International Journal of Culture and Modernity

This article provides an artistic-aesthetic comparative analysis of the famous American writer J. Salinger and his writing career

Ikromjonovna, Bo'riboeva Iroda

 
 
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AUTHOR'S LIFE AND ARTISTIC AESTHETICS AS AN OBJECT OF 
COMPARATIVE ANALYSIS 
 
Bo'riboeva Iroda ikromjonovna 
Master student at Samarkand State Institute of foreign Languages, Uzbekistan 
 
 
Abstract: 
This article provides an artistic-aesthetic comparative analysis of the famous 
American writer J. Salinger and his writing career. 
 
Keywords: 
controversial novel, phoniness, clerical currents, psychological nature, 
comparative-typological study, individual styles, the greatest mind. 
 
J. D. Salinger, best known for his controversial novel The Catcher in the Rye, is recognized 
by critics and readers alike as one of the most popular and influential authors of American 
fiction during the second half of the twentieth century. 
Jerome David Selenger is a famous American writer. He was born on January 1, 1919, in 
New York City to a wealthy Jewish family of Lithuanian descent. The father tries to give his 
son and his only sister good information.  
Selanger’s first short stories will be published in New York magazines. The story "Banana 
fish hunts well", published in 1948, brought him fame. Eleven years after his first story was 
published, Selenger published his only novel in 1951, Rivers Abyss The book was banned in 
several U.S. states and neighboring countries because of its use of vulgarisms and depressive 
moods, but it is now at the forefront of school literature that must be read. The work has been 
translated into many languages of the world. 
The Catcher in the Rye was an immediate popular success. Salinger's depiction 
of adolescent alienation and loss of innocence in the protagonist Holden Caulfield was 
influential, especially among adolescent readers. The novel was widely read and 
controversial, and its success led to public attention and scrutiny. Salinger became reclusive, 
publishing less frequently. He followed Catcher with a short story collection, Nine 
Stories (1953); Franny and Zooey (1961), a volume containing a novella and a short story; 
and a volume containing two novellas, Raise High the Roof Beam, Carpenters and Seymour: 
An Introduction (1963). 
In 1951 Salinger's masterpiece The Catcher in the Rye landed at bookstores. In The Catcher 
in the Rye, Holden Caulfield is driven to the brink of a nervous breakdown by his disgust for 
the "phoniness" of the adult world that he is about to enter. He finds peace only in the 
presence of Phoebe, his young sister. Taking flight from this world, Holden plans to head 
west, where he hopes to live a peaceful existence in a log cabin. However, he begins his 
journey by traveling to New York where he plans to say goodbye to his sister, and on the way 
 
 
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he participates in a series of humorous adventures. Such a confusion in direction is 
characteristic of Caulfield, as there seems to be a pattern of impulsive behavior in many of 
his actions. One of Salinger's more subtle devices is to discredit his main character by placing 
him in situations wherein his own phoniness is exposed. In these situations his character is 
made all the more interesting through what readers quickly see as his sensitivity and 
intelligence. 
It is little wonder that The Catcher in the Rye quickly became a favorite among young 
people; it skillfully demonstrates the adolescent experience with its spirit of rebellion. At 
various points in history, The Catcher in the Rye has been banned by public libraries, schools, 
and bookstores due to its presumed profanity (bad language), sexual subject matter, and 
rejection of traditional American values. 
Despite its popular success, the critical response to The Catcher in the Rye was slow in 
getting underway. It was not until Nine Stories, a collection of previously published short 
stories came out in 1953 that Salinger began to attract serious critical attention. 
In the 60's, the author published a collection of short stories "Frennie and Zui" and short 
stories "Carpenters, raise the bar higher." They promote the author's personal worldview - a 
mixture of Zen Buddhism, limited mysticism, nihilism and Tolstoy's philosophy - in the form 
of members of the Glass family, who have high intellectual, delicate tastes. After the 
publication of the only recorded novel became popular, Selanger retreated, never giving an 
interview at all. In the last years of his life he severed all contact with the outside world and 
engaged in the theory and practice of various clerical currents, behind high walls, in a 
mansion in Cornish, New Hamshire. He died on January 27, 2010. 
Selenger's works have hardly been translated into Uzbek in the 20th century. However, a 
number of his stories are widely studied in world literature, including in the universities of 
our country, as an example of high art of speech. It was only during the years of 
independence that some of the author's stories were translated into Uzbek. Despite the fact 
that the author spent the last years of his life in an unnatural way, despite the psychological 
nature of his work, the complexity of its perception as a work of high art, in some countries, 
including our country, had a direct or indirect impact on the work of a number of artists. For 
example, in the works of the well-known Uzbek writer, a brilliant representative of the 
modern literary process, Ulugbek Hamdam, we can observe similarities in the work of J. 
Selenger.  
The comparative-typological study of the works of artists of different nationalities and 
regions, different societies and, in a sense, the period, allows us to draw unique conclusions. 
These similarities are especially evident in the micropoetics and small artistic details of the 
stories of J. Selenger and U. Hamdam, the style of artistic depiction and a number of other 
aspects, the scientific study of which allows to evaluate the works of these artists in terms of 
world literature, artistic novelty and originality. If we choose the stories of Jerome Selenger 
and Ulugbek Hamdam for comparative analysis, we can include the following features of 
their work in the analysis: 
 to pay attention to the style and individual styles of the period in which writers lived and 
worked; 
 
