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Khalilova Dilbar Jalilovna, Docent, Karshi State University, Respublik Uzbekistan E-mail: dilbarxalilova71@mail.ru
THE CONCEPT OF LITERARY PSYCHOLOGISM IN THE WORKS OF F. DOSTOYEVSKY
Abstract. In this article, Dostoyevsky is not only a writer, but also a scientist who created a certain Russian psychological school of poetry, and a psychological picture of Dostoevsky's creativity, from the prime to the level of art, has become an entirely comprehended style reflecting the ideas and views of writers.
Keywords: Dostoyevsky, Russian classical literature, Dostoevsky's style, Gogol, European Psychological School.
Dostoevsky's world outlook can not be put on strong link between events that are distorted. This
chain is manifested in the interconnected dependence of spontaneous spiritual experiences. After the day of Mishkin's return, there is described ten pages of generalization note in this explanation, we see a method of linking more events than psychological analysis, where the author's attitude to the event comes first. The author moves to the second generalization after giving a fair assessment, commentary on each event or hero, (ie, conditional term "generalization"), that is, the hero's spirit, the experiences, psychologic states, leaving the interior of the heroes, the man gives the view of the world - at this point the external event is almost unimportant. Heroic psychology is the only means of determining the spiritual world of a human being, although it is a forest of these experiences, even though it is more difficult of reading. Only in this area people are able to show their appearance and demonstrate true resentment. Only a person can manifest his true face in the forest of the senses, emotions, emotions, sufferings, calamities, joys, pride, wickedness of ignorance, happiness and misery, lack of faith and disbelief, love and affliction. "You can not deceive the heart, but the mind will sooner or later expire, but you will by no means deceive the heart" [3, 250].
Dostoyevsky wrote about this real human heart and his emotions. Because these emotions determine
a certain scale. However, it has a very basic creative concept. Only this concept can draw all its creativity into a single line. In our opinion, the complexity of his creativity must be sought from this concept. He had a lot of complexity in his work. But in these complexities, research, and philosophical ideas, there is one common point in exaggerating human suffering. This is also the quality of being human. Dobrolyubov also perceived and appreciated this at the time: "In Dostoevsky's works, we see a common feature, and in all that he writes is also concerned about the person who thinks he is incapacitated, or at last, even though he really does not have the right to be independent" [2, 108].
In Dostoyevsky's eyes, the answer to all the questions was hidden in the same person as the treasure. He looked for answers to the distressed questions, not from the surroundings, but from the person himself, and said, "Man is a puzzle, the writer must solve this problem." He has come up with such magnificent ideas from this difficult puzzle, how much he has been raising to describe the human heart.
Dostoevsky describes events into dialogues, psychological states of heroes: small events, details, images, landscapes - they first appear to us separately, and then summarize, evaluate and comment on these events. As a result, it is clear that there is a
the identity of a person. It is impossible for a person to deceive himself. The great American writer, Folkner, was referring to the same man as "I believe in the heart, not mind". The only refuge that has escaped from the scourge, disaster, torture, worry, humiliation, and humiliation of living things is actually the same forest. Wisdom can be fraudulent, intolerable, mighty. But never will you feel embarrassed. Emotions and feelings flow from the heart "from the great gift of God" [4, 220] and flow from the deepest layer of ancestors' passion and passion, which passes through descendants to generations. First of all Gladness and sorrow all awakens here. Everyone will be able to walk in the wilderness of happiness and distress, love and hatred, grief and joy, abomination and kindness, ignorance and wisdom, humiliation and pride, pride and ambition, courage and betrayal, good and evil. In Dostoevsky's writings, this desert has never come to an end, and the darkness of the desert has sought the light of the desert; it has gone astray, deceived, humiliated, and ambitious, but it has not lost the light of faith in goodness, but that light also illuminates our hearts.
Dostoevsky was unable to unite Gogol and the European Psychological School into two worlds, which are described as completely different and that have been described as another world (which Belin-sky has not denied).
