возв.лит. Учебнометодический комплекс по спецкурсу возвращенная литература
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Сценарий – драматик асарнинг режаси. Сюжет – эпик, лирик ёки драматик асарнинг бевосита мазмунини ташкил этган, ўзаро боғланган ва ривожланиб борувчи ҳаётий воқеалар. Тавтология – айнан бир таъриф ёки муҳокаманинг бошқача сўзлар билан қайтарилиши, сўз ва иборалардаги ўхшашлик. Тадриж – воқеабанд шеърларга хос бўлиб, шеърдаги бир образ ўхшатишлар воситаси билан ривожлантирилиб борилади. Тажнис – омоним сўзлар қатнашган шеър шакли. Танжнис туюқ жанрида кенг қўлланади. Тажоҳили орифона – билиб билмасликка олиш. Тазкира – ёзувчиларнинг ҳаёти ва ижоди ҳақида маълумот берилиб, асарларидан намуналар келтирилган китоб. Тазод – шеърда антоним сўзларни қўллаш. Такрор – бир сўзни ёки бир неча сўзни, баъзан эса маълум сатрни атайин қайтариш. Таносиб – ўзаро муносабатда бщлган икки тушунчанинг бир бирига боғланган ҳолда келиши. Тип – маълум ижтимоий гурухдаги кишиларга хос характерли хусусиятларни акс эттирувчи индивидуаллаштирилган шахс образи. Трагедия – иложсиз вазият, халок этувчи оғир ва тенг бўлмаган кураш негизида кахрамон характерини очиш. Трилогия – муаллифнинг бир бутун режаси билан бирлаштирилган учта драматик ёки насрий асар. Троп – сўз ёки сўз бирикмасининг кўчма маънода қўлланиши. Тугун – бадиий асар асосий воқеанинг бошланиши бўлиб, барча муҳим воқеалар мана шу тугундан кейин келади. Туроқ – бармоқ вазнидаги шеър мисраларидаги ритмик бўлаклар. Туюқ – 4 мисрали шеър бўлиб, арузнинг “рамали мусаддаси мақсур” вазнида яратилади. Туюқда қофия омоним сўзлардан тузилади. Тўртлик – биринчи мисра билан учинчи, иккинчи мисра билан тўртинчи мисралар қофияланадиган шеър. Тўқима – ёзувчининг турмуш ҳодисаларини кузатиши ва ўз тажрибалари асосида айнан ҳаётда бўлмаган, лекин бўлиши мумкин бўлган воқеалар ва кишилар образини ижодий ҳаёл билан яратиши. Утопия – ёзувчининг фантазиясини, амалга ошолмайдиган хаёлни хаётда мавжуд килиб тасвирловчи асар. Фабула – бадиий асарда тасвирланган вокеа ва ходисаларнинг изчил баёни. Фантазия – ижодий тасаввур, хаёл. Фард – мумтоз шеъриятнинг энг кичик жанри бўлиб, ёлгиз бир байтдангина иборат мустакил шеър. Фарс – маиший хаёт мавзусидаги кувнок комедия хилларидан бири. Фахрия – шоирнинг уз ижодидан фахрланиб айтган сузлари. У ғазалларда бир байтдан, катта хажмли асарларда эса бир неча мисралардан иборат бўлади. Фигура – бадиий сузнинг ифодалилигини ошириш учун ёзувчи томонидан ишлатиладиган махсус суз ва ибора. Финал – драмадаги охирги хотималовчи куриниш. Фироқия – шарқ мумтоз адабиётидаги айрилиқ, ҳижрон аламларини ифодалаган, ёр ва диёрни қўмсаб айтилган лирик шеър. Фольклористика – халқ оғзаки ижоди тўғрисидаги фан. Хамса – беш мустакил достонни уз ичига олган асар. Характер – кишиларда хилма-хил ижтимоий муҳит ва тарбия туфайли тугилган турлича хулк-атвор ва психологик хусусиятлар. Характеристика – маълум бир ходиса, киши ё предметга хос хусусият ва сифатларни белгилаш, аниқлаш. Хотима – адабий асарга кушимча тарзда ёзилган кисм булиб, унда ёзувчи асар кахрамони хакидаги уз мулохазаларини баён этади. Хроника – вокеаларнинг хаётда рўй берганидек изчиллигини сақлаб, уларни хронологик тартибда акс эттирган ҳикоявий ёки драматик асар. Цикл – бир хил кахрамонлар билан, бир тарихий давр билан ёки бир хил ички кечинмалар билан бирлашган бир катор бадиий асарлар. Цитата – уз фикрларини тасдиклаш ёки тушунтириш учун бирор асардан ёки бирор кишининг нуткидан келтирилган парча. Чистон – ёзма адабиётда кулланилиб, топишмокнинг бир куриниши. Шеър – оханг жихатидан маълум бир тартибга солинган, хис-туйгу ифодаси сифатида вужудга келган хаяжонли ритмик нутк. Эзоп тили – киноявий образларга асосланган масал жанри. Экспозиция – сюжетнинг кириш, бошланма кисми. Экспромт – тайёргарликсиз, хозиржавоблик билан тезда яратилган шеър. Эпиграмма – сатирик шеър турларидан бири, бирор кишини хажв килган кичикрок шеър. Эпиграф – бир ёзувчи томонидан уз асарининг асосий мазмуни ва темасини олдиндан тушунтириш учун иккинчи бир ёзувчи асаридан асар бошига, алохида кисмларнинг бошланишига киритган жумла, шеърий парча. Эпизод – достон, кисса, роман, драмалар сюжетида узаро богланиб келган ва маълум даражада мустакил ахамиятга эга булган вокеа. Эпилог – бадиий асарда вокеа тасвиридан сунг кахрамонларнинг кейинги такдирини сузлаб