Xorijiy lingvistika va lingvodidaktika –
Зарубежная лингвистика и
лингводидактика – Foreign
Linguistics and Linguodidactics
Journal home page:
https://inscience.uz/index.php/foreign-linguistics
Linguistic and cultural features of artistic visual means in
Khudoyberdi Tokhtaboyev’s works
Nigora AZZAMOVA
1
Samarkand State Institute of Foreign Languages
ARTICLE INFO
ABSTRACT
Article history:
Received November 2024
Received in revised form
10 December 2024
Accepted 25 December 2024
Available online
25 January 2025
In this article, the linguistic and cultural features of artistic
visual media in the works of the Uzbek writer Khudoyberdi
Tokhtaboyev are mentioned in detail. Including, information is
given about the significance of images in his works and their
importance in Uzbek literature.
2181-3701/© 2024 in Science LLC.
DOI:
https://doi.org/10.47689/2181-3701-vol3-iss1
This is an open-access article under the Attribution 4.0 International
(CC BY 4.0) license (
https://creativecommons.org/licenses/by/4.0/deed.ru
Keywords:
linguistics features,
cultural features,
visual aids,
literature,
visual works,
Khudoyberdi Tokhtaboyev.
Xudoyberdi
To‘xtaboyev
ijodidagi
badiiy
tasvir
vositalarining lisoniy-madaniy xususiyatlari
ANNOTATSIYA
Kalit so‘zlar:
tilshunoslik xususiyatlari,
madaniy xususiyatlar,
ko‘rgazmali qurollar,
adabiyotlar,
tasviriy asarlar,
Xudoyberdi To‘xtaboyev.
Ushbu maqolada o‘zbek adibi Xudoyberdi To‘xtaboyev
ijodidagi badiiy tasvir vositalarining lingvistik-madaniy
xususiyatlari atroflicha yoritilgan. Jumladan, uning asarlaridagi
obrazlarning ahamiyati, o‘zbek adabiyotidagi ahamiyati haqida
ma’lumot beriladi.
1
Teacher, Samarkand State Institute of Foreign Languages. E-mail: nigoraazzamova175@gmail.com
Xorijiy lingvistika va lingvodidaktika – Зарубежная лингвистика
и лингводидактика – Foreign Linguistics and Linguodidactics
Special Issue – 1 (2025) / ISSN 2181-3701
299
Лингвокультурологические особенности художественных
изобразительных средств в творчестве Худойберди
Тохтабоева
АННОТАЦИЯ
Ключевые слова:
лингвистические
особенности,
культурные особенности,
наглядные пособия,
литература,
визуальные произведения,
Худойберди Тохтабоев.
В
данной
статье
подробно
рассматриваются
лингвистические и культурные особенности художественных
визуальных средств в произведениях узбекского писателя
Худойберди Тохтабоева. В том числе, дается информация о
значении образов в его произведениях и их значении в
узбекской литературе.
INTRODUCTION
Khudoyberdi Tokhtabayev is widely regarded as one of the most prominent
contemporary figures in Uzbek literature. Born on 17 December 1932 in the village of
Katta Tagob, located in the Fergana Province, Tokhtabayev's childhood was marked by
the loss of his parents at a very early age, subsequently raising him under the care of his
grandparents, Erkaboy and Robiyabibi. He graduated from Kokan Pedagogical University
in 1949 and from Tashkent State University (now the National University) in 1955. For
several years thereafter, he worked as a teacher, head of the scientific department, and
school director in schools in the Baghdad and Uzbekistan districts of the Fergana
region.In the early 1970s, he began creating works that broadly describe children's lives.
The motivation behind this shift in focus is elucidated by the writer in his biography:
"Contemplate the prospect of inhabiting the realm of children, whose spiritual realm is
uncontaminated, who are receptive to education, who aspire to discern merit and
transgression, and whose souls yearn for aesthetic perfection." The writer embarked on
this journey in 1958, arriving in Tashkent. He has been working in various newspapers
for 12 years and is known as a responsive and sharp journalist. He writes more than
300 feuilletons exposing the vices of society.
