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LINGUOCULTURAL FEATURES OF UZBEKISTAN FEMALE NAMES
Djurayeva Yulduz Gaybullayevna
Karshi State University,
Lecturer, Department of Uzbek Linguistics
https://doi.org/10.5281/zenodo.15003760
Abstract.
This article analyzes the linguistic and cultural role of a number
of female names, such as Barchin, Oyparcha, Layli, and Uzumkoz, in fiction and in
our society. Opinions are expressed about the meanings of the names and their
linguistic and cultural characteristics.
Keywords
. notable names, onomastic units, artistic text, language of the
work, anthroponyms, name, pseudonym, religion, customs, culture.
From the second half of the 20th century, anthropocentric ideas began to
develop rapidly, creating the foundation for the emergence of new fields in
linguistics.
Among
them
are
linguoculturology,
sociolinguistics,
psycholinguistics, pragmalinguistics, neurolinguistics, and several other
contemporary linguistic fields that attract the attention of scholars as areas that
study the linguistic landscape of human personality and the world in harmony.
In recent years, there has been an increasing interest in notable names and their
characteristics in linguistics. In particular, a number of research works have
been carried out regarding notable names used in artistic works and their
functional, stylistic, linguopoetic, and linguocultural characteristics. Below we
will focus on the analysis of some female names:
BARCHIN
(Barchinoy, Oy Barchin, Gul Barchin, Barchin suluv) — is one of
the leading characters in the epic "Alpomish." She is the daughter of Boysar and
the beloved of Alpomish. Barchin is a brave and courageous girl. She represents
the traditional image of a heroic girl characteristic of folk oral creativity.
Through the image of Barchin, Turkic peoples expressed their sincere
relationships with women, showing great respect and honor for them, and
celebrated women's high human power and dignity. In some historical accounts,
Barchin is described as a woman who ruled over the Oghuz tribes (her
mausoleum is located 5 km southeast of Sighnoq) [1, 134]. Today, this name has
also found its place in modern literary genres as a pen name in poetry, prose,
and dramatic works. Specifically, this name serves various linguistic-cultural and
stylistic functions.
In E. Begmatov's dictionary "Uzbek Names," it is noted that this name is of
Uzbek origin and indicates “shoyi fabric, silk fabric, parchin or balchin – barchin
– beautiful, charming girl” [2, 48].
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LAYLI
– One of the main characters in the epic "Layli and Majnun," which is
considered a widely spread folklore and written literary monument among the
peoples of the Near and Middle East. The initial seeds of the epic appeared in the
second half of the 7th century. According to some sources, the characters of the
epic are historical figures. It is noted that Majnun came from the Bani Omir tribe,
with his real name being Qays ibn Mulavvah or Qays ibn Muod. Qays loved a girl
from his tribe named Layli and wrote melancholic poems about his love and
longing. Such information is also included in Ibn Qutayba's (889) "Kitab ush-
she'r wa shuaro" ("Book on Poetry and Poets") and Abul Faraj al-Isfahani's
"Kitab ul-ag‘oni" ("Book of Songs"). However, other sources refute this
information. For example, Arab scholar Avon ibn Hakim al-Qalbiy (764) and
Arab historian Hishom al-Qalbiy (819) argue that Majnun was not a historical
figure. By the second half of the 7th century, many melancholic poems under the
pseudonym Majnun emerged in Arab poetry; such poems continued to increase
and were included in collections. However, not all poems mentioning the name
Majnun belong to one person. According to Arab scholars al-Johiz (9th century)
and ibn al-Mu'taz (908), people attributed all poems related to the name Layli to
Majnun. In the 11th century, poet Abul Bakr al-Volibiy compiled all poems
attributed to Majnun into a collection titled "Devoni Majnun."
