International Journal Of Literature And Languages
76
https://theusajournals.com/index.php/ijll
VOLUME
Vol.05 Issue06 2025
PAGE NO.
76-82
10.37547/ijll/Volume05Issue06-23
Social And Aesthetic Foundations Of Uzbek Drama Of
The Period Of Independence
Vazirakhon Akhmedova
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:
12 April 2025;
Accepted:
08 May 2025;
Published:
18 June 2025
Abstract:
This scientific article examines the general theoretical problems of Uzbek drama of the period of
independence. The subject area of Uzbek dramaturgy, theoretical problems of dramaturgy, theoretical aspects of
world dramaturgy, in particular, French, German, Spanish and Italian dramaturgy, are subjected to comparative
analysis.
Keywords: -
Drama, character, vicissitudes, genesis of genres, comedy, tragedy, total theater, epic theater,
parable, remark.
Introduction:
As you know, the figurative subject of
drama, which is one of the main types of fiction, is an
action, the specifics of which are manifested in the
following aspects:
a) Affiliation with fiction and theater. In addition to
being read, a work belonging to a playwright's Pen has
a stage interpretation with the support of a director,
actor, artist, maker up, lyricist, etc. That is, that the
drama is the primary basis of the play; B) Plot; C) the
basis of character conflict; d) the division into scenes
and episodes; e) the absence of a statement; e) the fact
that it is based on an interpersonal relationship, mutual
eloquence (dialogue and monologues); f) the artistic
text is intended for vision (gesture, action-state) and
hearing; g) compliance with the possibilities of the
construction of stage space and modern
–
theatrical
techniques, that is, mizanscenas (decoration and
placement of actors at certain times in the
performance); h)the foundation of films ( film
dramaturgy), etc.
Undoubtedly, the dramatic tour has developed in
harmony with the progress of theatrical performances.
The combination of active movements with speech has
led to its rapid spread and popularization as a distinct
species.[6] In addition, drama is by nature sharp and
suitable for bringing pressing social problems to the
surface through bright images. This feature ensures the
volatility of the genre. The basis of the drama is the
artistic conflict. More precisely, drama expresses
eternal universal antinomy or socio-historical
contradictions, and dramatism takes the lead in it.
The main part. In the spiritual world of man, rebellion,
outpourings of feelings are not born in vain. When the
sacred values that are dear to him are trampled on, or
there is no strength left for patience and endurance, a
person rebels against everyone. The awakened
national spirit and newfound pride bring militancy to
the surface and encourage practical action. In dramatic
works, the image of such a situation-state is expressed
through strong drama. Therefore, in the plot of dramas,
where the hero and his fate are based on a private
conflict, there is a sharp turn in the fate of the hero
–
the evolution of behavior into a state opposite to the
expected (vicissitudes). There is a transition from
sudden grief to joy and vice versa, from joy to grief, and
the development of the plot changes dramatically. The
fact that the text of the drama is readable, and the
theatrical performance is interesting, manifests itself in
such a way that the plot construction depends on this
originality. As artistic thinking moved to the stage of
realism, the emphasis was placed on showing the socio-
psychological factors associated with the fate of the
hero. The transition to a monumental way of describing
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coincidences into a vital, real reality.
Nevertheless, human life is always in love with
coincidences. Since the fate of a person is strong in his
belief in the judgment of pain, it is impossible to
completely deny the role and balance of parapets in the
plot structure in a dramatic work. Already, the drama is
built on the basis of conflict and action, and not to show
a life situation-situation (situational), unlike an epic
work.
