal-odatdagi sur’ati, voqelikning ob’yektiv holati, So’zlovchining tinglovchiga yoki o’zga shaxsga nisbatan betaraf munosabati bayon etiladi. Ba’zi novelistlar q a h ramon portretini boshidano q chizib tanishtiradilar. Bu - muvaffa q iyatli usul emas. Chunki u asar davomida q a h ramon xarakteri, ichki dunyosini o chish uchun foydalanilmay, portretligicha qolib ketadi xolos. Mohir novelistlar asar syujeti davomida, xarakterning ochilishi jarayonida shunga muvofiq va mo s ravishda portret tasvirini chizib boradilar. Bu o’ rinda portretning ko’rsatila tur

ta’sirchan va jozibadorligini ta’minlovchi holatdir. Ya’ni badiiylik - badiiy ijodning hamma elementlarini (obraz, xarakter, tip, syujet, detal, kompozitsiya, badiiy, til, ifoda- ta’sir vositalari. Poetik sintaksis, janrlar.....) o’z ichiga q amrab oladi, ularning h ar biriga va ayni paytda, ular turli-tuman tarzda birlashib, yaxlitlashganlarida hammasiga jon ato etadi. Demak, badiiylik deganda hayotni jonli va ta’sirli qilib qaytadan yaratish san’ati, h ayotiy hodisalari ustidan chiqargan " h ukmi" shu "hukm" ruhida tarbiyalash tushuniladi. 12 Shu muloxazaga suyansak, badiiylikning o’zagi obrazlilik ekani aniqdashadi, u san’atning "tili", boshqacha aytganda san’atning san’at bo’lishini ta’minlovchi ruh (jon) dir. Obrazlilik badiiylik ichida yashaganidek, obraz obra

o’quvchilar ruhiy olamiga, tuyg’ulariga ta’sir qilishni nazarda tutsa, adabiy tanqidchi o’z fikr-mulohazalarini va qarashlarini izchil mantiq, asos va isbot asosida aniq bayon qilish yuli bilan ommaga etkazadi, asosiy maqsad qilib, kitobxon aqliga ta’sir qilishni nazarda tutadi. Yozuvchi M. Dickens ning fikricha, munaqqid - go’zallikdan (badiiy asardan) olgan taassurotini ya’ni shaklga yoki ya’ni vositalar bilan ifodalab berishga qodir insondir. To’g’ri, tanqidchi ham badiiy vositalarsiz, his-hayajon va "dard"siz ish ko’rmasligi kerak. Chunki falsafada isbotlanganidek, "kishi his-tuyg’ularisiz insonning haqiqatni izlashi bo’lmagan, bo’lgan emas va bo’lishi ham mumkin emas!" Tanqidchi badiiy asarni baholash jarayonida shu asar tufayli qalbida tug’ilgan hislarni, hayajonni if

Obrazning "badiiy to’qima yordamida yaratilgan, estetik qiymat kasb etgan inson hayotining umumlashma va ayni chog’da, aniq manzarasidir" degan asosli ta’rifiga tayansak, uning to’rtta asosiy, har biri alohida tahlil qilinadigan xususiyati borligi va ayni paytda. Obraz fikrini umumlashtirishning tejamli, bo’rtib chiqqan, mubolag’ali usuli ekanligi ayon bo’ladi. Badiiy obrazning umumlashmaligi. Asalari minglab gullarga qo’nib, uning eng asl sharbatlarini emib, bir yerga yig’ib bol to’plaganidek, yozuvchi ham muayyan obraz (dukondor)ni yaratish uchun, ko’plab dukondorlarning qiyofasini belgilovchi o’ziga xos xususiyatlarini, odatlarini so’zlash odoblarini, ma’naviyatini va hokazolarni o’rganadi va ularning eng saralarini umumlashtirib, bir obrazda jamlaydi. Shu sababdan birgina obraz

