DRABBL GENRE IN UZBEK AND RUSSIAN LITERATURE: ON THE EXAMPLE OF THE WORKS OF ANTON CHEKHOV AND ABDULLA QAHHOR

Аннотация

The article analyzes the artistic and aesthetic features of the drabble as a distinct form of short prose in Russian and Uzbek literature. Through a comparative analysis of Anton Chekhov’s and Abdulla Qahhor’s literary heritage, the study reveals the formation, development, and literary-aesthetic potential of short story genres. The research extensively discusses the depth of content, brevity of form, and literary significance of the drabble genre, highlighting both similarities and differences between thetwo authors’ works. Keywords: drabble, short story, genre, Anton Chekhov, Abdulla Qahhor, microgenre, Russian literature, Uzbek literature. Introduction. In modern literature, the compactness of artistic forms, high concentration of content, and laconic expression of ideas are becoming increasingly relevant. In an era of overwhelming information flow, attracting the reader's attention through short but meaningful texts has become one of the important directions of the literary process. In this regard, the formation and development of the microgenre called “drabble” deserves special attention in literary studies. Drabble, defined as a 100-word mini-story, is essentially a condensed form of the classic narrative genre, striving to expressreality with maximumimpact in aminimumvolume. Thisarticle analyzes themanifestation ofthis microgenre inRussian and Uzbek literature, its artistic characteristics, harmony of form and content, and aesthetic impact. In this regard, a comparative study of the creative heritage of A.P. Chekhov and A. Qahhor serves to determine how the genre boundaries of short prose are determined. While Chekhov occupied an important place in Russian literature through his miniature stories rich in psychological subtlety, Qahhor is a writer who raised theshort form toa high artistic level in Uzbekrealisticprose. This article aims to reveal the similarities and differences between the stories of A.P. Chekhov and A. Qahhor within the framework of genre and style, by identifying the principles of formation, literary-functional tasks and aesthetic value of drabble. Thus, it allows us to interpret the microgenre of drabble in a national and general literary context, and to determine the place and significance of theshort form in modern artisticthought. Literature review on thetopic In modern literary criticism, the transformation of the genre system, especially the evolution of the short story genre, has been the focus of many scientific studies. The research of the Russian literary critic Mikhail Bakhtin is of particular importance in the formation of theoretical approaches to the short story genre and its small forms. In his opinion, the expressiveness and aesthetic power of speech are more pronounced in small genres than in large genres. Bakhtin directly connects the short story genre with the human mind and its speech activity, and believes that small forms reflect theinner world ofa person more vividlyand deeply. (Baxtin, 1975). Yuri Lotman also made a significant contribution to the analysis of the features of prose in small forms. In his research, Lotman considers the story and its mini-forms as a separate type of artistic communication. According to Lotman, small genres are the most condensed form of the system of signs from a semiotic point of view. Lotman also emphasizes that each element in the story, especially in a compact form, carries a large semantic load, and this compactness has a strong emotional impact onthereader (Lotman, 1998). Russian literary critic Dmitry Likhachev, in his theoretical considerations on short forms, emphasizes that the main feature of short texts is conciseness and clarity. Likhachev cites the ability 543 RAQAMLI TRANSFORMATSIYA SHAROITIDA SUN’IY INTELLEKTNI RIVOJLANTIRISH VA ZAMONAVIY MATEMATIKANI O‘QITISH MUAMMOLARI VA YECHIMLARI to convey the author’s idea concisely and effectively as the main artistic advantage of short stories. According to his views, Chekhov’s work brought this genre to a new level and introduced a modern model ofshort stories into literature (Lixachev, 1989). One of the prominent scholars who conducted research on the compact forms of the short story genre and their characteristics in Uzbek literary studies is Ozod Sharafiddinov. According to Sharafiddinov, small forms of the short story genre, especially in the work of Abdulla Qahhor, initiated a new stage of formation. While studying Qahhor’s work, he particularly notes the writer’s skill in expressing reality in a compact form and revealing big ideas through images in a minimal text. Sharafiddinov emphasizes that Qahhor’s stories demonstrate the potential of the small genre and directly connects his work with Chekhov’s creativestyle (Sharafiddinov, 1967). Also, the well-known literary critic and critic Ibrohim Gafurov puts forward important considerations in his study of Abdulla Qahhor's stories. In his opinion, the brevity and conciseness of Qahhor's stories were considered an arti