Comparison of linguo-cultural characteristics of the fantasy genre in the works of Ursula le Guin and Khudayberdi Toxtaboyev

Tokhtaboyev, linguistic-cultural comparison, creativity

When we talk about the genre of fantasy, the works understand the imagination - a mental activity that consists in the formation of imaginary and imaginary qualities that are not perceived by man in life. It is manifested in a person's ability to be creative, his mastery of artistic textures, his ingenuity, his propensity for invention, his ability to create antiquated, irrational situations.

As the search for a magical artifact takes precedence in the book, the Atomic cult of the Nameless catches the forces of evil with the power of faith and turns into a pro-Christian place, from the protagonist to the ally of Tenar, the assistant and the protagonist’s magical bride in the finale. The desire to translate internal conflict into external conflict and, in this connection, to simplify the plot, to bring it into a formula that is easily read by the modern spectator, leads to a significant distortion of the content of the story genre. It also leads to a change in the images of little characters like the priests of Tar and Kossil. However, the opposite happens in the book: the protagonist receives salvation for changing his religion, replacing a narrow religious view of the world with a broader understanding of the laws of the world.

An important contradiction in the book that helps to reveal both the images of the heroes and the principles of the world order of the Earth’s sea is the contrast. Resistance to the disturbance of loneliness, the mental void that evokes fear, and the community of people who help each of its members maintain peace are more concentrated in the anime. It contrasts the images of the protagonist's inner shootings with the images of man's creative activities related to farming, land farming, and animal husbandry. This contradiction does not exist in the film; the protagonist fights the shadow as an enemy outside of himself.

People who choose to serve these forces and seek to use them for their own purposes will disrupt the harmony of the universe, where the forces of destruction must remain within their boundaries and not go out into the world. Ursula Le Guin uses the images of the protagonists to show how easy it is to fall into the power of false ideas and serve the dark, while at the same time demonstrating the protagonist's ability to correct his own thoughts. Practice is confirmed by conscious choice on the threshold of life and death. It is very important that light and dark principles coexist in the personality of any person and that everything depends only on the choice of the protagonist himself.

There are also characters in the books that embody extraordinary evil - for example, in the anime "Fairy Tales of the Earth" these are exaggerated depictions of slave traders, treasure hunters and spiders, which are characterized by the pursuit of immoral behavior. Enjoy them, but at the same time, the negative symptoms are also reduced. Because of their ridiculous features, the result is terribly funny. Characteristically, visual clichés are used to create the image of evil, a type of evil man developed in the literature.

In the book, the darkness is mysterious, formless, and uncharacteristic, while in the film, the darkness becomes a peculiar antagonistic character. It will be possible to physically defeat the evil one, but there is no such opportunity in the book. The shadow takes a name, begins to savagery, enters into a conversation with the protagonist and threatens him, and the evil is associated with the beginning of hell, taking the form of a living dead, stereotypically with black spaces instead of eyes equipped with. Decay and the image of evil diminish at the expense of the emblem. The film is also presented with a royal image that is not found in a literary source - it has a lot of brutalities, but in general, it conveys the characteristics of the antagonistic heroes in the sea cycle of the Earth Wizard.

In conclusion, fantasy may be related to a lack of in-depth understanding of the features and functions of the literary genre. There are many national versions of fantasy, and great authors working in this genre develop specific features of their poetics. However, the whole layer of fantasy works in the public mind is perceived through the prism of epic fantasy. Magical things, lots of chases, fights and contests help to attract and hold the viewer’s attention but make the word “average”. Often cinematography presents such a “moderate” fantasy using the methods of different, more advanced genres. We can say that the visual appearance of fantasy is still being developed.