In the article, based on a comparative analysis of the works of two poets, it is proved that Yunus Emro continued the creative traditions of Khoja Ahmad Yassawi in Turkic poetry. The works of two great poets are compared in three directions: 1) artistic interpretation of the esoteric meaning; 2) tradition and originality in the creation of an artistic image; 3) the language of the work of art and the way of expression. Comparative analysis leads to the following conclusions: firstly, Yunus Emro was a great esoteric poet, secondly, he continued the traditions of Hazrat Khoja Ahmad Yassawi in artistic creativity, and thirdly, he made a great contribution to the development of the literary and aesthetic thinking of the Turkic peoples.
ABSTRACT
This article analyzes from a scientific point of view the Turkic translation of Mirajnama, one of the works devoted to the history of Miraj. Miraj is one of the most famous events in the history of Islam and one of the most important themes in classical oriental literature. In literature, the word "Isra" is used together with the word "Meroj". "Isra" means that the transfer of Muhammad (peace and blessings of Allaah be upon him) by the will of Allah from the Al-Haram Mosque in Mecca to the Al-Aqsa Mosque in Jerusalem during one part of the night. "Meraj" is the ascension of the last Prophet Muhammad (peace and blessings of Allah be upon him) from Jerusalem to heaven to Allah. The works dedicated to this event are called "Mirajnama". Such works were originally created in Arabic literature. Later in Persian and Turkic literature, Mirajnama was formed as an independent work. Turkic translations of this work also began to appear. Our scientific article also examines the textual study of the work "Mirajnama", translated into the Turkic language.
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.
This article presents a new information about "Olimiya" treatise by scientist of Alimkhan ibn Musakhan Tashkandi, one of the Tashkent scientists who lived in the beginning of the 20th century. The manuscript and lithography and all the composition of this work were mentioned for the first time in this article. The article will undoubtedly contribute to enriching the knowledge about Islam. The single copy of manuscript of the work “Olimia” was found in the manuscript fund of the Academy of Oriental Studies named after Abu Reykhan Beruni of the Republic of Uzbekistan and was scientifically described in the article. The book was printed in 1903 in the "Ilyin" printing house of Tashkent city. It was known under the name “Olimia”, but in fact it's real name was “Fath ut-tajvid”. Information about the author of the work "Olimia" – Alimkhan ibn Musakhan has never occured. He noted that he had finished writing his own work in 1321, on the 5th day of the "Safar Month" by the "islamic calendar" and it consists of 190 "bayts". This number falls on the "Gregorian calendar" on March 31, 1903. This means that the author had finished writing the book and managed to publish it in the "Ilyin" printing house. The manuscript which is saving in the fund of the Institute of Oriental Studies was written later – in July 7, 1939. In this work, the methods and rules for correct reading of "Koran" are written in a special poetic form and investigated in a peculiar style. And the names of all the scientists of Tashkent who had read the book and wrote their reviews about it, given one by one. The names of these religion scientists open the way to the study the activities of local scientists and their scientific heritage. The next part of the work starts from 16 to 23 pages and it consists of questions and answers. And the fact that the manuscript begun with Arabic sentence, means that the author knew Arabic very well. The work “Olimia” is considered as a manuscript which contains reading methods, rules of "Koran". And its significant on the scientific study at the beginning of the twentieth century in Turkistan and regard to "Koran" readers and studies about it.
