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Статья опубликована в рамках: Научного журнала «Студенческий» № 26(70)

Рубрика журнала: Филология

Секция: Литературоведение

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Библиографическое описание:
Kurbanbaeva N. THE SYMBOL AND FIGURATIVE INTEGRITY IN THE NOVEL "THE BIRD IN NONEXISTENCE DESERT" OF ASAD DILMURAD // Студенческий: электрон. научн. журн. 2019. № 26(70). URL: https://sibac.info/journal/student/70/149525 (дата обращения: 23.11.2019).

THE SYMBOL AND FIGURATIVE INTEGRITY IN THE NOVEL "THE BIRD IN NONEXISTENCE DESERT" OF ASAD DILMURAD

Kurbanbaeva Nasiba

1st year Master student Literary criticism: Literature of Uzbek Literature Karakalpak State University

Uzbekistan, Karakalpak, Nukus

The value of any artwork is determined primarily by its content. Although the power of reason is decisive, a dry idea itself can’t accept any work for the reader. Only when exposed content is embodied, the effectiveness increases and becomes infectious. One of the most important things determining the art of the work is symbol. Artistic Thinking is Emotional Thinking. Creating samples of genuine sophistication at all times requires creator a great talent and creative work. The works that did not meet these requirements would be smashed under the terms of the so-called five-year rule.

The idea is to describe an uncertain concept to a reader in a literary work, with characters that are common to many. The symbol is also one of the most widespread types of poetry. The reader's idea is a symbol of the abstract morality that has been sophisticated deadly through the things and creatures that have more of these qualities. The symbol refers to the symbolic or symbolic term in the literary criticism.

The symbol of May-life in classical literature is symbol of flower. It is noteworthy that the definitions of the varieties of the meanings are indistinguishable. The reader has no differentiation between them. The reader may be hesitant to divert them. They need to be clarified as much as possible. The phrase is a portable word, the general name of the case in classical literature, not in the sense of the word, but in other portable terms.

That is to say, varieties that are based on various principles of greed, are symbols and others. One of the modern literatures, that is, the allegory, is widely used.

The symbol is a slightly improved, sophisticated level of morale. The symbol (arabic) refers to the meaning of "sign"; One of the varieties is simply a conditional and symbolic word or combination of words that is moving in the context of this text. It is also one of the symbolic forms. The essence of the symbol is close to the allegory, the difference: symbolic context is used both in its meaning and in portable sense.

The meaning of the symbol is understood when it is understood in the sentence and the conditions used by it: for example, the symbol of Suphism is a symbol. Understanding Meaning of True Love is a symbolic understanding of the soul. Or it may be understood in terms of drinking, which means its meaning. Thus, the symbol is the conditional attachment of certain meaning.

Asad Dilmurod is one of those authors who made unique works that were unique to nobody in the treasury of the literary treasury. The poet has been able to express himself in the works of the strongest ideas, which are resistant to space and time, which are necessary for the creator. They are alive and literate.

Asad Dilmurod's style is primarily thought-provoking, forming on the basis of philosophical experiences through imaginary events and whole-minded images. Asad Dilmurod's style is unique in his novel "Mahmud Torobiy", "Sherdor", "Mulk", and "Zaradir alam". In the novel "Bird in the nonexistence desert", it will appear in the whole and the beginning. In this regard, the novel is of particular interest and, as a matter of fact, impressed the "pure art" fans for the elite group. In our opinion, it is difficult to understand that the literary work that speaks French is hard to understand. It is important to remember that there is a layer of flawless artifacts on the ground. Literary scientist K. Yuldashev explains this as followings: "... It is not about intelligent talk, intelligent thought, clarity, intelligence, but the complex, irreproachable manifestations of the human spirit. Investigating the feelings, trying to discover the rich and colorful climate of human souls, is increasing."

The fate of works of art is that of the French literary novelist Roland Bart, in his article titled "The Death of the Author," in two articles: the author of the literary text (the living) and the author of the missing (s): " The author's opinion should not be in the works, and the death of the author in the text has extended the life of the text. He needs to provide the reader with the raw material for thinking, not to restrict his or her imagination, and to make the text a little clearer. "He does not mean the physical death of the author in the words of the text, the author's position is known, and the words "non-author" are understood as works that do not have priority over the artist's opinion. Analyzing and evaluating such works requires that the reader be sensitive to certain artistic readings, words and their meanings, and artistic perception of the world phenomena. These factors, of course, are not the last, decisive criterion for determining the level of work, but, of course, playing an important role in the place of work in the world of literature, artistic expression.