берувчи хотима кисми. Эпитафия – шеърий шаклда бўлган қабр ёзуви. Эпифора – хотима. Эпопея – катта тарихий давр ёки йирик тарихий вокеаларни, жамиятдаги ижтимоий-сиёсий курашларни акс эттирган роман. Эртак – тукима вокеаларни тасвирлайди ва баъзан фантастик характерга эга бўлади. Юмор – бирмунча енгил танкидга асосланган кулгили асар. Ямб – рус шеър тузилишида иккинчи хижосига ургу тушувчи икки хижоли стопа. Ўхшатиш – нарса, ҳодиса ёки тушунчани маълум умумийликка, ўхшашликка эга бўлган бошқа нарса, ҳодиса билан чоғиштириш. Қасида – муҳим тарихий воқеалар ва машҳур тарихий шахслар ҳақида тантанали услубда ёзилган асардир. Қитъа – ҳажми унча катта бўлмасдан, камида 2 байтли мумтоз адабиёт жанри. Қитъада жуфт мисралар қофияланиб, тоқ мисралар очиқ қолади. Қолиплаш – бадиий асарда мустақил воқеаларни маълум бир воқеа доирасига солиб, шу воқеага боғлаб тасвирлаш. Қоралама – асарнинг дастлабки нусхаси. Қофия – мисраларнинг охирида келадиган оҳангдош сўзлар. Қўшиқ – куйга солиб айтишга мўлжалланган бир неча бандли шеър. Ғазал – камида 3 байтдан, кўпи билан 10, 12 байтдан иборат лирик жанр. Ҳамд – мумтоз адабиётда бадиий асар муқаддимасида Оллоҳга айтилган мақтовлар. GLOSSARY  Avesta - (Wed.-Persian text, main text) - the sacred books of some of the ancient peoples of Central Asia, Azerbaijan and Iran. Autobiography (autos self + biography) - а biography of a person, composed by himself. Aesthetics - "Philosophical investigation into the nature of beauty and the perception of beauty, especially in the arts; the theory of art or artistic taste." (CB) Allegory - "A story or visual image with a second distinct meaning partially hidden behind its literal or visible meaning. In written narrative, allegory involves a continuous parallel between two (or more) levels of meaning in a story, so that its persons and events correspond to their equivalents in a system of ideas or a chain of events external to the tale." (CB) Allusion - "An indirect or passing reference to some event, person, place, or artistic work, the nature and relevance of which is not explained by the writer but relies on the reader’s familiarity with what is thus mentioned. The technique of allusion is an economical means of calling upon the history or the literary tradition that author and reader are assumed to share. . . ." (CB) Ambiguity - "Openness to different interpretations - or an instance in which some use of language may be understood in diverse ways." Defended by modern literary critics as "a source of poetic richness rather than a fault of imprecision." (CB) Anti-hero - A central figure in a work that repels us by his or her actions or morality, yet who is not a villain. The Anti-hero accomplishes a useful purpose or even does heroic deeds. Max of The Road Warriorepitomizes the 1970-80s anti-hero. Archetype - A term from Jungian psychology that has been applied to literature. Jung meant the symbolic figure of myth and legend, or even a racial memory that we carry in a "collective unconscious." Archetypes embody an entire type of character from many cultures. Thus Hercules is an archetypal flawed hero, Odysseus or the Native-American Coyote are archetypal trickster figures. In literature and film the term can be more broadly applied, so we have the suffering mother of sentimental fiction, the greedy landlord of stage and film, the doomed private writing a letter home the night before the D-Day invasion, and the kind-hearted "tough guy" in many works. Black comedy - a subgenre of humor that uses cruelty or terrible situations to make the reader or viewer laugh, sometimes uncomfortably. Some Social-Darwinist works (Frank Norris' best known novel,McTeague) are also black comedies. Camera movement - cameras can remain stationary and move side to side (a pan), up and down (a tilt). It can move along on a vehicle or set of tracks straight backward or forward (a track or tracking shot). The camera can be carried for a wobbly (but often powerful) handheld shot. Canon - A body of works considered authentic (as in the body of works actually written by a particular author) or considered by a particular culture or subculture to be central to its cultural identity. Catharsis - A process in which a character heals, though often the process is painful. It can be a process for the audience of a