MECHANISMS OF ARTISTIC PSYCHOLOGISM: A COMPARATIVE STUDY OF NODIRA IBROHIMOVA'S AND KATHERINE MANSFIELD'S SHORT STORIES

This article investigates the mechanisms of artistic psychologism in selected short stories by Nodira Ibrohimova and Katherine Mansfield. Using a narratological and stylistic framework, the study analyses how both writers construct inner life through (1) internal focalization and thought-presentation, (2) psychologically charged object-details and sensory triggers, (3) silence and omission as subtext, and (4) epiphanic shifts shaped by scene-time compression and open endings. The Uzbek corpus includes Ibrohimova’s “Chorshanba uchun ko‘ylak,” “O‘g‘il,” “Farzand isi,” and “Ikkinchi imkon,” while the English corpus includes Mansfield’s “The Garden Party,” “Miss Brill,” “Bliss,” and “The Daughters of the Late Colonel.” Findings indicate that Mansfield often intensifies interiority by balancing closeness with narrative distance and by condensing psychological contradiction into symbolic detail, while Ibrohimova foregrounds psychological rupture through socially situated tension, ritualized waiting, and silence under pressure. Despite cultural differences, both writers share a modern short-story logic: psychologism is achieved less through direct explanation than through structured perception—what the character notices, repeats, avoids, and cannot say.