Odamlar kitobxonlarning hislarini qo’zg’atish, "tuyg’ularimiz to’lqinlarni" uyg’otmoq orqali hayajonlantirish -estetik ta’sirchanlik ekan, badiiy obraz mag’zi to’q, hayotiy, umriboqiy bo’lgandagina badiiy qimmatga ega bo’ladi; obraz yaratishga o’tadi, undan xayajonlanib o’rnak olamiz yoki nafratlanamiz, his- tuyg’ularimizning yaxshilari (ijobiylari)ga "oziq," beramiz, yomonlarini (salbiylari)ni yetti qavat chuqurga ko’mamiz. Umumlashtirish, individuallashtirish, badiiy to’qima va estetik ta’sirchanlik adabiy asarning hamma elementlariga taalluqli universal tamoyil - badiiylikning ko’rsatkichi bo’lganidek, mubolag’asiz birorta san’at asarini yaratish ham mumkin emas. Mubolag’a san’atning barcha komponentlariga xos xususiyatdir. Masalan: Now that the terrible unknown had let

Agar obrazni yong’oqqa qiyoslasak, xarakter shu yong’oqning mag’zidir. Chunki mag’izda yong’okning mohiyati, tirikligi, zaruriyligi, joni jamul-jamdir. Shu sababli "yaratilsagina badiiy asar yaratiladi". Xarakterning mazmunini aniqlaydigan ikkita asosiy xususiyati bor. Birinchisi, "bu bir shaxsni ikkinchi bir shaxsdan ajratib turadigan ahloqiy va psixologik belgilar majmuasidan iboratdir. Hayotda shunday kishilarni uchratish mumkin: ujar yo tajang, og’ir yo engil, kamgap yo ko’p gapiradigan va xokazo. Ruhiy xususiyatiga nisbatan tabiiy xususiyatga yaqin belgilar yozuvchi uchun asosan obrazni individuallashtirish uchun zarur bo’ladi. Ikkinchisi - bu individual belgilarini ham o’z ichiga olgan holda ma’lum bir ijtimoiy sharoitda paydo bo’lgan, ijtimoiy ma’no kasb qilgan shaxs iro

ribs. There were inequalities of surface. Sometimes he overstepped and stubbed his nose. Quite as often he under stepped and stubbed his feet. Then there were the pebbles and stones that turned under him when he trod ifpon them; and from them he came to know that the things not alive were not all in the same state of stable eguilibrim as was .his cave; also, that small things not alive wera more liable than largs to fall down or over. But with every mishap he was learning. The longer he walked, the better walked. He was adjusting himself. He was learning to calculate his own muscular movements, to know his phasilf. He was learning to calculate his own muskulat movements, to know his physical limitations, to measure distances between objects, and between objects and himself. 15 Xullas, roma

Ma’lumki, san’atkor to’ppa-to’g’ri hayotdan nusxa kuchirmaydi, balki, unga haqiqatdan o’xshash qilib yangi bir dunyo yaratadi, kashf etadi. Boshqacha aytganda, hayotiy haqiqatdan badiiy haqiqat yaratadi hayotiy fakt va xodisalarni o’zining ruhiy laboratoriyasida "qaynatish", ishlashi, sintez qilishi, ya’ni tasavvuri, xayoli, orzusi, tajribasi, qalbi, tabiati, dunyoqarashi bilan boyitgan va muayyan g’oyaga xizmat qiluvchi xos va zaruriy tafsilotlarini, fakt va xodisalarni tanlagan holda tugallig kasb etgan (obrazli) badiiy hayotni yaratishi zarur, yaratganda ham bu hayot kitobxon ko’z o’ngida jonli va real, ishonchli va go’zal, ta’sirchan va yaxlit bo’lib gavdalanishi shart. Obrazli qilib aytganda, bu paytda u borliqni tamoman unutadi, guyo qadimgi yunon faylasuflari aytganidek, ma’

