International Journal Of Literature And Languages
109
https://theusajournals.com/index.php/ijll
VOLUME
Vol.05 Issue07 2025
PAGE NO.
109-111
10.37547/ijll/Volume05Issue07-29
Theoretical Foundations of The Study of Lyric Motives in
Karakalpak Women's Poetry
Mnajatdinova Makarya Jumabaevna
Karakalpak Research Institute of Humanities of Karakalpak Branch of the Academy of Sciences of the Republic of Uzbekistan, city of
Nukus, Uzbekistan
Received:
31 May 2025;
Accepted:
29 June 2025;
Published:
31 July 2025
Abstract:
The article discusses the unique subtle thinking of female poets in Karakalpak literature, their unique
way of expressing words, their emotional and spiritual worldview, and their unique approach to poetry. At the
same time, scholars' opinions on the structural function of motifs are presented, and examples from women's
poetry are cited.
Keywords:
Literary studies, poetry, lyrics, lyrical motifs, poetry.
Introduction:
Karakalpak women's poetry is an integral
part of our common literature that requires
independent study. The poems they created are
written at a high poetic level and have deep ideological
content. The lyrical poems of Karakalpak women's
poetry, imbued with pedagogical, aesthetic, and
philosophical ideas, meet the demands of readers with
high poetic taste and instill human qualities in the souls
of young people.It is concluded that "I" stands out from
poets due to the artistic features of their works,
developmental trends, methods of creating the image
of the lyrical hero, and poetic mastery in applying the
motif in their works.
It is no secret that the emergence, formation, and
stages of development of women's poetry in
Karakalpak written literature occurred in the 20th
century, and their work developed later than the
general literary process, therefore the study of their
work also developed later. More precisely, women's
creativity in Karakalpak literature was not specifically
studied. In Karakalpak literature, the works of
G.Esemuratova,
S.Bahadırova,
Sh.Aytmuratova,
Z.Ishmanova,
N.Tóreshova,
M.Jumanazarova,
G.Dáwletova,
P.Mırzabaeva,
G.Nurlepesova,
SH.Payzullaeva,
G.Shamuratova,
A.Óteniyazova,
A.Turdımuratova, who were officially admitted to the
Writers' Union of Uzbekistan and Karakalpakstan, are
evidence that there are enough works worthy of
scientific research in both Karakalpak women's poetry
and prose. From this point of view, the study of the
work of female authors in national literature, the
theoretical analysis of artistic research in their works is
one of the main tasks of literary scholars.
If we look at the history of world literary studies, we can
see that since women entered the field of literature as
creators and began to create works reflecting their
inner pains, sorrows and joys, emotions about nature
and nature, the inner world of people, the peculiarities
and differences of their works have been studied from
the point of view of literary studies.
The problem of women in science, the question of
determining their place in society, is connected with
the doctrine of gender in philosophy. However, from
the point of view of literary studies, women's creativity
is not given social significance, that is, women's
creativity, like men's creativity, is drawn to scientific
research around general issues in the field of literary
studies. Nevertheless, the separate study of women's
creativity in literary studies began in the second half of
the 20th century. In Russian literature, women's
poetry, its connection with gender issues, genre types
of lyricism, skill in creating images, and in general,
motifs in poetic works are studied in detail in the
scientific works of such well-known scholars as T.M.
Marchenko, L. Ginzburg, A.V. Maleva, and in Uzbek
literary studies - S. Mirzaev, Mirtemir, Sh. Aldasheva, T.
Jalolov, S. Mamajonov, N. Rakhimjonov, K. Yuldashev.
In Karakalpak literary studies, this issue has been
discussed in the scientific works of S.Axmetov,
T.Mambetniyazov,
Q.Orazımbetov,
Q.Jarimbetov,
International Journal Of Literature And Languages
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International Journal Of Literature And Languages (ISSN: 2771-2834)
Z.Bekbergenova,
J.Esenov,
B.Genjemuratov,
P.Nurjanov, Q.Turdıbaev, J.Sagidullaeva.