In the manuscript fund of the Institute of Oriental Studies named after Abu Rayhan Beruni of the Academy of Sciences of Uzbekistan the manuscript №2225 is stored. It presents a full comment for the composition of Jalaladdin Rumi “Masnaviyi Ma’naviy” and consists of six notebooks. This comment is named as “Sharhi Masnaviyi Mavlaviy”, author – Ayyub. Interpretations of some words from composition are given in “Comments” which also contains stories about Rumi’s life and his edifications. Some of the stories are presented by commentator himself. There are the notes of what sources they are extracted before each story and information, which are submitted by Ayyub. When commenting “Masnaviy” expositor used following compositions: “Nayname”, “Yusuf and Zuleykha”, Abdurakhman Jami’s “Nafakhotu-l-uns”, Akhmad Afloki’s “Manokibu-l-orifin”, Shaykh Abdurakhim Bikhori’s “Kashfu-l-lugot va-l islokhot”. In a number of bytes of “Masnaviy” are given the words and expressions from text or ayat in Koran. Firstly, commentator gives full text or a fragment from particular ayah then provides comments. In composition “Masnaviy” Rumi adduces sayings from Hadith and from various stories which have taken place in life of prophets. Ayyub, in turn, completely overlooks given Hadith and stories and then only adds his comments. Expositor also uses the other texts of comments, which were written for “Masnaviy”, and for some related views he expounds his own persuasions, where he doesn’t indicate the exact names of the sources from which such information was brought, but only limits to the phrase “some commentators write”. There are cases of examples as well from other parts of “Masnaviy” in “Comments”. Before writing “Comments” Ayyub explored many books about Rumi’s life and work, worked with dictionaries, improved his knowledge in the sphere of religion and tasawwuf, collected data from earlier written comments. The sources which were used while writing “Comments of Masnaviyi Mavlavi” composition are the most valuable among many others about life and work of Rumi.
It is known that nationalism and original words are one of the important tasks in the translation of a historical work. Specific words are an integral part of the language of the work, with the help of which the author creates the image of the hero, describing the nationality of the people. They express the national flavor of a work of art, perform various stylistic functions, and help to accurately and accurately describe the nature of events and objects. That is why realities are aspects of literary-historical translation that torment the translator, complicate translation and often confuse him. There is also the assignment of personal names and nicknames when translating historical works into national words. In this article, we can see how The Journey of the famous Arab traveler Ibn Battuta provides detailed information on historical figures in the original Arabic language, as well as translations into Turkish and Uzbek languages, as well as the translation abilities of translators.
More than 70 works of Mahmud Zamakhshari, which had a great influence on the spiritual heritage of Maverannahr, are devoted to linguistics, literature, religious studies, didactics, geography. Linguistics and word science occupy a special place in the scientific heritage of the scientist. Mahmud Zamakhshari covers all areas of science related to linguistics and lexicography. The famous work of the scientist “Muqaddamatu-l-adab” is one of the sources of this style. This work, recognized as the first multilingual dictionary, contains аrabic-рersian-turkic trilingual, arabic-persian-turkic-mongolian four-language manuscripts. The work consists of five parts, the first title of which belongs to the category of words, and the second is dedicated to the verb and its derivatives. The third part consists of grammatical rules concerning auxiliary words, the fourth part-declension of nouns, and the fifth part-declension of verbs. There are copies in world collections that contain five parts of the work, as well as manuscripts in which the grammatical parts are translated separately. The volume of the dictionary parts of the work is of great and important scientific significance. In particular, the turkic vocabulary in the manuscripts included in the turkish vocabulary of the work is among the topics that are not studied and are relevant in world linguistics. 10 rare manuscripts of the dictionary “Muqaddamatu-l-adab” are stored in the funds of Tashkent, 62 copies-in the funds of countries around the world. The main part of them was moved in the XIII-XIVcenturies, and this period serves as an important source for studying the richness and semantic features of the turkic language dictionary. So far, 6 manuscripts have been found in the funds of the world, which were rewritten in Khorezm. The oldest manuscript of the work is the arabic-persian dictionary, rewrittenin Khorezm in 1257 and now stored in the Suleiman Foundation of Turkey. Khorezm manuscripts of the work are stored in the funds of Turkey, Dagestan, and France.
"Tarih-i Muhyi Khukandi" ("History of Muhyi Khukandi") is a historical work written in Persian by Muhyi Khukandi (1836–1911). The only handwritten copy of the autograph of this work has been preserved at the Center of Eastern manuscripts at Tashkent State Institute of Oriental studies named after Abu Rayhan Bеruni (under the inventory №604). This article illustrates the history of the study of "Tarih-i Muhyi Khukandi", a description of the manuscript, structure of the work and its analysis. In addition, it also shows the significance of this work in the study of Central Asian history.