In the picture, the description of Gogol's reaction to the Russian man clearly reveals, but in reflecting the inner world, Dostoevsky relied on the experience of more European writers. We can see a psychologist in the picture - Hoffman, Balzac, Gauguin and others - this is the novelty school of Dostoevsky. Dostoevsky was not only a writer in the psychological picture but also a scientist, he created a school of Russian psychological poetry: a psychological picture formed from Dostoevsky's creativity to the level of his preference, which is not only a prime which has become an entirely comprehended style reflecting the writer's ideas, ideas, and views, even in the form of nature, the author's attitude toward the
construction of psychological analysis, even though it is Dostoevsky himself has created a polyphonic-psychological (Bakhtin's) school where he has been known to be the first student and creator of the school, who has been loyal to the school for the last time and has collected many students around him all over the world.
The novelty of Dostoevsky has removed the barrier between the natural school and the psychological school, which is one of them: in contrast, in a true poetry, a contradictory flow can not be the opposite, but the contradiction and the difference may be only in our imagination. D ostoevsky has gone through the most difficult way of poetry - a complicated way, a painful way, from studies, innovations, and even despair. In our opinion, despair of its power is to gather strength for this new work, new creative stage. Creativity is always the same with hope and disappointment, and in these two cases, a person's heart is stirred up, shaking, moving, emotions looking for an image, an image and a look of art: Dostoevsky's works are not in vain, but it is the breath of the great heart.
Genuine literature does not only serve today, it will serve the future and new generations, and new generations will find new creative power and inspiration for themselves, and the future of today's literature can be evaluated by future generations.
In one article, we cannot fully cover Dos-toyevsky's creativity, or we cannot analyze it in a completely unexplored way. In the course of our work, we follow the path chosen by neither Grossman, nor Bakhtin, nor Otto Korus, nor Kyachzlav Ivanovo. This is not currently being investigated. Therefore, we cannot say that any of the great researchers like Dostoevsky can be "a murshid (preceptor)", even if we lean more on M. Bakta to confirm our ideas, but there are objective obstacles to accessing the researcher's residency, two jobs cannot be eliminated.
What are these reasons or obstacles?
1. First, Dostoevsky and the Oriental pupil are different people of different cultures and other aesthetic
education: psychology and thought in Europe are in the forefront, and the writer's abilities are in this psy-chologism, which is to understand Dostoyevsky for Russian and European researchers; "Makes it easy to understand. In addition, the European student has learned more about prose work. The Orientals has learned more to the point of the word, the charm of the word, its ability to perceive, read, understand, and have evolved over thousands ofyears. It is difficult for the Uzbek reader to understand Dostoevsky, as it is difficult for Russian reader to analyze Navoiy's works and his philosophy. However, this does not mean that Dostoevsky should not be read by a Uzbek student, but rather a reader to read Dostoyevsky. The transition phase is a transition from the learners to the adoption of psychologist methods.
2. For these reasons, the second complexity is also derived. Dozens of research, articles, and portraits on Grossman, Bakhtin, Otto Kaus, Vyacheslav Ivanov, Fredlin, and many others have been published, so the Europe and the Russian pupils were ready to accept these great researchers. On the other hand, the Russian student was close to Dostoevsky (national, linguistic, cultural, and historic) for understanding, so they were at a loss to understand the researchers' research. It is clear that in this case the debate of the researchers is natural and understandable to those familiar with Dostoyevsky's work. But are you still in the Uzbek literary criticism of Dostoyevsky, which has not published a more accurate article? Does the student have to study and understand a well-planned "Telba", "Crime and Punishment" and "Iblis"? Unfortunately, no. Moreover, if we add eastern and western features in comprehension of the work, it is clear why we cannot join the discussion of these great researchers at once.
3. M. Bakhtin, Grossman, Lunacharsky and others have shown that Dostoevsky's greatest contribution to literature is his creation of the polyphonic novel genre, which they interpret in other polyphonic style of Dostoevsky's skill. So even without the full idea of what polyphony is, it is difficult to un-
derstand the interpretations of these researchers and Dostoevsky's works. In order to understand the term "Polyphonic novel", the student should be aware of the stages from other types of novels to polyphony. Otherwise, it does not understand the terminology and term. Polyphony is translated as "multicolored" in the Russian-Uzbek dictionary, but the word "multicolored" does not give the reader any imagination. So, what is polyphonic?
