MYTH AND FOLKLORE AS PSYCHOLOGICAL RESOURCES OF PROSE FICTION

Abstract

If we metaphorize Azerbaijani prose as a person, its subconscious is directly related to myth and folklore. This is the first psychological resource. It is the archetypes that make the connection. It is possible to determine the archetypal structure behind everything that spreads in the content and form of the prose, its entire narrative. Because the unchangeable subject of literature, man is connected to the past by deep ties. The history of man's self-understanding and psychological interpretation of himself begins with a mythological worldview. The moment of transition from nature to culture is the beginning of the human story. It all starts here. Man is a bio-cultural being, biological as a part of nature, on the other hand, man has the power to create culture. The great story of man in the world is the result of both his biological development and his cultural civilization. The first psychological situation that a person falls into is the "Nature-Culture" conflict. Perhaps, it is because of the conflict between Basat and Tepegoz in Kamal Abdulla's novel "Half-manuscript" (2004), which is regarded as a revolution in the prose of the 2000s. Kamal Abdulla, who accurately observes how the chaotic, wild beginning finds its mythological-historical description in the epic "The book of Dede Korkut" and "The boy killed by Basat Tepegoz", as a side of the "nature-culture" dual conflict, writes that the lion's bed is a symbol of nature. According to him, Basat's return to the civilized environment, his desire to return to the place where he grew up, has a mythopsychological essence. In the novel, the writer approaches the "The Book of Dede Korkut" from a deconstructive perspective with postmodernist logic and aesthetics. The author interprets events, fragments, situations and details known to the reader outside of their context. At this time, the characters and the cast of characters, who have moved from the epic to the novel, accept the algorithm of the novel despite the professionalism of the parody, psychological detail and tension increase. The spiritual identity and psychological color of the Oghuz are portrayed. Dede Korkut reflects not only the everyday life of the Oghuzs, but also their inner identity by telling Khanlar Khan Bayandir about the past. The characters facing each other in different psychological situations become different psychological states and a psychological state emerges. In the novel, Basat is presented at a time when nature and human relations were quite harmonious and intertwined. By the dictates of his self, Basat breaks away from people and aspires to the forest, a place where his soul is comfortable. The internal psychological identity of the image at this moment is not yet separated from nature. In this way, Basat is in conflict with the entire Oghuz society. However, the incident that happened later brings Basat to a common point with the society he is in conflict with. At the beginning, Basat does not want to kill Tepegöz like other animals and living things, but when he hears that Tepegoz has spilled his brother Kiya's blood, the situation changes completely. He stands in a position where he will not forgive his brother's killer, and thus enters into a battle with Tepegoz. As it can be seen, the interests of Basat and Oghuz clans intersect in relation to Tepegoz on the level of humanity, family, brotherly revenge. No matter how much the hero described here is in harmony with medicine, he declares his psychological identity as soon as the issue arising from social relations comes to light. The biology of nature and the psychology of culture enter into a dialogue. The dynamics of a person as a social and cultural being arises in communication with culture. The basis of culture is the developed psychological mechanisms of a person, and without these mechanisms, culture cannot be understood.