American Journal Of Social Sciences And Humanity Research
77
https://theusajournals.com/index.php/ajsshr
VOLUME
Vol.05 Issue06 2025
PAGE NO.
77-82
10.37547/ajsshr/Volume05Issue06-20
24
Artistic Depiction Of Women's Modesty In Uzbek Films
Created During The Period Of Independence
Akhmedova Vazirakhоn Askarovna
PhD, Associate Professor, Head of the Department of "Social and Humanities and Languages" of the Almalyk Branch of Tashkent State
Technical University named after I. Karimov, Uzbekistan
Received:
14 April 2025;
Accepted:
10 May 2025;
Published:
18 June 2025
Abstract:
This article analyzes the image of women in films created during the years of independence from an
artistic point of view. The tragedy of women in works created during the independence period, their resilience to
life's blows, is revealed using the example of the analysis of the films "Zabarjad" and "Parizod" by playwright E.
Azam. In particular, the playwright's unique views on the tragedy of women in these films, and the effective use
of various means of artistic depiction in revealing the essence of the work, are scientifically researched and
substantiated.
Keywords:
Drama, short story, tragedy, conflict, infantilism, dialogue, monologue, carnivalization, ambivalent,
degradation, irony, metaphor, grotesque, pantomime.
Introduction:
An important aspect of the national
drama is that it is closely related to the changes and
conflicts that occur at each stage of the development
of social consciousness. Conflict is always one of the
main elements of the drama, because "at every stage
of human life, or the biggest quarrels in human life,
man and his needs are manifested as natural and
inevitable conflicting relations with others..." [15.159].
The article analyzes the expression of conflicts in E.
Azam's works "Zabarjad" and "Parizod" in different
forms.
MAIN PART
The main part. In the prologue of Erkin Azam's short
story "Zabarjad", it is reported that a six-seven-year-old
girl - Zabarjad, survived by an unexpected accident at
the expense of her thirty-five-forty-year-old father
(Zhoraboy), who did not drown in Kyzilsoy. After that,
the period of a quarter of a century that has passed in
between: the period from the girl's sprouting, growing
up, reaching height, and passing the age of
transmission - over the thirties - is not covered
chronologically. The plot statement uses the style of
monoplay [16.211], that is, the narration is entrusted
to the character. The reader (spectator) understands
the creative-aesthetic concept of E.Azam according to
the opening of Zabarjad's heart, who has not been able
to get rid of the guilt and the stain of the past years,
according to the situation or specific memory-
experience. For example, after Zabarjad's painful cry
and anguished cry, who was disheartened by the
recitation of the Qur'an in the cemetery, the following
confessions of his heart are presented:
Zabarjad: "Dad! My dad! Why did you leave us, why? I
would have drowned then! I would die! What have I
done in this world by risking your life and contributing
to you, dadajan?! Dad, why hasn't the husband
accepted your fortune for so many years?! Dadajo-
on!”[3.137].
If modern Uzbek dramaturgy, in particular, E.Azam's
film stories are observed outwardly, it seems that
family and household themes are given more space in
them. In fact, this is a search for new methodological
ways, a denial of the tradition of emphasizing social-
political, ideological-ideological problems in a certain
sense, and focusing on an individual person.
In fact, the dramaturg pays attention to portraying the
moods of the "little man" based on the moral-
educational conflict. His works are based on the conflict
of individuals with different moral and educational
status.
The works that reflect Zabarjad's image of a woman's
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
character with unique aspects in world literature in
terms of the fact that she happily faces life's sorrows
and sufferings, hides her own tragedy behind laughter,
and most importantly, preserves her femininity and
faith: "Anna Karenina" (Lev Tolstoy), He tries to
compare with "Madame Bovary" (Gustave Flaubert),
"Fortunate Carrie" (Theodore Dreiser), "Twenty-four
hours of a woman's life" (Stefan Zweig), "Jamila"
(Chingiz Aitmatov). The above assessment of the art
critic confirms our view that the female character is
skillfully depicted in the work, as well as the mysterious
and magical world of her heart.
