The genre of story in american and uzbek literature and ways of teaching

1.2. The study of Uzbek literature by English literarians
During the years of independence, translation studies has developed significantly. The role of translation in the spread of Uzbek classical literature in the world is enormous. If we observe, they love to read Uzbek literature abroad, respect the works of our writers and poets. Alisher Navoi, Zahiriddin Muhammad Babur, Muqimi, Furkat, as well as Hamza Hakimzoda Niyazi,
Many works of Uzbek literature, such as Abdulla Qodiri, Cholpon, Gafur Gulom, Oybek, Abdulla Qahhor, Zulfiya, have been translated into foreign languages, especially English, and are read by foreign book lovers. It is possible. Among the historical works, it is especially noteworthy that the works of the great Amir Temur, the works of Sahibkiran were translated. Documentary, historical, artistic, autobiographical work "Temur's Statutes" by Amir Temur is one of the first translations into English. Indeed, in this unique autobiographical work, the image of Sahibkiran, his psyche, nature, rich personality, humanity, full image is clearly visible. It can be called the first work in our literature where the image of Sahibkiran appeared. "Temur's rules", which enriched our literature and introduced our country to the world, attracted the attention of English scholars in the XVII century. While in India, Major Devi, an English orientalist, became acquainted with a Persian translation of Timur's Statutes by Abu Talib al-Husseini. Published in Oxford in 1783. This publication played an important role in the spread of "Temur's Statutes" around the world. Mirza Muhammad Haydar's "History of Rashidi" is an English orientalist translated into English in 1898 by the scholar Edward Deni Ross. Ney Elias, on the other hand, edited the translation and wrote comments on it. In 1996, Professor Willer Tuxton re-translated the work into English. Zahiriddin Muhammad Babur's "Boburnoma" also played an important role in the spread of Uzbek literature around the world.
Boburnoma was first translated into English in 1826 and published by the English orientalists John Leiden and William Erskin. The second translation of the work is connected with the name of the English scientist Annetta Beverij. In 1900, the famous British orientalist H. Beverij obtained a copy of the Boburnoma in Hyderabad and published it in facsimile in 1905 in London. His wife, Annetta Beverij, worked long and hard to translate this facsimile copy into English. The translator gives many Turkish words in parentheses with or without parentheses on almost every page, adds detailed explanations of unfamiliar words and phrases to English readers, preserves the pronunciation of names and place names.
The 880-page Boburnoma is published in English in two volumes in 1922 by Luzak End Co., London, under the title Memoirs of Babur (in New Delhi in 1970 by publishers Nirmal D.Jane and S.K.Mehra; in Pakistan since 2002 by publisher
Niyaz Ahmad; since 2006; published in India by Dilip Kheiro). Boburnoma was translated for the third time in 1993. The 18th issue of the Turkish Journal of Turkish Studies, published annually at Harvard University, features a joint copy of Zahiriddin Muhammad Babur Mirza's Boburnoma, a Persian translation, and an English translation by William Takeston. Three years later, in 1996, the translation was enriched for the second time with various miniatures and maps, entitled "The Baburnama: Memoirs of Babur, Rrince and Emperor" (Washington). D.C. published by the Smithsonian Institution at the Arthur M. Sackler Gallery in. In 2002, The Modern Library in New York published Boburnoma for the third time. In an article attached to the second edition of the work, William Takeston discusses the history of the text and translations of "Boburnoma", the process of its study. William Takeston makes appropriate comments on Babur's personality and dynasty: "History Not only did he deprive Babur of his identity as a Central Asian (that is, of Turkestan), but also by naming Babur and his descendants "Mongols", that is, Mongols, Mongols, who were clearly offended by Babur. According to William Takeston, the Europeans knew that there was a connection between the Babur dynasty and the Mongols, but this connection before using the word "greatness" as an alternative to the word "greatness", they gave variants of the dynasty that did not correspond to the Mongols (Mogul, Mogul, Magal, etc.). Another advantage of William Takeston's translation is that the work has been translated into modern English. The translator also includes a chronology of Babur's life, a concise dictionary of religious and political terms and a bibliography. In short, when looking at the translation of Uzbek literature into English, one can be sure that both in the classical and modern senses, Uzbek literature is rich in meaningful, complex works. The contribution of English literary scholars and translators, such as Mayor Devi, Edward Denny Ross, John Leiden, William Erskin, Annetta Beverij, Annetta Beverij, in the promotion and translation of our literature into English is noteworthy.