In the time of USSR, Uzbek theorists viewed fiction as a
distinct form of social consciousness: "...the perception
of Social being, the product of a certain stage in
historical progress... this is a tool that has a certain
impact on progress".[1] Obviously, the views of this
period on classism fell from the agenda with the crisis
of the former social system. However, the theoretical
views that drama (spectacle shown through action) is a
fruit of figurative thinking, a dramatic work
–
an
expression of the psyche of characters and its source is
a living life, artistic word development and poetic
judgment are still relevant to the level of talent with
which one realizes the needs of one's time. Also, at a
time when science fiction, cinema, and the Performing
Arts were unduly progressive, the text of the films was
being printed in mass circulation, the tastes were
thinned, the reader's figure was individualized: "...in
order for the potential possibilities of a dramatic work
to be fully realized, it is necessary that it be played on
stage (or screen). But this circumstance does not
indicate that he is unreadable or untrained... the highly
civilized viewer knows that again acquaintance with the
literary basis of the work seen on the stage of the
theater or on the screen has great aesthetic and
educational value," the theoretical view is also
becoming more and more active.[1]
In the drama, actions without the participation of a
screenwriter and interaction come to the fore. The
image will be embodied in living images, monologues,
dialogues, remarks. These aspects are embodied in
various components of the drama based on large-small
actions, ultimately forming and bringing to the surface
the "unity of action", which is considered the main
feature of the drama. This "unit of action" is perceived,
influenced, and excited primarily through reading. The
full-fledged flow of drama in all possible ways to its own
source (recipient) is achieved by means of the theater,
through a performance interpreted by a certain
creative group. It can be said that a drama completed
as a literary work is created for staging on stage and
revived with the help of the theater.
From the above considerations about the cohesion of
drama and theater, it becomes clear that as a literary
type it is permissible to comment on stage
interpretations of plays, director's productions and
actor's performances, referring to the dual literary and
scenic nature of drama. The reason is that the
European modern Uzbek Theater, considered a product
of the 20th century, embodied to such an extent all the
features inherent in the drama and theater of that era.
It was able to scale the experience borrowed from the
West to a scale of special and universal significance
based on his national and ethnic themes and materials.
This process has prepared mature playwrights and
theater leaders.
Academician I. Sultanov, author of the section
"dramaturgy" of the two-volume book "Theory of
Literature": evidence that adjectives to character, such
as writing a work in dialogue, dividing it into veils
(actions) and appearances; reflecting a dramatic
situation-state (situation), are also characteristic of
epic, lyric and lyric-epic types. As soon as the work is
written, it is assumed that a trio of playwrights, theater
and audience will be created, who will delight and
shock the community (audience) when staged on stage,
create a common meaning by introducing one viewer
to another (diffusion of feelings), counting on the
transformation of the audience into a like-minded
author, the night director of dramatic works.
Dramaturgy to convey a large
–
scale, objective and
dramatic picture of real life, characteristic of the epic
(episodic and dramatic); expression of the author's
emotional attitude to the event - phenomenon that is
depicted, characteristic of lyric lyricism. V.G.Belinsky
explained: drama is a "subjective basis". - a syncretic
who is able to provide artistry and increase his own
poetic potential through monologues and dramatic
situations typical of lyrical poetry (gr. synkretismos -
combine, add), that is, a genre that, firstly, is able to
incorporate not only drama, but also character traits
inherent in lyrics and epics, and secondly, since the
artistic text is intended for performance on stage, in the
process of performance by a playwright, director, actor,
musician, A Grimm, an artist, a Master of light, etc.
Important: "everything that a person wants to express
in a dramatic work is expressed only by the personality
of the person who acts in front of us, that is, he fights
obstacles in front of himself and inside himself,
overcoming them or overpowering them, suffering,
rejoicing, celebrating, etc."[1]
According to the author Sultanov, the fusion of artistic
elements of lyrics, episodic and acute drama would
infinitely increase the power of a dramatic work. The
originality of dramatic genres is manifested in the
following four elements, which make the reader
(viewer) a living witness of events:
- the rebirth of a work of dramatic type on stage and
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International Journal Of Literature And Languages (ISSN: 2771-2834)
screen while preserving its literary identity;
- that a person expresses his own impressions and
lessons from life in a way that should be shown to
others, that is, "demonstrating" life experience (dance,
pantomime, puppet play, etc.).;
- the fact that in a dramatic work, in addition to the fact
that it is pronounced, unlike a word, lyrical and epic, the
viewer is filled with it;
- the fact that the main character of a dramatic work is
not an event, not an author, but a person.[5]
Literary critic U.Jorakulov addresses the genesis of the
genre and the cultural and historical factors of the
earliest stages of the literary and historical process -
Greek mythology (the image of the goddess Dionysus).
