The article examines the features of the court (palace) poetry in the literary heritage of the Turkic peoples and the work of Bukhar zhyrau. For the purpose of a comprehensive consideration of this problem, the methods of historical-comparative and comparative-typological analysis were used in parallel. On the basis of a systematic research method, the features of the work of court poets in the poetic literature of the Turkic peoples were identified. The creativity of the classic of Turkic literature Navoi and a prominent representative of Kazakh poetry Bukhar Zhyrau became the object of systematic research. Court poetry at different stages of development was distinguished by a thematic orientation. Based on specific examples, it is determined that court poetry develops not only in a laudatory, glorifying, but also in a social form. On the example of the creativity of Bukhar zhyrau, the main features of the poetry of zhyrau are revealed. Although Bukhara served at the palace, he is not ranked among the court poets. Arguments are given in favor of the fact that Bukhar zhyrau, despite the position of vizier and adviser to Abylai Khan, if necessary, sharply criticized some of the khan's actions, which testifies to the close connection of zhyrau poetry with historical and social conditions and events.
Although the attitude of Alisher Navai towards the representatives of Persian classical poetry of the X-XV centuries has been studied relatively well, but the issue of the relationship of Uzbek poet with the works of Anvariy Abivardi (1105–1191), Persian-speaking poet, recognized as "Prophet in qasida" by tradition hasn’t been researched yet. In this paper, with an argument of this poet’s works, his qasida dedicated to Sufi-irfani theme "Tawakkul" (trusting in the will of God) is discussed in detail compared with Navoiy’s qasida which is devoted to the same subject as an imitation of Anvari’s qasida.
Rashod Nuri Gunthekin is an internationally renowned Turkish writer. Many of his stories and novels have been translated into Uzbek. An article about the life and work of Rashod Nuri Guntekin. His role in the history of Turkish novels, the essence of the content of his novels are discussed and some of his novels are analyzed. The entry of the author into the world of literature provides information about his published works. The article is based on the analysis of the novels "The Mysterious Hand", "Cholikushi", "Tamga", "Khazonrezgi", "Achinish", "Green Night", "Night of Fire", "Evening Sun". shown. The uniqueness of Rashod Nuri Guntekin as a writer reveals the content of social problems raised in his works. It is appropriate to cite the opinions of other writers about the work of Rashod Nuri (for example, the words of the Azerbaijani writer Ismail Shikhli), and you can also find out the influence of the work of R. Nuri Guntekin on other artists. In general, the article contains the necessary information that Rashod Nuri Guntekin is a great writer, his novels have been translated into Uzbek.
This article discusses the formation and development of such prosaic genres of Medieval Arabic literature as rasail (tarassul), adab, tavqiat, risala, maqam and examples of their application. The article notes that medieval written prose is such a pon-derable part of classical Arabic literature as poetry, which has been a great success with the readers and contributed to the artistic taste education.
This article covers the study of the poet's revenge in the Devon of the scientific heritage of Mansur Al-Hazimi, the representative of poetry in modern Saudi literature in Arabic “pleasure-babble and stories”. We believe that the poems of Mansur al-Hazimi written with the attribute of love and nature in the book ةريزجلا نم ةيبرعلا ءارعش (“Poets of the Arabian Peninsula”) are rich in content and beauty of form, persistently producing all the elements concerning the form and content of Mansur al-Hazimi, giving them polish and gloss, skillfully using the language opportunities, so that the clear fluency of the the ideas are simple and concise, attacking the reader in thought, literally witnessing the reader's compatibility. Also, his poetry was compared with each other in terms of meaning in the poems of Uzbek literature.
