Bema'ni hazil (surreal hazil)

Surreal hazil (yoki bema'ni hazil ) - bu mantiqqa to'g'ri kelmaydigan hodisa va xatti-harakatlarni keltirib chiqaradigan sabab-oqibat asoslarini ataylab buzishga qaratilgan hazil shakli. Surreal hazilning asosini, odatda, g'alati hodisalar, oqibatiga aloqasi bo'lmagan, mantiqsiz yoki absurd vaziyatlar va ahmoqona xatti-hakatlar tashkil etadi. Bunday hazillar yakunini oldindan bashorat qilib bo'lmaydi. Absurd kulgu turining mashxurlik sababi ham shunda, chunki odamlarga ohiri nima bo'lishini taxmin qila olmaydigan voqealar kulguli tuyiladi va yoqadi.

Adabiyotdagi shakli

Edvard Lir 73 yoshda va uning o'n olti yoshli mushuki Foss. 1885 yildagi toshbosma .

Bema'ni kulguni tariflashda mantiqsizlik va absurdlik atamalari ishlatilganda "surreal hazil" atamasi ham yonma-yon ishlatilinadi. Surrealizm tarixi esa XIX asrga borib taqaladi. Bu davrga oid asarga misol qilib Luis Kerrollning “Alisa mo‘jizalar mamlakatida” kitobini keltirish mumkin. Unda surreal kulguning dastlabgi elementlaruni uchratish mumkin. Masalan, chekishga mukkasidan ketgan qurt (real hayotta tamaki tutini tarkibidagi nekoten hayvonlarga zarar ekanligi hammaga ma'lum); kroket o'yini uchun jonli flamingolardan foydalanilganligi. Bundan tashqari, Edvard Lirning ko‘plab hikoya va she’rlari surrealizm ruhida yozilgan. Masalan, "Dunyo bo'ylab sayohat qilgan to'rtta kichkina odamcha hikoyasi". Asar 1871- yili yozilgan bo'lib, unda dunyo bo'ylab sayohatga chiqqan to'rtta bolaning sarguzashlari hikoya qilinadi.

Dadaizm va futurizm bilan aloqasi

XX asr boshlarida bir qancha avangard oqimlar, jumladan dadaist, surrealist va futuristlar tasodifan hayolgan keluvchi, oʻtkir va mantiqqa umuman to'g'ri kelmaydigan tasviriy shakllarni sanʼatga olib kira boshladilar^[1]. Ushbu harakatlarning maqsadlari, ma'lum ma'noda, jiddiy qarashlarni o'z ichiga olar edi. Shuning uchun ular o'zlarini zamonaviy san'atga aloqador kishilardan ustun qo'yishardi. Natijada, ular tomonidan yaratilgan ko'plab asarlar kishilarda kulgu uyg'otar edi. Bunga misol qilib, Marsel Dushan favvorasini (1917) keltirish mumkin^[2].

Tarixi va etimologiyasi

Marsel Duchamp favvorasi (1917), teskari siydik yo'lidan yasalgan. Yozuvda "R. Mutt.

"Surreal" so'zi birinchi marta 1920-yillarning boshlarida estetika turini tasvirlash uchun ishlatilgan. Avangard san'at yo'nalishidan tashqari, surreal komediya Lir va Kerroll ishlatgan mantiq qoidalaridan voz kechadigan shunday satirik qurilmalardan foydalanadi.

Surreal hazil avangard teatrida ham keng tarqalgan, masalan, Godot va Rosencrantzni kutish va Gildenstern o'lganlar . AQSHda S. J. Perelman (1904-1979) birinchi surrealist-yumor yozuvchi sifatida tan olingan ^[3] .

Surreal hazil Britaniya radiosida 1951 yildan 1960 yilgacha The Goon Show aktyorlari tomonidan ijro etilgan: Spike Milligan, Piter Sellers va Garri Sekomb ^[4]^[5] . The Goons ishi 1966 yildan 2012 yilgacha Amerikaning Firesign Theatre radio komediya truppasiga ta'sir ko'rsatdi ^[6]^[7] . Firesigns puxta komik radio pyesalar yozgan, ularning aksariyati albomlarga yozilgan.

Kinoda syurreal hazil keng tarqalgan bo'lib, bu yerda ishonchsizlikni to'xtatib turish mantiqiy ravishda mumkin bo'lmagan, teskari yoki bo'rttirilgan binolarning oqibatlarini kuzatish orqali bema'nilik darajasiga qadar cho'zilishi mumkin. Luis Buñuel buning asosiy namoyonidir, ayniqsa, "Yo'q qiluvchi farishta" da. Bu Britaniyaning Monty Python komediya truppasining (1969-2015) televizion va kino ishlarining diqqatga sazovor xususiyati. Boshqa misollar Piter Grinuey tomonidan yozilgan The Falls va Terri Gilliam tomonidan Braziliya ^[8]^[9] .

Tahlili

Doktor Meri K. Rojers va Diana Pien ushbu mavzuni "Fillar va zefirlar" ("Muvofiqlik nazariyasining nazariy sintezi - hal qilish va qo'zg'atuvchi hazil" sarlavhasi) sarlavhali insholarida tahlil qildilar va "agar ular nomuvofiqlik muammosini to'liq hal qila olmasalar, hazillar ma'nosiz bo'ladi", deb yozgan edi. " va fil hazilining ko'p variantlaridan birini keltirdi:

"- Nega fil zefirga o'tirdi?