[17]V.A have close connection with this. This genre
focuses on the fact that at the first stages of its
emergence and formation, syncretism of myths leads in
its form and content (mythological interpretations:
beliefs, worldviews, religious rituals and symbols).
Jaded shows the following sources of influence based
on the tradition of professional written drama, which
was founded by the creators and continues at the
present time:
-The first source is explained by the cultural and
educational, literary traditions of the Uzbek people -
dramatic features characteristic of ritual folklore:
movement, facial expressions, dialogue, composition,
group performance. In particular, the composition of
dramatic genres is divided according to its composition
into: a) a dialogical form of communication; b)
dialogical and monological communication, as well as
decorative elements according to the manual;
-The second source is associated with the following
features characteristic of folklore literary genres such
as epic, song, anecdote, fairy tale, recitation: a) the
construction of speech in a dialogical form; b) the basis
of dramatic conflict; c) the method of performance; d)
the proximity of the inter-from heroic dialogue to
dramatic dialogue; D) the fact that dramatic situations
built on the basis of dialogue in;
-The third source is explained by the fact that in the epic
and gazals of Uzbek classical literature, the situation is
based on a dramatic dialogue of states, that is, the
manifestation of dramatic conflict in harmony with
three forms: (hero-heroine, environment
–
hero,
character
–
character), the nature of the conflict of the
work is determined by the dramatic contact between
the images;
-The fourth source is visible in Abdurauf Fitrat's
textbook "Teaching", built on a lesson-dialogue
reminiscent of shaky dramatic works, and the influence
of Platonic dialogues, based on a dialogue-dispute of
bright noticeable sides, varied in dramatic content,
broad philosophical observation, craft style, the work
"discussion", which, like social pathos, demonstrates a
number of features inherent in the dramatic genre.[8]
Literary critic U.Jorakulov "only ten centuries later,
these traditions were reworked in the European
cultural environment and introduced into the Uzbek
environment as a tool to achieve social goals," correctly
comments. [8]Thus, the influence of socio-political,
cultural and historical processes served as an important
basis for entering the field of Uzbek written
professional drama.
As the literary critic rightly recognizes, in addition to the
influence of our national folklore and classical literature
on the theory of modern Uzbek drama and the
interpretation of the specific features of this genre, we
cannot ignore the above socio-political, cultural and
historical processes. In this sense, U.Jorakulov: "... we
approve of the idea that the theory of the dramatic
genre should be developed not on the basis of a stage
interpretation of a dramatic work, but directly on the
basis of a written source from the pen of the
playwright."[8] It has long been recognized that the
objects of literary theory and theater studies are
others. We also saw an example of the Sultanov's
views.
The aesthetic demand and needs of our people in
drama began their poetic synthesis with the genres of
Uzbek literature, going through the process of its origin
at the national level, mixing with the history of classical
literature and elements of modern literature. More
precisely, typical for the imaginative thinking of Uzbek
folklore and classical and modern literature: (forms of
conflict, the trinity of rival love, lyricism, drama,
comedy, satirical spirit, subtle grace, acute escapism,
preventability, brevity, obscurity, etc.) also wear
national (oriental) clothes for the genre of "alien".
U. Jorakulov explains the nature of the conflict that
underlies literary types and genres, in particular drama,
linking the basis of the first conflict with the specific
system of the "first plot" in divine prophecies, internal
and external dialogue, movement and style. The
traditions of national ethics and aesthetics, in particular
the eastern formula of the triad of conflict, focus on the
synthesis of drama and its manifestation in a modern
form. The period of independence also highlights
certain tendentious situations that are observed in
Uzbek drama. In drama theory, the vital basis of conflict
has not previously been defined in this way.
In the process of monitoring the development of Uzbek
drama in a certain period, which is considered the
period of independence, it is also required to act based
on the above theoretical views. Even now, the literary
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trends of the independence period, the scope of topics,
the characters and nature of the dramatic conflict, the
author's approach and processes up to the poetics of
the created works, a free creative environment free
from political and ideological barriers, are built on the
foundation of life - the transfer of literary and aesthetic
traditions of world literature. Accordingly, the Uzbek
drama of the period of independence can be
considered as a kind of creative and aesthetic process.