LITERATURE REVIEW
The writer has dedicated his literary expertise to the spiritual education of
children and adolescents for a considerable number of years. In pursuit of this objective,
he has been employed by the youth publishing house, "Gulkhan", and has contributed to
the "Yosh Kuch" magazine. He has acknowledged his commitment to safeguarding the
aesthetic integrity of the young mind. The writer has established himself as a preeminent
figure in Uzbek children's literature through his unwavering dedication, meticulous
research, and profound affection for children. Metaphors and similes represent
foundational literary devices, integral to the enchantment of literature. The evolution of
language is marked by the incorporation of figurative language in poetry and prose, with
each type of figurative language evoking a distinct sense of literary allure. This article
serves as an introductory guide to common literary devices, catering to those preparing
for the AP Lit exam or seeking to enhance their creative writing skills. Literary critic
M. Koshjanov has stated the following with regard to H. Tokhtaboyev: "In the context of
our literary studies, it can be said that he was the first to express an important and valid
opinion about the comic genre, its possibilities and problems. Khudoyberdi in his works,
Xorijiy lingvistika va lingvodidaktika – Зарубежная лингвистика
и лингводидактика – Foreign Linguistics and Linguodidactics
Special Issue – 1 (2025) / ISSN 2181-3701
300
chose materials from various fields throughout the republic, diligently worked on the
selected materials, and improved his skills from column to column." The fact is that
H. Tokhtaboyev's works such as "Riding the Yellow Giant", "Death of the Yellow Giant",
"Mourning Eyes", "Sweet Melon Country", and "Paradise. People" fell in love with the
people. Especially his works "Riding the Yellow Giant" and "Death of the Yellow Giant"
brought great fame to the writer. It does not make sense to separate the language of
fiction or the work of fiction into separate parts, just as it is impossible to separate the
two sides of a coin. If linguistics and literary studies are the two main branches of
philological science, artistic language is the common root that feeds these two branches
and unites them fundamentally. (P. Kodirov. Folk language and realistic prose. However,
it is observed within the framework of the study of literary stylistics and linguistic
stylistics. Linguistic analysis of the language of a work of art also considers how the
writer creates meaning using specific language units. Only in this, the fact of the origin of
those language elements is approached more deeply. Therefore, we found it appropriate
to approach the issue of the factors that create the writing style from the linguistic aspect.
In this place, literary analysis is also referred to. The role of fiction in the development of
the Uzbek literary language and its rise to the level of a national literary language is
incomparable. Therefore, it is important to study the language and style of works of
creators who contribute to the literature of today. For this purpose, we decided to study
the specific methodological aspects of the works of the writer H. Tokhtaboyev. Double,
repeated, and compound words are used in the works of H. Tokhtaboyev.
The Ferghana dialect is characterised by the extensive use of double and repeated
words, which is considered to be one of its unique features. This phenomenon is
particularly evident in literary works, where the frequency of such words can reach three
or four in a single sentence. The employment of such linguistic elements does not merely
serve to enhance the expressive capacity of the text; it also enables the articulation of
complex ideas through the strategic juxtaposition of synonyms and antonyms, which,
while bearing similar meanings, differ in their grammatical characteristics. This linguistic
technique, exemplified by H. Tokhtaboyev's literary works, is a distinctive feature of the
Ferghana dialect. The utilisation of dialectal vocabulary, stemming from the Andijan and
Fergana regions, serves to enhance the artistic value of his literary compositions. This is
evidenced by the employment of words such as savachop and moshbirinch in Andijan
and Fergana, respectively. The Fergana Valley dialects continue to employ words like
Sholipoya and Sochpopuk, which retain their contemporary prevalence. It is noteworthy
that H. Tokhtaboyev employs these linguistic elements adroitly in his literary
compositions.The following sentences contain conjunctions.
RESULTS AND DISCUSSION
We pay attention to the analysis of the given sentences:
1. The blue-blue hair (hair follicles) of the willows began to shake like the little
braided hair of the girls. In this sentence, the word is a compound word, compound noun,
what are they? is the answer to the question, the head form is hair, in the head
agreement, possessive, plural, relative noun, in the 3rd person.
2. After reading the papers, a smile spread across the lawyer's long face, and there
was something in his laughter that penetrated the first mustache on both sides, like a real
father's laughter from a child. What is the first compound word, compound adjective in
this sentence? will be the answer to the question, associated with the word mustache,
identifying, simple level.
Xorijiy lingvistika va lingvodidaktika – Зарубежная лингвистика
и лингводидактика – Foreign Linguistics and Linguodidactics
Special Issue – 1 (2025) / ISSN 2181-3701
301
3. A poet in his fifties wearing glasses is standing in front of him, and another poet
with a long face and long white hair is coming from behind him. In this sentence, glasses
is a compound word, a compound noun, what? there is an answer to the question, the
head form is connected with the word "eye", "mirror", in the first person, possessive,
relative noun, in the third person singular.