Although women's creativity does not differ greatly
from men's creativity in epic or dramaturgy, it turns out
that there are certain differences in lyrics. This feature
is primarily related to the genre characteristics of the
literary genre. Because, in lyric poetry, first of all, it is
necessary to delve deeper into the inner world of a
person, to reflect the inner experiences of the lyrical
hero, to reflect his mental state, women, based on their
creation, in their lyrical works more clearly reveal the
peculiarities of perceiving the world, characteristic only
of women, in conveying these experiences. Therefore,
it can be concluded that women's poetry deserves
special study.
It seems that female poets, through their unique subtle
thinking, originality in word usage, impressionability,
and spiritual worldview, are discovering the secrets
hidden in the depths of their hearts. The author
skillfully describes the emotions associated with the
situation, that is, love, longing, grief, separation, trial,
and other similar feelings of a person. This, in turn, is
directly related to the nature of the motives that
prompted the creation of the lyrical work, carrying
those feelings and experiences throughout the poem.
Therefore, the peculiarity of women's lyrics is revealed
more deeply and vividly, mainly on the basis of the
motifs that created the experience in the work. After
all, in order to fully understand the content of each
work of art, it is necessary to know the artistic intention
of the author. The driving force of this artistic intention,
idea, is the motif. From this point of view, the study of
the poetics, nature of motifs in women's lyrics, the
artistic function of motifs in the organization of content
and form can be an important research problem in
determining the specific artistic features of Karakalpak
women's lyrics.
In dictionaries, the word motif comes from the Latin
word "moveo," which means "exciter, pusher." In a
general sense, "a conscious, purposeful action that
motivates a person to a certain action, an internal
subjective reason, aimed at expressing their needs and
duties. It is harmonious with the concepts of action,
purpose, and aspiration. The realization of the motive
gives direction to the actions of the individual" [1:574].
Literary motif 1) In oral folk art: the simplest and most
important component of the plot. … In folklore, the
comparison of similar symbols is used to reconstruct
the original version of the plot and to trace its migration
in fairy tales, epics, and legends of the peoples of the
world. 2) The secondary, supplementary theme of the
work (a type of micro-theme), whose function is to
supplement or reinforce the main theme (for example,
M.Yu. The motif of "loneliness," "wandering," "exile" in
Lermontov's lyrics, the motif of "coldness" in I. A.
Bunin's stories "Cold Autumn" (“Suwıq gúz”) and "Light
Breath," (“Jeńil dem alıw”) the motif of "full moon" in
M. A. Bulgakov's "The Master and Margarita"), (“Usta
hám Margarita”) [2]. Thus, a literary motif is a set of
stable meanings formed under certain conditions,
arising on the basis of historical life, and is one of the
most important and necessary elements of a work of
art. However, in lyrical works, the motif is "special key
words that perform many tasks, are frequently
encountered, carry a special meaning.Motive -
thematic direction, formed, traditional thematic
direction, state (state) in the chain of events [3:232].
Although a number of studies on the literary motif have
been conducted in world literary studies, there are still
many questions that need to be clarified on this issue.
In particular, the issue of motifs in lyrical works is one
of the complex issues. Because the specifics of the
lyrical type and its genres, as well as the specific nature
of the literary motif, require research on the poetic
construction and internal content and architectural
features of lyrical motifs. If the motifs in oral and prose
works are distinguished mainly by their artistic
function, then in a lyrical work the motif is the most
important artistic "mechanism" in creating lyrical
artistic integrity.