Master literary critic Umarali Normatov: in the short
story "Zabarjad": "... in today's time of evolution, the
conflict and divisions between the members of the
same family are written." ”[11.138] writes that if the
story is read carefully, it becomes clear that the scale of
the problem is larger than the concern of a family, and
the highlighted aspects of the character's nature are
outward signs.
Of course, moral laws protect a person's honor and
increase his responsibility. However, according to the
author's artistic interpretation, the needs and
inclinations of a person who is physically, mentally and
spiritually fulfilled, who can respond to his behavior are
also inviolable. E.Azam Zabarjad explains the behavior
of Zabarjad, which deviates somewhat from family and
marriage norms, with the following factors:
1. In spite of the age difference, the spiritual closeness
that arose between them, or rather, because of the
desire of the elderly girl to not leave the world without
a trace, to continue the generation, she started an
unknown job the next day.
2. Zabarjad's mental and psychological mood changed
under the influence of external environment and
physical needs.
Zabarjad: "A girl should not grow up without a father.
It is not for nothing that he says, "Here you see one who
grew up without a father!" [11.140].
On the one hand, sister Vazira, a gamboda mother, who
is worried and saddened by foreign affairs, and on the
other hand, a disabled brother - Sur'atjon. On the third
side is Mastura amma, who is past her age. When
Shuhratbek, the eldest brother, couldn't get out of the
line drawn by his wife, Zabarjad should take care of
some of them with her head, wash and comb some of
them.
If there was a man at the head of this family, the suitors
would not be cut off under the pretext that the house
was "thin". In the workplace, the director, Zakir in the
neighborhood, could not act like a crazy "betamiz".
Salty, unhappy and wealthy Zabarjad, who didn't feel
like wandering around India, Arabia, Turkey and
Hungary, like entrepreneur Dilya, did not seek refuge
from an older, family man when he was tired of life and
did not give his all to him. Therefore, he had every right
to think about his destiny, to bring a ray of light to his
flawed life, to act more boldly on this path.
Zabarjad's school friend Dilya (Dilbar) is also a unique
character. True, the clay of Zabarjad and Dilbar is not
taken from the same place. Dilya considers herself
entitled to "live like a human being". In order to create
a "bright future" for her only child, she throws herself
into the fire. When it becomes impossible, he does not
hesitate to sell his div if necessary. An unprecedented
tragedy lies at the root of his greed, squalid housing,
and death and resurrection in pursuit of an empty life.
Because as soon as he was born, he became a living
orphan and grew up only with the help of an old
woman. Because he could not enjoy the blessings of
the world, his life was filled with envy. When he got
married, he didn't settle for whatever he wanted.
As a result, no one comforted, caressed her head,
hugged her hand with indiscriminate affection, Dilya,
who needs protection, grew up with hatred for the
whole world. Determined to get his due from the evil
world, he went to fight. However, no matter which star
of the world she likes to visit, not only her sweet
dreams, but also her honor, womanhood, pride and
chastity have been trampled by the ignorant people. A
woman was humiliated by not being able to "live like a
person". The sacrifice he made is so unprecedented
and so huge that Dilya is doomed to live in self-pity
because he understands it well and feels that time
cannot be turned back. Dilya's words of envy and
longing for Zabarjad prove our point:
"I also want to love someone," says Dilya with tears in
her eyes. Then he suddenly snorts and hugs Zabarjad.
- Like you. From the heart. I'm in love with you, my
friend, trust me! I did not become a man, Zaba-ar! Look
at my walk! Is life like that, my friend? A penny! It's all
a penny, believe me!" [11.143]
This confession of the heart was a momentary feeling
that existed in the original substance and was
preserved in some constellations of human memory.
Such an elegant feeling is rarely seen in Dilbar's nature.
For example, when he gets up from far abroad and
misses his home, meadow, and the smell of the flowers,
it can be an example of this. Once, the crying Dilbar and
Zabarjad had a conversation over the phone:
Dilbar: -...Zabar, didn't the melon come out?
Zabarjad: - Yes, there is. On the market. A lot.
