CC BY
14THE THEME OF THE EAST IN THE WORK OF DINA RUBINA
Okhida Bakhtiyarovna Yuldasheva Malika Sadykovna Fayzieva
National University of Uzbekistan named after M.Ulugbek
ABSTRACT
The article deals with the theme of the East in the work of Dina Rubina on the example of the story "Babka". This study analyzes the title, image system, time, and spatial organization of the text. Among the central images in the article, the image of Tashkent is highlighted, which is recreated using the names of streets, names of bus stops, markets, reservoirs, names of household items.
Keywords: image, East, story, hero, motive.
The theme of the East plays a significant role in Russian literature. Since Pushkin's time, writers and poets attracted by the exotic world of the East with its original culture, alien customs and traditions. G. V. Vernadsky in his work "Kievan Rus" wrote "... the oriental flavor has always accompanied Russian literature, culture, and oral folk art". The modern literary process also notes the genuine interest of the Russian creative intelligentsia in the East: V. Makanin "The Caucasian Prisoner", V. Pelevin "The Sorcerer Ignat and the People", "Chapaev and the Void", "Yellow Arrow", G. Yakhin "Zuleikha opens her eyes", D. Rubin "On the sunny side of the Street", "Babka", "Gypsy", etc.
At present, the interest of researchers in the topic of the East in Russian and Russian-language literature is not fading. Such scientists addressed the study of this issue as Tairova I. A., PhD thesis on the topic. "Eastern traditions in the creative perception of I. A. Bunin" 2010, Atakhanov D. T. PhD thesis on the topic: "Oriental motifs in the works of A. S. Pushkin" 2000, Khabibullina A. Z. Scientific article: "The Dialogue of the East and the West in the works of M. Yu. Lermontov in the assessments of critics and researchers of the XX century" 2014. Kim Kyung-Tae PhD thesis on "The theme of the East in the works of I. A. Bunin" 1997, Abdurazakova E. R. PhD thesis on "The theme of the East in the works of Boris Pilnyak" 2005, Yan Meiping PhD thesis on: "Oriental motifs in the works of Victor Pelevin" 2019.
Among Uzbek scholars, such literary critics as O. N. Gibraltar "The Axiosphere of modern Russian-language literature" [1], S. E. Kamilova "The development of the poetics of the story genre in Russian and Uzbek literature of the late twentieth and early Twenty-first centuries" [3]. G. M. Egamberdieva "The question of originality in images" [5], A. M. Baltabaeva "The representation of the novel genre in the modern world literary studies" [2], Yuldasheva O. B. "Stages of the formation of the "Caucasian prisoner" in Russian literature" [3].
The goal is to analyze the image of the East in the work of Dina Rubina on the example of the story "Babka". The theme of the East has become one of the important themes of the work of the famous writer Dina Rubina, which found its special reflection in the novel "On the Sunny Side of the Street", in the stories "Babka", "Gypsy", "Murderer".
In recent years, he defended his PhD theses on the work of Dina Rubina: Silcheva A. G. "The Trilogy "People of the Air" by Dina Rubina: features of the artistic method" 2019, Zueva G. S. "Pictorial emphasis as a way to create the image of a hero-artist in the prose of Dina Rubina" 2018. Ziyatdinova D. D. "Artistic representation of the national myth in the work of D. Rubina 1990-2010" 2014, Shafranskaya E. F. "Mythopoetic of a foreign-ethnic text in the Russian prose of the XX-XXI century" 2008, Vasiyarova O. A. "Visualization in prose by D. I. Rubina of the XXI century 'Cold Spring in Provence", "Windows" 2019.
Dina Rubina is a modern Russian-language writer whose name known not only in the post-Soviet space, but also far beyond its borders. Interest in the work of Dina Rubina exhausted due to the depth of the themes and conflicts covered in her works, many of which, of course, raised by writers more than once. Nevertheless, it was on the pages of D. Rubina's works that they sounded with new force: the theme of war and peace, the theme of Jewish life. The theme of the continuation of the individual in the history of the family, the theme of national identity, and the theme of the East - the main ideological and thematic platform of Rubina's works.
The story "Babka" is one of the most interesting stories by Dina Rubina, imbued with childhood memories of the Tashkent period of Babka Rachel's life.