In the poetic activity of the motif, A.N. Veselovsky's
definition of the motif as an important element of the
folklore plot, that is, from the time when he laid the
foundation for the theory of motif, the concept of
motif, within the framework of general literary theory,
led to the emergence of various views, directions, and
concepts regarding its nature and place in the text,
semantics, and function [4]. He was one of the first
scholars to propose the need to separate the motif
from the plot. However, in recent years, the term motif
has begun to be used in a new way in literary studies
and linguistics. In this case, the issue of the connection
of the motif with the individual experience of the
creator took the lead and began to be considered as the
personal artistic intention of the writer-poet and the
value of his works. In particular, an individual motif,
similar to the concept of a traditional motif, but found
only in one separate work, began to be studied as a
lexical model. The German literary critic William
Friedman conducted extensive research on the
individuality of the motif, stating that "the motif is a
subject, a character, or a collection of words. The motif
is not a single, unchanging element; it can consist of
different words, but they all serve the same purpose,
are very close to each other in meaning, and, in
Kenneth's words, "can be a collection of closely related
words."[5:63]. This opinion of W. Friedman is especially
important in the study of the nature of motifs in lyrical
International Journal Of Literature And Languages
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International Journal Of Literature And Languages (ISSN: 2771-2834)
works. Because not every word used in lyrics is simply
chosen by the poet. Since the principle of conveying a
lot of meaning and deep content with a few words is
paramount in lyrics, many words in the poem are
imbued with imagery, figurative meaning, or
symbolism. The content that is understood in it can
have a subtext. Therefore, these indicators should be
taken into account when studying lyrical motifs. In
general, the concept of literary motif serves as an
artistic unit that reflects a person's lifestyle, worldview,
worldview, the entire historical, political, philosophical
and psychological level, the past, present, and future,
therefore it helps to determine the function of a literary
work of art in its time. Thus, the motif is an indicator of
the feelings and consciousness of the writer and the
poet. Therefore, through the motifs in the work, it is
possible to know their individual image, style, ideas, to
recognize the external structure and internal content of
each work, to determine its benefit to society, its
success, its artistry.
In Russian literary studies, E.Proshin, A.Appolonova,
N.Vershinina, K.Khetagurova, A.Kalashnikova, and
others conducted research on the tendency to consider
lyrical motifs as an element determining the lyrical
experience and its thematic and semantic direction. In
Kazakh literary studies, S. Kosqabasov, Sh. Satpayeva,
Sh.Ibiroev, A.Yakhshilikov, E.V.Korneeva, N.I.Kolodina,
Zh.Sidikova,
I.Zhemeney,
G.Kanashaeva,
R.M.Abdikulova conducted special research on
folklore, prose and poetic motifs, in Uzbek literary
studies U.Kobilov, N.Kadyrova, M.Klicheva and others
conducted special research from the point of view of
literary influences. In Karakalpak literary studies, K.
Orazimbetov, in his research, considers the motif as an
artistic unit that gives impetus to the poems of poets
and analyzes its relationship to the content of a lyrical
work [6], while G. Tleuniyazova focuses on the artistic
function of motifs in the composition of poetry.
According to G.Tleuniyazova: "in a lyrical work, the
motif is "stable semantic units" (B.N. Putilov), which
actively participate in conveying the theme and idea of
the work of art, and it is repeated in the work in various
forms. Such functions of the motif, characteristic of
literary works in general, are used in the form of a
repeating separate word, phrase, title, epigraph, etc.,
and are selected by the poet for the composition of the
lyrical work in order to help reveal the main idea,
sometimes hinting at the hidden idea under the text,"
and supports the following thoughts of the Russian
theorist B. Tomashevsky: The lyrical spread of the
theme is reminiscent of the dialectic of theoretical
thinking,... and in lyrics, the introduction of motifs
justifies itself with the emotional spread of the theme.
The scholar explains the three-part reflection of the
idea in the composition of the poem by the fact that the
theme is given in the first part, the second part is
developed with side motifs, and the emotional
conclusion is given at the end. The study of the
compositional function of motifs in Karakalpak lyrics
and the artistic explorations of poets in this direction
are of great interest [6:20-21].
The artistic function of motifs has been successfully
studied in Karakalpak folklore studies as a component
of the dissertations of J.Khoshniyazov, K.Palimbetov,
A.Bekimbetov, J.Mambetov, and others.
Karakalpak women's poetry is an integral part of our
common literature, requiring special study. The poems
they created are written at a high poetic level, their
ideological content is deep. Lyrical poems of Karakalpak
women's poetry, imbued with pedagogical, aesthetic,
and philosophical ideas, meet the requirements of
readers with high poetic taste and instill human
qualities in the spiritual world of young people. It can
be concluded that the artistic originality of their works,
the directions of development, the methods of creating
the image of the lyrical hero, the poetics of the artistic
word, in short, the "I" of female poets are more deeply
determined by studying the nature of lyrical motifs in
their work.
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