ungida jonli shaxs qiyofasiga kirguncha o’rganadi. Yozuvchi o’z qaxramonining tug’ilishidan tortib umrining oxirigacha bo’lgan hayotini va u harakat qilishi lozim bo’lgan voqelikni - sharoitni tasavvur qila bilishi kerak. Adabiyotshunoslikda ilxomning ikki darajasi borligi qayd etilgan. Biz birinchisini - mu’tadil ilxom va ikkinchisini -zavqu shavqqa tuliq ilhom deb atadik. Birinchisiz asar yozish mumkin emas, ikkinchisiz har qalay mumkin. Birinchisi juda sodda, tashqi ko’rinishidan o’zini juda xotirjam tutadi. Hamma holatini ongli idrok etadi. Ma’lumki, ilhom yozuvchi fikr-mushohadasining chuqo’rliklarida tug’iladi va etiladi. Ba’zan u birdaniga vulqondek otilib chiqadi, san’atkor yaratayotgan olamiga shunchalik ehtiros va hayajon bilan beriladiki, reallikni sezmaydi. Uning tomirlarida sh

hayotiga qaytadi. U sahnada o’ynar ekan, o’zligini butunlay unutib quymaydi, garchi tomoshabin ko’ziga bu narsa tashlanmasa ham, u "kuylar ekan, eshitadi, harakat qilar ekan, ko’zatadi". Badiiy asarda hayot - so’z vositasida yaratilgan ekan, oddiy til bevosita real fikr va hissiyotning obrazli ifodasidir. "Jajji" (mikro) obraz, har qanday so’z konteksda (boshqa so’zlar bilan aloqada) hayotiyligini, o’zining xususiyatini, ohangini ko’rsata oladi. Yozuvchi so’zning grammatik, leksik, stilistik ma’no ko’rinishlaridan eng zarur va kerakligini konteksga qahramonning his-tuyg’ulari, kayfiyat va kechinmalarini o’zida mujassam etishiga - shu yukni qanchalik ko’tarishga qarab uning ahamiyati va kuchini belgilaymiz. Mahoratni egallash uzluksiz davom etadigan, chegarasiz jarayondir. Y

"Xarakter - ma’lum jamiyat muhiti yuzaga keltirgan insoniy ahloq, ma’naviyat tipidir". Adabiy asardagi xarakter - avvalo muayyan hayotiy sharoitdagi o’z hissiyotlari va individual hatti - harakat egasi bo’lmish ma’lum bir insondir. Inson va uning ichki dunyosi adabiyotda doim xarakter yaratuvchi bosh vosita sifatida namoyon bo’ladi. Xarakter shunday ahamiyatga egaki, u asarning estetik mazmunini ochib beruvchi o’ziga xos shakl sifatida nafaqat utmish yoki bugungi kun kishilarining obrazlarini, balki kelajak odamlarining o’ziga xos alomatlarini ham ifodalay olish mumkin. Xarakter shakl va mazmunning ajralmas tarkibiy qismi o’laroq, hamma vaqt badiiy mahorat va talant mezoni bo’lib qoladi. U murakkab to’qnashuvlar, ba’zan fojiaviy munosabatlar tuguni tariqasida faqat ijobiy bo’libgin

takroriyligi kabi nozik tomonlari ham aks etadi. Shuningdek, so’zlovchi voqelikka yoki suhbatdoshiga nisbatan sub’ektiv munosabatda ham bo’ladi. Falsafiy nu q tai nazardan qaraganda, buyum-predmetlar ob’yektiv bo’lib, predmetdagi, uning harakatidagi belgilar esa o’zaro nisbiydir. Masalan, "katta"lik "kichi k "likka, "keng"lik "tor"likka (va aksincha), "shirin"lik "bemaza"likka yoki boshqa ta’mlarga, "tez"lik "sekin"likka, "oz"lik yoki "bitta"lik "k o’ p"lik sifatlariga nisbatan qo’llana d i- -Ya’ni har qanday belgi o’zining aks belgisi va bosh q a belgilarga nisbatan tasavvur qilinadi. Belgilar o’zining aks belgisi yoki bosh q a belgilarga ko’ra (bir predmet yoki harakatga xos turli belgilar yuzasidan)