4. I climbed a tree and sat down. Olakoz began to explain, shaking his leg. In this
sentence, Olako'z is a compound word, a compound noun, what is the answer to the
question, the head form is an adjective, the eye is connected with the noun, the head is in
agreement, it is a noun with a nickname, singular, I person.
5. That night Polvontoga and I slept in the field. In this sentence, the main form
plovan refers to the person connected with the adjective, uncle. In the main agreement,
the Uzbek language is a language rich in methodological tools. Poetic syntax tools are
widely used in it, which serve to increase the effectiveness of the speech. Stylistic tools
are language elements that perform an additional task in increasing the effectiveness of
the speech and providing meaningfulness.
The utilisation of tools in the execution of tasks is reflected in the speech,
particularly in the domain of artistic speech, which serves to demonstrate the capabilities
of the language and significantly enhance its aesthetic function.Consequently, stylistic
tools are also designated as artistic image tools, and in certain literary works, they are
referred to as poetic figures. The language employed in H. Tokhtabayev's works is
characterised by its remarkable attractiveness, beauty, and pleasantness. The writer's
adept use of methodological tools in his works engenders a sense of captivation,
excitement, and artistic gratification during the reading process. The utilisation of
repetition in instances where conventional structures prove inadequate to convey the full
extent of emotions experienced by the speaker contributes to the heightened level of
emotional intensity. The utilisation of repetitive speech serves to accentuate heightened
emotionality and excessive feeling, exemplified by the repeated use of words and
grammatical components, or the precise re-use of syntactic units. This phenomenon leads
to the conclusion that repetitions in the language form a distinct system.
H. Tokhtabayev's works demonstrate a profound focus on repetition and double
meanings, contributing to a rich stylistic palette. For instance, when confronted with a
person who exhibited awareness and comprehension, he expressed exasperation,
clutching his beard and declaring, "I'm closing, I'm closing!" It is conceivable that the
simian in question is experiencing profound distress, traversing various locales in search
of its absent caretaker. The subject partakes in the consumption of eggs, the publication
of literary works, and the dissemination of personal images through the medium of the
press. The reiteration of a particular word within a text serves to amplify the associated
circumstances. The author has demonstrated a deft utilisation of anthroponyms in the
literary composition. The nomenclature of characters in a literary text can be categorised
into diverse methodologies. These can be categorised as autobiographical, historical,
cultural, or figurative, among others. However, it is evident that authors often impose a
specific meaning on the names of their characters.In addressing the primary function of
names in an author's oeuvre, a comprehensive linguistic analysis is imperative to unearth
the semantic and symbolic underpinnings. In the author's novels "Riding the Yellow
Giant" and "Death of the Yellow Giant", an analysis of the anthroponyms reveals their
categorisation into various groups:
Xorijiy lingvistika va lingvodidaktika – Зарубежная лингвистика
и лингводидактика – Foreign Linguistics and Linguodidactics
Special Issue – 1 (2025) / ISSN 2181-3701
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1. The names of real historical figures are Nicholas, Lenin, Stalin, etc.
2. Real non-expressive names are Ayshakhan, Sirojiddin, Arif, Hashimjon,
Mirobiddinkhoja, Sorakhan, etc.
3. Names expressing metonymic meaning are Ketmon, Akpodsho, Ideology,
Literature, Physics, Chemistry, Geography, etc.
4. Names carrying meaning based on synecdoche are Ollakoz, Danak gori, Bodom
gori, Walnut gori, Uzunguluq pirim, etc.
The names cited are merely a selection of those employed by H. Tokhtaboyev in his
literary works, each of which is imbued with its own particular significance. The author's
adeptness in characterisation is evident in his depiction of these names. To illustrate this
point, consider the description of a diminutive, rotund canine situated by the river. From
a distance, it bears a striking resemblance to Dono's glue doll, known as Danak Qori. This
particular sentence appears to encompass multiple symbols of Danak Qori. The implicit
(or hidden) meaning of this name is maturity in every field. The cited synecdoche
demonstrates that there are naming bases of names that carry meaning.