"Chunki u bir chashka issiq shokoladga tushishni istamadi." ^[10] .

"Ularning fikriga ko'ra, hazil to'liq hal etilmagan", deb ta'kidladi doktor Elliott Oring, - chunki vaziyat biz bilgan dunyoga mos kelmaydi. Albatta, fillar issiq shokoladli stakanlarda o'tirmaydilar ." ^[11] . Oring hazilni nomuvofiqlikni hal qilish emas, balki "tegishli nomuvofiqlikni idrok etish" ^[12] barcha hazillar ma'lum miqdorda nomuvofiqlikni o'z ichiga oladi va bema'ni hazillar ruhiy tasvir nomuvofiqligi bilan qo'shimcha "bema'ni tasvir" komponentini talab qiladi ^[13] .

Havolalar

Qora hazil va surrealizm (Jacqueline Chenier-Ghandrone). (Wayback Machine saytida 2022-01-24 sanasida arxivlangan)

Eslatmalar

↑ The History of Futurism: The Precursors, Protagonists, and Legacies. Lexington Books, 2012. ISBN 978-0-7391-7387-9.
↑ Gayford, Martin „Duchamp's Fountain: The practical joke that launched an artistic revolution“. The Telegraph (2008-yil 16-fevral). 2022-yil 12-yanvarda asl nusxadan arxivlangan. Qaraldi: 2017-yil 5-fevral.
↑ McCaffery, Larry (1982). "An interview with Donald Barthelme". Partisan Review 49: 185. "People like SJ Perelman and EB White—people who could do certain amazing things in prose. Perelman was the first true American surrealist—ranking with the best in the world surrealist movement."
↑ McCann, Graham. Spike & Co.. London: Hodder & Stoughton, 2006. ISBN 0-340-89809-7. (a) pp.4, 5, 61; (b)p.183, (d) pp.180, 181, (e)p.203
↑ Wilmut, Roger „The Birth of the Goons“, . The Goon Show Companion - A History and Goonography. London: Robson Books, 1976. ISBN 0-903895-64-1. „...one puzzled planner was heard to ask, 'What is this "Go On Show" people are talking about?“
↑ „FIREZINE #4: Under the Influence of the Goons“. Firezine.net (winter 1997–1998). 2006-yil 27-iyunda asl nusxadan arxivlangan. Qaraldi: 2012-yil 28-oktyabr.
↑ Ventham, Maxine. Spike Milligan: His Part In Our Lives.. London: Robson, 2002. ISBN 1-86105-530-7.
↑ Vogel, Amos. Film as a Subversive Art. New York: Random House, 2005. ISBN 0-394-49078-9.
↑ Williams, Linda. Figures of Desire: An Analysis of Surrealist Film. University of California Press, 1992. ISBN 0-520-07896-9.
↑ It's A Funny Thing, Humor. Pergamon Press, 1977 — 37–40-bet.
↑ Oring 2003, ss. 20–21
↑ Oring 2003, s. 14
↑ Oring, Elliott. Jokes and Their Relations. University Press of Kentucky, 1992 — 21–22-bet.

Adabiyot

Oring, Elliott. Engaging Humor. University of Illinois Press, 2003.

[1] The History of Futurism: The Precursors, Protagonists, and Legacies. Lexington Books, 2012. ISBN 978-0-7391-7387-9.

[2] Gayford, Martin „Duchamp's Fountain: The practical joke that launched an artistic revolution“. The Telegraph (2008-yil 16-fevral). 2022-yil 12-yanvarda asl nusxadan arxivlangan. Qaraldi: 2017-yil 5-fevral.

[3] McCaffery, Larry (1982). "An interview with Donald Barthelme". Partisan Review 49: 185. "People like SJ Perelman and EB White—people who could do certain amazing things in prose. Perelman was the first true American surrealist—ranking with the best in the world surrealist movement."

[Spike&Co-4] McCann, Graham. Spike & Co.. London: Hodder & Stoughton, 2006. ISBN 0-340-89809-7. (a) pp.4, 5, 61; (b)p.183, (d) pp.180, 181, (e)p.203

[5] Wilmut, Roger „The Birth of the Goons“, . The Goon Show Companion - A History and Goonography. London: Robson Books, 1976. ISBN 0-903895-64-1. „...one puzzled planner was heard to ask, 'What is this "Go On Show" people are talking about?“

[Firezine_Goons-6] „FIREZINE #4: Under the Influence of the Goons“. Firezine.net (winter 1997–1998). 2006-yil 27-iyunda asl nusxadan arxivlangan. Qaraldi: 2012-yil 28-oktyabr.

[MilliganHisPartInOurLives-7] Ventham, Maxine. Spike Milligan: His Part In Our Lives.. London: Robson, 2002. ISBN 1-86105-530-7.

[8] Vogel, Amos. Film as a Subversive Art. New York: Random House, 2005. ISBN 0-394-49078-9.

[9] Williams, Linda. Figures of Desire: An Analysis of Surrealist Film. University of California Press, 1992. ISBN 0-520-07896-9.

[10] It's A Funny Thing, Humor. Pergamon Press, 1977 — 37–40-bet.

[11] Oring 2003, ss. 20–21

[12] Oring 2003, s. 14

[13] Oring, Elliott. Jokes and Their Relations. University Press of Kentucky, 1992 — 21–22-bet.

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