11.21 YAPON ADABIYOTIDA MODERNIZMNING RIVOJLANISH XUSUSIYATLARI

Abstract

Ushbu maqolada XX asr boshlarida yapon adabiyotida modernizmning roli va o‘rni, yapon modernistlarining ijodiy kontseptsiyasining o‘ziga xos xususiyatlari ko‘rib chiqiladi, shuningdek, XX asr boshi va o‘rtalarida Yaponiyaning ijtimoiy-siyosiy hayotini tahlil qilish, Yaponiyada modernizm yo‘nalishining paydo bo‘lishiga olib kelgan milliy hayotning ob’yektiv omillarini tahlil qilish o‘rganiladi.

Yaponiyada modernizmning paydo bo‘lishi ichki va tashqi sabablarga ko‘ra yuzaga kelgan. Bir tomondan, mamlakatda ishchilar sinfining o‘sishi va ishchilar harakatining ko‘tarilishi bilan birga bo‘lgan kapitalni jamlash jarayoni boshlandi. Ishchi sinfning faollashuvi burjuaziya ziyolilarini qo‘rqitib yubordi, ularda yaqinlashib kelayotgan o‘zgarishlardan qo‘rqib, ertangi kunga nisbatan tartibsizlik va noaniqlik kayfiyatini yaratdi. Bundan tashqari, 1923 yilda Yaponiyada ba’zi ziyolilar doirasida qo‘rquv va tartibsizlikni yanada kuchaytirgan voqea sodir bo‘ldi. Sentabr oyida Tokioning Kanto shahrida zilzila yuz berdi. Poytaxt xarobaga aylandi va olov ichida qurshovga aylandi. Tabiiy ofat qurbonlari soni 150 mingdan oshdi. Reaksion doiralar mamlakatda yuzaga kelgan qiyinchiliklardan, xususan, zilziladan kelib chiqadigan qiyinchiliklardan demokratik harakatni yengish uchun foydalangan. Politsiya tomonidan amalga oshirilgan qatag‘onlar ziyolilarda halokat tuyg‘usini uyg‘otdi, pessimizmning paydo bo‘lishiga, ko‘plab yozuvchilarning tasavvuf olamiga ko‘chib ketishiga, xayolot tomonidan vujudga kelgan boshqa xayoliy dunyoga qarshi turish zarurligini keltirib chiqardi. Aynan o‘sha davrda modernist tipdagi adabiyotga asos bo‘lgan asarlar paydo bo‘ldi.

Kalit so‘zlar: “Yangi san’at” maktabi, Taiso davri, Meyji restavratsiyasi, XX asr, “Bungeishunjyu” (“Adabiy xronika”) jurnali.

Annotation: This article examines the role and place of modernism in Japanese literature in the early XX century, the definition of the specifics of the creative concept of Japanese modernists, the article also examines the analysis of the socio-political life of Japan at the beginning and middle of the XX century, showing the objective factors of national life that led to the emergence in Japan interest of a part of the creative intelligentsia in the psihology and aesthetics of modernism.

The appearance of modernism in Japan was due to both internal and external causes. On the one hand, the country was undergoing a process of concentration of capital, which was accompanied by the growth of the working class and the rise of the labor movement. The intensified activity of the working class of confusion and uncertainty about tomorrow. In addition, in 1923 an event took place in Japan that further increased fear and confusion among some circles of the intelligentsia. In September, an earthquake struck Kanto in Tokyo. The capital turned into ruins and was enveloped in fires. . The number of victims of the disaster amounted to more than 150 thousand people. The reactionary circles used the difficulties prevailing in the country, in particular those arising from the earthquake, to defeat the democratic movement. Police reprisals with its participants aroused among the intelligentsia a sense of doom, contributed to the emergence of pessimism, the departure of many writers into the realm of mysticism, the need to oppose the world that was denied to reality a different, illusory, generated by fantasy. It was then that the works appeared that laid the foundation for modernist type literature frightened the bourgeois intelligentsia, aroused in it fear of impending changes, and created a mood.

Keywords: school of “New Art”, the Taise period, Meiji restoration, XX century, the magazine “Bungeisyunju” (“Literary Chronicle”)

XX asrning boshlarida Yaponiya adabiyoti va san'atida turli modernistik yo‘nalishlarning tez rivojlanishi kuzatildi. Intelligensiya uchun bu davr izlanishlar va adashishlar davri bo‘ldi. Ba’zi yosh yozuvchilar marksizm g‘oyalarini qo‘llab-quvvatlab, proletar adabiyotining yaratuvchilariga aylandilar, boshqalari esa G‘arbdan kirib kelgan modernistik oqimlarda – neopsixologizm, formalizm, syurrealizm va boshqalarda o‘zlarini topdilar. Ular an’anaviy yapon naturalistik adabiyotini rad etib, uni "bir xillikka asoslangan" deb atadilar va kuchayib borayotgan proletar adabiyoti ta’siriga qarshi chiqib, "san’at erkinligi va mustaqilligi", "shaxsga hurmat" kabi g‘oyalarni ilgari surdilar. Barcha modernistlar singari, yapon yozuvchilari ham yangi shakllarni izlashga katta ahamiyat berar edilar. O‘sha yillarda juda xilma-xil adabiy oqimlar mavjud edi, biroq modernistik adabiyot proletar adabiyotining asosiy raqibi hisoblanar edi. Bu oqim vakillari – shinkankakuha ("yangi sezgilar oqimi") va shinkogeijutsu-ha ("yangi san’at") deb ikki guruhga bo‘lingan holda – "zamona tashvishlari"ni sezgilar orqali anglash mumkinligini ta’kidlardilar va zamonaviy insoniyat his qilayotgan inqirozni ifodalash yo‘llarini izlashga harakat qildilar.