The article analyzes the use and artistic interpretation of the terms «mani» («meaning») and «ahli maoniy» («people of enlightenment») in the work of Alisher Navoi. In the works of the great thinker, the interpretation of these concepts was studied on the basis of the following classification: 1) the expression of ideas that reveal the essence of the terms «meaning»; 2) a high level of educated people and their views, which could be a criterion for the life of society and the artistic and aesthetic thinking of the nation; 3) a description of predecessors and contemporaries belonging to people of enlightenment; 4) the question of the relationship between people of education and people of appearance. These concepts are valuable in terms of allowing a deeper understanding of the inner essence, mystical and aesthetic content of Alisher Navoi’s works. Examining the great thinker’s lyrical poems and «Khamsa» epics in the context of «mani» and «ahli maoni» terms is of particular importance in discovering new aspects of their meaning. In the article, Navoi’s works are analyzed based on the same concepts for the first time. This article is a scientific problem was investigated on the example of Alisher Navoi’s sofa «Badoy-ul-Bidoy», the kulliyat «Khazoyin-ul-Maoniy», dastans «Khamsa», the nameskir (ontology) «Majolis-un-nafois», the works of «Lison-ut-tayr”, “Muhokamat-ul-lughatain”, “Mahbub-ul-kulub”, “Hamsat-ul-mutahayyirin”, “Nasoyim-ul-muhabbat”, “Holoti Sayyid Hasan Ardasher”. If necessary, the views of Alisher Navoi are compared with those of his great predecessor Nizami Ganjavi. The works of Davlatshah Samarkandi “Tazkirat-ush-shuaro”, Dehhudo “Lugatnoma”, Giyosiddin Khandamir “Makorim-ul-ahlok” were used to substantiate scientific views in the analysis process. As a result of the study, it was found that the term «meaning» in the work of Alisher Navoi contradicts «appearance (appearance, appearance)» and expresses the inner essence, not the external content, and the concept of «enlightenment» means the science of knowledge, which is the basis of artistic expression. It is concluded that the combination «ahli maoniy» (people of enlightenment) represents a broader essence, which is interpreted under the meaning of people of truth and enlightenment, meaning «Haq», that is, Allah in a figurative sense and is a concept associated with the concept of the great poet’s work.
The article examines the socio-educational and artistic-aesthetic factors of the creative perfection of the great poet and thinker Alisher Navoi, firstly, the fact that he thoroughly studied the Koran and the Sunnah, followed these two powerful sources without deviations, and secondly, that he read the works great Islamic thinkers, experts in Sufism and continuously developing their ideas, gave highly artistic interpretations in his works, thirdly, that he perfectly knew the history of the Turkish people to whom he belonged, and that he was able to mobilize all his creative and scientific potential to protect and elevation of the honor and glory of the nation.
It discusses how Alisher Navoi followed the principles of faith and Sharia, tafsirs and hadiths read by the great thinker, the works of Sufism scholars. His artistic interpretation of religious-enlightenment and philosophical-mystical ideas at a high level is confirmed by the analysis of his work. The essence of the parts of "Hamsa" is being investigated, such as "hamd" (praise of Allah), "munajat" (request to Allah) and "nat" (praise of the prophet). Analytical views are put forward on the
complementarity of Islamism and nationalism, the support of the concept of the great poet's work on Islamic enlightenment, which did not prevent his works from expressing the national spirit. As a result of the analysis, theoretical generalizations are made.
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.
Интерпретация «мани» и описание «ахли Маони» в творчестве Алишера Навои
The article examines the issue of artistic expression of the human spiritual world in Uzbek poetry. Detailed comments are made about the artist's artistic skills. The topic is studied on the example of E. Vahidov's work, and the results of theoretical and artistic analysis are summarized
The article deals with the issue of poetic renewal of the traditions of Alisher Navoi in the poetry of the representative of modern Uzbek poetry Abdulla Oripov. The concept of creativity of two poets, their coverage of the development of the national language, tradition and innovation in the ghazal genre, following in rhythm, common features and differences in the artistic interpretation of the content of hadiths are analyzed. As a result of the analysis, scientific and theoretical conclusions were made.
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 analyzes astral myths and mythological representations of our ancient ancestors, who lived in Central Asia, and reveals their specific features, genetic origins and symbolic interpretation in the monuments of material culture.