This article explores the deep philosophical content of the "Persian Letters" by Charles Louis Montesquieu, one of the first representatives of the French Enlightenment, in which the Persian view allows a two-sided approach, which means that the reflection of the realities of the French is uniquely repeated in the Persians.Montesquieu's Persian view of the political system in which a person lives, and vice versa, remote observation of society's attitude towards a person is analyzed through the genre of a parable, decentralized
observation, characteristic view, humorous critical views. The article deals with the problem of cultural barriers as a communicative activity of
representatives of two different cultural associations, emphasizing the importance of cultural factors in the translation process and the translation of cultures, not languages, according to the cultural and ethnographic concept of translation. In the text of the translation, the
specificity of the interaction of language and culture is reflected in the diversity of the “worldview”. One of the main criteria for literary translation is the preservation of the individual style of the author of the work. From the point of view of translation standards, it is natural that the translator has difficulty in understanding a fragment of a literary text. From this point of view, it is difficult to achieve an adequate translation without a reflective understanding of the content of the original in the translation of a philosophical work that differs in style and period of writing. The importance of observing the functional and
methodological norms of the content of the text in order to achieve the adequacy of the stylistic figures used in the work to the target language is investigated.
In Uzbek poetry of the independence period, which is a legitimate part of world literature, special attention is paid to the generalization of scientific theoretical views on the creative worldview and creative philosophy of the socio historical period, the artistic perception of reality in poetry and the study of artistic realization. The intensification of the desire for the deep artistic development of the human spiritual world in the poetry of the independence period is associated with the renewal of the period, the historical environment and the artistic thinking of the creators themselves. The harmony of poetry and literary-aesthetic views is a direct result of the synthesis of the principles of creative phenomenon, personality, perception of the world, which is reflected in the author's "I". Image poetics plays an important role in revealing the creative concept and uniting it into a common denominator. The perfection of the product of artistic thinking as a synthesized system is determined by the level of creative thinking and talent. The work of Amir Khudoiberdi is one of such events in the history of national artistic thought, and in the works of the poet created in different genres, he expresses the life, dreams and will of the people in different socio-historical periods. The poet's tendency to create a holistic artistic history of the Uzbek people in the twentieth century is explained by the vast opportunities provided by independence, the end of ideological monopoly, the restoration of national values, the renewal of literary and aesthetic views, the translation of world literature into Uzbek. The transition from the depiction of things to the depiction of ideas has changed the content of artistic creation, while enriching the formal, semantic scale of artistic research.
Close acquaintance with world poetry has long served as one of the important factors in the renewal of our national literature, separated from its spiritual sources- religious and mystical literature, classical and modern literature. The content of the themes of emotional literature is characterized by a focus on the person, not directly on reality. The synthesis of world literary traditions can be seen in the works of Fakhriyor, Ulugbek Hamdam, Bahrom Ruzimuhammad, Farida Afroz, Nodira Afokova, Zebo Mirzaeva, Khosiyat Rustamova, Gozal Begim. Amir Khudoiberdi is also one of the poets of this literary generation who has his own creative credo and works in various genres. Any national literature manifests itself as a systematic, evolving stable phenomenon only in the harmony of different ideologies, styles, views, approaches, ideas, and even contradictions. Only then can it be a true metaphorical representation of being. Amir Khudoiberdi is one of the new generation of artists who lived in a complex and controversial period and saw and understood the subjective approaches to the literature of the Soviet era. A comprehensive scientific study of the creative style, individuality and mastery in the poetry of the independence period on the example of the work of a poet, the generalization of scientific and theoretical views on the poetry of this period gives important conclusions, this scientific research is the product of such a necessary need. In Uzbek literature, the works of Amir Khudoiberdi have not yet been comprehensively studied. The study of the poet’s work is also important in determining the influence, position, and place of local artists in literature. Also, the issue of art and literature, which is one of the means of spiritual and educational environment, education and their formation in our country, has always been in the forefront. Therefore, as the President of Uzbekistan Sh.M.Mirziyoev said: “...attention to literature and art, culture is first of all attention to our people, attention to our future, as our great poet Cholpon said, we have no right to forget that literature, culture and nation can live ”. This fact also determines the relevance of the topic.