Literary critic Sh.Rizaev in his article "Drama of the
period of independence", art critic M.Fozilova, on the
other hand, in her monograph "The Dramatic skill of
Usman Azim" studied the drama of the independence
period in two versions in the manner of works on a
historical and modern theme in accordance with the
scope of the subject[15].Relying on this classification
also makes it possible to determine the internal
branching of dramas into historical and modern
themes. In particular, dramas with historical themes
can be classified by style: a) historical heroism; b)
historical and philosophical; c) cognitive and historical;
d) historical and biographical.
In Uzbek drama of the period of independence, new
stylistic techniques and genre forms appeared, based
on this solid foundation. In our opinion, the following
factors should be noted separately, which made
possible the development of Uzbek drama of the period
of independence[18]:
1. The change in the socio-political system made it
possible to create freely. This case eliminated the
obligatory methodological barriers set for artistic
creation, and our national drama began to create its
new history.
2. Distant and close national history, religious faith,
theological
foundations,
sheikhs,
glorifications,
unfounded accusations, repressed personalities, our
long-standing customs and traditions and modern
consciousness, it was possible to transfer courtyards in
a gloomy climate into drama, to transfer them to the
stage and to the cinema.
3. A new modern spirit has entered drama and theater.
The theme of love for a free homeland has become the
main goal of awakening the leading idea, the nation
and rallying around this idea, encouraging the reader
(viewer) to honesty, purity, courage, dedication,
teaching philosophical thinking, manifesting the image
of Uzbekistan through a person of thought. In many
dramatic works, the problems of personality and epoch
were outlined in pencil and transferred to the stage.
This paved the way for the quantitative growth of
Uzbek drama and the maximum possible creative
development of world drama, such as the synthesis of
the drama of tragic conflicts, lyricism and dramaturgic,
the expression of romantic feelings and philosophical
generalizations, the psychological evidence of social
problems in the portrayal of characters.
Observations show that during the 20th and 21st
centuries, in the process of staging dramatic works in
Eastern European countries, the departure from
cultural traditions with deep historical roots, the
movement for the active use of advanced technology
achievements as a result of an increase in the role of
the director, increased to a certain extent.[11] For
example:
Surrealism became the leading trend in Artaud, J.
Vilard, R.Planchon, J.Cocteau works. A problematic and
intellectual theater was developing[12]. Dramas arose
on the basis of the rejection of reflecting social, moral,
religious and aesthetic problems and rethinking
mythological plots, enriching them with new modern
motifs. The avant-garde directions of theatrical art
were creatively mastered in forms and styles, in
particular, in methods of creating symbolic and
figurative images.
In Germany, V. Gazenslever, E. Toller, G. Kaiser, F.
Expressionism in Unruh dramas is deeply rooted in
acquired aesthetics, philosophy of Pathos and
philosophy of content. He was one of the most prolific
actors and directors of Bertolt Brecht, the American
playwright Tennessee Williams and Arthur Miller in his
performance. According to all the principles of the
"epic theater" (contact with intrigue, landscape and
clothes, as little as possible, as working with the
fundamental ideal expressed by the musician, the
fusion of realism and the synthetics of naturalism, etc.),
what you mean makes sense. Christopher Martaler's
"Dance Theater", which carried seemingly simple,
botanical and symbolic content, actively used elements
of opera, cinema and drama. A plastic image of the
universe was created, vigilance was strengthened.
Italian playwrights Luigi Pirandello and Ettore Petrolini
focused on avant-garde intellectual theater.[16] The
Spanish theater witnessed a complex fusion of myth
and metaphorism, while American theaters witnessed
expressionism and realism. In the works of Eugene
Gladson O'Neill and Arthur Miller, the emphasis on
showing the spiritual world of an individual has
increased. With the advent of the concept of "plastic
theater" by Tennessee Williams, classical traditions in
socio-psychological dramas were rejected.[16] The
search for the social essence of human tragedy has
intensified, the emphasis on the intensification of ironic
collisions.