The title character of the story is Rachel Koganovskaya, presented through the eyes of her granddaughter of the author-narrator. The title of the story is quite obvious: babka is the main person in the fate of the writer, who made a huge contribution to the education of his granddaughter, and according to the author's own admission that it was she, babka, "...was the first unobtrusive style consultant for me" [4, p.2] the meaning of the title becomes clear. The author describes the difficult fate of Grandmother Rachel: during the war, she went through three evacuations "through the Caucasus and Kazakhstan" and delivered to Tashkent. The image of the grandmother was supplemented by memories that the model Rachel was married had two children and was a homemaker. The author, carefully preserving in memory the talents of the grandmother-inspired singing, artistic representation of various situations, the ability to tell a funny story-lamentably exclaims "...how did you manage to thoughtlessly screw up such an object? Yes, a great actor and, perhaps, a wonderful writer died in it!" [4, p. 3]. The author cites in the text Babkin's wonderful parables, small stories-anecdotes, instructing stories, transmitting, which were truly a storehouse of folk wisdom and for
the author is childish imagination, moments of wonderful stories and became, apparently, the impetus for word making.
The main character of the story is the author himself-the narrator of "Mamele", describing memories from a distant childhood: "Again and again I stir up my memory..." [4, p.1]. Mamele describes the events that happened to her during her stay with her grandmother in Tashkent, after which she left an indelible mark in her memory.
In the events described, there are also minor characters: Sander's grandfather, the author's mother, the author's cousin, uncle, as well as off-stage characters: Uncle Hamid, Sharapat, Alik. All of them, in one way or another, were parts of a full-fledged picture from childhood, even if they appear in the text once.
The story takes place in old Tashkent: "It was already other times and other lands: not the fertile pre-war Ukraine, but the sultry pandemonium of adobe Tashkent, wherethrough the Caucasus and Kazakhstan - my relatives were evacuated at the beginning of the war and where they were stuck forever..." [4, p.3], but at the very beginning of the story, the author takes the reader to Ukraine, where the maternity hospital is almost all the relatives of the hero: "The photographer of the town of Zolotonosha had a sublime passion for art..." [4, p. 1], so it initially becomes clear that the actions in the conditionally present Tashkent and in the past Ukraine will be interspersed with each other through flashbacks. Thus, the image of Tashkent becomes one of the main images in the work of art.
In this passage describing the house on Kashgark: "But this house in a large, full of children in the Tashkent courtyard on Kashgark. The most Babylonian, most multi -lingual area of the huge city rammed by the evacuation, this adobe house: a room and a kitchen opening onto a large veranda covered with old vines-did not belong to my grandparents, but to my uncle's second wife" [4, p.4]. The author quite reliably depicted the situation in wartime and the post-war period, when the hospitable and diverse Tashkent sheltered thousands of orphaned children of different nations. For which, later, in many works, he was awarded the paraphrase "bread city", "city of Friendship", etc. It becomes clear that the hero has the warmest and kindest associations with Tashkent. No, wonder the word "Kashgar" in the common people of Kashgar, in translation from the Kyrgyz language means "cashmere", and the meaning of the word takes on softness, warmth.
Note that the first lesson of creativity the author received lying on a tapchan with her grandmother in an ordinary Tashkent house "... adobe shacks, made after the war in a hurry..." [4, p.3] and watching a burning candle, imagined the struggle of the elements with time and drew conclusions: "... create the world with fire, mold it from scalding hot flesh-it's too late to change when it freezes..." [4, p.4]. Therefore, the adobe shacks of Tashkent gave the writer those unforgettable moments of childhood that she cannot forget. In the text, we also see a reference to the historical events of the city: "So, at the
end of my life, after the famous earthquake completely changed the appearance of Tashkent and in the center of it grew areas of faceless new buildings, in one of which my uncle and his third, final wife got an apartment..." [4, p.6].