Comments are provided on the poems, and the poems are incorporated into
the narrative of the legends about Majnun. The first epic about Layli and Majnun
was created in 1188 by the Azerbaijani poet Nizami Ganjavi. Nizami elevated the
epic "Layli and Majnun" both ideologically and artistically to a high level and
included it among the traditions of the "Khamsa." Following him, many poets
referred to the epic "Layli and Majnun." The works of Khusraw Dehlavi,
Abdurahman Jami, Fuzuli, and Alisher Navoi, which belong to this tradition, are
well-known. Although these epics share the same title and their narrative
structures are quite similar, each author's "Layli and Majnun" is a unique and
unparalleled work. To date, there are numerous variants of this epic in Uzbek,
Arabic, Persian, Azerbaijani, Turkish, Turkmen, Tajik, Georgian, Punjabi,
Kurdish, and Urdu languages. The epic "Layli and Majnun" has also had an
immeasurable positive impact on the development of oral folk art. In particular,
it is acknowledged that the influence of "Layli and Majnun" can be seen in Uzbek
folk creations such as "Tahir and Zuhra" and "Oshiq Gharib." The names Layli
and Majnun are also mentioned in the text of Qadir Bakhshi Rahimov's epic
"Kelinoy or Norguloy." Today, these names carry meanings associated with true
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love, symbols of separation, and symbols of love and affection, and they have
been adopted by many creators as pen names.
In E. Begmatov's dictionary "Uzbek Names," it is stated that this name is of
Arabic origin and signifies "a girl born at night or a girl as beautiful as a water
lily (lotus)." The initial basis of this name traces back to the ancient Hebrew
name Lilia.
OYPARCHA
– is the main character of the folk epic of the same name. She
appears before the suitors of King Shoniyoz demanding a thick dowry and fulfills
her promise, leaving many men in distress. This name has been transferred to
written literature, including poetry, as a symbol of loyalty and fidelity.
In E. Begmatov's dictionary "Uzbek Names," it is noted that this name is a
compound (complex) name consisting of Uzbek and Persian parts and signifies
"a beautiful girl like a piece (part) of the moon or a girl as lovely and gentle as a
moonbeam."
UZUMKO‘Z
– is the name of one of the main characters in the epics "Nurali
va Semurg‘" and "Jorxun maston." In both epics, she is depicted as the bride of
Gorogly, namely the wife of Avazkhan and the mother of Avazkhan and Gulnor.
This name has hardly appeared in the Khorezm variant of the Gorogly epics.
E. Begmatov's dictionary "Uzbek Names" states that this name is Uzbek in
origin and signifies "a girl born when grapes ripen or a girl with eyes as beautiful
as grapes."
Among onomastic units, anthroponyms are the most widespread.
Anthroponym is derived from Greek, where "anthro" means human + "onym,"
meaning names given to people. In Uzbek, terms such as name, personal name,
human names, or people's names are used instead of this term. Anthroponyms
encompass not only people's names but also linguistic-cultural units that reflect
a nation's culture, history, and worldview. Moreover, anthroponyms serve
specific functions in artistic works beyond daily life. In literary works,
anthroponyms act as mirrors reflecting characters' worldviews, nationalities,
cultures, professions, and individual psychological traits. Therefore, the process
of choosing a name for a character requires profound thought and talent from
the writer. Linguist A. Nurmonov expresses the following thoughts on this
process: "In literary literature, there is an effort to choose names that match the
character's traits. For example, in the epic 'Tahir and Zuhra,' Tahir is pure and
flawless; Zuhra is radiant and beautiful; while a character with dark intentions is
named Qorabotir."
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It is evident that a name is a reflection of a person's aspirations for their
descendants, and in literary works, it indicates the character of the hero. Thus,
there is much to say about a name. Unraveling the mystery of a name and
defining its meanings holds significant practical importance.
From the examples above, it can be concluded that the names of Uzbek
women emdiv our nation's lifestyle, traditions, historical memory, and
national consciousness. It should also be noted that in recent years, there has
been an increasing interest among researchers in world linguistics to study
onomastic units from sociolinguistic, pragmalinguistic, and linguocultural
perspectives.
Literature and sources used:
1. National Encyclopedia of Uzbekistan.// WWW Ziyouz .M letter. P. 134.
2. Begmatov E. Uzbek names. Tashkent: National Encyclopedia of Uzbekistan,
1998. P. 48.
3. National Encyclopedia of Uzbekistan.// WWW Ziyouz. L letter. P. 17 18.
4.Begmatov E. Anthroponymy of the Uzbek language. Tashkent: Fan, 2013. P.10
5.Nurmonov A. Selected works. Tashkent: Akademnashr, 2012. P.286