The plot is one of the most significant elements that govern the ideological
substance of a work of art, representing a sequence of events in the life of the characters,
their relationships within this process, conflicts, connections, growth and changes.In the
domain of children's literature, the plot must progress rapidly, the conflict must be
authentic, and the characters must be vivid. Given children's affinity for amusement,
intensity, and dynamism, it stands to reason that literary works designed for young
readers should prioritise these qualities to ensure their sustained engagement. The plot
of a work for children assumes a pivotal role, with a highly interesting plot fostering
greater reading enjoyment among young audiences. This notion is further emphasised by
the renowned fairy-tale writer H.K. Andersen's assertion that "children are more
interested in the fable of a fairy tale than adults are interested in the idea instilled in
them." In works intended for children and adolescents, every element is distinctive and
pertinent, and the depiction of characters and events is characterised by a vivid
dynamism. The works of Khudoyberdi Tokhtabayev, a renowned children's author, have
garnered significant popularity among young readers due to the intense dynamism
inherent in their plots. Children are able to swiftly discern the underlying reality of this
dynamic movement, as if witnessing the unfolding events before their eyes. In such a
scenario, the progression of the narrative becomes instrumental in shaping the
characters' development. Consequently, the plot evolves into a form of informational
material, which the reader can access. This article undertakes a comparative analysis of
children's literature, with a particular focus on the examination of the narrative structure
employed by two prominent writers in the global and national literary landscape. In
Khudoyberdi Tokhtaboyev's novel "A Boy with Five Children", the challenges faced by the
Uzbek nation during the Second World War are depicted, with the narrative viewed
through the eyes of a 13-year-old boy. The novel chronicles the protagonist's endeavours
to reunite with his family, highlighting the hardships endured by the Uzbek people during
wartime. Despite being set in different times and places, the novels bear a striking
resemblance in terms of characters, motives and plots. The plot of these works in
American and Uzbek children's literature is characterised by a chronic-concentric
structure. Exposition details the challenging circumstances faced by two orphan
protagonists, providing insight into the development of their characters in the context of
Xorijiy lingvistika va lingvodidaktika – Зарубежная лингвистика
и лингводидактика – Foreign Linguistics and Linguodidactics
Special Issue – 1 (2025) / ISSN 2181-3701
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their orphaning and subsequent upbringing. For instance, Orifjan's challenging
circumstances, encompassing the assumption of domestic responsibilities, the separation
from his parents, and subsequent placement in an orphanage with his siblings, Bad's
experiences in the orphanage, his sole relative – his mother, his recollections of being
raised by the Amoses and their mistreatment, and Bad's own life. The novel elucidates
the value of adhering to the principles of Z – the act of recollecting past lessons and
endeavoring to avoid repeating missteps. The narrative's crux, the catalyst for the
ensuing conflict, is the dispersal of the children in the orphanage to different locations in
"The Boy with Five Children", the separation of the brothers from each other in "Baddie
Not Bad", and Bad's inability to locate the librarian Miss Hill when he The narrative of
"The Boy with Five Children" commences with the dispersal of the children in the
orphanage to various locations, and the subsequent separation of the brothers. In "Bad
and Bad Bleeding", the narrative shifts to the escape of Bad from the Amoses' house, and
the subsequent train incident in California that results in a revised intention to return to
the orphanage to locate his father.The unfolding events include the disappearance of
Arifjan's elder brother Sultan and the illness of his sisters. In the narrative of "Bad", a
significant encounter occurs with Mr. Lefty Lewis, a man with whom Bad shares a
connection with his father. At the work's climax, the most compelling events are
described, captivating young readers. Arifjan, alongside his siblings and Dilbar, his
sister's friend, embark on a journey on foot from Tashkent to Kokan.He deliberately
leaves the lights on in the house until his father arrives to present his mother's will,
seeking to reunite his family under his leadership. Concurrently, Orifjan grapples with
internal discord, which serves as the crux of the narrative. While Khudoyberdi
Tokhtaboyev adeptly captures the inner world of the protagonist, Christopher Paul Curtis
draws from the personal recollections of the central character. These works, rooted in
the experiences of the authors, are structured around a "life plot," with social and
psychological conflicts serving as the primary catalysts for the narrative progression.
Personal conflicts are also evident in some shorter works. As we can see, some of the
events based on the works and the solution of the works are similar, but the authors used
their own methods in telling stories. Christopher Paul skillfully used symbolic images,
Khudoyberdi Tokhtaboyev used examples of folk oral creativity, askiya and proverbs.
Means of artistic representation, figurative expressions, phraseological combinations,
symbolic images and samples of folk art served as factors that show the artist's talents
and plot-building skills.
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Xorijiy lingvistika va lingvodidaktika – Зарубежная лингвистика
и лингводидактика – Foreign Linguistics and Linguodidactics
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