This article describes the ways of reflection of historical events in created epics and some lyrical poems at literary environment of Kokand. In this regard, there was a study of epics such as “Umarnoma”, “Voqeoti Muhammadalikhon”, “Shahnomai devona Mutrib”, “Shahnomai devona Andalib”, “Zafarnomai Xudoyorkhon”, “Jangnomai Xudoyorkhon”, “Maktubchai Khon” along with compositions of poets such as Akmal, Nodira, Muqimi, Nasimi. The ways of reflection of historical events in poems were explained by examples.
Ижтимоий ҳаёти ниҳоят даражада ёмонлашган давр эди. Ўша пайтларда солиқлар тўхтовсиз оширилиб борган, тенгсизлик ҳукм сурган, аёлларнинг ҳақ-ҳуқуқлари оёқ ости қилинган эди. Мана шундай оғир шароитда яшаб ижод этган қорақалпоқ адабиётининг асосчиси шоир Бердақ Қарғабой ўғли бу адолатсизликларни кўриб, чидаб тура олмади. Ўзининг қатор достон ва шеърларида халқ бошига азоб-уқубатлар ёғдираётган мана шундай золимларни танқид остига олди. Шоир ҳажв ва кулги орқали ижтимоий тузумдан ўзига хос тарзда ўч олиб, меҳнаткашларни эзган шахсларни эл-юрт олдида масхара қилади ва уларнинг маънан тубан қиёфаларини “кўзгу” каби аск эттиради.
The article presents a description of the manuscript, its analysis, characteristics and distinctive features, research history of the composition “Madjm‘a al-Khavadis” which is kept in a single copy in the holdings of the Center of Oriental Manuscripts under the TashSIOS. The paper shows its scientific significance as a literary-historical composition.
In recent years, various levels of research in the field of linguistics have been carried out, based on the lexical-semantic and grammatical features of the language. In particular, effective work is being done to study the linguistic features of artistic sources on folklore. In subsequent years, scientific papers and studies appeared on the linguistic features of proverbs, phraseologies, as well as wishes and applause (applause-curses). They are studied by folklorists as cultural units. In particular, research was conducted on the names of epics, fairy tales, wedding ceremonies, the linguistic features of wedding songs, the lexical and semantic analysis of Uzbek folk riddles. It seems that there is not enough information about the work done or ongoing in the above areas related to the cultural life of the peoples of the East. This article is dedicated to Turkish wishes and applause, as well as the participation and art of colors in their linguistic landscape. There are aspects that should be considered when studying wishes and applause. These cultural units are characteristic of oral discourse, although they are found in both formal and formal literature. Naturally, in order to conduct research on such a subject, it is necessary to know the way of thinking of these people. The word applause comes from the ancient Turkic language and means praise, honor, wish good wishes. The participation of flowers in Turkish wishes and applause is aimed at revealing the meanings and artistic image of these flowers in terminology. In fact, everything around us is made up of different colors. Colors are an important tool for distinguishing things from each other. You can see the place and meanings of white in desires, the positive and negative meanings of black and the use of green in life as blessings and blessings. In addition, the article provides examples of synonyms for red and white.
Ortiqcha tana vazn - teri osti toʻqimasida, organlarida va toʻqimalarda ortiqcha yogʻ birikmalaridir. Yogʻ toʻqimasi tufayli oʻrtacha qiymatlarning 20% yoki undan koʻp foiziga tana vaznining oshishi bilan namoyon boʻladi. Psixik-jismoniy bezovtalikni keltirib chiqaradi, jinsiy kasalliklarga, orqa miya va boʻgʻimlarning kasalliklariga olib keladi. Ateroskleroz, yurak kasalligi, gipertenziya, miyokard infarkti, qon tomirlari, diabet, buyrak shikastlanishi, jigar, shuningdek, ushbu kasalliklardan nogironlik va oʻlim xavfini
oshiradi.
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.
During the last century a great deal of work has been done in the study of the poem Yusuf Has Hajib's "Kutadgu Bilig", which was the first Turkic manuscript. In Uzbekistan, Professor Kayum Karimov did some research on translating this work in Uzbek and presented it in a language that is understandable to readers. On the other hand, this poem has been translated into several languages of the world, and much more has been done. However, there are some disadvantages in conveying its essence. These shortcomings can be seen in the fact that translations in different languages are lost in translation, with some artifacts being lost. This article compares the artistic content of the box knowledge with comparative analysis in foreign languages. Working on a scientific article, three versions were analyzed and studied. Their bytes were compared. As a result, every translation has some differences. But we can see the similarity between the translations, especially in translations by May and Ivanov. Because, separately, Walter May has translated this work from a Russian translation by Ivanov. Given that both of the above translations are translated in partnerships, we can see that they have some artwork in place. This is evident in the translation by Robert Denkoff. The main reason was that Denkoff translated this work in prose. Illustrated by specific bytes of the work, it provides a comprehensive comparison of the artistic tools used, including illustrations and epithets, in translations from four books to three different languages. Finally, it became clear that the shortcomings of some translators had a profound effect on the translation of the work without affecting the translation.
The article deals with the methaphoric meaning of the word- symbol “flower” in the poet’s interpretation of the poem “Wonders of the Good People” from Alisher Navoi’s work “Khamsa”(Quintuple).