So, serious changes took place in the drama and stage
art of Eastern Europe in the XX-XXI centuries. The
existing literary and cultural traditions began to give
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way to progressive trends such as surrealism,
problematic interpretations, and intellectualism.
Dramas arose on the basis of reinterpretation of
mythological plots, enrichment with new modern
motifs. The avant-garde directions of theatrical art
creatively mastered forms and styles, methods of
creating a symbolic and figurative image, and the
aesthetics of expressionism. The comic pathos and
philosophical content deepened. Problematics and
parable (1. parable, wisdom, symbolic history; there
were
stories
based
on
something
complex
(incomprehensible); a problem). The concepts of "total
theater", "epic theater", "plastic theater", "dance
theater" appeared. Attention to the phenomenon of
literary synthesis has increased, insinuations, irony,
mythological interpretations and metaphorism have
increased.Unfortunately, the Uzbek drama and theater
of the independence period could not creatively master
such large-scale changes.
RESULTS AND DISCUSSIONS
Uzbek drama has already passed the stage of formation
in the period preceding independence, was nourished
by historical and literary traditions and world
experience,
and
also
achieved
significant
achievements. However, representatives of different
spheres, such as a poet, novelist, publicist, actor,
director, cultural worker, who applied national drama
in our literature of the Independence period, did not
always manage to create high-level works, while
updating the thematic content of this type.
Consequently, the failure of the first stage of Uzbek
drama of the period of national independence
manifested itself in a way associated with a lack of
knowledge and experience for a deeper understanding
of the object, that is, with a subjective factor.
However, as soon as opportunities were limited, there
was a strong desire and passion for knowledge and
learning. Although new interpretations of the theme
have already begun to appear in the bud. In this case,
the meaning and significance of creative activity
manifested itself in a way closely related to the long
–
standing aspirations of our people, to be more precise,
the main idea of the people of Uzbekistan on the path
of national development is the creation of a free and
prosperous Homeland, a free and prosperous life.
From the very first steps of the Uzbek drama of the
Independence period, it was mobilized in order to
clearly define a huge socio-political, ideological,
educational and moral position, to be present at the
expression of global problems - to ignite social reality.
Including:
* To unite members of society around the ideas of
national independence, instilling a high sense that
Uzbekistan is the only Homeland;
• teach to learn the right lessons from the Distant past,
creating images of great gods, famous military leaders,
intellectuals who became victims of repression;
* a strong influence on the soul and consciousness of
the reader (viewer);
* Restoration of historical memory and identification of
identity;
* Strengthening religious tolerance, trust and faith;
* Fighting destructive ideas such as drug addiction,
rudeness and promoting creative ideas;
* creating images of contemporaries who ensure the
territorial integrity of our country and the inviolability
of its borders, showing special enthusiasm in
construction;
* The difficulties of the transition period to a market
economy indicate the liberalization of the economy
and the evolutionism of reforms, etc.
Consequently, relying on literary and historical heritage
and age-old values, Uzbek drama and theatrical art
sought not only to have an aesthetic effect on the heart
and consciousness of an individual reader and viewer,
but also to update public thinking, raise spirituality, so
to speak, add a certain share in the development of
culture, science, art, education. It is already difficult to
imagine the form and style, content and essence of
Uzbek drama of the independence period without
expressing the basic ideas of the ideology of national
independence, such as the prosperity of the
motherland, peace on earth, the welfare of the people,
perfect human education, social cooperation,
interethnic harmony, religious tolerance.
When developing the philosophical and aesthetic
foundations of drama, an important methodological
importance was attached to the assessment of the
most relevant events taking place in socio-spiritual life
- phenomena, feelings in the worldview of people on a
national and ideological basis. Because empathy,
immunity, a sense of a correct and clear picture of the
consequences relieve the reader (viewer) of such
moods, feelings (attachments) in themselves -
cleanses. Forming the essence of an aesthetic plea,
voicing catharsis (gr. catharsis (liberation, repentance,
renewal) was elevated to the rank of a systematic
teaching in Aristotle's "Poetics". [12]The philosopher
points out that music, especially the works of the
ancient Greek playwrights Aeschylus, Sophocles,
Euripides, is able to purify the human soul from various
evil and terrible fantasies.
