THE CONFLICT STRUCTURE OF THE EUROPEAN NOVELLA AND ITS STYLISTIC COMPARISON IN UZBEK LITERATURE

Abstract

This article examines how conflict is architected in the European novella and compares its stylistic realization in Uzbek prose, especially within the qissa and hikoya traditions. Drawing on narratological concepts of chronotope, focalization, and teleological plotting, the study argues that the European novella organizes conflict as a single, high-intensity vector that converges on a decisive turning point, achieving symbolic density through spatial-temporal compression and rhetorical restraint. In Uzbek literature, analogous structural concentration is refracted through ethical didacticism, communal frameworks, and a parabolic tonality that privileges moral resolution over open endings. Through close reading of paradigmatic European models associated with Boccaccio, Kafka, Thomas Mann, and Hemingway, alongside representative Uzbek texts, the article shows that both systems rely on minimal settings, limited character constellations, and controlled narration to convert ordinary situations into sites of extraordinary ethical or psychological stress. The main difference lies less in plot mechanics than in tonal disposition: while the European novella tends toward ambiguity and aesthetic autonomy, Uzbek prose often reintegrates crisis into communal horizons and culturally specific codes of honor and reciprocity.