Til jamiyat taraqqiyoti, inson tafakko’ri, hissiyoti bilan uzviy bog’liq, bo’lganligi tufayli, qiyos qilish jarayonida inson ongida paydo bo’lgan tushunchalar va sub’ektiv munosabatlar ham nutq orqali yuzaga chiqadi, namoyon bo’ladi. So’zlovchining voqelikka bo’lgan bunday munosabatlari tilda turli modal shakllar, emotsional, ekspressiv stilistik vositalar yordamida amalga oshadi. Shunday qilib, inson o’z nutqida ob’yektiv olam manzarasini betaraf shaxs sifatida tasvirlashi yoki shunga qushimcha ravishda ob’yektiv haqiqatga o’zining shaxsiy munosabatini ham qushib ifodalashi mumkin. So’zlovchining voqelikka nisbatan betaraf va sub’ektiv munosabatiga ko’ra nutqning ikki xil shakli: a) intellektual nutq) intellektual- emotsional nutq shakllari yuzaga keladi. So’zlovchining ruhiyatidagi shu p

bo’lgan so’zlar, affikslar, so’z shakllari, maxsus gap tiplari, so’z tartibi va spetsifik konstrukstiyalar vositasida reallashadi. Ikki xil nutq shakli borligini ko’rib, tahlil qildik. Mazkur ishda nutqning ikkinchi xil shakli - ekspressiv-emotsional nutq shakli haqida fikr yuritamiz. Ekspressivlik, emotsionallikning tilda qay usul va yo’llar orqali, qanday vositalar yordamida ruyobga chiqishini tekshirish ishimizning ob’yekti bo’ladi. Har bir xodisa kategoriya sifatida o’zining muxolif tomoniga nisbatan aniqlangani kabi obrazlilik, tasviriylik, ekspressivlik, emotsionallik kabi kategoriyalar ham hodisa. Belgi va fikrning neytral holatiga nisbatan belgilanadi. Ma’lumki, obrazlilik, tasviriylik, ekspressivlik kabi atamalar qo’llanishi jixatdan juda keng ma’noli. Ularning ba’zilari (obrazlil

ifodalana oladi. Ya’ni, ekspressivlik va emotsionallik kabi holatlarning qo’llanish k o’ lami ularga nisbatan keng va xilma-xildir. "Ekspressivlik nafaqat san’atkor yozuvchilar tiliga, balki jamoat arboblari, publististlar, h atto olimlar tiliga ham xosdir". Ekspressivlik va emotsionallik tushunchalari utasida ma’lum darajada umumiylik, yaqinlik bo’lib, ikkalasi ham nutqning ta’sirchanligi uchun xizmat qiladi. Shuning uchun bo’lsa kerak, tilshunoslar ko’pincha ularni umumlashtirib "emotsional-ekspressiv" (yoki aksincha) tarzda qo’llaydilar. Ba’zi tadqiqotchilar tilning lug’at tarkibida hissiy buyalgan -emotsional leksikaning borligi, lekin ekspressiv leksikaning yo’qligi haqida fikr yuritadilar. Ularning fikricha, ekspressivlik til birliklarining maxsus qo’llangan holda yar

