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LINGUOPOETIC FEATURE OF THE WORK OF GULJAMOL ASKAROVA
Marjona Hayitmurodova Bekzod qizi
Student of the Kattakurgan
branch of Samarkand State University
E-mail:
hayitmurodovamarjona@gmail.com
Abstract:
This article is dedicated to the life and work of the famous poetess Guljamol
Askarova, who grew up in the literary environment of Kattakurgan. The phonetic-phonological,
lexical-semantic, morphological and syntactic features of her poems are highlighted in terms of
linguopoetics. The article is written in a combination of biographical approach, literary and
linguistic analysis.
Keywords:
analytical, synthetic, morphological indicator, phonetic dialectism, individual
speech neologism, emotional-expressive expression, phraseological synonymy, lexical
synonymy, morphological parallelism.
Askarova Guljamol Shodmanovna is a poet who entered Uzbek literature at the end of the 20th
and beginning of the 21st centuries with her unique elegant style and delicate way of expressing
words. She was born on March 5, 1978 in the village of Beshdargat, Kattakurgan district,
Samarkand region, into a peasant family. She is Uzbek by nationality. In 1998, she took the
highest place at the Zamin Traditional Seminar of Young Writers of the Republic, held by the
Writers' Union of Uzbekistan and the Jizzakh regional administration. In the same year, she was
accepted into the membership of the Writers' Union of Uzbekistan for her many achievements
in literature. During her school and student years, G. Askarova came to the attention of such
great poets and writers as Abdulla Oripov, Muhammad Yusuf, Halima Khudoyberdiyeva,
Shukrullo, and Tursunoy Sodiqova, who wished the artist well and wrote forewords. She
regularly published her poems and articles in the press. Her poems have been translated into
various languages. In particular, her poems have been translated into Russian. In 2001, she was
awarded the Zulfiya State Prize for her achievements in literature and social activities. To date,
Guljamol Askarova has published 9 poetry collections: "Season of the Heart" (1998), "Light"
(2000), "Wake-up Call" (2003), "Baht dastxati" (2004), "Uyg'otuvchi alla" (2007), "Gulnoma"
(2008), "Turnalar yo'li" (2010), "Erkalik izdiktai" (2013), "Oshiqlar amulet" (2013). Currently,
she is preparing a new book for publication, which contains more than 200 poems. Guljamol
Askarova has a unique linguopoetic analysis of her work. In particular, in prose works, the
writer uses phonetic methods such as lengthening vowels, layering consonants, repeating
sounds, pronouncing words incorrectly, raising and lowering sounds to express certain
meanings and relationships, as well as the mental state and emotions of the characters. However,
in poetic texts, the aesthetic possibilities of speech sounds are more clearly visible, and the poet
uses phonetic methods such as assonance (repetition of vowels), alliteration (repetition of
consonants), gemination (layering of consonants) to enrich the essence of the work, reflect the
experiences of the characters, and increase the musicality and expressiveness of speech.
Guljamol Askarova also skillfully uses these phonostylistic means in her work:
I saw that your heart was higher than mine,
Who was I in your world?
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Finally, begging, sad and cold,
Thus, my love died at your feet [1, 13].
The author has managed to increase the impact of the poem, make it close to the heart, and
make it emotional through a beautiful example of alliteration using the consonants k and m.
Your hands caress mine,
Your paths touch the flowers,
Seeing the beauty of these flowers, one by one,
I must have reached autumn and then wither. [1, 30].
The poet has created a beautiful example of assonance through these lines. Guljamol Askarova
uses the method of combining sounds in these lines to express the lyrical hero's hatred and
anger towards some of his compatriots and to enhance the meaning:
Why don't these people understand their nationality?
Why does my heart and eyes feel sleepy?
They kick the fallen and bow to the sky.
They live by striking their roots with an axe. [2, 17] !
An expression of adding or strengthening meaning.
The author sometimes uses double
consonants as a means of expressing emphasis in poetry to support or justify his thoughts:
Look, we all have the sadness of money
Or the sadness of a single smooth road,
Don't those who say "My people" mean "My people"?
Come on, who has the sadness of the heart [2, 21].
In the process of linguistic analysis of a literary text, it is necessary to identify lexical units that
demonstrate the writer's mastery of language use, in which emotional-expressive semantics are
realized in a bubble, and to reflect on the extent to which they served the writer's artistic and
aesthetic purpose. To do this, synonymous, figurative, antonymous, ambiguous, historical and
archaic words, new constructions, dialect words, foreign and vulgar words in the language of a
literary work are isolated and the purpose for which they were introduced into the work is
explained.
In linguistics, there are mainly three types of synonymy, namely: 1) lexical synonymy; 2)
phraseological synonymy; and 3) lexical-phraseological synonymy. We can find the following
manifestations in the work of Guljamol Askarova:
Lexical semantic similarity is used for several purposes. To avoid the poverty and colorlessness
of expression that result from the repetition of linguistic units:
Seeing me walking around sad and heartbroken,
If it falls from your hands, they will be sad.
