The concept of image, which is the basis of a work of art, has been considered the most important element of art since ancient times and until now. After all, an artistic image is the main tool that reflects the unique characteristics of a work of art. At the same time, it is also a component that expresses the aesthetic image of the world, a certain emotional state. Therefore, the concept of image is a very complex and at the same time comprehensive concept according to its characteristics and content. In one way or another, the reflection of objective reality in the human mind is the main root of the image in a broad sense. And the accompanying images grow from this first base. In this respect, according to the nature and clas sification of the image, it is distinguished in science, literature and art. This article aims to study the problem of classification and interpretation of ima ges in lyric poetry on the example of poet Abdulla Oripov
The article explores the scientific and theoretical aspects of creating a regional image to increase the investment attractiveness of the regions. Approaches to assessing the investment image of the region are systematized. Based on the results of the analysis of investment policy of Navoi region, an organizational mechanism has been proposed to create a positive investment image. Scientific proposals and practical recommendations for the formation of the
investment image of Navoi region and the use of marketing technologies in it have been developed.
“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 scientific article is devoted to the use of zoonyms in the expression of the human image in Turkish. The word units used to express positive and negative traits are analyzed. The breadth of language possibilities is considered in the expression of the human image through zoonyms. In Turkish, the emphasis is on the vocabulary of the language and the ways in which it is expressed in another language.
The image-experience is the basis of the lyrics. In turn, this experience cannot be a direct goal for artistic expression, it reflects certain moods that have arisen in certain situations and summarizes them. Based on the creative ability of the creator, it undergoes a number of qualitative changes, or it is born completely anew and comes to the world from the world of imagination, perfected to a sufficient level of fascination. In order to create a poetic image, researching the figurative meaning of the word in relation to its original meaning, the unknown and even extraordinary signs in relation to its known and ordinary signs, using the word with as many new facets and new glosses as possible, chameleon It is recommended to describe it in the form. Giving such a special meaning and appearance to the word creates imagery. After all, imagery is an important condition of lyrics, and as long as any experience is not formed into an image, the poem will not differ from a simple statement. The article talks about image and figurativeness on the example of Abdulla Oripov's poetry.
Festivals and cultural events have become an important part of the of destination branding strategies. More and more places are increasingly using events and cultural festivals to enhance their image positively and boost tourist flow. Cultural events and festivals have always had a special place in society. Although event tourism has not emerged recently, interest in cultural events in tourism literature has grown tremendously over the last few decades as they have become a key element in attracting tourist destinations. Destinations have also begun to see strategic destination branding as one of the ways to attract a large number of tourists. Therefore, the research in this area can be considered very relevant for the industry. This article examines the importance of various public events in the branding process of destinations and analyzes the impact of “Silk and spices” festival on image and brand of Bukhara tourism destination. The purpose of this study is to explore how visitors evaluate the impact of cultural events and festivals on enhancing the tourist image. The Silk and Spices Festival is undoubtedly one of the most popular Uzbek cultural festivals held annually internationally. Methodological questionnaires were developed to conduct the research. Questionnaires in the form of paper surveys were taken from international and local tourists who visited the Silk and Spices Festival to learn about the impact of this festival on the image of Bukhara. The findings show that there is a positive link between this cultural event and the city’s image.
The article analyzes the typical features of the “person who writes” in modern Russian-language prose through the prism of the triad “image of the world – image of the word – image of the artist”. It has been revealed that this image represents both the signs of a new hero, self-criticizing, conducting a dialogue with his alter ego, consolidating efforts with other artists, and the specifics of the modern world, combining the memory of the historical past and grading the ennobling effect of the word.
