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.
In The article examines the emergence, formation and development of such small prose genres in Hindi and Punjabi literature as a sketch ("rekhachitra"), their distinctive features, features and role in literature. The Rekhachitra (image) genre is a virtually unexplored genre in Russian Indology. There are opinions of some Russian Indologists, such as E.P. Chelysheva, A.P. Senkevich and N.P. Utekhina. The article also cites the opinion of some Hindi literary scholars, in particular, Mahendra Kumar Dhingra, Lakshmisagar Varshaya, Nagendra and V. Tripathi on this genre. An attempt is made to shed light on this topic using the example of the works of writers in the genre of "rekhachitr" (image).
This article examines the peculiarities of modern Turkish storytelling in the 1970s, including the work of Selim Ileri, a master of Turkish storytelling, and his mastery of the storytelling genre. The article analyzes the author's stories from a literary point of view, such as “The Magic Organ”, “The Engaged Girl”, “My Mother's Geraniums”, “Nights without Morning”, “The Mermaid's Tale”, “At the Foot of the Sea”, “The Last Day of Friendship”, “Close Economy”. Unlike some Turkish writers, Selim Ileri’s stories were created under the influence of masterpieces of world literature. The author's “Engaged Girl” was written under the influence of A.P. Chekhov, the story “Nights without Morning” by Dostoevsky, the story “The Mermaid`s Tale” and “At the Foot of the Sea” by Faulkner, the story “Close Economy” by Shakespeare. Accordingly, S. Ileri follows in the footsteps of local artists in content and foreign writers in shape. The works of Virginia Woolf, William Faulkner, Catherine Mansfeld are important sources of the writer's work. He quotes from the works of Virginia Woolf, using melodrama techniques. In particular, some aspects of Faulkner’s literary style are clearly visible in S. Ileri’s stories. The plot lines in S. Ileri’s stories have an abstract structure. Therefore, it is difficult to understand the true meaning of his works. The nature of the images is often revealed through an inner monologue and a stream of consciousness. In this respect, S. Ileri is close to the work of U. Faulkner. In the author's work “At the Foot of the Sea” there is a strong desire for postmodernism. The creative process, the connection between reality and texture is the main issue of the work. The distinguishing feature of the postmodern work is the focus on the boundary between the subconscious, fantasy and reality. In creating “The Close Economy”, the author was influenced by Western literature, particularly Shakespeare's Hamlet. In this tragedy, Hamlet shows himself to the people around him as an insane and stupid. As we have analyzed, S. Ileri’s stories cover the psychological state of the modern man in Turkish society, the suffering of a person trapped in a whirlpool of spiritual problems, the tragedy of loneliness, the problems of selfishness and lack of compassion. Changes in the psyche of the heroes are captured. It is clear that the writer used the traditions of modern world prose according to the principle of form. In this sense, the writer has contributed to the introduction of new heroes, new ways of expression and imagery in modern Turkish storytelling. In this sense, the writer has contributed to the introduction of new heroes, new ways of expression and imagery in modern Turkish storytelling
In the works of prominent representatives of modern Arabic and Uzbek literature, Gad al-Samman and Zulfiya Kurolboy kizi, the psychological image and style, which is very relevant in the field of literature today, is in the center of attention of a wide range of readers and literary critics. The prose of these two writers, in particular, is characterized by the fact that their stories are created in the environment and reality of different socio-political situations. This article discusses the issues of psychologism and
psychological analysis in the stories of Gada as Samman and Zulfiya Kurolboy kyzy, as well as the common features of the works of the two writers. The similarity of the style of writers is revealed, as well as the possibility of using tools of psychological analysis, such as internal monologue, speech characteristics, psychological portrait, hallucinations, dreams, reveals the inner world of the protagonist. The writers Gada as Samman and Zulfiya Kurolboy kizi also include psychological analysis in their work, such as inner speech - inner replica, inner dialogue, inner monologue (monologue-discussion, monologue-memory, monologue-reflection), speech characteristics, portrait, repetition, hallucinations, skillfully using their tools, create prose works enriched with elements of psychological and magical realism. In particular, the depiction of psychological images, inner speech, and the concept of inner monologue play an important role in their work. Similar ideas in the works of two writers who lived and worked in different countries, having no connection and influence, the harmony of the author's intention, commonality in society, the harmony of the author's style Gada al-Samman and the daughter of Zulfiya Kurolba, a certain shift in literary processes proves that he was one of the creators who influenced the rise.