bilan ham ifodalanadi. Bu gapdagi ".faqat ayrim so’zlar bilangina emas..." degan qismga e’tibor bersak, ekspressivlikni ifodalovchi alohida so’zlar h am borligi, binobarin aynan ekspressiv leksika mavjud ekanligi ma’lum bo’ladi. Ekspressivlikni odatda ikki guruhga: ekspreesiv -emotsional va ekspressiv - sub’ektiv baholash ma’nolariga ajratadilar. Ekspressivlik belgilarining ma’no jixatdan bir xil bo’lmasligini hisobga olib, so’zlarning ma’nosini ekspressiv - emotsional va ekspressiv-bah o lash turlariga ajratish odat bo’lgan. Ekspressivlik va emotsionallik bir-biridan keskin ajratiladigan holatlar emas. Bu holatlarning birida ekspressivlik ustun turishi, bosh q asida emot s ionallik ustun kelishi, yana birida har ikkisi teng bo’lishi mumkin. Shunga ko’ra, birinchisini ekspressiv, i

kelishi mumkin, ya’ni asl nusxaning lisonning shakllari tarjima tili me’yorlari bilan muqobillashishi ro’y berishi tabiiy. Aynan shu jixatdan halqlarning yaqinlashuvi yuzaga keladi. Tarjimonning jamiyatdagi xizmatlaridan biri uning o’zgacha adabiy uslublarini o’zlashtirishi va o’z jamiyatiga bag’ishlab berishida namoyon bo’ladi. "Tillararo tafovut bor ekan, tarjimalar amalga oshirilar ekan, og’zaki va yozma tarjima bilan shug’ullanuvchilar bashariyatning eng maqbul kishilari bo’lib qoladilar, shu boisdan tarjimaning mohiyati va ahamiyati haqidagi bahsu munozaralar davom etaveradi", degan edi mashxur tarjima nazariyotchisi J.Kamol. Tarjimon ikki halq urtasidagi vositachiga aylanadi. U ko’p hollarda begona halq ma’naviyatining o’z halqi ma’naviyatiga payvand qiladi. Ma’naviyat jixatd

His was the luck of the beginner. Born to be a hunter of meat, (though he did not know it), he blundered upon meat just outside his own cavedoor on his first foray into the word. It was by sheer blundering that he chaneed upon the shrewdly hidden ptarmigan nest. He had essayed to walk along the trunk of a pine. The rotten bark gave way under his feet, and with a despairing yelp he pitched down the rounded descent, smashed through the leafage and stalks of a small bush, and in the heart of the bush, on the ground, fetched up amongst seven ptarmigan chicks. They made noises, and at first he was frightened at tliem. Then he perceived that thay were very little, and he became bolder . They moved. He plased his paw on one, and its movements ware accelerated. This was a source of enjoyment to hi

Realizm adabiyot rivojining etuk bosqichi bo’lib, u bo’lishi mumkin bo’lgan hayotni, real hayotdagi odamlarning obrazlarini jonlashtiradi asl hayotga nisbatan tasodiflar, ikir-chikirlardan holi bo’lgan to’liqroq, ta’sirliroq qilib qayta yaratilgan olamning tasvirini beradi. 20 2.2. Obrazlar sistemasida yangi qa h ramon konsepsiyasi. M. Dickens asarlarining tili jozibali, obrazli tasviriy tildir, tasviriy ligi esa, analitik, tafsiliydir. U q anday hodisa haqida gapirmasin, vo q ealarning q aerda, qanday paytda, q ay tarzda, qanday sharoitda sodir bo’layotganini birma-bir, izchil tasvirlaydi, predmetlarning holati va ko’rinishi, rangi va shaklini aniq ifodalab berishga erishadi. M. Dickens asarlari tilidagi bu badiiylik e stetik nafosat, eng avvalo, tasvirning aniqligi va konkretligidan keli

