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.
In Ottoman-Turkish literature, the number of poets who wrote the epic “Leyli and Majnun” exceeds 20. Among them, the epic “Leyli and Ma- jnun” by Laurendeli Hamdi, created in 1542, occupies a special place. The epic was written not only in response to the epics of Persian authors, but in the chapter “The reason for writing the epic” Hamdi also mentions the name of the Uzbek writer Alisher Navoi. This epic of Hamdi was studied in literary criticism with the epics of Persian predecessors: Nizami, De- hlavi and Jami, but was not specifically compared with the epic of Alisher Navoi “Leyli va Majnun”. In the features of the story of both poems, the description of the characters and the development of events, similarities are found. However, there are noticeable differences in compositional con- struction, genre content and in the metrics used in the epics. The epic of Alisher Navoi consists of 38 chapters and 3623 verses, while the masnavi of Laurendeli Hamdi is much larger: it consists of 5441 verses. Hamdi not only wrote his epic in masnavi, but also included genres such as ghazal and qasida in it. Alisher Navoi, who created the first Hamsa in Turkish, com - pletely preserved all the traditions of the Hamsa.
During the study of the epic Hamdi, it became known that it has similar features with the epic of Alisher Navoi “Farhad and Shirin”.
The article talks about the history of the study of the «Alpomish» epic. Also, the versions of this saga recorded from various folk traditions, their common and unique aspects were studied. The version of this epic recorded by the son of Fazil Yuldosh, a famous epic poet and representative of Bulungur epic school, which is the most perfect and artistically perfect copy, therefore, this copy is the basis of many studies on the epic. Opinions have been expressed. The article also analyzes the research of the famous Russian scientist V.M. Zhirmunsky on this poem. The work carried
out on the “Alpomish” poem was investigated in three directions. In the first stage, information is given about the process of recording the epic from the folk dances, when, from which dance, by whom it was recorded, if the recorded copy was published, by whom was it prepared for publication, if it was not published, in which treasure is the manuscript kept.
The two great epics in Turkish literature, Alisher Navoi and Muhammad Fuzuli’s «Layli and Majnun» are compared. As a result, of our comparisons, opinions and conclusions about the weight, genre, composition, individuality of the protagonist and events of both epics are expressed. The similarities and differences between the two artists’ approaches to the topic will be analyzed.The article discusses the emergence of the legend of Layli and Majnun in the form of epics in Turkish and Persian literature, which was passed from language to language among the Arab peoples. The idea that the Majnun is a historical figure ora fabricated character is supported by the views of scholars.
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.
This article is dedicated to highlighting the linguopoetic features of onomastic units used in the text of Kashkadarya folk epics, nouns in the epics form the text as an alleutic unit in addition to the nominative function and provide intertextuality, create a comic effect, and express a negative or positive assessment, it is proved by examples from folklore works that it fulfills the functions of expressing strong emotions, clarifying the image as part of a rhetorical figure, and expressing appeals with different meanings.
“Temurnoma” is a work of folklore that interprets the image of Sahibkiran in folklore. In this regard, along with historical images, which are interpreted by folklore, textual images also play an important role in the characterization of Amir Temur. In “Temurnoma” the image of Sahibkiran and various historical and tissue images are used in parallel with the image of Amir Temur, who played an important role in illuminating his character. One hundred and forty-three characters took part in the play. These images unite around the image of Amir Temur and play an important role in illuminating the character of Sahibkiran. In this study, such images described
in “Temurnoma” were classified as historical and textual images from a historical point of view.
The depiction of some non-historical fabricated images in the work is the basis for evaluating it as an epic work dedicated to the interpretation of the image of Sahibkiran in the imagination of the people. The depiction of historical figures who were contemporaries of Amir Temur in the war,
but did not meet him in real life, is based on the fact that the ideal of the ethnos was accompanied by people close to him. While the main images
form the core of the plot, the auxiliary images play a supporting role in the interpretation of the image of Sahibkiran. Episodic images participate as a peripheral element in the system. The “Temurnoma” also contains folklore-inspired fairy-tale textual images, indicating that the work is based on pure folklore.
This article is dedicated to highlighting the linguopoetic features of onomastic units used in the text of Kashkadarya folk epics, nouns in the epics form the text as an alleutic unit in addition to the nominative function and provide intertextuality, create a comic effect, and express a negative or positive assessment, it is proved by examples from folklore works that it fulfills the functions of expressing strong emotions, clarifying the image as part of a rhetorical figure, and expressing appeals with different meanings.
Sharq qadimdan she’riyat tuygʻulari oʻlkasi boʻlgan. Shu boisdan Sharq badiiy adabiyotida, ayniqsa, lirika keng rivojlangan. Drama hayotni harakatda ifodalab, muallif nutqisiz aks ettiradi. Adabiyotda qorishiq turlar ham mavjud. Mas, lirika va epos xususiyatlari birlashib liro-epik turni tashkil etadi. Liro-epik turga poema, ballada, doston, masal kabilar kiradi. Epos, odatda, 3 ga boʻlinadi kichik epik shakl (latifa, ocherk, ertak, hikoya), oʻrta epik shakl (qissa) va katta epik shakl (roman). Lirika mazmun va shaklga koʻra, gʻazal, muhammas, marsiya, ruboiy, qasida, sonet, qoʻshiq va boshqalarga boʻlinadi. Dramatik adabiyotning ham mazmunan 3 xili bor drama, komediya va tragediya (fojia). Adabiyot sanʼatning boshqa turlari kabi mafkuraviy hodisadir. Adabiyotda voqelikni aks ettirish tamoyiliga koʻra, adibning ijodiy usuli paydo boʻladi. Voqelikdagi tipik hodisalar umumlashtirilgan holda haqqoniy aks ettirilsa, realistik adabiyot deyiladi. Yozuvchi ayni voqelikni emas, balki u haqidagi oʻz orzu umidlarini ham ifoda etsa, romantik adabiyot boʻladi25.
The article examines five priorities of the country development. These include improving the construction of the state and society, ensuring the rule of law and reforming the judicial system, further developing and liberalizing the economy, developing the social sphere, ensuring security, interethnic harmony and religious tolerance. is to conduct foreign policy in a mutually beneficial and practical spirit.
Ushbu maqolada o‘zbek va tojik tili izohli lug‘atlarida berilgan ayrim xalq og‘zaki ijodi janrlari atamalarining bir-biri bilan bog‘liq va farqli jihatlari tahlil qilinadi. Xalq og‘zaki ijodi hosilasi sanalgan maqol, latifa va iboralarning o‘zbek va tojik tilidagi variantlari berilib, misollarning madaniy, tarixiy bog‘liqligi o‘zaro solishtiriladi.