Modern literary and art criticism also interpret the
emergence of catharsis
–
the aesthetic completion of
the content of a dramatic work - in close connection
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with the following two situations-states in their views
on artistic reception:
a) the emergence of an emotional connection between
the thoughts of the hero and the viewer in an extreme
situation;
b) the meeting of the minds of the hero
–
reader
(viewer) - author (playwright) in the process of reading
(theatrical performance is no exception).[20]
In the modern Uzbek theater, there is an urgent need
for artistically energetic dramatic works that excite the
soul of the reader (viewer), call for observation and
sharpen his aesthetic vision, encourage life, creation,
give him enthusiasm and pleasure. Therefore, in order
for Uzbek drama not to remain within the framework
of existing traditions, its theoretical foundations must
be improved along with its artistic structure, as well as
ways of expression. Obviously, this requires creatively
mastering the above-mentioned best practices of
world drama based on national and ethnic thematic
materials and scaling them to universal scales.
Of course, certain shifts and positive results are also
being observed on the ground. In particular, sixteen
dramatic works of various genres written over the past
six to seven years and staged in republican theaters,
published under the auspices of the Public Foundation
"Creativity": (Maftun Mukhammadaminova, Khusnora
Rozmatova, Sardor Khamroev, Khusnora Rozmatova,
among
other
authors
such
as
Maftun
Mukhammadaminova, Khusnora Rozmatova, Sardor
Khamroev, Abdukayum Oyotev, Ramkor Norkobil,
Ibrahim Sadigov, Inomjon Tursunov and Erkin Norsafar,
Javlon
Jovliev,
Obidjon
Roziboyev,
Khusnillo
Dzhomonkulov, examples of creativity of young people
starting their activities are also given, such as Babur
Khamroev).
CONCLUSION
Consequently, among the dramatic works written over
the last decade, there are examples with certain
achievements in ideological and artistic terms. Of
course, these songs are valuable for their truthful
coverage of the history and life of our contemporaries,
their ability to influence the reader's (viewer's) heart,
his worldview and, in a sense, satisfy his spiritual needs.
The achievement of national independence of
Uzbekistan not only opened a wide path for the
implementation of fundamental reforms in the socio-
economic life of the country, but also radically updated
the scientific and educational attitude of the people to
material and spiritual marriage and the re-assimilation
of long-standing values. It was realized that attention
to a person, reverent attitude to the spiritual heritage
and its creative assimilation are the most important
factor in understanding the national self. Historical and
legal foundations created in the Uzbek national drama
of the period of independence: a) historical heroism; b)
historical and philosophical; c) in the educational and
historical direction, as well as d) made possible the
appearance of many national works on modern topics.
Dozens of historical plays have been written about
great states and thinkers, the poets and statesmen who
marked the brightest pages of our people's past.
Why were relatively more works on historical themes
created in the Uzbek drama of the period of
independence the right question arises. In our opinion,
this situation is explained by the following important
factors:
In our opinion, the awakening of national thinking, the
principle of artistic research of history arose in the mid-
80s of the twentieth century and went through the
following specific evolutionary path:
a) Journalistic articles related to the bright totalitarian
regime of Pathos were rejected by the people as the
principle of revealing historical truths that caught
secretly and falsified;
b) the processes of collecting, publishing and
commenting on cultural heritage have come to life;
c) when thoughts became clearer and feelings became
calmer, the genre of fiction, in particular drama and
film drama, focused on these issues;
d) attempts have arisen to transfer the distant and near
past on a historical and philosophical basis to poetic
perception, to the progressive aspirations of our time,
to artistic self-expression in a generally accepted way,
to literary and aesthetic views.
In conclusion, we note that the awareness of the
historical past, the emergence of the need for its
impartial study and the processes of evolutionary
ascent became a bold step towards the familiar - the
self-realization of our ancestors, who were built by
elevation, made a worthy contribution to world
consciousness, left an invaluable cultural heritage,
unfairly repressed.
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