Dilbar: - That's what you do, comrade! You can go and
buy a cotta from the market now. Hey, don't forget the
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
lady! Get it when it's red and ripe... When you get
home, cut a melon, I have a rocking chair that you love,
sit on it and enjoy it. Until the end! Do you
understand?... You are for me, comrade! Remember
me!" [11.147]
The above dialogue gives a sufficient idea of Dilbar's
unhappy life in distant lands. Even though he was trying
hard to improve his material life, he did not like the
luxury of a foreign country as well as the blessings of
his motherland and the tranquility of his dear home.
The heart of the hero serves to cultivate the feeling of
love for the Motherland in the reader (spectator). At
the same time, it is worth noting that this picture is not
only a beautiful find of E.Azam, but also reminds Mirzo
Babur in "Baburnoma" when a melon from the country
was slaughtered. Such a situation is well-known and
famously told in Mirzakarimboy language in Oibek's
novel "Kutlug' khan": "A man does not sell land, and he
who sells land is not considered land." it is also
observed in the places where an attempt is made to
integrate the narrative into the speech of the hero.
Also, in E.Azam's film story "Parizod", Rasul teacher
Allanechuk is crushed and says: "Get out of this house,
my daughter," in a sense, it can be seen in the memory
of Yusufbek Haji's famous phrase.
The above immediate experiences cannot justify the
actions of Dilya, who often appears cold and cold. But
salinity allows you to understand the symptoms of the
life drama, tragic situation in which the woman fell. The
reader (spectator) is led to understand that the literary
hero is participating in the violent flow of cruel life -
"show of masks" (carnivalization) [14.198]. Indeed, the
tragedy at the heart of the life event depicted in the
drama differs from traditional artistic interpretations.
The border of life and death is the ambivalent
situations of Dilya, who is in an extreme situation,
alone, helpless and helpless, trying to survive,
searching for a way in the torment of mental
breakdown and endless suffering, not fitting into the
"other world" in which she has fallen, internal and The
fact that they are not able to bring the outside into a
parallel state does not leave a person indifferent.
Therefore, the "living orphan" in childhood and
adolescence, indifference, lack of love - disorganization
in the family throws him into the void of spacelessness.
Even if a material break is found at this pole, the hero
cannot be held back by that temporary entanglement.
The real reason for his constant dissatisfaction in his life
is the lack of human dignity. Since Dilya is in the
environment of disguised "friends and acquaintances",
she will never see true kindness. When he tries to
understand the reasons for falling into the abyss, his
parents, who are rightly victims of lust and forget their
child, become the target of his hatred. In a way, he tries
to take revenge on them. Nevertheless, sometimes the
anguish of conscience flickering in the depths of Dilya's
heart is visible, and this is the key to understanding the
hero's tragedy. Because these sufferings essentially
express the fluctuations in the hero's subconscious and
psyche. It is understood that E. Azam sought to observe
the character in emotional, spiritual and psychological
aspects.
In this sense, the pain gnawing at Dilya's div is
explained by the fact that he feels that the intentions
that will lead him to the desired destination are a
mirage. In our opinion, Dilya, who has lost her temper,
is now deprived of finding her place in the world and
her status as a human being. Therefore, no matter how
much he hides under the mask of arrogance and
hypocrisy, he cannot get rid of the grip of unbridled
hatred that covers his whole div. After all, adultery is
a pleasure that destroys a person's mental peace,
extinguishes the light of the soul, makes the heart
rumble and causes mental torture. The ego that fills
Dilya's inner being controls her will and controls all her
physical and mental powers. Dilya's heart is full of
anger, which completely destroys the woman's sense
of hope. The death of hope is a sign that the reins of
humanity have passed to Satan.
RESULTS AND DISCUSSIONS
It is understood that in the short stories of E.A'zam, the
real life is gradually entered. To one degree or another,
the fate of our contemporaries is described in
connection with today's socio-economic, educational
and moral problems.