Edward Allworth, researcher on the Far and Middle East at Colombia University, wrote in his book Uzbek Literary
Politics, published in 1964: “Farsi, Turkish, French and English novels exerted far more influence on the new-founded Uzbek genres than Russian realistic prose and dramatic art ever did” (quoted in Turdiev, 1991). Even though this statement was not supported by sufficient historical facts and scientific sources but rather relied on commonplaces, it does have some bases in truth. Firstly, a new Uzbek realistic prose and dramatic art in European form was an actual outcome of the early twentieth century. Secondly, Tatar, Azerbaijani, Turkish, Arabic and Farsi literatures definitely played a role in the initial development of the abovementioned genres. These aspects of the issue were acknowledged several times in the observations of literary critics S. Husayn and S. Mirzaliev. But none of these Uzbek scholars denied the possibility of a Russian influence, which no doubt occurred, on the development of Uzbek literature. Affirming his own opinion with quotations from Ronald Kiffer, Werner Baum, Agnessa Uneman, Shamshiyabanu Satbaeva, Oybek and Marat Nurmuhammedov, the scholar Sherali Turdiev criticised Edward Allworth because of his overstatement of the influence of Farsi, Turkish, French and English literatures on the development of Uzbek literature while trying to underestimate the influence of progressive Russian literature.
Ignoring the significant influence of Pushkin, Chekhov, Tolstoy and other Russian poet heritage, as well as Uzbekistan's realistic prose and dramatic art. Aezov, G. Muslatov, Ch. Trying to develop the essence of Aito Muff's work, writers and playwrights are scientifically unfounded. Edward Allworth undoubtedly had his own political ax, revealing that the Russians advanced their literature on Central Asia, but their efforts were ineffective and meaningless. In the 1971 article "Uzbek writer Asukad Muter and his work" published in the Central Asian Journal, American scholar Harold R. Bettersby writes: "Mutall was familiar with Russian, but he did not try to fill his work with words borrowed from Russian". Bettersby sought to prove that Uzbek writers were against Russian influence. However, his argument was made by the contribution of the academic C. Mamajonov "O`zbek sovet adabiyoti tarixi burjua sovetshunoslari ko`zgusida " (History of Soviet-Uzbek Literature Reflected by Bourgeois Soviet Scholars), whose author relied on a central resolution. It was refuted. CPSU
Committee and D's study. Likhačev, E. Yusupov, M. Nurmuhammedov, L. Qayumov, H. Inoyatov and M. Qoshjanov as a theoretical and methodological basis. "All the publications of their [Soviet trologists], whether small or large, contained the development of Uzbekistan's Soviet literature, its content, ideas, and deliberate distortions of its outcomes. "(Mamajonov, 1985, p.4566). .. He could even call them "wolf dressed in sheep".
It should be emphasized that the study of Uzbek literature had a strong foundation in the East and West's cultural and political goals. The politics of the cold war between the former USSR and the West were the fundamental reason for foreign scholars' interest in national literatures. Local intellectuals and international academics attempted to safeguard the interests of the two conflicting administrations. In certain ways, both sides attempted to find'malleable areas' in their opponent's literary heritage. Western academics made several attempts to locate writers and works of literature that were critical of the Soviet state, and they were allowed to conduct research and publish studies on topics that Uzbek academics were forbidden to study under the Soviet regime. Edward Allworth (United States), Ahmad Zaki Validi Togan (Turkey), Hisao Komatsu (Japan), Ingeborg Baldauf (Germany), and other scholars whose names are not yet familiar to Uzbek readers, such as H.B. Paksoy, W.L. Hanaway, or A. Bennigsen, published monographs, books, articles, and essays on Oriental studies, Turkish studies, Islamic studies, and the literature of the Jadid. In the cold war period, only American institutions, research centres and societies focusing on Central Asia made significant contributions in examining problems of historical and modern literature. Universities such as Princeton, Harvard, Columbia, Indiana, Washington (Seattle), Pennsylvania, Wisconsin, Los Angeles and centres like the Centre for Russian Studies, the Institute of Eastern Europe, the American Council of Scientific Societies, etc. have studied, from a cultural and political stance, the languages, literatures and ethnography of non-Slavic peoples such as Uzbeks, Azerbaijanis, Kazakhs, Turkmens, Kyrgyz, Yakuts, Tatars, Chuvash, Buryats, Bashkirs and other groups who lived in the territory of the former Soviet Union.