Alai Bazaar is one of the most famous bazaars in Tashkent, which served not only as a market, but also as a place where people could just walk around; communicate with each other, where circus performers could arrange a show of acrobatic gestures. Where they could easily set up a tent with small animals, so that people, interested, jumped into a tent screaming with various screams, where the pleasant smell of freshly prepared shish kebab intoxicated people. Therefore, in the story, the Alai bazaar is a refrain and connects the characters. Fragments of his tragedy are associated with the memories of his grandfather Sender: "And exactly: after learning to walk on prosthetics, he returned to the butcher's shop in the Alai bazaar and stood on those prosthetics all day, butchering carcasses". The hero's brother is a broken-down person who cuts through the streets of Tashkent at the breakneck speed of a bicycle: "...and he will roll further, further-to Alaysky, to Engels, to Pervomayskaya..." [4, p.4], Babka's entertaining stories always began with the words: "I am going to Alaysky today... the grandmother began slowly, concentrating on stirring the porridge in my plate with a spoon" [4, p.3] -they promise to be interesting, rich, bright and original.
Based on her memories, the heroine also imagines the names of the streets of Tashkent: "...beer was pumped from barrels, at the corner of Kashgarka and Lenin Street - this is just a pretext, and it will roll on, on - to Alaysky, to Engels, to Pervomayskaya, then to ODO, the district House of officers, and then to Lunacharsky Highway..." [4, p.5], the name of the cinema and the name of the performance: "Once she went with me to a matinee at the cinema "Thirty Years of Lenin Komsomol" for the film "Rama and Shama"..." [4, p.5]. Many street names, various entertainment and cultural houses replaced with new names, and here Rubina presents us with the old Tashkent of the 1940s.
The author fondly recalls the days spent in Tashkent: "My memory so comfortably lived these weeks, winter and summer, lived in Kashgarka, in a house with a single, but large window, radiant as a screen in a rapidly fading cinema hall. In spring and summer, it was full of gloomy poplar foliage..." [4, p. 7]. Here, the memory of the window seems symbolic to us, as if the author learns to look at the world through this window, to understand the laws of life. This understanding is also facilitated by the mention of a candle, the fire of which fought with the element called "time": "Why does the fiery moth of a thinning candle still beckon me in that old, almost indistinguishable window, where the leaves of the beginning of my life still flutter with bird's wings?"
The author tries to recall episodes from his childhood: "Again and again I stir up my memory..." [4, p. 1], she tries to restore everything to the smallest detail in her memory, and she succeeds: "...her nervous hands a narrow hand, long fingers, perfectly
oval shape pop up in her mind's eye, then in the text she remembers already "...cracked hands I remember as the most working of all that I have met in my life. The first thing I saw and felt when I woke up were those hands: heavy, square hands, rough fingers. The touch of her fingers on the fabric made a rustle. If it accidentally stung with ice burrs..." [4, p. 5]. It is surprising that the author even recalls how the grandmother "put pieces of coal into the fire with her bare hands", as well as the fact that "...with these hands every morning she bandaged the stumps of her grandfather's legs" [4, p.4]. Metaphorically, the author compares the hands of the grandmother with hard, backbreaking work. In contrast to the rough grandmother's hands, the text features a portrait of Rachel at the age of eighteen: "... long braids along a long dress, a foot in a narrow shoe with a copper buckle, a narrow hand, long fingers, perfectly oval nails" [4, p. 1]. The author thinks about the impermanence of human existence, about the circumstances that can change the appearance of a person, and the soul, and the place of residence, and the way of life. In moments of philosophical reasoning, Rubina finds the culprit of such a transformation of the grandmother: "Strange, I thought, why has life changed so much? Where are all those elegant long dresses, all those languid poses, romantic Venetian windows, even if painted? Where the shoes with the brass are buckles? Where, finally, is she, my grandmother Rachel, and well-groomed hands? No revolution could have "stolen" them...It turns out that she could and stole it" [4, p. 8]. The revolution and the war determined the fate of Rachel, "stole" her beauty and talents.
One of the important episodes in the story is the mention of a Muslim cemetery, where the hero once spent almost all day. However, Mamele was not at all afraid of the cemetery crescents and earthen graveyards; she even confused by the sultry silence: "I was lying in the weeping tent of an old willow tree, under a large purple hole, like a window; in it the faint stars still flashed sharply, gradually heating up, swarming and circling..." [4, p. 4]. The situation itself is symbolic: the hero finds herself in a cemetery, a place deserted and terrible, but the Muslim cemetery "embraced" the hero, hid her, kept her in the cradle of a weeping willow. "Cut through" a window to the sky and took her into an extraordinary trance, did not allow her to awaken an unpleasant feeling of loneliness. Fear of incomprehensible rustles and sounds, "...but the ringing and whispering of a summer day and a window full of stars in the dark crown of a lonely willow have since forever merged in my memory with the old Muslim cemetery..." [4, p.6]. In the story, a red thread runs through the motif of memory, which is a kind of framework for the entire work. When describing the two mausoleums, the hero recalls the chipped azure tiles around the mausoleum and "... only a fragment of the latter stuck to the old clay tightly..." [4, p. 5], thus we compare this mentioned fragment with the memory of the author, who, despite "completely different geographical and time slides", sticks to the heroine, which can be correlated with the mausoleum, which has also learned a lot in this life.