Culture is integral, regarding its meaning in the world of value orientations of the human-being. The Korean literature as any other one is seen as the organic part of culture of the Korean people, the reflection of its people and development. The gist-based prose is different from the European, due to the fact that it emerged on the basis of culture, which did not have the epic tradition. Due to this matter, the main source is the being itself, which substitutes the epos – the historical compilations and collection of livings of the literature «Pkhesol» . The analysis of the history of the middle-aged literature of XVII – XVIII centuries allows to say that its development was supported with the high-quality based ideas and concepts, and also the reality and its production, regarding the perfection of the arts forms, the formation of new genres and the process of sophistication of the gist based lines. The Korean literature of this period is divided into the following items: 1. the high prose and the poetry, based on hanmun, 2. the prose of small forms «pkhesol» on hanmun.3. the literature on the Korean, native language, which was divided into three ranges: upper poetry, middle-average (its own high prose) (diaries and novels) and low prose (the Korean novels). In the XVII century the Korean literature started to get the new concepts, it occurs the transformation of the social role, there are continued the search and creation of new forms, and also the birth of new and transformed old genres. «Pkhesol» of emergence of the prosaic genre «sosol». In the literary Korean thought, which was lack of the genre-based qualification, the term «sosol» united the prosaic works such as the novel, novelette and a tale. The Russian scientists also do not possess with the unique explanation of the term «sosol». Meanwhile, the term «sosol» is seen as the continuation of the genre «pkhesol», which allowed the emergence of new literary opportunities of genre, enriching this very trend, and creating a more unique genre, the high-quality based unique genre of the middle-aged Korean novel, which is seen as the classical novel. The middle-aged novelty is related with the oral people’s creative work, its compositions are related with the rules of the fairy tales, the actions always have 2 (two) polar poles-the suffering of the hero and the lucky end. Such gist-based peculiarity is seen by the imagination of the Korean people about the change of chaos to the harmony. The end of XVII century is characterized as the epoch of birth of the Korean novel (the founder is Kim Mandjun), («The wanderings of Ms. Sa throughout the South» and «The cloudy dream of nine») characterizes an emergence of new genre –«the diary» of the geographic and historical character («The diary of the military adventures» of Li Sunsin, «The diary of adventures to Japan» of Khwan Chin, «The scriptures of adventures to the mount Pektusan» of Pak Chon and others).
The article is devoted to the analysis of the views of the great Uzbek poet and thinker
Alisher Navoi on the literature of the reign of Mirzo Ulughbek, encyclopedic scholar, the Temurids’ ruler. The author studied the ideas and interpretations on this theme in the works of Navoi on the basis of the following classification: 1) the praising of Mirzo Ulughbek in the works of the great poet; 2) The literary environment that emerged during the period of Mirzo Ulughbek and the attitude to its representatives’ work; 3) the development of literary and aesthetic thinking during the time of this ruler.
In the concluding section of Alisher Navoi's epic poem "Farhod and Shirin" and in "Majolis un-nafois" (“Tender meetings”) Mirzo Ulughbek is described and praised as a unique hafiz who memorized and learned the Holy Qur'an with seven recitations, a great astronomer who wrote "Ziji jadidi Koragoniy", as well as he was referred to as a poet with a great taste. In the example of Abdullatif Mirzo it was illustrated that Mirzo Ulughbek's natural inclination towards poetry was passed on to his children too.
In addition, the author of the article used information from Abdurazzoq Samarkandi's "Matla'i sadayn va majmai bahrain" and Davlatshah Samarkandi's "Tazkirat ush-shuaro" to prove his views. It has been scientifically proven that the information in these sources is valuable in terms of supplementing the views of Alisher Navoi provided in the "Majolis un-nafois" and enriching it with new facts and evidences. In turn, the views in the monographs of V.V Bartold "Ulughbek and his time", Ergash Rustamov’s "Uzbek poetry of the first half of the XV century" were analyzed too.
T his article explores the Arabic borrowings in the poem "Hairat ul-Abror" ("confusion of the virtuous") by the founder of the uzbek language and world-famous poet Alisher Navoi. For this purpose, the use of 2838 lexemes and phrases of Arabic origin on the basis of the concordance of the “frequency dictionary”, was revealed. In addition to this, there are 52 quotes from Kor’an and the hadiths of the prophet that are not adapted into the Uzbek language system. Approximately 90% of Arab borrowings went through the adaptation process in the literary Uzbek language before Navoi and is still in use. The remaining 10% were not included in the vocabulary of the Uzbek language and, if necessary, the use of the Arabic system of versification "Aruz" and rhyme. The poet compiled a special vocabulary of Arabic borrowings "Sab’ati abhur" (Seven Oceans), in order to use in verses as necessary.Another sign of the complete adaptation of Arabic is compound and affix words composed according to the “Arabic-Persian”, “Arabic-Turkish” models by their morphological and syntactic rule of the Uzbek language.
Mazkur maqolada jahon davlatlarida zamonaviy adabiyotning rivojlanish tendensiyasi,janrlari, janrlar haqida qisqacha maʼlumot, postmodernizm tushunchasi va oʻtgan davr adabiyoti bilan hozirgi davr adabiyotini taqqoslangan holda koʻrib chiqamiz.