تاشپولات: 2013-يىللىق نوبېل ئەدەبىيات مۇكاپاتى
2013-يىللىق نوبېل ئەدەبىيات مۇكاپاتى.
تاشپولات روزى
بۇ يىللىق نوبېل ئەدەبىيات مۇكاپاتى كانادالىق ئايال يازغۇچى ئەلىس مەنرو
(Alice Munro) غا بېرىلدى. ئۇ ھازىر 82 ياشتا. ئۇنۇڭ ئاساسلىق ئەسەرلىرى
قەلە تاشدىن گۇزۇتىش(The View from Castle Rock) ھەم ئارتۇقچە بەخىت (Too
Much Happiness) قاتارلىقلار. بۇ قېتىم نوبېل كومىتېتى ئۇنۇڭ قىسقا ھېكايە
يېزىش ماھارىتىگە ھەم قىسقا ھېكايىلىرىگە ئالاھىدە باھا بەرگەن. ئۇ
ھازىرغىچە كۆپلىگەن ئەدەبىيات مۇكاپاتلىرىنى ئالغان بولۇپ ئاساسلىق
مۇكاپاتلاردىن ئامېرىكا ئوبزور جەمئىيىتى مۇكاپاتى ھەم خەلقئارا بۇيرۇقچى
مۇكاپاتى قاتارلىقلار مۇھىم ئورۇندا تۇرىدۇ.
ئادەتتە خەنزۇچە «چەتئەل ئەدەبىياتى»، «دۇنيا ئەدەبىياتى يۈزلىنىشلىرى»، «تەرجىمىلەر» دېگەندەك دۇنيا ئەدەبىياتىغا دائىر ژورناللاردىمۇ ئەدەبىيات تەتقىقاتچىلىرىنىڭ بىرەر قىسقا ھېكايىنىڭ قات-قېتىغا كىرىپ تۇرۇپ يازغان ئۇزۇن-ئۇزۇن تەتقىقات ماقالىلىرى بېسىلىپ تۇرىدۇ. يەنە بىرسى، ھەقىقىي قىممىتى بار قىسقا ھېكايىلەرنىڭ مۇكاپاتلىنىش ئەھۋالىمۇ ئىنتايىن ياخشى بولۇپ، داڭقى رومانلاردىن قېلىشمايدىكەن ھەمدە بىر نەچچە پارچە ياخشى يېزىلغان قىسقا ھېكايىنى بىر توپلام قىلىپ نەشر قىلىدىكەن.
چەتئەلدىكى كۆپۈنچە داڭلىق يازغۇچىلار تېخى قىسقا ھېكايە يېزىش رومان يېزىشتىن تەس دەپ قارايدۇ ۋە قىسقا ھېكايە ئۇستىلىرىغا ھەۋەس قىلىدۇ. Alice Munro
Alice Munro, nee Alice Laidlaw, short-story writer (born in Wingham, Ontario 10 July 1931). Alice Munro is widely regarded as one of the most important short-story writers, not just in Canada but in the English-speaking world as a whole. The recognition Munro\"s fiction has earned includes three GOVERNOR-GENERAL\"s awards (1968, 1978, 1986), two GILLER Prizes (1998, 2004), and the Man Booker International Prize for lifetime achievement in 2009, as well as the Canada-Australia Literary Prize, the Commonwealth Writers\" Prize (Canada and the Caribbean), and the O. Henry Award in the US for continuing achievement in short fiction. Her output includes: DANCE OF THE HAPPY SHADES (1968), LIVES OF GIRLS AND WOMEN (1971), Something I\"ve Been Meaning to Tell You (1974), Who Do You Think You Are? (1978), The Moons of Jupiter (1982), The Progress of Love (1986), Friend of My Youth (1990), Open Secrets (1994), The Love of a Good Woman (1998), Hateship, Friendship, Courtship, Loveship, Marriage (2001), Runaway (2004), The View from Castle Rock (2006), Too Much Happiness (2009) and Dear Life (2012). Her work has been widely anthologized; several collections have also appeared. In 2005, Munro was listed as one of Time magazine\"s “100 most influential people,” and she has frequently been spoken of as a candidate for the NOBEL PRIZE. Critical Success
Numerous critical studies have acknowledged Munro\"s mastery of the cultural and vocal tones of a region; her acuteness in delineating social class is now a critical commonplace. Munro often narrates her stories in a manner reflecting the outlooks of her relatively unsophisticated characters. They appear before us as if we had bumped into them at the mall or the hairdresser\"s or the home and school meeting, relating their experiences in ways that the author then uses to reveal deeper meanings. Her amplitude of style and approach, it is often noted, give her short stories the moral density of lengthier novels. Munro\"s craft exerts a radial power, in which a central motif or situation mutates or recurs throughout various contexts within a story, often concluding with a reflection upon experience that seems anything but definitive. Munro\"s is the fiction for a culture in which the nostalgia for lost certainties seems as potent as the unshakeable realization of that loss. Written within the conventions of literary realism, her fiction reflects the preoccupations of figures who must remain satisfied with momentary illumination rather than life-changing revelations. Her international audience finds its own uncertainties and concerns paralleled in those that shape her characters\" experiences. Time spent in re-reading her stories is seldom wasted.
Two representative stories, \"Meneseteung\" (in Friend of My Youth)and the title story in The Love of a Good Woman, display Alice Munro\"s skill at depicting, then questioning and redefining, the experiences of her characters. Both offer accounts of women engaged, however unwittingly, in processes of self-definition that can take the form of wary hesitation in the face of new prospects, a process concluding in understanding rather than happiness. Almeda Joynt Roth of \"Meneseteung\" - based remotely upon obscure 19th-century women writers in the Munro Tract - must shatter the mirror of her nostalgic historical poetry when faced with the hard facts of sex and blood. Jarvis Poulter, a commercial pillar of the town, has made some tentative gestures toward Almeda. Her distress at his casual disregard toward a lower-class female victim of male violence leads her to deflect his overtures. The story-within-the-story concludes with Almeda enduring the start of her menstrual period, under the influence of a pain-killer, reconciled to an unprotected, unmarried destiny that will not end well. The tale\"s intrusive yet distant narrator makes the story\"s meaning more complex with an admission of her own inability to grasp exactly what has taken place in Almeda\"s sensibility.
Uncertainty also marks the conclusion of Munro\"s \"The Love of a Good Woman,\" whose protagonist Enid lingers in suspense as the male who has attracted her interest approaches. Is he propelled by desire, or by malice? The story opens with the discovery of a local optometrist\"s automobile, along with his body, sunk beneath the river. The reader - who already knows that someone donated the optometrist\"s gear to the local museum - learns a version of what lies behind the death by water, and the effect of this knowledge upon Enid. Her role as caregiver for a dying \"bad\" woman, the unreliable tale-bearing of that dying woman, and the power this woman\"s husband exerts over Enid\"s refined sensibilities leads to the question that ends the story. Such a tale, with its unabashed usage of such formula-fictional devices as the mysterious death of one character, the reluctant romantic involvement of the nurse and the inscrutability of the male figure, displays Munro\"s powers as a fiction writer. The story\"s progression through layers of consciousness and association, alongside the delicate architecture of the story\"s telling, demonstrates how Munro can net both literary and general readers within her audience. بۇ يازمىنى ئاخىرىدا afiyfiy تەھرىرلىگەن. ۋاقتى 2014-10-17 22:23
شۇنداق قىلىپ بۇ يىللىق(2014) نوبېل ئەدەبىيات مۇكاپاتىنى كىم ئالدى؟ بۇ تىخې ئىلان قىلىنمىدى
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