«SPOOK COUNTRY» ROMANIDA PERSONAJLAR ICHKI DUNYOSINING POETIKASI
Kalit so'zlar
https://doi.org/10.47390/SPR1342V5I12Y2025N46Kalit so'zlar
personaj interiordagi holati; fokalizatsiya; erkin bilvosita nutq; narrativ etika; raqamli realizm.Annotasiya
Ushbu maqola Uilyam Gibsonning Spook Country (2007) romanida — shuningdek “Bigend/Blue Ant” trilogiyasining ikkinchi qismida — personajlarning ichki dunyosini tasvirlash poetikasini tahlil qiladi. Tadqiqot narratologiya (J. Jenettning fokalizatsiya talqini), ong poetikasi (Dorrit Kon), narrativ etika (Jeyms Phelan) va Baxtin dialogizmga tayangan holda, Gibsonning kech davrdagi “raqamli realizm”i erkin bilvosita nutq, idrokiy montaj, e’tibor xaritalash hamda material interfeyslar (GPS san’ati, AR qatlamlari, logistika marshrutlari) orqali interiordagi jarayonlarni qanday ifodalashini ko‘rsatadi. Pattern Recognition, Zero History va erta kiberpank (Neuromancer) bilan, shuningdek N. Stivensonning Snow Crash, The Diamond Age hamda Cryptonomicon asarlari bilan qiyosiy tahlil natijasida Spook Country romantik-e’tirofiy yoki algoritmik-diagrammatik model emas, balki tarmoqlangan va axloqiy-pragmatik interiordagi model sifatida namoyon bo‘ladi; bu yerda hushyorlik, kuzatish, ma’lumot yig‘ish va shubha “tafakkur odatlari”ga aylanishi ko‘zga tashlanadi. Roman ichki hayotni e’tiborga asoslangan taqsimlangan idrokiy-axloqiy tizim sifatida modellashtiradi; e’tibor uslublarining o‘zi esa axloqiy pozitsiya bo‘lib xizmat qiladi.
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