In addition, the image of Tashkent supplemented by memories of everyday trifles: "I remember in detail the magic junk from the cart "shara-bar", pulled by a drooping donkey: an old Uzbek exchanged clay whistles and tight, ruddy-colored balls blown out of pharmacy teats for bottles..." [4, p.3], even the Eastern names were remembered very clearly: "Immediately the door slammed in the house farthest from the gate, Sharapat, the third daughter of Uncle Hamid, ran out on the porch, and she screamed shrilly: ""Assfucker Vanyushka!" - This meant only one thing: the driver Vanyushka brought coal" [4, p.3]. In the memory of the hero, there are such moments that the reader can imagine the Eastern national color [9-16].
All the events and memories that happened to the heroine are formed around the grandmother and take place in Tashkent, and despite the fact that the heroine spent only vacation time there, it is this house with a veranda on Kashgark that seems to her "... a citadel of peace and love in the heart of a restless childhood" [4, p.8]. Thus, the image of Tashkent preserved in the memory of the hero as an island of salvation, peace, comfort and love [17-21].
Thus, after analyzing the story of Dina Rubina "Babka", we conclude that the image of the East plays an important role in this work of art [22-26]. The description of a Tashkent house with a veranda, lovingly described everyday details: tap Chan, where the hero slept with her grandmother, a vine that protects from the scorching sun, a window-theater, through which you could see extraordinary pictures, Uzbek neighbors with Oriental names and their unique funny pronunciation of Russian words-recreate the image of the East. In addition, a special role in recreating the image of the East played by the description of the Alai bazaar, the old streets of Tashkent with names that do not exist now [27-30]. The Muslim cemetery, so correctly outlined with all its crescents, "talking" crickets, the silence of the summer heat, two dilapidated mausoleums with chipped tiles-reflect the national oriental flavor.
REFERENCES
[1] Rubina D. Modern prose: Babka. - Moscow, 2011
[2] Akhmedova M. M. (2021). The image of the hero in the stories of Zakhar Prilepin (on the example of the collection "Sin") // Society and Innovation, 2(7/S), 157-162.
[3] Egamberdieva G.M. https://cyberleninka.ru/article/n/svoeobrazie-kontsovki-v-skazkah-i-dastanah.
[4] Gibraltarskaya O. N. Axiosphere of modern Russian-language literature // Polish Journal of Science. 2021. № 36-2.
https://cyberleninka.ru/article/n7stages-of-the-formation-of-the-caucasian-prisoner-in-russian-literature
[5] Kamilova S.E. https://cyberleninka.ru/article/n/lingvostilisticheskaya-determinatsiya-peredachi-natsionalnoy-spetsifiki-hudozhestvennogo-perevoda-na-materiale-uzbekskoy-prozy.
[6] Yuldasheva O. B. Stages of the formation of the "Caucasian prisoner" in Russian literature //Science and Education. 2021. № 4-2.
[7] Yuldasheva O.B. THE DEVELOPMENT OF RUSSIAN-LANGUAGE LITERATURE IN UZBEKISTAN. https://www.elibrary.ru/item.asp?id=46423043
[8] Fayzieva M.S. From the history of poetics//PHILOLOGY AND LINGUISTICS. International scientific journal. №2 (14) / 2020.
[9] Fayzieva M.S. KITE AS A SYMBOL OF FREEDOM (ON EXAMPLE OF KHALED HOSSEINI'S NOVEL "KITE RUNNER")// Scientific bulletin. NamSU 2021/6.
[10] Yuldashbayevna, N. J. (2020). The Role Of Teachers' Cultural Awareness In Preparing To Work With Multicultural Students. The American Journal of Social Science and Education Innovations, 2(09), 170-183.
[11] Нариманова, Ж. Ю. (2018). Development of intercultural communicative competence of students in the study of foreign language. Молодой ученый, (30), 71-73.