Literature became one of the superpowers' principal ideological weapons in the political arena between the 1950s and the 1990s. In fact, the 'ideological battles' of the scholars who held opposing viewpoints reflected the essence of political strife between East and West. Through their attitudes toward a given literary-historical reality, these Uzbek and foreign ideologists attempted to improve their political position. Because most Western and Uzbek experts could not speak the language, they relied on translated versions of the critiques rather than reading the originals. This condition, too, did not allow the parties to communicate effectively. Nowadays, not one or the other outside nor Uzbek scholarly critics are inquisitive about re-examining those literary-political forms within the ideological field and comparing them with unique sources and files materials. They all were expelled as ‘old considerations affected by Soviet legislative issues and philosophy of the period.’ In any case, the re-analysis and reinterpretation of these forms based on pluralistic thought and the think about of components of ideological battle are among the critical assignments of modern scholarly ponders. Such investigation may make an opportunity for mediation in future ideological battles and can offer assistance create a soul of dependability to logical truth, in arrange to center on unique works.
Indeed, the relation between content and form requires that they always are studied mutually. In the prose poem we are reviewing, the problem of form is especially awaiting its objective and scientific evaluation.
"Prose poem is a lyrical artwork in the prosaic form: it has a small volume, elegance, without a plot that is typical of lyric poetry." As to A. Kvyatkovsky, a prose poem – “according to the content it is a poetic artwork and as to the form, it is a prosaic artwork”.
In the world literature, genre prose poetry has been solved. In particular, in French literary science, this problem has already been solved. Russian scholars who studied this genre fully and accurately investigated it and came to true theoretical-practical conclusions. T.V. Balashova writes that prose poetry is "an extraordinary typical phenomenon of the twentiethcentury poetic language".35 Her view is also supported by the study of O.Timasheva.
The scholar M. Nolman, who studies French researchers’ comparisons, analyzes, and conclusions, while studying particularly the works of French writer Charles Baudelairein, fully confirmed the above-mentioned ideas. He writes that in Baudelairein's style, "poetry" and "prose" fulfilled with an overtone (that is, adding tone to the main tone in music) function which is accompaniment each other (both abstract and emotionally specific), The complexity of words with different stylistic features creates new complex units. It reflects Baudelairein's aspiration to achieve the mutuality of life and dreams, the ideal, and the existing universe. The same conclusions can be found in the multi-volumed book entitled "History of the World Literature".
Besides, in prose poetry, the research findings of A. Mamonov, a scholar who studied the role of free-verse poems in Japanese poetry is also valued. According to his statement, Japanese poetry has developed through prose poetry. The researcher stated as following: even in the 20s, a stream of free-verse poem writers led by well-known Japanese poets as Kitagawa Fuyuhiko, Anzai Fuyue, Matsuo Bashō Takeguti, and others - began to struggle for new prose poetry (sinsambunsi undo).According to them, the dziyusi (a free-verse poem), the poetic spirit of the poem is losing its power and influence because of the poem’s division into line by poets. Therefore, to "save" poetry, it is necessary to eliminate "line-deviation". And the poem shouldn't be written in prose. The Japanese poet Ema Shoko is well-remembered that the movement was not useless: the Japanese language was not as musical as the French language and had to make sacrifices in this field, and through the art of combining words achieved the target goal. Japanese poetry has again become truly free.
Although many Russian poets have applied prose poetry in the Russian literature, the founder who has officially authorized it is I.S. Turgenev. In 1881 he published a small volume of free prose poems under the title "Poems in Prose" ("Senilia").
Researchers have generally positively assessed this experience of the Russian author. They note that these little prose poems are reminiscent of the style of French poets Bertrand and Baudelairein, with their artistic and visual identity, and they noted that their creative learning was effective in this case.
It is realized in years that any news, experience has been right or wrong. In the early stage, the prose poems of I.S.Turgenev were acknowledged differently. While some observers strongly opposed the genre, some began to name it eccentrically instead of recognizing prose poetry in general. In particular, I.Rozanov calls prose poems of Turgenev "rhythmic prose" and considers him as one of the founders of Russian rhythmic prose along with Karamzin and Gogol. Y.F. Basikhin calls prose poems as "poetic prose". As he writes, peculiarities of the "poetic prose" are the presence of characterized rhythm (meaning), vulgar vocabulary, free of dialectics, existence deep lyricism in the artistic discourse, and the depiction of reality: love, nature, theology, and beauty. emphasizes the priority of the poetic method. S. Shatalov calls prose poems of Turgenev as a series of ten independent works.44 He divides these works into the following categories: essays, comics, legends, fairy tales, prose parables (or tales), mythological paintings, and portraits. Grossman calls these works as poems (as epic poems).