M. M. Bakhtin describes polyphony as a sudden rushing of various views and experiences in the work, as multi-volume, multilayer works in the structure. Dostoevsky was one of the greatest innovators in the literature industry. He created a new kind of artistic thought Bakhtin called conditional polyphonic. His novels were a new model of making the world an art of contemplation. "The unique feature of the sound and spirituality that has not been heard or described so far has been the main feature of the Dostoevsky novel, the real polyphony of voices" [1, 7]. "... Therefore, his creativity is incompatible with any framework studied in European novels, no historical-artistic scheme ..." [1, 8]. Dostoevsky's works are completely free, the composition is based on the development of voices rather than the development of events. Gogol and the unique collection of European novel, Bakhtin, in his words, created the polyphonic school. Dostoevsky's philosophy is based on his subjective thoughts: In our opinion, both Dostoyevsky should have a special approach to each researcher (including the reader), and that the way someone goes will lead to artificial interpretation for each researcher. Dostoyevsky's works can not be criticized critically, and this approach leads to a misunderstanding of Dostoevsky's poetics. His works serve only one ideology - universal ideology, ideology of vitality and beauty. It is possible to determine Dostoevsky's ideological concept only through deep study of his poetics. Dostoyevsky is either religious, realistic, philosophical, or methodologically or philosophically based on monophonic polyphonic poetics (Bakhtin). It is only a matter of
studying these things in a holistic, comprehensive way is the essence of the polyphonic novel.
The world of Dostoyevsky heroes is a spiritual drama, a spiritual mirror of the people of his time. But Dostoevsky has shown us that the heroes of Dostoevsky live in our bodies because of these experiences, dreams, hopes and tragedies, and that the tragedy is so sad, so terrible, and all the bad things in our bodies that we have to express our emotions, we analyze our own pain, and our tragedy. Friends of Dostoyevsky breathe with us and live in one body - we need Dostoevsky's eye to see them.
According to heroism psychology, "Gogol's Petersburg heroes are" dreamers. "It does not belong only to Piskaryov or Charkov, but belongs to Po-prishinga, Akaky Akakievich, and even Major Ko-voliv and Khlestakov, who are the servants of their own imagination, in order to achieve the exquisite life of the upper class".
The breadth of literature, such as life, is infinite. In Dostoevsky's style, the light, fascinating aspect of his works is the multifaceted, multilayered, mul-tifaceted, multi-faceted humanitarian or human problem. Every line in the works of the reader who understands this aspect of the word, in the sentence,
expresses a great love for the man. At the same time, it is also worth mentioning that the heroism in the heroes is a flawed form of revolt. This act rises to rebellion in such works as "Crime and Punishment" and "Brothers Karamazov". The rebellion of Roskol-nikov and Dmitry is no longer a writer's philosophical revolt, but a practical rebellion. "Dostoevsky's heroes' rebellion is always" dual ". This rebellion on the one hand is a theoretical idea of spirituality, in the mind of heroes or heroes - an inner "plot". On the other hand, it is an act of rebellion. The balance between the "internal" and "external" is one of the most important aspects of the writer's works.
The characters of Dostoevsky's works are in our minds and lives forever, breaking our superficial views of our lives and the world, of humanity and goodness, and drifting us from the sky of humanism to the earth, to the earth, and to the earth's most beautiful things. In short, Dostoyevsky is able to combine all the Russian classical literature and all the trends in Western literature. The more complicated his works, the more complex research is. A person who analyzes the literary world of Dostoyevsky must be familiar with these publications. Then you can sense the beauty of this glorious voice.
References:
1. Belinskiy V. G. Ch 3.- M., 1948.- 7 p.
2. Fridlender G. Dostoevskiy and world literature.- M.: "Goddessential Literature", 1979.- 108 p.
3. Fridlender G. Realism Dostoevskogo.- M., 1964.- 250 p.
4. Ghazali I. "Voskreshenie nauk o vere".- M., 1980.- 220 p.
5. Iezuitov A. Problems of psychologism in aesthetics and literature "Nauka",- L. 1970.- P. 12-13.