work, as well. Connotation - "The emotional implications and associations that words may carry, as distinguished from their denotative meanings." (HH) Convention - "An established practice—whether in technique, style, structure, or subject matter—commonly adopted in literary works by customary and implicit agreement or precedent rather than by natural necessity." (CB) Cyberpunk - genre of science fiction pioneered by William Gibson and a few others in the 1980s; Gibson first coined the term "cyberspace." In these texts and films, humans have begun to merge with computer technology and the future is generally dark as major corporations replace governments as oppressive power-brokers. Life is usually short and uncertain with huge gaps between a small corporate elite and the gangs, the poor, and the insane who make up the bulk of the population. Cyberpunk protagonists are often cynical rebels--punks, mercenaries, hackers, spies, and nomads--who work outside the system and the "suits" who run it. Denotation - The basic dictionary meaning of a word, as opposed to its connotative meaning. Denouement - The "end game" of a work of fiction. More than "how the plot comes out," the denouement (a French term using French pronunciation) suggests the ways in which several plot elements work out toward the end of a text or film. Determinism/deterministic - the quality of a narrative or character that leads only to a single conclusion. We know, for example, that certain characters are doomed to fail, whatever they do. Deus ex machina - The way of closing a story with an off-stage character who suddenly appears to bring about the denouement. This approach to ending a tale has its origins in ancient Greek theater, where an actor in the role of a god might suddenly appear on stage to help bring about the ending of the performance. Diction - Literary word choice. Didactic - A work "designed to impart information, advice, or some doctrine of morality or philosophy." (CB) Discourse - "[A]s a free-standing noun (discourse as such) the term denotes language in actual use within its social and ideological contexts and in institutionalized representations of the world called discursive practices." (CB) Literary works may contain or make use of any number of discourses. Literary language may itself be considered a kind of discourse. Dystopia/utopia - A fictional world so oppressive that it might be a nightmare for someone from our society. Examples of dystopian fiction would be Orwell's 1984. Some post-apocalyptic worlds (see below) are dystopias, but the usual feature of most dystopian fiction and film is that some type of society, however awful, still exists. A utopian world is exactly the opposite--a paradise of some sort. The eternal bliss of the biblical Garden of Eden and the perfect technological future predicted at the 1939 World's Fair in the film The World of Tomorrow are both utopian. Exegesis - the art of close reading in order to interpret a text. We often utilize this technique for poetry, but for fiction it works as well to tease out the effect of certain words or phrases, uses of repetition, references to earlier events in the text, or hints about what is to come. Fatal flaw - a character trait that leads to tragedy, both in characters who are otherwise quite admirable and in terrible villains. Examples include King Lear's blind trust in his daughters, Eve's desire for knowledge, Ahab's thirst for revenge, Darth Vader's will to power, or Pandora's curiosity. Figure of speech - "An expression that departs from the accepted literal sense or from the normal order of words, or in which an emphasis is produced by patterns of sound." (CB) Form - As a critical term, form "can refer to a genre. . ., or to an established pattern of poetic devices. . ., or, more abstractly, to the structure or unifying principle of design in a given work. . . When speaking of a work’s formal properties, critics usually refer to its structural design and patterning, or sometimes to its style and manner in a wider sense as distinct from its content." (CB) Genre - "The French term for a type, species, or class of composition. A literary genre is a recognizable and established category of written work employing such common conventions as will prevent readers or audiences from mistaking it [with] another kind." (CB) Genre as a term is distinguished from mode in its greater specificity as to form and convention. Hard-boiled - a tone of writing for fiction and film often associated with American detective fiction by Raymond Chandler, Mickey Spillane, and Dashiell Hammett. Often film noir (which has several specific themes and even recurring images, such as spiral staircases) adopts a hard-boiled tone. Hard-boiled narrators are usually male characters that could be described as "tough guys." Homage - a French term pronounced that way, this is "a nod of the head" in a film to a past director or actor. Directors watch lots of good and bad films, so many engage in this practice. Directors of mysteries or suspense films often include an homage to Alfred Hitchcock. The opening shot of Miller's The Road Warrior resembles Benedek's The Wild One closely enough to qualify as an homage. Hubris - the sort of pride that is so inflated that it binds, even destroys a character, even an entire people. Many characters in classical literature and Shakespeare's plays are so prideful that it destroys them; so is Satan in Milton's Paradise Lost. Ideology - A comprehensive world view pertaining to formal and informal thought, philosophy, and cultural presuppositions usually understood as associated with specific positions within political, social, and economic hierarchies. Many schools of modern literary criticism contend that the ideological context of both reader and author always affects the meanings assigned to or encoded in the work. Irony - "A. . . perception of inconsistency, [usually but not always humorous], in which an apparently straightforward statement or event is undermined by its context so as to give it a very different significance. . . [V]erbal irony. . . involves a discrepancy between what is said and what is really meant. . . .[S]tructural irony. . . involves the use of a naive or deluded hero or unreliable narrator whose view of the world differs widely from the true circumstances recognized by the author and readers. . . . [In] dramatic irony. . . the audience knows more about a character's situation than a character does foreseeing an outcome contrary to a character's expectations, and thus ascribing a sharply different sense to the character's own statements". (CB) Magical realism - a type of fiction in which the world appears just as ours in all respects but very extraordinary things happen - a poor family finds a sick angel in the back yard and nurses him back to health, one morning a man wakes up in his family's apartment to find that he's become a giant bug. Gabriel Garcia Marquez and many Latin-American writers use the technique well. Unlike science fiction, most magical realism makes no attempt to explain such events. They simply happen, often with people reacting as if such things are not all that unusual. MacGuffin - Alfred Hitchcock coined this term; he meant plot device that makes the action happen without being important in and of itself. For instance, two strangers sitting next to each other might lead to a murder or a love affair. Matte shot - The end shot of the 1968 Planet of the Apes provides a perfect example. When Taylor falls to his knees in front of the Statue of Liberty, our actors were (I'm fairly certain) facing a blank background. A painted background was added--a matte painting--of the ruined statue. Metaphor - A figure of speech "in which one thing, idea, or action is referred to by a word or expression normally denoting another thing, idea, or action, so as to suggest some common quality shared by the two." The term, "metaphor" is often reserved for figures of speech in which the comparison is implicit or phrased as an "imaginary identity," but it has become more common in recent years to refer to all figures of speech that depend upon resemblances as metaphors. You will therefore sometimes hear similes, where the comparison is explicit and no identity is implied, referred to as metaphorical figures. All metaphors, in any case, are based on the implicit formula, phrased as a simile, "X is like Y." The primary literal term of the metaphor is called the "tenor" and the secondary figurative term is the "vehicle." "[I]n the metaphor "the road of life", the tenor is "life" and the vehicle is "the road" (CB). |