M. Dickens asarlari tilining badiiyligini va estetik nafosatini berishning mu h im shartlaridan biridir. Har bir iste’dodli yozuvchi o’zi qalamga olgan voqea-hodisani, inson va predmetni aniq, tasvirlashga harakat qiladi va bu hol, umuman olganda, barcha so’z san’atkorlariga xosdir. Ammo M. Dickens tilidagi sifatlashlar, o’xshatishlar, obrazli fe’llar, tur-jins otlari o’ziga xosligi bilan ajralib turadi va avtor tilining aniqligi va obrazliligini ta’minlaydi. He encountered a feathered whirlwind. He was confused and blinded by the rush of it and the beat of angry wings. He hid his head between his paws and yelped. The blows incresed. The mother ptarmigan was in a fury. Then he became angry. He rose up, sharling, striking out with his paws.He sank his tiny teeth into one of the wings and p

M. Dickens o’z asarlarida epitetlardan, metaforalardan keng foydalanganidek, o’xshatishlarga ham tez-tez murojaat qilib turadi. M. Dickens o’xshatishlarida ham yozuvchi uslubiga xos bo’lgan real h ayot bilan bog’liqli q predmetlilik, aniqlik, moddiylik, konkretlik ko’zga tashlanib turadi. Shuning uchun ham M. Dickens o’xshatishlari original, oxiri to’qilmagan o’xshatishlardir. Uning o’xshatishlaridagi ana shu xususiyatlarni o’zbek tilida ham bermay turib, albatta originalning o’ziga xosligini tarjimada saqlab bo’lmaydi. Masalan: "He had miscalculated once, but he would not be guilty of it a second time. Hans paid out the rope,parmitting no slack, while Pete kept it clear of coils. Buck held on till he f was on a line straight above Thornton; then he turned, and " with the speed of

their favorite dogs. Buck, because of his record, was the target for these men, and Thorhton was driven stoutly to defend him. At the end of half an hour one man stated that his dog could start a sled with five hundred pounds and walk off with it: a second bragged six hundred for his dog; and a third, seven hundred. "Pooh! Pooh!" said John Thorhton, :Buck can start a thousand pounds." "And break it out? And walk off with it for a hundred yards?" demanded Matthew son, a Bonanza kin he of the seven hundred vaunt. "And break it out? and walk off with it for a hundred yards," John Thorhton said coolly. "Well," Mathew son said, slowly and deliberately, so that all could hear, "I've got a thousand dollars that says he can't. And there it is." S

Thorhton did not reply. He did not know what to say. He glanced from face to face on the absent way of a man who has lost the power of thought and is seeking somewhere to find the thing that will start it going again. The face of Jim O’Brien, a Mastodon king and old-time comrade, caught his eyes. It was as a cue to him, seeming to rouse him to do what he would never have dreamed of doing. "Can you lend me a thousand?" he asked, almost in a whisper. "Sure," answered O’Brien, thumping down a plethoric sack by the side of Matthew son's. "Though it's little faith I'm having, John, That the beast can do the trick." The Eldora do emptied its occupants into the street to see the test. The tables were deserted, and the dealers and gamekeepers came forth to see t

seeming of form, so he entered into what had been wall to him and bathed in the bubstance that composed it. It was bewildering. He was Sprawling through solidity And ever the light grew brighter. Fear urged him to go back, but growth drove him on. Suddenly he found himself at the mouth of the cave. The wall, inside which he had thought himself, as suddenly leaped back before him to an immeasurable distance. The light had become painfully bright. He was dazzled by it. Likewise he was made dizzy by this!: abrupt and tremendous extension of space. Automatically, his eyes were adjusting themselves to the brightness, focusing them to meet the increased distance of objects. At first, the wall had japed beyond his vision. He now saw it again; but had taken upon itself a remarkable remoteness. Als

bolt of the sky. But the cub saw' and it was a warning and a lesson to him—the swift downward swoop of the hawk, the short skim of its body, just above the ground, the strike of its talons in the body of the ptarmigan, the tarmigan'ssquawk of agony and fright, and the hawk's rush upward into the blue, carrying the ptarmigan away with it. It was a long time before the cub left his shelter. He had learned much. Live things were meat. They were good to eat. Also, live things when they were large enough, could give hurt. It was better to eat small live things like ptarmigan chicks, and to let alone large live things like ptarmigan hens. Nevertheless he felt a little prick of ambition, a sneaking desire to have another battle with that ptarmigan hen—only the hawk had carried her awa