This article shows that as a result of the addition of dozens of young and talented writers to the ranks of writers who began their careers in the 1940s and 1950s, the content of Afghan literature has significantly expanded and developed at the expense of social and even political issues.
The article analyzes the poems written in the traditional form of creativity of Barik Shafei, identifies the problems of their form, content and art, their place in the poet's work and in the literature of this period. The article examines the state of literature in the Dari language at the beginning of the twentieth century, the place of traditional genres in lyric poetry, such as gazelle, rubai and qasida, as well as the changes that took place in poetry in the Dari language at that time. Also, questions of content are clarified first, and then changes in forms. The research is based on theoretical research methods. In the work of Barik Shafei, despite the change in content, there are poems of the traditional form. In the poet's poems, the subject of love of the lyrical hero is mainly socio-political themes. In these poems, the traditional romantic spirit is now shifted towards caring for the Motherland and the life of the people, their fate. There have also been changes in the means of artistic depiction in poetry. In particular, we can see in poems that such pictorial means and techniques as "shham", "shu'la" and "parvona" do not have the same meaning as in traditional poems. Also, according to the rhymed form of the gazelle "Khar kadar" ("No matter how much"), it refers to the type of gazelle in which the first line is repeated in the last line. The content is different from that of traditional poetry. In the gazelle, the poet from time immemorial expounds his complaints. In the poems of Barik Shafei, these images expanded their semantic volume in accordance with the theme and tone. The poet has renewed the word by reinventing it, but we see that the layers of meaning have not completely disappeared, but the meanings are gradually preserved in them.
Мақолада ўзбек миллий мақолларининг қўлланилиши, уларнинг илдизлари ва миллий қадриятларимиз билан узвий боғлиқлиги, ҳар бир сўзнинг маъно хилма-хиллиги, ибораларнинг турғунлиги, шаклий барқарорлигининг устунлик қилиши, қулланиш ўрнига қараб уларнинг маъно доираси доимий равишда кенгайиб бориши ва оиладаги,ёшлар тарбиясидаги ўрни қанчалик муҳим эканлиги бир неча мисоллар билан кўрсатилган
Ҳозирда ахборот-коммуникатив жараён жадал суратларда тезлашиб, коммуникация воситалари такомиллашиб бормоқда. Ҳар бир алоқа воситасининг ахборот етказиб беришда ўз услуби ва имкониятлари мавжуд. Оммавий алоқа воситаси телевидение техника ёрдамида вербал ва визуал коммуникация унсурларидан фойдаланиб ахборотни кўп сонли аудиторияга узатади. Коммуникант (томошабин) ва коммуникатор (телевидение, яъни мазкур манба орқали маълумотларни узатиш истагида бўлган соҳа вакиллари) ўртасида коммуникатив алоқа ўрнатилади. Коммуникант ахборотни визуал ҳамда вербал коммуникация орқали қабул қилади. Г.Г.Почепцов коммуникацияга “вербал ахборотни новербалга ва аксинча новербални вербалга қайта кодлаштириш жараёни” [Почепцов, Г.Г. 2001: с.14.] деб таъриф берган. Телевидениенинг ижод аҳлиэса вербал ва новербал воситалар ила ахборотни визуаллаштирад и. В а уста мусаввир ўз асарида турли рангларни чаплаштириб ташламаганидек, адиб, кино ва телевидение аҳли ҳам сўзларни талабчанлик билан танлаши лозим. Телевидение қаламга олинадиган сўзни ҳам, талаффуз этиладиган сўзни ҳам инкор этмайди. Бу қудратли восита тасвир яратишга, тасвирни тўлдиришга, томошабин - тингловчи билан алоқа ўрнатишга, мавзунинг концепциясини очишга хизмат қилиши назарда тутилади.
Most of Adyla Yakubov's works have been translated into several languages of the world, including Turkish, as selected works of Uzbek literature. To date, the translations of some of the author's works have been studied from a scientific point of view, and the scientific study of the works is of current importance. As for the translations between the Uzbek and Turkish languages, which belong to the same language family, customs and national traditions are close to each other, the situation is changing significantly. It is no secret that apart from the advantages of translating between these two languages, there are some inconveniences and difficulties. The scientific problem posed in this article, devoted to the study of the issue of recreating portrait characteristics in literary translation between two closely related languages, will be considered on the example of the translation into Turkish of the novel "Address of Justice" by the outstanding Uzbek writer, master of literary word Adyl Yakubov. When choosing a research topic, it was taken into account that there are almost no scientific studies on topical issues of literary translation from Uzbek into Turkish in recent years, which, according to the requirements of the time, a colossal work has to be done in this direction. Determination of how portrait characteristics are recreated in translation will allow drawing informed conclusions about the quality, artistic value and aspects of the translator's skill. We hope that the conclusions drawn in this article will provide methodological support for future practical translation work.
