The article offers observations on the world of artistic creativity, artistry, and style. The reader’s opinion is solicited after the creation of the artistic work. The reader transforms into both a receiver and a master when reading the material. When reading a literary work, the reader must be prepared in order to perceive the wealth of meanings. With his intellect and emotional world, he learns the secrets of the literary world. The reader follows the unfolding of events, creates a portrait and image of a literary hero, and experiences the soul’s environment.
The core of the art of words is examined as a human value in the literary process, together with the creator’s personality and level of talent. There is a way to approach fiction from the perspective of aesthetic feeling and the personality of the author. It has become a natural requirement of the literary process to master issues of creative and aesthetic thinking in terms of values, unity of form and substance, diversity of literary genres and stylistic direction, artistic language, means of communication, and drawing conclusions.
The article is devoted to the problem of translation of dialects in works of art. Dialects are an integral part of the language and are often used in fiction, where they perform various functions. And therefore, dialects cannot be ignored when translating works of art. The question arises as to how dialects should be rendered in the target language. Different researchers approached this issue in different ways. However, there are no unambiguous opinions. And therefore it seems interesting to analyze the strategies for translating dialects in works of art.
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.
The great poets have used various poetic arts effectively and skill-
fully to enrich the content of their works of art. This made the work artisti-
cally clear, stylistically fluent, and attractive in form.
This article is about the role of art in the work of Abdulaziz Majzub
Namangani, a representative of the Namangan literary community and one of the representatives of the Naqshbandi sect. There are two types of art in the works of the artist: the use of verbal and spiritual arts, and they are given beautiful evidence.
Spiritual arts are artistic means related to the meaning of an indi- vidual word or an entire verse in a byte, and their number, according to Atoullah Husseini’s Badoyi’u-s-sanoyi, is more than fifty. Rhetoric, allegory, parable, beautiful analysis, tajahuli orifona, diagnosis, talmih, laff and publication, ruju, istiora, satire, parable, tazad, tanosub and others are the most popular of the spiritual arts.
Vocabulary is based on the pronunciation and spelling of a byte or some of the words in it, takrir, mukarrar, kitabat, talmi ', history, more than fifty examples of verbal art are given.
The purpose of the article is to identify the functions of the “alien word” in the process of creating artistic reality as a part of the literary strategy in Victor Pelevin’s stories “The Crystal World” and “Vera Pavlovna’s Ninth Dream”. Scientific novelty of the study lies in the fact that V. Pelevin’s creative work of the 1990s is barely represented in scientific literature from the perspective of constructing artistic reality in the context of postmodernism. The attained results have demonstrated that V. Pelevin’s early stories are within the unconventional approach to constructing artistic reality, which consists in the synthesis of “objective” and “subjective” realia attributable either to the specifics of a character’s consciousness or to some external force placing these realia at the level of irreality, which is new to the Russian literature.
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 order to establish the essential conditions for the implementation of young people's abilities as a professional, mature expert, interpersonal contact is crucial in the process of developing young people in the educational process. This inevitably calls for a communicative strategy designed to structure language learning in a useful way. Our primary research objective was to investigate and evaluate the role that reading literary works in English plays in helping college students enhance their sociocultural competency. The following topics make up the tasks of our research: 1) theoretical examination of the significance of English fiction in the development of students' sociocultural competency; 2) justification of the function and significance of socio-cultural discourse analysis; 3) analysis of the effectiveness of using English fiction in the development of socio-cultural competence; 4) The parables were outlined to improve the approach for the socio-cultural competence of students to be developed by reading English fiction.
In this article, the works of Khudoyberdi Tokhtaboev, a major figure of Uzbek children’s literature, are analyzed. In them, the expression of the adolescent psyche, as well as the child’s psyche, are discussed in detail. raised In fact, it is natural that any literary work will reflect the writer’s biography to some extent. After all, when a writer writes a work, the events he encountered during his life and the feelings he experienced are imprinted in that work. When we analyze the works of the writer Khudoyberdi Tokhtaboev, we see that they reflect the life path, character (nature) of the writer.
Also, in the article, the main problem in today’s Uzbek children’s literature - that the child’s psyche is primary in the education of the child -was highlighted on the example of artistic works. It is noted that the artistic work written for children is a reflection of the child’s psyche.
In this article, the authors consider the stylistic characteristics of the literary translation of N. Gumilyov’s works into the Tajik language. Aspecial place in the literature of the peoples of the world is occupied by the prose of N. S. Gumilyov, who wrote a huge number of works of art. These are the novels “The Black General” and “Big Stories”, which occupy a central place in modern Russian literature. His works are national in form and deep in content; they are widely distributed in other countries of the world.
Ushbu maqola ingliz va o’zbek tillarida yaratilgan badiiy asarlarda o’rin holini ifodalovchi lokavtiv so’z yoki so’z birikmalarining qo’llanishi, lokativ sintaksemalar va ularning yasalishi, qo’llanilishi va ularning har bir til uchun o’ziga xos xususiyatlari o’rganish asosiy maqsad qilingan
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.