So, in Russian literature, there are many contradicted ideas. N. Levina, a researcher who studies prose poetry in Russian literature, has given a comprehensive and detailed argument of these issues. In her thesis, she proved the factors of the origin of prose poetry in the example of the works of Russian authors. Also, the work of the Russian scholars is widely recognized by foreign scholars as S. Bernard and F. Sharshu. Suzanne Bernard is a researcher who studies prose poetry in French literature.47 F. Schorsch is a German scholar who researched prose poems by I.S. Turgenev. Since the term prose poem was first popularized in France, the study of S. Bernar deserves consideration.
In Uzbek literature, dispute on prose poetry also varies. Some scholars favor prose poetry and reject ideas. B.Sarimsakov gives a worthy indication of the history, roots of prose poetry and, in our opinion, he has precisely stated the first and early description of this genre:
As a result of historical progress, the metered prose has broken its traditional shell - the prose of poetry or the poem in prose has innated. These two terms have become increasingly common, especially in recent years. In our opinion, poetry does not mean the collection of framed, nonliving, rhymed words without sense, but the endless power of poetry and its immeasurable boundaries the term of prose poetry expresses more rather than others. There is both poetic and prosaic character in the prose poem and its main features are the following:
a) lack of specific meter and consistent rhyme;
b) the dominance of symbolism in the depiction and the passion of the thought generalization;
c) high emotional and rhetorical constructions;
d) the relative independence of the parts of the sentence from the semantic intonation and the variation in the tempo of speech;
e) a unique rhythmic structure and a large number of pauses.
These characters are not the same for all prose poems, they are created on different levels depending on the poet's style.
So far, this definition has been the most accurate, well-grounded, scientifically valid conclusion. Some prestigious publications evaluate free-verse poems (prose poem) in blending. In particular, in the "Uzbek Soviet Literary Criticism," it is often referred to in the abstract and without an explanation as to the "pulpit literature".
In the latest major scientific work, entitled “Literary Types and Genres”, literary critic Ummat Tuychiev tried to make this clear. However, the researcher's arguments contradict each other, as the result, the essence is not clear.
He mostly quoted words by M.L Gasparov and Mirtemir, but in our opinion, his conclusions are not enough. The scientist writes "... The other is rhymed (rhymed free-verse poem), a form called “sa’j” used in folklore and classical literature, which is also partly found in the OrkhonEnasoy inscriptions. M. Yunusov also came to the same conclusion. One thing is for sure that “sa’j” is not a genre or form, it is a literary art, a tool of interpretation: "Sa'j is one of the literary works of art and it is matching of some words in one or more sentences as the result of their rhyming either in meter, inline, or in both. … The blended text reads smoothly and becomes melodious .… It is used widely in written prose, from the Turkic written memorial scripts of the VI-VIII century to the present prose ”. Sa’j is a descriptive instrument that is strongly influenced by the classical prose of the oriental nation. … Sa’j is one of the branches used in the process of transformation from prosaic speech to the poetic one.
On the one hand, U. Tuychiev says that "Mirtemir has also understood the meaning of the terms “dais literature”, “dais poems” as “prose poetry," besides the meaning of the term "Mansur poem" elucidated as “prose poem”. On the other hand, he stated as follows, while "free-verse poem” is mostly prose, it did not have an independent poetry system.” As to another scholar
M. Ibragimov, believes that prose poetry is a form between prose and poetry. Here it is necessary to clarify and define the status of the genre.
It is identified that "Genre is a normal unit of form elements and components of these elements that have been set systematically, historically sustained, and indicated according to the content needed to express and describe. Each of these elements has its specific features and ways of being used in specific literary works." Genre is "a set of features and characters that are theoretically relevant to world literature or works of a certain nation or era." The developing period of a prose poem occurred together with a free-verse poem in the mixture. It should be noted that "neither literary forms nor genres ever appear pure. One genre's characteristics can be seen as another genre." Similarly, every new form brings new content. After all, for being ahead in literature, one can need to seek innovations.