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Buxoro Xalqaro
Universiteti

11-tom, 1-son, b. 216–219, Nashr: 2026-11-08

THE ARTISTIC INTERPRETATION OF FEMALE PSYCHOLOGY IN A.N. OSTROVSKY’S “THE DOWRYLESS GIRL” AND G.B. SHAW’S “MRS WARREN’S PROFESSION”

A.N.OSTROVSKIYNING “SEPSIZ QIZ” VA J.B.SHOUNING “MISSIS UORRENNING KASBI” PYESALARIDA AYOL RUHIYATINING BADIIY TALQINI

ХУДОЖЕСТВЕННАЯ ИНТЕРПРЕТАЦИЯ ЖЕНСКОЙ ПСИХОЛОГИИ В ПЬЕСАХ А.Н.ОСТРОВСКОГО «БЕСПРИДАННИЦА» И ДЖ.Б.ШОУ «ПРОФЕССИЯ МИССИС УОРРЕН»

  • Aktamxonova Nozimabonu Abrorjon qizi — PhD student at Fergana State University · ORCID: 0009-0004-7245-8405

DOI: 10.67780/buxoro-xalqaro-universiteti-ilmiy-axborotnomasi.2026.b27a7f1d

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Annotatsiya

The article examines the artistic interpretation of female psychology in A.N.Ostrovsky’s “The Dowryless Girl” (1878) and G.B.Shaw’s “Mrs Warren’s Profession” (1893), focusing on female fate and socio-moral conflict, the comparative psychology of the heroines, and the poetics of dramatic form. Using comparative-typological, historical-contextual, psychological, structural-semiotic and poetics-of-drama methods, the study shows that Ostrovsky constructs female fate as an almost irreversible verdict of the dowry-based marriage market, while Shaw constructs it as a reversible condition rooted in the exploitation of female labour. Larisa Ogudalova’s psychology is organised around feeling and expressed through song and silence; the psychology of Vivie Warren and Mrs Warren is organised around calculation and expressed through argument and extended stage directions. The results extend existing scholarship on both playwrights.

Annotatsiya

Maqolada A.N.Ostrovskiyning “Sepsiz qiz” (1878) va B.Shouning “Uorren xonimning kasbi” (1893) pyesalari misolida ayol ruhiyatining badiiy talqini ayol taqdiri va ijtimoiy-axloqiy ziddiyat, qahramonlarning qiyosiy psixologik tahlili hamda dramatik shakl poetikasi nuqtai nazaridan oʻrganilgan. Qiyosiy-tipologik, tarixiy-kontekstual, psixologik, struktur-semiotik va dramaturgiya poetikasi metodlari asosida aniqlandiki, Ostrovskiy ayol taqdirini sepsizlikka asoslangan nikoh bozorining deyarli qaytarib boʻlmaydigan hukmi sifatida, Shou esa ayol mehnatining ekspluatatsiyasiga asoslangan, tubdan oʻzgarishi mumkin boʻlgan ijtimoiy holat sifatida tasvirlagani aniqlandi. Larisa Ogudalovaning ruhiyati hissiyot atrofida shakllanib, qoʻshiq, sukut va ramziy landshaft orqali ifodalansa, Vivi Uorren va missis Uorrenning ruhiyati hisob-kitob atrofida shakllanib, munozara va kengaytirilgan sahna remarkalari orqali ifodalanishi koʻrsatib berildi. Natijalardan har ikki dramaturg ijodi boʻyicha tadqiqotlarni toʻldirishda foydalanish mumkin.

Аннотация

В статье на материале пьес А.Н.Островского «Бесприданница» (1878) и Б.Шоу «Профессия миссис Уоррен» (1893) исследуется художественная интерпретация женской психологии с точки зрения женской судьбы и общественно-нравственного конфликта, сравнительного психологического анализа героинь и поэтики драматической формы. На основе сравнительно-типологического, историко-контекстуального, психологического, структурно-семиотического методов и анализа поэтики драмы установлено, что Островский изображает женскую судьбу как практически необратимый приговор основанного на приданом брачного рынка, тогда как Шоу изображает её как социально обусловленное, в принципе изменяемое положение, порождённое эксплуатацией женского труда. Психология Ларисы Огудаловой организована вокруг чувства и выражается через песню, молчание и символический пейзаж; психология Виви Уоррен и миссис Уоррен организована вокруг расчёта и выражается через спор и развёрнутые сценические ремарки. Результаты дополняют существующие исследования.

Kalit so'zlar: dramaturgy, female psychology, female fate, socio-moral conflict, dramatic poetics, dialogue, monologue, stage direction, Ostrovsky, Shaw

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