In the dramaturgy of the independence period, there
are many socio-political topics, such as human
trafficking, drug addiction, and the influence of the
market economy on human spirituality, which are filled
with "responsibility" in the form of an appendix to the
decisions and decrees of the state. However, there are
also works of the "Zabarjad" type, which reflect life's
conflicts and internal contradictions. In them, the
desire to reveal the essence of the human drama
adapting to the social and domestic processes taking
place in life is visible. This shows that for dramaturgy,
on the one hand, the flawless spiritual and spiritual
world of our contemporaries, and on the other hand,
the poetic discovery of various physical and spiritual
infantilism (infantism) is an important necessity. If the
expression of a person's spiritual height requires
romance and lyricism, the description of his moral
decay (state of degradation) increases the role of irony,
metaphor and grotesque. Tragic and comic beginnings
require the complexity of the plot, the multi-layered
nature of the character and the conflict.
In particular, in the film story, the innocent spiritual
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
world of Zabarjad and the dramatic developments
taking place in it are revealed in a lyrical-romantic style.
True, the main character does not like the handsome,
but romantic lover who is far from real life, dressed in
smooth clothes, carrying flowers in his hand. At the
same time, he does not go to such a low point as to
touch an old man like brother Abdulaziz, who is very
close to him, and take possession of his house. In such
cases, reality is expressed on the one hand, based on
the leading principles of the universal aesthetic
thinking type of realism - in a way similar to real life. In
the second way, the writer tries to reflect life in all its
complexity on a large scale. It is a socio-psychological
artistic study of the influence of the socio-historical
environment on human destiny and character.
Although Zabarjad uses all his will power and opposes
the external reality, he cannot break through the
extremely complex and cruel system of social relations.
With this, the writer artistically perceives the current
state of society, the struggle of development and
decline trends, recreates reality. The conceptual
function of literature is realized in the expression of E.
Azam's artistic judgment.
In the short story, the most characteristic aspects of
reality for a certain period and environment are
referred to various forms of artistic convention in order
to generalize as much as possible. Avoiding "meta-
narrative" in showing the effects of changing world
phenomena,
mixed
cultures,
principles
of
postmodernist image: French poststructuralism
(deconstruction - J. Derrida); post-Freudianism ("the
language of the unconscious" - J. Deleuze, F. Gattari);
creatively used semiotics (the concept of irony - U.Eko)
and others. This case shows that the creative method
of realism is changing in terms of quality and is
improving due to the expression of different
worldviews and the enrichment of image possibilities.
As we have seen above, in the short film "Zabarjad" the
negative aspects of the personal life of our
contemporary, to be more precise, the emotions of the
girl's heart, which were not filled with fatherly love in
the constellations of love and honor, and the longing
for kindness, haunt the hero for a lifetime. Therefore,
in the artistic image there is: a sarcastic attitude
towards traditions, a perception of the world as chaos,
a desire for universal humanism, a codification aimed
at duality (elite stratum and masses). Mutation of
genres is also an element characteristic of the poetics
of postmodernist dramaturgy.
Zabarjad, who moves in the center of the story, is a very
complex character. In his eyes, all men belonging to the
male gender should be innocent, sincere, generous,
selfless like his late father. This high hope - life
principle, which was instilled in him in his youth, does
not correspond to real life. This creates a feeling of
dissatisfaction in the heart of the hero with himself, his
personal life, and the environment around him. While
Zabarjad is looking for ways to get out of the difficult
situations that have arisen, he draws attention to the
fact that he does not fit into the molds we are used to.
Above, the writer's comments that the landscape of the
world has changed radically, a lifestyle completely
different from the previous ones has emerged, a
strange mixture of "cultures" has appeared, and that
the work was written not for the general Uzbek reader,
but for the "open-eyed", i.e. special reader, prove our
opinion.
Zabarjad is lonely not only because he has no patience
for his bitter fate, but also because he lost his childhood
due to a sudden accident, fell into a closed
environment and was cut off from family
communication. He has a good understanding of what
a truly happy and ideal life should be, and he strives for
it. He feels a deep responsibility to apply the beauty of
his inner world to the outside world, to trace his life and
take a good place in the society, he strives for it.