 
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International Journal of Culture and Modernity 
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10 
 to study the importance of biographical information in style assignment and topic 
selection; 
 to determine the historical and vital basis of the phenomenon of micropoetics of stories, 
the level and ways of influence of the works of English writers; 
 similarities and differences in the poetics of the works of artists who are the object of 
research, interaction, different ways of artistic perception: translation and interpretation, 
comparison of the specificity of the relationship; 
 to substantiate such issues as practical application of the developed methodology and 
methods of analysis on the example of Uzbek literature and translated works. 
For this reason, Norman Mailer once remarked that Salinger was "the greatest mind ever to 
stay in prep school." Salinger's language, especially his energetic, realistically sparse 
dialogue, was revolutionary at the time his first stories were published and was seen by 
several critics as "the most distinguishing thing" about his work.  
Salinger identified closely with his characters, and used techniques such as interior 
monologue, letters, and extended telephone calls to display his gift for dialogue. 
Recurring themes in Salinger's stories also connect to the ideas of innocence and adolescence, 
including the "corrupting influence of Hollywood and the world at large", the disconnect 
between teenagers and "phony" adults, and the perceptive, precocious intelligence of 
children.  
Contemporary critics discuss a clear progression over the course of Salinger's published 
work, as evidenced by the increasingly negative reviews each of his three post-Catcher story 
collections received. Hamilton adheres to this view, arguing that while Salinger's early stories 
for the "slicks" boasted "tight, energetic" dialogue, they had also been formulaic and 
sentimental. It took the standards of The New Yorker editors, among them William Shawn, to 
refine his writing into the "spare, teasingly mysterious, withheld" qualities of "A Perfect Day 
for Bananafish" (1948), The Catcher in the Rye, and his stories of the early 1950s. 
 In recent years, some critics have defended certain post-Nine Stories works by Salinger; in 
2001, Janet Malcolm wrote in The New York Review of Books that "Zooey" "is arguably 
Salinger's masterpiece ... Rereading it and its companion piece 'Franny' is no less rewarding 
than rereading The Great Gatsby."  
References: 
1. Alexander, Paul (1999). Salinger: A Biography. Los Angeles: Renaissance. ISBN 1-
58063-080-4. 
2. Crawford, Catherine, ed. (2006). If You Really Want to Hear About It: Writers on J. D. 
Salinger and His Work. New York: Thunder's Mouth. ISBN 1-56025-880-2. 
3. Grunwald, Henry Anatole, ed. (1962). Salinger, the Classic Critical and Personal 
Portrait. New York: Harper Perennial, Harper & Row. ISBN 0-06185-250-3. 
4. French, Warren (1988). J. D. Salinger, Revisted. Boston, Massachusetts: Twayne 
 