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).
Ўзбекистон қоятош тасвир ёдгорликлари – жаҳон маданий меъросининг ажралмас таркибий қисми ҳисобланади. Кўп жиҳатдан улар қадим ўтмиш халқларининг маданий, ижтимоий, бадиий, маънавий-диний дунёқарашини англашга ёрдам берувчи манба ҳисобланади. Қоятош тасвирлари ўзларининг кўргазмалилиги, ўзига хос бадиий чиройи билан қадимий маданият ва замонавий хаёт ўртасидаги алоқаларни очиб беради
The scientific concept of the article is that the national literary-aesthetic thinking is of primary criterion in evaluating a writer’s work and the essence of literature is determined by the artistic interpretation of the national spirit. The best examples of folk literature in the world, regardless of the language in which it is written, is on the agenda as a question number one to be analyzed scientifically in terms of the expression of the national spirit. Abdulla Kadiri’s novel “Days Gone By” has been analyzed in twentiethcentury Uzbek literature as a work that can meet this criterion.
According to the author, the national spirit is reflected in the novel “Days Gone By” on the basis of the following three principles: 1) the interpretation of specific customs, traditions, values, dreams and aspirations of the nation, embodying the spirit of the nation; 2) an expression of the nation’s potential to look at itself in a critical spirit; 3) poetic depiction of fixed beliefs inherent in national personalities in the play. In turn, the first of these principles embodies the morals of the nation, the second - the will, and the third - the beliefs, and this trinity forms the national spirit as a whole.
At the end of the article, the research results are theoretically summarized.
This article explores the work of Rashid al-Din Watwat “Gardens of Magic in the intricacies of poetry” as a classic poetic source. This topic is covered in scientific articles, dissertations in Russian and scientific literature in Persian. Decree of the President of the Republic of Uzbekistan dated May 24, 2017 No. PP-2995 “On measures to further improve the system of preservation, research and popularization of ancient written sources” opens up great opportunities for studying many manuscript sources that have not yet been studied. The article contains interesting facts about the work of Rashiduddin Vatvat “Gardens of Magic in the intricacies of poetry”, the importance of the work from the XII century to the present, as well as literary works and examples. This work served as a source for all scientists who were engaged in "bade' science". The work has not lost its scientific and literary value to this day, and in this article from a literary point of view only a small number of copies are considered. As the main issue, the role and significance of the work in the source studies, in particular, the contribution of this work to the theory of literary and their using in various translations and studies are analyzed.
The article explores the relationship between ancient Arab history, in particular, the political life of the caliphate and the Umayyads with the literature of that century. The author highlights how the political picture of the Umayyad era influenced literary life. It is well known, that the period of ruling of the Umayyad caliphs was full of endless wars, conflicts, instability, and yet, despite this, this is the era of great conquests in the history of the Arabs. At that time, when the unrest in the country was at its peak, as well as when the greatest things in the history of the Arabs took place, the Arab rulers themselves also made various speeches. The author of the article claims, that the appearance of numerous sects, groups, parties and other communities on the map of the political life of the Umayyads, constant wars and differences between them - inevitably led to the need for the art of public speaking. At the end of the article, the author carefully analyzes the speech of one of the governors of the Umayyads Ubaidullah bin Ziyad as an example of public speaking and literary heritage.
This article presents some considerations about the new phenomena such as "graphic novel" in the work of the Iranian writer Marjan Satrapi. Some information is provided about the first novel ‘Persepolis’ which was written in this genre. The issues such as the specifics of the plot, which passed through the graphic design, the production of monologue and dialogue in "the graphic novel" are discussed.
The modernist image in the Kafkaesque style for the spiritual isolation of the protagonist, created by a
terrible and disgusting appearance
This article is devoted to the emergence and development of the mythology of the Turkic peoples of Central Asia. Initially, the article gives a brief general description of the myth in science, in particular in the literature, the stages of its development are consistently revealed, based on examples from reliable sources. Myth as a means of expressing the primitive person’s emotional attitude to reality in ancient times played an important role in the life of a person as a whole, including developing in stages, and today has its place of honor in literature, influencing the emergence of new genres and merging with them in the text of the works.