Accordingly, this study is based on the Decree of the President of the Republic of Uzbekistan dated February 7, 2017 No. PF-4947 "On the Strategy for further development of the Republic of Uzbekistan", dated September 13, 2017 No. PQ- 3271 "Development of the system of publishing and distribution of books. to a certain extent in the implementation of the tasks set out in the Resolution "On a comprehensive program of measures to improve and promote the culture of reading and reading" and other regulations related to this activity.
One of the important scientific problems of navigation studies is the study of the justification of how views are reflected regarding the creative concept and on what artistic and aesthetic criteria they are justified in the “Khamsa” of the great poet and thinker Alisher Navoi. The study of this scientific problem, firstly, is the basis for determining the origins of the worldview of the great poet, and secondly, it allows a deeper study of the literary and aesthetic views of the great thinker, to make theoretical generalizations. Naturally, our brief observations on this subject do not pretend to fully cover the analysis of the problem. We will try to highlight some important aspects of this issue.
Данная научная статья исследует влияние персидских калек (заимствований) на содержание и структуру произведения "Кутадгу Билиг". В статье представлены результаты исследования, основанные на сравнительном анализе персидских и тюркских языков, а также на анализе сходств и различий между персидскими и тюркскими культурами. Возможными причинами использования персидских калек в "Кутадгу Билиг" считаются политические, социальные и культурные взаимодействия между тюркскими и персидскими народами в то время. Заимствования не только обогатили текст произведения, но и отражают культурные связи и взаимодействия между различными народами и языками в историческом контексте. В нашей статье мы используем фрагменты из произведения Кутадгу Билиг, переведенное на английский язык Р.Данкоффом, и на русский язык С.Ивановым.
Ushbu maqolada o‘zbek kitobxonlari hali tanishib ulgurmagan Turk tasavvuf adabiyotining yirik vakili Qayg‘usiz Abdolning hayoti va ijodi haqida atroflicha ma’lumot berilgan. Uning asarlaridagi asosiy mazmun mohiyat to‘g‘risida so‘z ketgan va parchalar keltirilgan.
Just a few years ago, there was no complete information on what fantastic pieces were available in China. Few outside of China knew that the state under the sky had a fantasy of its own. Everything changed when the writer Liu Cixin entered the world stage. In 2014, his book The Three-Body Problem was translated into English and soon became popular in the West. Liu Cixin grew up during the 1966-1976 Cultural Revolution, and these events inevitably influenced his worldview. During the period of repression and prohibitions in China, it was forbidden to read samples of Western literature. But this did not prevent him from getting acquainted with the work of such writers as Jules Verne, Arthur Clarke, Isaac Asimov and George Oruello. Liu Cixin says, “The writer who made the greatest impact on my work was Arthur Clarke. His work, A Space Odyssey, opened up to me the breadth of science fiction and thinking. Clarke also showed how science fiction can create a fantasy world.” Cixin received an engineering degree. Liu is inspired by the work of the Chinese science fiction writer Lao She and tries himself as a writer. In a short time, his works in the field of science fiction have gained popularity not only in China, but also in the West. This article is devoted to the genre of fiction, one of the genres of literature, explains the existence of various hypotheses about fiction, various aspects of the genre of science fiction in modern Chinese literature. The essence of the work “The three-body problem” by Liu Cixin, a writer who is one of the most fantastic writers and recognized in world literature, is described. Among the studied data, information is substantiated about mythology, which plays a key role in the concept of fiction, its components, features and problems.