 
Copyright © Author(s). This article is published under the Creative Commons Attribution(CC BY 4.0) licenses. 
Anyone may reproduce, distribute, translate and create derivativeworks of this article (for both commercial 
and non-commercial purposes), subject to fullattribution to the original publication and authors. The full terms 
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International Journal of Culture and Modernity 
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11 
11 
Publishers. ISBN 0-8057-7522-6. 
5. Hamilton, Ian (1988). In Search of J. D. Salinger. New York: Random House. ISBN 0-
394-53468-9. 
6. Kubica, Chris; Hochman, Will (2002). Letters to J. D. Salinger. Madison: University of 
Wisconsin Press. ISBN 0-299-17800-5. 
7. Lutz, Norma Jean (2002). "Biography of J. D. Salinger." In Bloom, Harold (ed.). J. D. 
Salinger. Bloom's BioCritiques. Philadelphia: Chelsea House. pp. 3–44. ISBN 0-7910-
6175-2. OCLC 48473975. 
 


English

Author's Life and Artistic Aesthetics As An Object of Comparative Analysis

It is well known that energy saving in modern housing and housing sector remains an urgent problem. The main direction of comprehensive programs developed in this area is the development and application of energy-saving architectural solutions in buildings, as well as increasing the level of their thermal protection.Evidence suggests that doing this research is a requirement of the day, with the goal of developing constructive solutions for thermal insulation of basement walls and “increasing the energy efficiency of the basement of residential buildings”

Pulatovich, Matyokubov Bobur

Analysis of Underground Projects of Energy-Efficient Residential Buildings

This article examines at the Jadids' vision of national independence and how members of the movement reacted to it

Zarnigor, Akhmedova

 
 
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International Journal of Culture and Modernity 
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The Rise of National Independence in the Philosophy of Jadidism 
 
Akhmedova Zarnigor 
Assistant of Samarkand state university 
 
 
ABSTRACT 
This article examines at the Jadids' vision of national independence and how members of the 
movement reacted to it. 
Keywords: Jadids, spirituality, the idea of national independence, nationalism. 
 
The national notion, or national ideology, that we are confronted with now was on our Jadids' 
agenda a century ago, and it was vigorously disputed. 
First, there's an article about the “nation” and “nationalism” by Jalim Mamatqulizoda, the 
editor of Mulla Nasriddin magazine, which stunned locals in Tashkent's “Kolidey” with the 
drama “The Dead”. The ancient Greek philosopher Democritus, who lived a little more than 
two and a half thousand years ago, is credited with coining the term "nation." He explains this 
idea as "every nation's solitary owner." The issue resurfaced again during the French 
Revolution in the XVIII century, although the concept is still being established in some 
countries. [2] 
We all know that using the most up-to-date scientific news and universal ideas is essential for 
every nation's progress. However, there is one stipulation. These concepts must "nationalize" 
their way through the nation's hearts and minds. Only then will he be able to serve his 
country. 
In 1884, the journal "Tarjimon" published an article. "It is school education that produces 
decent people among us." That's who we have if we have any useful people. Teachers are 
persons who give all of their efforts to the work of teaching, to the path of truth, without 
expecting any honor, praise, or celebrity in return... 
All honor and glory to you, dear professors! 
Forgive us, your students' habits, for not recognizing your sacrificial labor and abandoning 
you in poverty and need. 
Our Jadids have been trying to instill a sense of history in our nation, which has fallen into 
disrepair and forgotten its history, for the last three or four centuries. 
The similarities between Tarjimon's Muolomayi Salotin, published in December 1906 and 
January 1907, and Fitrat's 1918 masterpiece, Sagan of Timur, are easy to spot. 
Alibek Husseinzadeh proposes an essential idea based on language material in his essay 
"Turklik-askarlik" published in "Tarakkiy" newspaper in 1909. Some of our imperative verbs 
(such as ur, urdir, and urdirt) have 4-5 layers of command meanings in other languages. This 
is a monument to Turkish judgment and power's long history, as well as the multi-level order 
that has been in the da'wah administration system from the dawn of time, under the tight 
 