I and that heart will be thrown into the trash,
If the old women sweep it [3,40].
The sad, heartbreaking words created lexical meaning and served to increase the impact and
colorfulness of the poem.
There is no single word in my soul,
But only my heart is in love.
I will remain speechless for a long time,
Only true lovers are in love [3,16].
The word lover in line 3 means to rush, and the word lover in line 4 means “one who is very
much in love with someone, someone who has fallen in love with someone” and they were in
harmony with each other.
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ISSN: 2692-5206, Impact Factor: 12,23
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In works devoted to the linguopoetic analysis of literary texts, the terms contrast and opposition
are used. By using words with opposite meanings side by side, concepts, signs, situations, and
images are contrasted. Contextual antonyms are used in lyrics to enhance the impact of the
image. For example, in the following passage from Guljamol Askarova's work:
And I believe like you:
This world is as white as my heart.
One day my eyes will open,
A dream that bound my eyes [3, 28].
Contrast is observed through the stable combinations “opens my eyes” and “bound my eyes”.
When determining the writer's mastery of language, attention is paid to the extent to which he
was able to ensure the expressiveness of artistic speech. This can also be determined by the
ability to use polysemous words in their place, with a specific aesthetic purpose. Polysemous
words are a linguistic tool that helps expand the expressive possibilities of speech. In which of
the poetic samples of our poet do we also find polysemous words:
In my village, my heart bleeds,
There is a flower that waits for the yellow-eyed.
For me, I know, only
There is an eternal road in Samarkand [3,7]!
The sentence “waiting for the yellow-eyed” when combined with the word flower creates a
mobile meaning. We know that mobile meaning and its own meaning together create words
with multiple meanings.
Lexemes that have a novelty color, are created to express new things, events and concepts,
are called neologisms - new words. "A neologism can belong to the language as a whole or be
specific to the speech of one person. The first is called a general language neologism, the
second is called an individual speech neologism." In a work of fiction, mainly individual speech
neologisms acquire artistic and aesthetic value. Skilled writers try to express reality in a unique,
unique and new way. For this reason, they use new, unusual words that have not yet been
studied or used at all. This can be seen in the following examples:
Go, look, my dear, painless,
After all, I want to make my heart a stone.
Understand! Not in your room,
I want to live in your heart [4, 17].
The word "I want to throw" in the passage is an individual speech neologism, which reflects a
new expression in the poem.
Phonetic dialectisms are mainly manifested in the forms of changing the use of sounds,
increasing the sound, decreasing the sound, and using sounds in layers. For example:
Don't wake up, sleep peacefully,
Until the sun touches your lips.
I'm standing by your window,
Anov is awake like trees [4,29].
The word "Anov" in the last line is a phonetic dialectism, because mainly representatives of the
Kipchak dialect shorten this pronoun and pronounce it this way.
Morphological parallelism is a method of reusing words and grammatical devices that do not
have an independent lexical meaning in a piece of speech. This refers to the exact repetition of
auxiliary words and form-forming suffixes used in parallel within the same syntactic structure.
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 06,2025
Journal:
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page 1283
The parallel use of morphological units in poetic speech for a specific aesthetic purpose is often
observed. We can see this in the work of Gulzhamol Askarova:
Hang your head for earthquakes!
Hang your head for chains!
Hang your head for loves!
Then hang your head for hates [2,19]!
In this case, the morphological indicators analytical (for) and synthetic (-s,-ingiz) are used in
parallel at the end of the lines.
Since literature is an art that reflects the feelings, desires and aspirations of a person, it also
expresses the aesthetic ideal of the creator, his way of life. In this regard, poetry is especially
important. In this sense, G. Askarova's lyrics created a number of poems that express life,
human life and its fate, glorify its value through colorful poetic forms and poetic means of
imagery. In them, the poetess demonstrated her creative originality in various themes and tones,
creating new aesthetic principles. In G. Askarova's poetry, the balance of words, feelings, and
spiritual experiences forms a unique whole. The harmony of poetic form and imagery in it gives
the reader a clear idea of the existing reality and its meaning. The synthesis of
emotions, the reflection of lyrical passion, philosophical observation, and individuality in
artistic perception and expression are summarized as a holistic system.
REFERENCES:
1. Asqarova G. Oshiqlar amulet. –T.: Gafur Ghulom Publishing House, 2012.
2. Asqarova G. Erkalik izlechitai. –T.: Gafur Ghulom Publishing House, 2012.
3. Asqarova G. Dil fasli. –T.: Cholpon Publishing House, 1998.
4. Asqarova G. Uygotuvchi alla. –T.: Sharq Publishing House, 2007.
5. Ma’rufjon Yu’ldoshev. The basics of literary text and its linguistic and poetic analysis.–
Tashkent: Fan, 2007.