[12] Yuldashbayevna, N. J. (2021). ALICE WALKER'S BIOGRAPHY AND CREATIVE WORK IN AMERICAN LITERATURE.
[13] Narimanova, J. Y. (2021). FEMALE QUEST IN THE NOVEL OF THE THIRD LIFE OF GRANGE COPELAND OF ALICE WALKER. Scientific progress, 2(2), 1653-1658.
[14] Narimanova, J. Y. (2021). THE IMPORTANCE AND REFLECTION OF POLITICAL AND AESTHETICAL VIEWS IN ALICE WALKER'S WORKS. Scientific progress, 2(2), 1647-1652.
[15] Gulnoza, S. (2019). Science in the hadithss: history and times. Uzbekistan Journal of Oriental Studies, 1(2), 137-146.
[16] Sultanova, G. S., & Tangriberdiyeva, A. E. (2021). The impact of social networks on youth education.
[17] Sultanova, G. S. (2020). CONSTRUCTIVE TRANSFORMATION OF THE STYLE OF SCIENTIFIC THINKING. Scientific Bulletin of Namangan State University, 2(9), 194-198.
[18] Sultanova, G. (2016). METODOLOGY AND WAY OF THINKING IN POSTNONCLASSICAL PHYLOSOPHY. Theoretical & Applied Science, (2), 172174.
[19] Sultanova, G. S. (2019). The essence and nature of postnonclassical scientific thinking. Школа Науки, (3), 21-22.
[20] Sultanova, G. S., & Azizova, L. (2018). Samples of scientific thinking in the work of thinkers in Central Asia. Редакционная коллегия: д. соц. н., профессор РР Галлямов, д. п. н., профессор, 120.
[21] Sultanova, G. S., & Azizova, L. S. (2018). Problems of improvement of innovative characteristics in education integration. In Результаты фундаментальных и прикладных исследований в России и за рубежом (pp. 13-16).
[22] Sultanova, G. S., & Azizova, L. (2018). Metodology and style of thinking in postnonclassical phylosophy. In Современные проблемы науки и образования: вопросы теории и практики (pp. 116-120).
[23] Sultanova, G. S. (2018). Problems of formation of the postnonclassical style of scientific thinking. In Научная мысль XXI века: результаты фундаментальных и прикладных исследований (pp. 51-56).
[24] Sultanova, G. (2016). Metodology and way of thinking in postnonclassical phylosophy (epistemological analysis). Мiжнародний науковий журнал, (6 (3)), 9496.
[25] Султанова, Г. КОНЦЕПТУЛЬНЫЕ ПРОБЛЕМЫ ПОСТНЕКЛАССИЧЕСКОГО СТИЛЬЯ НАУЧНОГО МЫШЛЕНИЯ.
[26] Ахмедова, М. (2020). ИЗУЧЕНИЕ ПРОБЛЕМ СРАВНИТЕЛЬНОГО ЛИТЕРАТУРОВЕДЕНИЯ В УСЛОВИЯХ ДИСТАНЦИОННОГО ОБУЧЕНИЯ. Review of law sciences, (2).
[27] Ахмедова, М. М. (2020). РАССКАЗЧИК-ГЕРОЙ В ПРОИЗВЕДЕНИЯХ А. ЮЛДАШЕВА (ЙУЛДАШЕВА)(РАССКАЗЫ «ПУАНКАРЕ» И «БЛИЗНИЦЫ»). Oriental Art and Culture, (IV).
[28] угли Исмоилов, Ш. О., & Ахмедова, М. М. (2020). ИЗУЧЕНИЕ ОСНОВНЫХ АСПЕКТОВ СОВРЕМЕННОЙ ПРОЗЫ ВО ВРЕМЯ ДИСТАНЦИОННОГО ОБУЧЕНИЯ. Science and Education, 7(4), 268-274.
[29] Akhmedova, M. M. (2021). The transformation of Russian prose of the XXI century. Science and Education, 2(4), 527-532.
[30] Ахмедова, М. М. (2019). О ПРОЦЕССЕ ТРАНСФОРМАЦИИ ГЕРОЯ (на примере рассказа З. Прилепина «Какой случится день недели»). In Проблемы методологии и опыт практического применения синергетического подхода в науке (pp. 39-40).