 
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supervision of a series of posts.  
The Jadids considered the nation as a guarantee of survival and even preservation, as well as 
a source of development. "No power has been able to withstand this step, according to the 
nation," Yusuf Akchura wrote. "In the face of this ideology, hundreds of thousands of 
tremendous armies have been defeated." "Every cannon and rifle in the world can't stand this 
immense strength known as the nation." The idea of a nation necessitates togetherness. The 
term "unity" is used to describe human, racial, and religious similarities.[2] Pan-Islamism, 
pan-Turkism, pan-Turanism, and local nationalism evolved as a result of this, and played a 
vital role in the nation's awakening and self-awareness, but eventually became a baseless 
allegation. 
The Jadid movement was founded in Turkestan, and its intellectual inheritance of 
independence, national patriotism, and national patriotism were all entwined with universal 
democratic ideas. 
The Jadids' political programs were geared toward fighting for Turkestan's independence. 
They believe that establishing a constitutional monarchy will satisfy their political demands. 
As a result, they debated the programs of the political parties engaged and approved the cadet 
party's program. [3] 
Makhmudkhoja Bekhbudi voiced his views on national independence to various parties and 
sought for support for the cadets as he presented his ideas. 
Judge Bekhbudi gave special attention to the Sharia-based courts that dealt with minor 
criminal and civil cases. Bekhbudi was concerned that the tsarist regime meant to abolish the 
courts. Judge Bekhbudi, concerned, emphasized the importance of preserving the judiciary at 
all costs. For the country, the question of Muslim judges and religious administration is a 
matter of life and death. The courts, according to Judge Behbudi, should only function in 
conformity with Sharia law. This board, in his opinion, should be a constitutional body with 
the authority to review judicial decisions while also preparing reform programs in keeping 
with current needs. in their opinions on their powers. 
The concepts represented in Bekhbudi's publications and reform programs served as the Jadid 
movement's principal program materials and guide. "The demand for Turkestan's autonomy 
has been put up," says a political phrase or proposal. The following are some possibilities for 
achieving autonomy: 
A) complete secession from Russia; 
B) Restriction of national spiritual and religious autonomy within the constitutional 
federation of the Russian state. 
In addition to the “Shurai Islamiya” and the “Shurai Ulamo” political parties, this period 
includes the years 1914-1918, sects, societies and associations such as “Mirwaj ul-Islam”, 
“Mufaqul ul-Islam”, “Miftokh ul-maorif”, “Ravnaq ul-Islam”, “Ittifaq ul-Muslimin”, 
“Turon”, “Izchillar todasi”, “Temur todasi”, “Erk socialist party ”,“ Jadid Progressive Party 
”,“ Birlik Association ”  and “Chigatay Gurungi” were formed, and their action plans, as 
confirmed above, put forward several forms of the idea of national independence. There were 
more than 200 such organizations in Tashkent alone. In this sense, this period can be said to 
be the highest stage of development of the Jadid movement and ideology. 
 
 
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International Journal of Culture and Modernity 
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"Those who did not know the name of their tribe and the names of their seven fathers were 
termed slaves," Makhmudhoja Bekhbudi says in an article disputing the Russian name "sart." 
Bemak was well-versed in the country's history and possessed a strong sense of patriotism. 
This, of course, evokes a sense of pride in the heart of every Uzbek. But for that you need to 
know the history. That is why our Jadids paid special attention to the history and the nation. 
History is not just a matter of being informed. It was to be a mirror, an example, a means of 
education. It is said that a flowing stream flows. It is easy to restore what is in the blood. But 
you need to know them first, and then think about how to recover. 
References 
1. Kosimov B. "National Awakening." T., ”Spirituality”, 2002. 
2. “Philosophy”. Encyclopedic Dictionary. Publishing House of the National Society of 
Philosophers of Uzbekistan. T, 2004. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  


The Rise of National Independence in the Philosophy of Jadidism

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Author's Life and Artistic Aesthetics As An Object of Comparative Analysis

Analysis of Underground Projects of Energy-Efficient Residential Buildings

The Rise of National Independence in the Philosophy of Jadidism

Stage Approach and Story Evaluation Criteria

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