International Journal Of Literature And Languages
82
https://theusajournals.com/index.php/ijll
VOLUME
Vol.05 Issue04 2025
PAGE NO.
82-84
10.37547/ijll/Volume05Issue04-21
Issues of Representing Poetic Linguoculturological Units
in Linguoculturological Dictionaries
Mustafаyeva Saodat Burxanovna
Karshi State University, Uzbekistan
G.N.Tojiyeva
Scientific advisor: Doctor of Philology, Professor, Uzbekistan
Received:
27 February 2025;
Accepted:
23 March 2025;
Published:
26 April 2025
Abstract:
This article explores the issues related to the representation of linguistic and cultural units used in poetry
within linguoculturological dictionaries. It analyzes how poetic expressions reflect national values, cultural
symbols, and collective worldview, emphasizing the importance of accurately conveying these aspects in
dictionaries. The study highlights the necessity of preserving the connotative and cultural meanings of poetic
elements during interpretation and lexicographic description. Special attention is given to the challenges of
explaining culturally bound metaphors, idioms, and symbolic language in poetic texts when compiling
linguoculturological dictionaries.
Keywords:
Poetry, linguoculturological units, cultural context, poetic expression, lexicography, national values,
symbolic meaning, connotation, translation, linguoculturological dictionary.
Introduction:
Poetry is one of the most refined and
artistic forms of language. Every poetic unit not only
functions as a grammatical structure but also serves as
a reflection of the nation's culture, traditions, and
worldview. Poetic texts contain linguistic units that are
rich in national symbolism, cultural codes, and deep-
rooted
collective
memory.
Accordingly,
the
representation of such units in linguoculturological
dictionaries is a significant area of study within both
linguistic and cultural studies. This paper aims to
investigate how poetic linguistic units are described in
linguoculturological dictionaries and what challenges
arise in preserving their semantic and cultural integrity.
It is impossible to reach scientific and theoretical
conclusions about issues related to literary texts
without a deep understanding of the unique national
character, customs, values, and traditions formed over
many centuries of the Uzbek people's history. This is
because literary creativity and literature are vivid
reflections of a nation's spiritual identity, and they are
inextricably linked. This connection is inseparable from
the nation's history, the social and political changes it
has undergone, and the innovations in the lexical
composition of its language.
A literary text is understood as the artistic expression
of the unique features passed down from generation to
generation among a particular people or social group
over centuries, conveyed through artistic means and
methods in language. Literary creativity is profoundly
influenced by the geographical location where a
particular nation lives, its lifestyle, socio-economic
conditions, beliefs, customs, and national values.
Naturally, these factors are reflected in literary works.
METHODOLOGY
This study applies a qualitative analysis of selected
poetic texts from Uzbek classical and modern
literature. It focuses on the identification of culturally
marked lexical unit symbols, metaphors, idiomatic
expressions, and phraseological units. These units are
examined in the context of their cultural meaning, and
their definitions in existing linguoculturological
dictionaries are analyzed. Comparative analysis is also
conducted to observe how similar units are treated in
multilingual lexicographic sources.
International Journal Of Literature And Languages
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International Journal Of Literature And Languages (ISSN: 2771-2834)
Under the influence of the internal and external factors
mentioned above, every nation develops its own
unique national characteristics that distinguish it from
others. The ability to reflect these distinctive features
largely depends on the writer's or poet's skillful use of
existing lexical and phraseological units in the
language. This, in turn, determines their individual
style.
In Uzbek linguistics, research on the language of literary
works is noticeably expanding in scope and
continuously evolving. Particular attention is being paid
to exploring the relationship between the individual
and language in works related to text analysis. As Prof.
Sh. Safarov rightly noted, "As a result, linguistics is
increasingly in need of collaboration with cognitive
disciplines such as logic, psychology, and cognitive
science." This observation highlights the necessity of a
cognitive approach in studying the relationship
between the individual and language - an issue
currently at the center of linguistic research - especially
in relation to text-based analysis and understanding the
essence of the subject matter.
The research methods recognized by linguists also aid
in the linguistic analysis of poetic texts, particularly in
examin
ing the language of Usmon Azim’s poetic works.
Identifying the unique features of language units used
by a particular author demonstrates that "linguistic
analysis is a type of cognitive analysis and represents
one of its forms." In linguistic-poetic research within
Uzbek linguistics, attention has been given to the
literary creativity of word artists who emerged from
among our people, focusing on the stylistic and
aesthetic features of the language used in their literary
works. These studies examine the unique language and
style of the author or poet, their skillful use of artistic
language devices, their attitude toward national
traditions and values, and their creativity in generating
new words and expressions to depict events and
phenomena.
