FEMINOSENTRIC MYSTICAL REALITY AND METHODS IN MODERN WOMEN'S PROSE OF RUSSIA AND UZBEKISTAN

Аннотация

The article discusses the fact that the famous German scientist Karl Reichl is a modern researcher, a classification of research created in the framework of his work in the process of recording and studying scientific, scientific-pedagogical, folklore and ethnographic materials. KEYWORDS: - Feminocentric mythology, mystical motives, gender interaction, mystical reality, supernatural, forms of myth-thinking. phenomena and events, to read the veiled author's I NTRODUCTION position ... The appeal to various forms of myth-thinking has Realizing the imperfection of the masculine world been observed in fiction from time immemorial. The and the infringement of the position of women in it, interaction of myth and mysticism with realistic representatives of modern women's prose turn to aesthetics, reaching the level of synthesis, allows the recreation of feminocentric mythology and you to create a global model of the world, to solve mystical plots, using their potential to reconstruct "such metaphysical global problems as the meaning their own ideas about ideal relationships, a perfect of life, the purpose of history, the mystery of death" world in which a woman takes her rightful place. To and, of course, more private ones: social hierarchy, rewrite relationships in society, to present our own gender interaction, human relationships , moral version of the world, using myths as a lens through problems of the modern world, etc., as well as to which human identity is viewed in its socio-cultural provide works with deep social implications, context, to go beyond the socio-historical accusatory pathos, a number of capacious details framework in order to identify universal human and symbols, which, despite the emphasized content and approve our own concept - this, in our detachment from reality, make it possible to opinion, is the purpose of using myth-thinking in understand the author's references to real modern women's prose. In the last decades of the twentieth century, as S. Selers notes, women CURRENT RESEARCH JOURNAL OF PHILOLOGICAL 34 SCIENCES ISSN – 2767-3758 https://masterjournals.com/index.php/crjps CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 2(11): 34-38, November 2021 DOI: https://doi.org/10.37547/philological-crjps-02-11-09 ISSN 2767-3758 ©2021 Master Journals Accepted25thNovember, 2021 & Published 30thNovember, 2021 writers question and even reconstruct the existing explanation. Along with purely mystical scenes, the paradigms, using them when creating their works. story gives completely realistic pictures of the Referring to the work of the famous writer, world, which make it possible to convincingly historian and mythographer Marina Warner, she embody the author's idea. F. Afruz, telling the real notes that myths are by no means something story of a ruined life, includes in the story a mystical motionless and unchanging, "carved in stone", they picture of the appearance of a secret power: “... convey values and expectations that are constantly Before him (the hero - NM) appeared a huge woman evolving, which means that in they are hiding truths in a fiery dress. The fiery dress was ablaze, but that are valuable for the present day. For women's ignited nothing and radiated no heat. He shook his prose, turning to myths and rewriting them is not head violently, opened his eyes. The picture has not only a matter of interweaving new images and changed. The woman in the fiery dress was still situations, but also excavating, sifting new truth standing in front of him. " The main character of the through layers of unfavorable patriarchal ideas, story saw something strange, formidable (which is from which women have been excluded, emphasized by the "fiery" dress) creating an marginalized or depicted negatively in order to save atmosphere of fear, which is "derived" from very what is necessary, rethink and discard unnecessary. real circumstances - "the ceiling cracked, the plastic For myth, as a phenomenon of history, culture, chandelier fell to the floor and crumbled to there are no unsolvable questions. smithereens." The symbol of distinguishing fire is included both in the color of the dress and in the The judgment about eternal life, immortality of the subsequent fire that engulfed the house in which human soul, its transformed essence is embodied in the hero experienced a life tragedy. F. Afruz uses the work of one of the brightest representatives of the method of mystical metamorphosis: having modern Uzbek women's prose F. Afruz. Her story settled in the body of a moth (arvoh kapalyak), the "Unknown to us limits" is one of the first attempts protagonist learns the vile background of his in Uzbek women's prose to reproduce mystical already tragic life: he learns about the betrayal of reality, using the technique of double world - a his wife, that his friend is the father of children combination of reality and unreality, moreover, whom he considered blood ... Turned into a reality prevails in the story, an