Computer vision as a scientific discipline refers to the theories and technologies for creating artificial systems that receive information from an image. Despite the fact that this discipline is quite young, its results have penetrated almost all areas of life. Computer vision is closely related to other practical fields like image processing, the input of which is two-dimensional images obtained from a camera or artificially created. This form of image transformation is aimed at noise suppression, filtering, color correction and image analysis, which allows you to directly obtain specific information from the processed image. This information may include searching for objects, keypoints, segments, and annexes;
The article deals with the issue of artistic interpretation of the image of the mother in the poetry of Abdulla Aripov. The author classifies the poet's poems depicting this image into two groups: 1) the description of the mother who gave him white milk; 2) mother - as a symbol of homeland and nation. According to the author, the poems of the poet dedicated to the image of the mother are, first of all, autobiographical, in which they describe the creative experiences and the spiritual world. Second, these poems express the poet's artistic and aesthetic ideal.
Historical and cultural issues dominate in modern research. While purely literary issues receive insufficient attention. However, it should be noted that until now the image of the character beloved by the people - the image of the rogue -ayyar has not been studied at all, just as the world of human of the literature of the Arab middle ages as a whole has not been studied. No attempt was made to determine its national and epochal features. One of the characteristic features of laughter in syrah is focus on the laughing man himself. Laughing most often laughs at himself, at this conclusions and failures, the heroes of sirah - the epigones of the main character – surprisingly combine the features of an ordinary person, not shining with beauty, not educated, end ideal, heroic features. He is brave and courageous, faithful to friends and generous with enemies, resourceful, smart, tireless and noble in spirit. The characteristic features of other medieval works, such as rogue romance or the rogue novel, are vivid depiction of the life of various layers of urban society of that time, a small number of fantastic elements that are so rich, an ironic attitude to the image, bordering on cynicism, and the associated denial of didactics. In the rogue novel there is no place for meekness and patience, dexterity, as well as cunning, assertiveness and strength, are considered virtue. The true hero here is the in who manages to play the most deft joke with the opponent, outsmart himself. Roguish literature played a large role is the development of Arabic narrative prose, which received new opportunities by expanding thematic and artistic boundaries the combination of elements of humor, science fiction and caricature, parody-satirical and fantastic - utopian tendencies made it possible to correlate the ayyar narratives with the global tradition of folk culture.
The innovative component of the article lies in an in-depth study of the classification, description and functional analysis of the image of “Peri” in the Avesta. Peri qualifies in the Avesta a deceptive image that distracts a person from his true faith. Interestingly, the article substantiates the character of the peri, with its simultaneous ability to appear in front of a person in bodily, often in the guise of a beautiful girl. Details of cases of marriage of peri with the heroes of stories are given. All this is given in the article as “positive” image properties. However, the essence of the negative properties of peri is convincingly revealed. It is argued that the image of the Peri is one of the forms of manifestation of the source of all the evils of Ahriman. On specific examples, the facts of the use of images of evil peri in magic acts, forms and fortune telling with the aim of influencing the psyche of people are revealed.
In this article, the state of our country's image in the world is analyzed based on several international ratings and indices. Over the past 30 years, the image of our country in the world has been taking shape. The ranking of our country in the political, economic, social and cultural spheres of the past few years has been compared with the countries of Central Asia. It is proposed to carry out tasks in systematic ways to improve the image of our country in the world.
The article provides a gradual presentation of the historical works that led to the artistically perfect depiction of the epic horse in the epics. The place of the horse in the history of the Turkic peoples, the confessions of historians in this regard, the findings of the horse in ancient manuscript sources, in short, the ideology of the Turkic peoples is compared with the image of a war horse in the epics.
As characteristic of the war horses described in folk epics, they appear to be the most perfect of the natural horses, as well as the horse features expressed in mythological and totemistic beliefs. In this respect it was understood that the war horses in the epics must be directly or indi- rectly dependent on water horses and celestial horses in order to be true tulpars.
In this article, we will take a closer look at the natural, religious beliefs and views that underlie the creation of the epic horse image in folk epics.
The article also includes “nomadic mavaniyer”, “animal-mother” traditions and beliefs, “Devonu lug'otut-turk” and commentary on Turkish words related to the horse, analysis of the image of the horse in the Karvash folk epics and interpretations took place.