Diaspora literature is one of the topical issues of contemporary literary studies and it shows the necessity for analyzing in terms of special characteristics. The works by the writers who contribute into diaspora literature are analyzed and the general features of this tendency are pointed by the researcher. Languages and cultures collision, biographic method application, time and space correlation are the major features of diaspora literature. In scholarly publications the terms “diaspora” and “expatriate” are used synonymously, but this research suggests that they have distinctive features based on the examples. The artistic peculiarities of the woks by Afghan born American writer Khaled Hosseini can be seen obviously if his novels are analyzed and interpreted in line with the major features of Diaspora literature investigated by the researcher. The object of this research is the novels “The Kite Runner”, “A Thousand Splendid Suns”, “And the Mountains Echoed” by Hosseini and they are analyzed focusing on the three major characteristics of Diaspora literature. Considering the language as a main factor of this trend and being different from other researches Afghan Diaspora writers are divided into two categories: writers who write their works in English and writers who write their works in Persian. Concerning the major characteristics found in this research it is obvious that Hosseini globally depicts the problems of his nation and country, moreover tries to prove the fact that Afghan people also want to have peace and wealth the same as other human beings. Moreover, the writer uses Arabian, Persian and Turkic words in his English texts to depict Orientalism in his works.
Khaldun Taner is one of the most famous figures in Turkish literature of the 20th century. He made a great contribution to the development of modern Turkish drama and introduced it to the world. The author's works have been translated into Uzbek, Russian, English, German, Czech, Yugoslav, Kazakh, Azerbaijani and Georgian. The
article provides a general analysis of the translations of the playwright's works. Russian
and Uzbek translations of the stories "The Stork from Iznik" and "Four on a boat" are considered and compared with the original text, their spiritual closeness and stylistic commonality are emphasized in literary translation. Also, Russian and Uzbek translations of phraseological units in Taner's works are analyzed using examples.
The creative merit of Khaldun Taner lies not in depicting supernatural situations, events and people, but in depicting the lives of ordinary, small people. He changes the course of the story in such a way that the reader forgets the personality of the writer and plunges into the events. The writer places his wishes, opinions, decisions and criticism on the main characters of the story. Thus, the main characters of the story act as the narrator. Sometimes animals, sometimes symbols, sometimes objects give ideas to the work and reflect the personality of the writer. The translators who translated his works also took into account these features of the writer's style. As it turned out, the translators skillfully tried to preserve the spirit and nationality of the original work. The work "The Stork from Iznik" was translated into Uzbek by P. Kenzhaeva and into Russian by N. Pirverdyan with great skill and brought to the Uzbek and Russian readers. N. Golubeva skillfully translated the story "Four on a
Boat" into Russian.
Subjects of the inquiry: “Asos-ul-baloga” by Makhmud Zamakhshari
Aim of the inquiry: to investigate “Asos-ul-baloga” by the side of soursc studies. To show the role of the work in Arabic lexicography, its influence on next Arabic dictionaries.
Methods of the inquiry: Dcscriptional, statistical and historical-comparative methods have been used in the work.
The results achieved and their novelty: It’s the first time that “Asos-ul-baloga” was studied from the point of view of source study. It was determined the manuscript and cditional copies that were kept in the world fonds. “Asos-ul-baloga” was carried on constitutive analyses. The sources which were based on “Asos-ul-baloga” were found and they analysed.
Practical value: This work will help to new scientific search studying the scientific legacy of Makhmud Zamakhshari and to analyse his lexicography. The dissertation will be the main source of educational programms for Literary Sourse Studies and Manuscript Studies, the history of Arabic lexicography in Higher Educational Institutions, preparing lectures on it special courses for students.
Degree of embed and economic effectivity: 13 articles were published on the results.
Sphere of usage: sourse studies, Arabic sourse studies, manuscript studies, linguisty, the history of Arabic linguisty, Arabic lexicography.