In the first book of the novel "Bird in nonexistence desert", a well-known mystical romance novel based on a realistic picture, the author points out that a number of social-polar glimpses. We read in Roman poems that include such images as symbols, such as Saidbek Umar, Yodgor Valiy, Hazora momo, Mohina, Pulat Qosimiy, Bo-Bashi, Antum-Kamen, Sayfi, Javlon Kagi, Jabir Kirpi, Baby, Ena Kukbory. The essence embedded in the work of the subject is that it often does not believe in man's power, it creates in its body, ultimately it is nonexistence, the savings are far from glorious world and the eternal world, gliding and dissipating, confronts various conflicts, then he will be defeated. The truth reveals spiritual and psychological strengths and weaknesses during the struggle for unjustified or spiritual or psychological perfection or spiritual and spiritual collapse. The writer himself explains that the novel does not cover a certain place or time, and the scene of it depicts the history of psychology, the psychological tragedy, and the crisis that has caused this tragedy.

The important thing is that the novel encourages us to think, and grasp the essence of imagery. In the novel, any event, character, image, and shamelessness will not leave us indifferent. Particularly, the pain of self-deceased Saidbek Omar, who suffered from a life of complex life, hurts us. The scientist who discovered the existence of the Law of Yortish in the universe is Saidbek Umar himself, who becomes the victim of the law he has found and has put into practice.

Throughout his lifetime, he is working in the field of spirit engineering, promoted to a well-known scholar, and becomes aware that he has been misled and deceived in the process of realization of his next discoveries. Only then does he turn to himself to return to his original position, to purify his heart, to restore his pride, to finally wash his sins.

Saidbek Umar is deeply disturbed and in the end he goes to the memory of the childhood, he goes to the memory of his childhood and lives in a far-flung history, while moving from mosaic to mosque, with mother of  Kukbori, the defender of the Kok-bori genus,  face with a baby.  In the novel, the Kukbori is a charity of evil, a foe of evil. Under any circumstances, it is convincingly conveyed by romantic paints that the baby is trying to save himself from the bloody gnawing of ignorance. The story-driven forces are divided into two categories - the Scorpions and the Saryoges. Wildlife representatives - Yodgor Valiyev, Mohina, Hazora Momo, Ena Kukbori, and the baby symbols give the reader a sense of humor.

Saidbek Umar also thinks he is a madman, but unfortunately he lost his honor in his youth. Consequently, when the governor of Sisyogo, Sergei Poghos, buried his village - in the fires of Kafolat, he came to the ghostly building, which was the source of selfishness and treachery. In this endless sequence, the law of dignity is exhausted, and every day it is prosperous. Those who survived under the law of dictatorship - Pulat Qosimy, and Bo-ba and Kandosh Kamon - prove themselves to be frustrated. They work hard, they think hard, they are very fond of, they are very kind, and even the wrath of anger is not all. Among the dreams, Said Umar transgresses the character of Adam, his dignity, pride, belief and behavior. And now she is half: his wife Mohina, his love for Fuzayl, is unstable - he will grow stronger, he will grow stronger, he will not hurt his hatred of those who are distressed, misguided, and hesitate to put up with respect. Later on, Saidbek Umar's life was in danger: The Saryogians were captivating the son Fuzail, who had discovered Fuzail, and vaccinated by the fungus that made him a mancurrant and ignorant, but he could not dare to rescue his zoriah from his pink belt.

So Saidbek Umar became slaves to the law of dictation and suffered psychological difficulties. He has trampled upon the law with his wholehearted faith, his strong will, and his pure conscience. Under the supervision of Yodgor Valiy, the recognition of his identity is accelerating. The author makes a consistent analysis of the changes he has made, because his heartfelt desire to find God through his heart further enriches the content of the work. In essence, Asad Dilmurod tries to cover the events from the inside - essentially, and encourages the reader to think and comprehend.

 

References:

  1. Yuldashuv Q., Qosimov B., Qodirov V., Yodoshbekov J. Literature, T., East, 2009.
  2. Yuldashev Q. The first pass marks. // Eastern Star Magazine, 2001, first chapter, page 8.
  3. www.literature.uz. Exposure materials used.
  4. Dilmurod A. Bird in the nonexistence desert. Roman.-T .: "East", 2002.-336 b.

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