know what a fall was. So he stepped boldly out upon the air. His hind-legs still rested on the cave-lip, so he fell forward head downward. The earth struck him a harsh blow on the nose that made him yelp. Then he began rolling down the slope, over and over. He was in a panic of terror. The unknown had caught him at last. It had gripped savagely hold of him and was about to wreak upon him some terrific hurt. Fear, and he now routed growth like any frightened puppy. The unknown bore him on he knew not to what frightful hurt, and he yelped and unceasingly. This was a different proposition from crouching in frozen fear while the unknown lurked just alongside. Now the unknown had caught tight hold of him. Silence wouldfdo no good. Besides, it was not fear, but terror, that convulsed him. But th

ekvivalentlarni topish tarjimada yozuvchi uslubi va mahoratini aks ettirishning muhim tomonlaridan biridir. And so it was with White Fang. The man-animals were goods unmistakable and inescapable. As his mother, Kite, had^rendered her allegiance to them at the first cry of her name, so he was beginning to render his allegiance. He gave them the trail as a privilege indubitably theirs. When they walked, he got out of their way. When they called, he came. Whe they threatened, he cowered down. When they commanded him to go, he went away hurriedly. For behind any wish of theirs was power to enforce that wish, power that hurt, power that expressed itself in clouts and clubs, in flying stones and stinging lashes of whips. But it did not all happen in a day, this giving over of ftimselfy body and

muvofiq o’zgarishi mumkin. Masalan, ba’zi hikoyalarda peyzaj qahramon ruhiy holatga nisbatan zid uslubda qo’llaniladi. Atrofda bahor, go’zallik, xandalar, bayram. Lekin qahramon qalbida esa motam, u bugun yoridan ayrildi. Na bayram, na ba ho r uning k o’ ngliga si g’ adi, nazarida butun tabiat motam libosini kiygande k. Umuman olganda pragmatika asosan tilning turli muloqot doiralarida muloqot qiluvchilar bilan uzviy aloqada o’rganadi. Shu munosabatda pragmatikaning muammolari doirasi shakllanadi: nutq, harakatlarini hamda ularning amalga oshuvi kontekstlarini o’rganish, tanlovi matn junatuvchining ta’sir etish vazifalari bilan belgilab beriladigan til birliklarining ishlash jixati, muloqotning samaraliligi, nutqning tinglovchi tomonidan talqin etilishi, nutq qaratilgan kishining gap mazmu

Bitiruv Malakaviy ishimizning kirish qismi mazkur ishning maqsadi va vazifalari, predmeti, metodlari, nazariy va amaliy ahamiyati va ilmiy yangiligi kabi muhim muommolarni qamrab olgan. Bitiruv Malakaviy ishimizning birinchi bobi hikoyalardagi qahramonlar va badiiy nutqning g’oyaviy uyg’unligi kabi pragmatik muommolar o’z ifodasini topgan. Shuningdek bu bobda biz badiiy asar pragmatikasi haqida lingvopragmatik olimlarning qarashlarini taniqli Amerika yozuvchisi M. Dickens ning “ Maysazordagi gullar” asaridan keltirilgan misollar yordamida pragmatik muammo va tavfsiflar tadqiq etdik. Bitiruv Malakaviy ishimizning ikkinchi bobida badiiy hikoyalar qahramonlarining o’ziga xos badiiy portreti haqida bo’lib obraz tizimida yangi qahramonlar tushunchasi misollar yordamida o’rganilgan. Hikoyada qa

