This article analyses chronotopic fields of the hero and the author in their internal cohesion and autonomy,
multilevel character relations (the author, the hero, and the city) at different stages of their spatio-temporal completeness.
Special attention is paid to the structure and lexical-semantic composition of the authors cursive of the
lyrical flash-forwards, which chronotope the summands of the consistent creative thought, as well as ingenious
forms of the heros scope and his neighborhood, which have defined the unique way of Artist-the-Creator who
realized in his paintings the authors idea of Tashkent myth as historically long-sunken but poetically reborn city.
|