A. Hasanov, who studied the lexical and stylistic tools
that ensure the expressiveness of A. Qahhor’s short
stories, notes the achievements made in the study of
literary texts in Uzbek linguistics. He emphasizes that
"in particular, the fact that M. Yo‘ldoshev was the
first
to study the linguopoetic features of literary texts
within a dissertation framework marked a significant
advancement in this field. The scholar developed seven
principles for linguopoetic analysis of literary texts:
unity of form and content; unity of space and time;
analysis of the relationship between the language of
the text, the national language, and the literary
language; approaching the literary text as an
aesthetically artistic whole and identifying the
conceptual content of the work; identifying poetically
actualized language devices; determining the ratio of
explicitness and implicitness in the literary text; and
analyzing the linguistic and semantic features of
intertextual mechanisms within the text".
Indeed, the uniqueness of each author's choice of
language units manifests itself in the literary text they
create, regardless of its form. Through linguopoetic
analysis of a literary text, it becomes possible to gain a
clear understanding of the poet's or writer’s individual
stylistic mastery.
RESULTS
The analysis revealed that many poetic units are deeply
embedded in the cultural and historical context of the
nation. For instance, the color "blue" (ko‘k) in Uzbek
poetry often symbolizes purity, peace, and spiritual
elevation, which goes beyond its literal meaning.
However, such metaphorical and cultural connotations
are not always adequately represented in dictionaries.
Some entries provide only literal definitions without
reference to cultural implications. This limits the
reader's or transla
tor’s ability to fully grasp the
intended meaning of poetic texts.
The primary tool of a literary text is the word.
"Linguistics is closely interconnected with literature.
This is because language, as a means of
communication, is not merely a system of signs that
conveys specific information
—
it is also a powerful
instrument capable of influencing the listener," write A.
Nurmonov and Sh. Iskandarova. "While the first
function of language is the object of study in traditional
and structural linguistics, its second function is the
focus of linguopoetics". Linguopoetics, a shortened
form of linguistic poetics, studies the artistic and
aesthetic functions of linguistic units (phonetic,
morphemic, lexical, etc.) used in literary works, as well
as the connotative function of language. In other
words, linguopoetics is a branch of linguistics that
examines artistic speech.
Artistic speech serves as the means of expression in
literary works. In the history of philology, the terms
language of literary works and poetic language
frequently appear. Although the concepts these terms
represent are closely related, they differ in certain
aspects. Concepts such as imagery, style, tropes,
artistic language, stylistics, and poetics are all relevant
to the study of the language of literary texts and
linguistic poetics.
Only when a writer skillfully uses linguistic units can
their work be well received by readers. When language
tools are appropriately selected and applied in a
literary text, they become a means of producing artistic
and aesthetic impact on the reader. Through them, the
events, characters, and their traits depicted in the work
International Journal Of Literature And Languages
84
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International Journal Of Literature And Languages (ISSN: 2771-2834)
are artistically expressed. This provides a basis for
drawing certain conclusions about the author’s
language and style. In the creative works of Usmon
Azim, linguopoetic devices hold a significant place.
In his poem "A Night Walk Through Samarkand", the
poet creates an unexpected simile that enhances the
poem's poetic expressiveness and vivid imagery.
—
Samarkand, where are your roots?
—
Your night, shattered by lights,
between night and light,
long spirits
—
minarets,
are heading towards the future,
sometimes stopping to gaze at the moon
(did the sound of the aza reach your ears?) (p. 45)
In the poem, the comparison of the minarets to spirits
is an image that would not even occur to the
imagination of most readers.
DISCUSSION
Furthermore, symbols such as flowers, birds, celestial
bodies, and natural elements carry distinct meanings in
poetic traditions, which must be considered when
developing linguoculturological dictionaries. The study
also showed that the lack of contextual and cultural
explanations
in
dictionaries
could
result
in
misinterpretation of poetic messages, especially in
translation and cross-cultural communication.
CONCLUSION
Linguoculturological dictionaries should not only
provide definitions of words but also reflect their
cultural and symbolic meanings, especially when those
words
appear
in
poetic
contexts.
Accurate
representation of poetic linguistic units requires an
understanding of both linguistic structure and cultural
background. Therefore, lexicographers must pay close
attention to preserving connotative meanings and
cultural symbols in dictionary entries. This study
recommends a more integrative approach to dictionary
compilation that combines linguistic, cultural, and
literary perspectives for a richer and more authentic
interpretation of poetic language.
REFERENCES
Azim Usman. Selection: Poems. -Tashkent: East, 1995.
Karimov S.A. Artistic style and expressive means of
language. Textbook. - Samarkand: SamSU, 1994.
Mirzaev I. Problems of linguistic and poetic
interpretation of stixotvornogoteksta (based on
modern Uzbek poetry): Diss…doc.filol.nauk. –
Tashkent, 1992.
Mirzaev I. About a new study devoted to the analysis of
the poetics of the text of the stories of Abdulla Qahhor.
–
Philology -10. Collection of scientific articles.
–
Samarkand: SamSU, 2010.
Mirzaev N. Explanatory dictionary of ethnographic
expressions of the Uzbek language.
–
Tashkent,
Science, 1991.
Abdurakhmonov Kh., Mahmudov N. Aesthetics of the
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–
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