kirishuvchilarning xususiyatlari, muloqot shart-sharoitlari hamda muloqot vaziyatiga qarab portret ta’riflari Yuqoridagi pragmatik omillar bilan bog’lanadigan ma’lum xususiyatlarga ega bo’ladi. Shuni kayd qilish kerakki, qahramoning faqat yoshini, ijtimoiy maqomini yoki kasbini tavsiflaydigan portret ta’riflar kamdan-kam uchraydi. Taxlil ko’rsatishicha, Yuqoridagi tavsiflarning portret ta’riflari ko’pincha bir-biri bilan uzviy bog’lilikda keladi. Shunday qilib, portret ta’riflarini taxlil qilish badiiy qahramon portretining pragmatik tavsiflarini belgilab beradi. Biz portretlarning pragmatik yunaltirilgan uchta turini ajratdik: 1) yosh jixatidan, 2) ijtimoiy; 3) kasbiy jixatidan . Taxlilning ma’lumotlari yosh. Kasbiy, ijtimoiy jixatidan tavsiflarning quyidagi turlarini ajratish imkoniyatin

4. Каримов И.А. Наша высшая цель - независимость и процветание Родины, свобода и благополучие народа. Т., Ўзбекистан 2000 . 5. Karimov I . A . Barkamol avlod O ’ zbekistan tara qq iyotining poydevori . T., 2001 6. Jack London “ the call of the wild” M., 1991 7. Jack London. “ White Fang” M., 1993 8. Abdulla Q a hh or «Ustoz». Shar q yuldo’zi T., 1980 9. Abdulla Q ah h or bilan uchrashuv. O’zbekiston. 1982 10. Abdulla Qahh or «Tanlangan asarlar». 3 tomli k 1-tom, T., 1980 11. Abdulla Q odiriy. «Mayda hikoyalar yozganda so’zni qanday tejash kerak» Badiiy ijod haqida. T ., 1980 12. Арутюнова Н.Д. «Фактор адресата». Академия наук М., 1985 13. Ашурова Д.О. «Производное слово в свете коммуникативной теории языка» 14. Белкина А. «Художественное мастерство» Мастерство русских классиков. М., 198 7

28. Sayd Axmad. «Oydin kechalar». Hikoyalar. T., 1989 29. Tagor «Asarlar». 8 tomli k 4-tom. T., 1982 30. Tagor. «Tanlangan asarlar». 8 tomli k 4-tom. T ., 1982 31. Тимофеев Л.И. Основы теории литературы М., 1983 32. Ho shimov O’ . «U ketdi...Gunafsha». T.,1985 33. Chexov A.P. «Tanlangan asarlar». Uch tomli k 1-tom. T., 1977 34. Sholoxov M. «Asarlar t o’ plami». Sakkiz tomli k VIII tom. T., 1989. 35.X i koyalar. Toshkent, 1981 Foydalanilgan lug’atlar. 1. Гальперин . И. Р. Большой Англо руссский словар ь .М 1988. 2. Уилсон.Е. А. Англо Русский учебн ы й словарь. 1984. 3. Oxford Russian Dictionary. Bishkek. 2008. 4. Qiyomov.R. “Contemporary English- Uzbek dictionary” Toshkent. 2009. 5. Smirnitskiy “Russian English dictionary” M. 1991 Monica Dickens, granddaughter of Charles Dickens Flowers

support groups for those who have lost someone to suicide, and community outreach programs. In 1985 she returned to the UK after the death of her husband, and continued to write until her death on Christmas Day 1992. Writes: Children's, General Fiction, Horror Author of : Ballad of Favour, Cry of a Seagull, The Messenger, The Haunting of Bellamy 4, The Fancy, Dear Doctor Lily, The Listeners, One of the Family, The Room Upstairs, Joy and Josephine, The Angel in the Corner, Man Overboard, No More Meadows, Spring Comes to World's End, Summer at World's End, World's End in Winter, Closed at Dusk, The Happy Prisoner, Flowers on the Grass, The House at World's End, Kate and Emma, Enchantment Foydalanilgan lug’atlar. 5. Гальперин

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