Мактабгача таълим ташкилотларида болалар фаолияти мазмунли ташкил этиш ҳамда уларнинг фаоллигини ошириш максадида турли ўйинлар, сайрлар, машғулотлар ташкил этилади. Улар махсус дастурлар асосида олиб борилади ва бунда албатта болаларнинг ёш хусусиятлари инобатга олинади. Шунингдек, болаларнинг ўзлари ташкиллаштириб ўзаро келишувлари асосида ўйнайдиган ўйинлари ҳам болаларнинг ҳар томонлама ривожланишлари, теварак атрофни билишлари учун хизмат қилади.Боланинг дунёга таъсир кўрсатишга бўлган эҳтиёжининг намоён бўлиши илк бор ўйинда шаклланади
The article covers the concept, essence and principles of interpretation of normative legal acts. There is a scientific discussion on the views of a number of scientists. During the discussion, issues related to the correct understanding and interpretation of the content of legal norms, their application to social relations were considered. Methods of interpretation of normative legal acts are explained. At the same time, special attention was paid to the subjects, types of interpretation of legal norms, the factors leading to the ambiguity of some norms in the normative legal acts, gaps in the law were studied in depth, and developed proposals for their effective elimination. In addition, a comparative analysis of national and foreign experience in the interpretation of normative legal documents was carried out, showing the peculiarities of different legal families. At the end of the article, the author puts forward appropriate proposals for amendments and additions to the interpretation of normative legal acts of the Republic of Uzbekistan, aimed at improving the existing legislation.
The article discusses the importance of the title in the structure of a work of art.The title of the work emphasizes the manifestation of the author’s ideological and aesthetic views. The integrity of the semantic pointsallows you to clearly express the essence, increases the aesthetic power of the work. The integrity of the semantic points allows you to clearly express the essence, increases the aesthetic power of the work. With the name of the element in nature, the simbolizm in the title increases. An artist entering into an artistic dialogue must not only convey certain information and novelty to the reader, but also encourage him to a creative approach.
The first semiotic center in the content is the title, which contains the author's idea, concept. The title is a preface to the first impression, the dialogue between the author and the reader. Assessing the essence, talent, and creative intent of artists begins at this point. Stories such as "Let's go to the mountains", "Rocks also cry", "The coast of Happiness" are strengthened by the name of the place. The image of the place not only gives aes- thetic pleasure, but also points to the main event, the key related to this place.
The first sentence is the beginning of the dialogue, the unseen meeting of the character and the reader, an important sign of the compositional level. The next situation and condition is the prelude to dialogues and monologues. The subject, the first impression of the conflicts are the process of moving to the next level, the acceleration of activity. In the story, the epigraph is important to generalize the poetic content, to read the artistic intention. The author increases the ideological, emotional weight byinserting the necessary extract (such as a poem, a saying, proverb, hadith)on the subject covered. It draws attention by the fact that it has the main meaning in itself, justifies the state of the character.
The history of literature is directly connected with the history of the peoples of the world, and its fate runs parallel to the perfection and decline of mankind. Accordingly, the gallery of themes of world literature is also diverse, and among them the theme of war or a royal romance stands out. The core of this topic is the life and activity of famous commanders, kings or fighters, some of which caused the appearance of legends or series of works in world literature. One of these heroes, who gained literary fame throughout the world, was Iskandar (the person who was called Iskandar in the East, and Alexander the Great in the West). It is difficult to come across such a figure who had an equal impact on Eastern and Western lit-erature. His name had become a legend in languages, and his activity had inspired creative people. In particular, the Iskandar theme spread widely in the East and promoted the creation of many iskandarnomas (novels about Iskandar). The purpose of this article is to compare and analyze such dastans (epics) created in the khamsanavislik (khamsa writing) tradition as “Iskandarnoma” by Nizami Ganjavi and “Saddi Iskandariy” by Alisher Navoi. The creative originality of both writers is revealed on the example of the image of the “Episode of Iskandar’s campaign in China”. The research of the author was supported by reliable sources, and he used such methods as comparative-historical, cultural-historical and genetic analysis to achieve his goal.
The article deals with the expression of the idea of national independence through poetic symbols in the poetry of Abdulkhamid's son Suleiman Cholpan. The poet's lyrics express analytical thoughts about the poetic function of such symbols as dreams, chains, clouds, stars, dawn. As a result of the analysis, scientific generalizations were made that these poetic symbols represent a symbol of a country under the yoke of tyranny, the poet's dream and aspiration for the freedom of the nation, the independence of the Motherland.
In the literature, in the process of a new creative approach to the mythological image, the plot, of course, lies the religious worldview and the oral tradition of the people. In the literary process, the creative approach to myths has been unique in each period. In modern Arabic prose (the second half and the end of the twentieth century), especially in storytelling, new artistic researches have emerged in mythological images and plots, legends from religious sacred sources, and creative approaches to stories about the lives of prophets. In Egyptian literature, this trend is also called " رايت ةيروطسلأا " "mythological current". In the stories of this story, fantastic, mysterious, strange elements are included in the text of the work and blend with the real reality. In modern Arabic literature, Najib Mahfouz, Yusuf Idris, Diya al Sharqavi, George Salim, Munir Uteiba, Zakaria Tamer, Abdurahman Majid ar-Rubeyi, Muhammad Shalan, Ibrahim Aslan, and a number of other writers have written mythological and religious references to books. As a result, they created their own works with a unique style. In this article, the Egyptian writer Munir Uteiba's story "Warning" is characterized by its intertextuality, which uses the ancient myths of the Indian people to reveal the modern image of man, its moral and spiritual flaws and flaws. Keywords and phrases: creative process, myth, mythology, folklore, myth, mythology, mythological current, intertextuality, mythological image.