POETICAL IMAGE IN POETRY: FROM WORD TO IMAGE

Аннотация

This article analyzes the complex process of artistic transformation from word to poeticimage based ondeep scientific-theoretical and practical approaches. The transformation of the word from a simple means of communication into an artistic-aesthetic image is considered inextricably linked with thought, feeling and cultural consciousness. Initially, the word, which is condensed in content in the lexical -spiritual layer, acquires new semantic possibilities in the context of a poetic text; it comes to life with the help of rhythm, melody, syntactic organization and aesthetic means and turns into a poetic image. In this process, the word itself goes beyond its initial lexical meaning and rises to the level of an image with a multi-layered meaning, symbolic load and emotional impact. The spiritual and aesthetic resonance of the word in each poetic unit, its role in the perception of feelings, and its transformational role in figurative thinking were analyzed. The scientific significance of the article is that it considers the poetic image as a phenomenon of an open and dynamic nature, recreating not only within the literary text, but also in the reader's mind. On this basis, the article develops an integrative theoretical and practical modelthat consistently illuminates the process from word to image. Keywords : poetic image, concentration on content, contextual elevation, aesthetic loading, cultural-symbolicenrichment, receptiveaesthetics. ENTRANCE The word is the most subtle, most complex expression of human thought and culture, and in literature it goes beyond a simple means of transmitting information - it becomes an artistic and metaphorical field that combines spiritual experiences, philosophical ideas and cultural memory. Especially in poetry, the word gradually dissolves from its initial lexical meaning and, as a result ofthe densification ofcontent, its elevation in thecontext of the text, its revival through aesthetic means and saturation with cultural and symboliclayers, rises to thelevel ofa new- poetic image. The poet breathes life into the word, turns it into a symbol that makes one feel its fullness, and the reader, with the help of the resonance of these symbols, discovers new meanings and feelings in his inner world. Thus, the process of evolution from word to image connects not only language and thought, but also the soul and feelings, forming the highest form of artistic communication. This article analyzes the stages of content concentration, contextual elevation, aesthetic loading, and cultural-symbolic enrichment, and highlights the mechanisms of interaction between the creator and receiver of the poetic image - the poet and the reader - and modern theoretical approaches that emphasize the primacy of feeling. The study, based on the methods of theoretical literary criticism, text analysis, comparative analysis, and receptive aesthetics, aims to reveal the essence of the complex artistic metamorphosis from word to image andto fillthe gap between poetry and linguistics. https://ijmri.de/index.php/jmsi volume 4,issue5,2025 1091 LITERATURE ANALYSISAND METHODOLOGY In studying the complex process of metamorphosis from word to poetic image, the literature analysis was conducted at two levels: first, the sources of classical and modern poetic theory — starting with Aristotle's " Poetics" [1.45], Roman Jakobson's views on "Linguistics and Poetics" [2.45-68], Roman Ingarden's and Viktor Shklovsky's studies on artistic cognition and artistic technique, Mikhail Bakhtin's concepts of dialogic imagination, Hans-Robert Jauss's model of receptive aesthetics, and the works of modern literary scholars published in Uzbekistan — were compared in detail. These sources created the main theoretical platform for clarifying the presented principles on the stages of content densification, contextual elevation, synthesis of aestheticmeans, andcultural-symbolic enrichment. Secondly, the methodological combination of "text analysis + receptive aesthetics" was used to empirically verify the selected theoretical concepts in real poetic texts and examples of reader experience. At the text analysis stage, the lexical-metaphorical integration of the word, stylistic organization (tone, rhythm, parallelism) and the processes of symbol enrichment were consistently studied in poetic samples of different periods and genres. At the receptive aesthetics stage, with the participation of a group of respondents consisting of literary studies students and active poetry lovers, their sensory -resonances, symbolic interpretations and individual interpretations of the poetic image were analyzed using semi-structured interviews and test questions. The obtained data were coded in a structural-thematic way, and the results of both directions were combined through comparative analysis. In this way, the article managed to shed light on the process of the transformation of the word from its initial lexical meaning into aesthetic-symbolicsymb