In the short story "Parizod", the feelings of
Parikhishlok, who have lost their love before entering
into a marriage, are an obstacle to giving a little joy to
my happy date. Because, despite being able and worthy
to make any house flourish, because there is no one to
ask for, no destination to go to, this beautiful nainki,
who is destroyed by the evil in the form of the Bald
Bazar, rebels against the attitudes of the indifferent
crowd, maybe even against the whole world. (This evil
finds the elegant dreams of Orzigul in the form of
Qalimbet, who was driven by material loss in the film
"Lonely Boat".) [3.194]
There is also great wisdom in the description of the
bride in the nature of speechlessness in the film
"Parizod". Only in one place, that is, when Ismat is a
prisoner of someone with a long arm like a child, and is
helpless and careless, does he fully reveal his identity
against external forces. Reveals the desires of others
(society in a broad sense) that are contrary to the way
of life that he cannot accept. The skill of E.Azam is that
he gives this feeling through a dance-behavior (gesture)
[15.205], suitable for the rhythm of the melodious and
enchanting melody. In the movements of the hand,
div and head, the writer turns into words the
expression of hidden symbolic and symbolic meanings,
feelings and experiences. The linear language
expressed through pantamimic behavior is transferred
to live speech. Indeed, the dance of the bride was a
prayer with a unique expression of heart, fate and
sorrow:
"-... O sky, why did you create me? You created me,
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servant, but why did you build me on a lonely
mountain? You built a building on a mountain rock, why
couldn't you turn it into solid rock and sand into the
ground? Why did you give me heart, why husnu
malohat? Why didn't you give him a suitable fate, did
you miss him? Now, on which rock shall I hit this stone-
like head? If I want to fly to the sky - you clipped the
wings, if I want to enter the black earth... Show me the
way, save me, you, sky!.."[3.199]
So, the happy bride shows that she has the right to
decide her own destiny by turning her back on the
world, refusing to live among "petty" and ignorant
people. While the author expresses a poetic reaction to
the changed world, Rasul bitterly mocks the teacher's
language, saying: "- My time has gone astray" [3.202].
This artistic solution, which has an essentially tragic
character, sounds like a call to preserve the innocent
face and to fundamentally reform all social conditions
alien to humanity, which do not allow one to live like a
human being and be happy: spiritual and moral views
and universal values.
CONCLUSION
In E. Azam's short stories, the theme of women is not
without reason addressed. In these works, the
domestic and moral life of a woman becomes a
criterion for an impartial assessment of the current
state of society. The spiritual-ethical, educational-
spiritual level of male characters is also evaluated
according to their attitude towards women. In
particular, our love for the tolerant man Abdulaziz, who
put his palm on Zabarjad's shoulder and said with
embarrassed apology and fatherly kindness: "I pray -
may you meet your deserving one!" People of the type
of Vasil brother, who do not tire of selling a woman of
his daughter's age in the pursuit of lust, will also receive
a proper assessment of their spiritual level.
Consequently, the work denies the apparently ideal
way of life of people at the forefront of society. This
situation further expands the spatial and temporal
geography of the play.
The image of the author is also evident in places such
as opening the world of literary heroes through
dreams, using epic features such as referring to
narration and proverbs, as well as expanding remarks.
In "Zabarjad" Dilya, who was left in an extreme
situation, the boundary of life and death, because the
disarray in the family threw her into the void of space,
the ambiguous (ambivalent) situations of Dilya in
solitude, her helpless and helpless actions in her desire
to live, her mental breakdown and her search for a way
in the torment of endless suffering, she herself fell It
was expressed that they could not fit into the "other
world" - could not bring the inside and the outside into
a parallel state. In the work, E.Azam tried to reveal the
essence of human drama adapting to social and
household processes.
In "Zabarjad" and "Parizod", the playwright tried to
creatively adopt the creative style characteristic of the
modern literature of the 20th century, to express the
existential mood (helplessness and absurdity) in the
artistic image through the mixture of dreams and the
effect of hallucinations, in the solution of life
complications related to the tragic loneliness of the
heroes. He built the structure of the work on the basis
of the artistic model of reality - "narratives"
characteristic of the postmodern style.
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