The harmony between tradition and innovation, the combination of individuality and imitation is one of the main problems that arise when analyzing the work of each artist. Especially when we talk about such a complex artistic process as the beginning of the ХХ century, our attention is drawn to the emergence of an individual author's style, new ideas and themes. The article analyzes the gradual development of various trends in English poetry of the ХХ century, the relationship between tradition and innovation from the point of view of artistic movements. In addition, the works of such poets as E.Pound, T.S.Eliot and W.B.Yеates are analyzed from the point of view of tradition and innovation.
In this paper, the work of Gulbeden Begum, called Humayunnameh, the daughter of Babur Shah, who is the fifth grandchild of Timur, will be evaluated. As it is known, there are works written by those who started with Timur and later belonged to the Timurid dynasty, in the fields of history, literature, religion, calligraphy, writing and similar fields. One of the most striking of these is the work of Gulbeden Begum, who is a member of the Timurid lineage. The work deals with the events that developed in the axis of the activities of Babur Shah’s son Humayun (1530-1554). Here, first of all, the historiography tradition of Timurids will be briefly mentioned. The tradition of writing “facts, memoirs, chronicles”, which started with Babur Shah and continued during the period of other dynasty members, will be touched upon. Gulbeden continued this tradition after Babur Shah’s work named “Baburnameh”. Information about Gulbeden and her work is given below. The Humayunnameh which is the main subject of the paper, has been discussed with a critical view in terms of both the issues written in it and the methods of the tradition of writing history. The work contains the observations of a woman who followed, listened or witnessed the developments of the period from afar or closely. The work has been carefully studied as it carries subjective evaluations and emotions. The study is given in sub headings to make the subject easy to understand. In this respect, it consists of Annotation, introduction, subtitles, conclusion and bibliography. While it is possible to deal with the study in a broad way, some issues are given very briefly because it is desired to be written within a limited page range.
The issues of tradition and innovation in Uzbek comedy were subjected to analysis on the example of the works of Hamza Hakimzada Niyazi, Ilshat Yumagulov, Said Ahmad and Erkin Vahidov.
It was tradition to write "Arbain" - "Chihil Hadis" worksin Eastern classical literature which means collecting forty hadiths in one place, explaining their meaning to simple people, writing comments on them. The observations show that every time has its "Arbain", which put forward a clear theme and purpose. According to Hadith Prophet Muhammad (peace be upon him), "Whoever memorize forty hadiths, follows and teaches them, he will be under my intercession on the Day of Resurrection". According to this hadith people tried to memorize forty hadiths and deliver them to the people. The lexical meaning of "Arbain" is forty. In addition, to be in chilla for forty days means the prayers’ purifying and praying in the nook for forty days, forty days from birth and after the death. These forty days are called asa period of "cleansing". Medieval thinkers chose forty hadiths which were about Islamic rules and place together. They attempted to explain the meaning and significance of these forty hadiths to people in easier way. For this they used the prose and poetry effectively. In this article we aimed to give some information about handwritten copies of “Arbain” works which are being saved in the central fund of Oriental manuscripts center named after Abu Rayhan Beruni under the Tashkent State Institute of Oriental studies of the Republic of Uzbekistan.
The article provides information about the tradition of Khamsanism in the Timurid period and its place in the literature of the period, as well as which artists wrote in response to which epics of Khamsatai. Also, according to his contribution to the Khamsanavis, the Khamsanavis poets are conditionally divided into groups and information about them is given.
The article discusses the features of the description of the plot system of traditional common typical places characteristic of folk epics. In particular, the ideological and artistic content of the traditional work of the folk epic, the tradition of epic images of the inner types of the epic, their similarity, similarity and difference in the image of the heroic, romantic and historical epic. the identification of which can be determined by comparing the pictorial means directly covered by the plot of typical places is revealed through the analysis of sources.
The article discusses the importance of studying the cultural heritage of the ancient Nakhchivan region, which made invaluable contributions to the oral and written wing of our literature, no matter how much the literary and cultural environment is analyzed horizontally and vertically. The author once again draws attention to the fact that the essence of his analysis, carried out on the example of the national poet Ululu Karim, who lived and worked in Nakhchivan, is deeply rooted, and what image he formed at the environmental level. He emphasizes the vitality of the tradition, the mission of transmission and protection in the person of the Great Karim, the content of which has been (perhaps even earlier) since the face of Dada Gorgud, this environment, which is connected with the tradition of gopuz, saz. The article tells about the creativity of Ululu Karim Zang, one of the most talented figures of Nakhchivan ashugs, who was born in Zangazur district of Nakhchivan and settled in Shahbuz region of Nakhchivan. The author explains that the poems of the national poet Ululu Karim have been published in several collections and books, and his poems are related to the literary heritage of other poets and do not provide information about his life and work. The article talks about the work done by the research scientist Ali Shamil in this field, who for the first time clarified the life and work of the Great Karim. Here, along with the study of the life and work of the Great Karim, the issue of the true ashug of the artist has not been forgotten, and its main direction has been identified. The article notes that the literary heritage of the Great Karim has a great value as a person who contributed to the development of Azerbaijani ashug art and the development of ashug poetry. The article shows that the activities and poetry of the Great Karim are an example and source for the ashugs and folk poets who came after him.
In this article we made an effort to describe positive influence of Uzbek rituals, tradition and customs on behavioral and cognitive development of children. Custom and rituals have a significant role to bring children up in many ways. There are some methods that hidden behind tradition and ritual which are directed to prepare children to life and improve their cognitive development. In order to reveal hidden benefits of customs and rituals in the development of child we made an observation in preschool. According to our observation rituals and customs help to improve child’s attention productivity and to form behavior pattern.
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.
Studies on the Arabic language are currently being conducted in Cairo, Damascus, Beirut, Baghdad, Algeria and Tunisia, where most of the studies in these linguistic centers are based on the traditions of Arabic schools. Scientists from the universities of Leiden, Paris, Oxford, Cambridge, Halle, Prague and Rome are more committed to studying Arabic grammar, adhering to European linguistic traditions. This tradition is also observed in the activities of scientists working on the Arab grammar system in the institutes of Russia, Azerbaijan, Armenia, Uzbekistan and Tajikistan. In addition, it is noted that European scholars studied the Arabic language based on the traditions of Arabic linguistics, and that the study of the Arabic language was carried out using European theories. To illustrate these two traditions, it is appropriate to study the work of Russian scientists, who have taken a leading place in Arab, European and European studies and have made a significant contribution to the development of Arab studies. This article is devoted to a chronological analysis of studies of issues of Arabic philology of a traditionally Arab and European direction. In the process of analysis, the scientific activity of scientists in the field of Arabic grammar, literature, the history of Arabic linguistics and dialectology is noted. The study of Arabic manuscripts played an important role in the formation and development of Arabic philology. The department of Oriental Studies, which studies Arabic literary language and manuscript monuments in the same language, originated in Europe. Later, this tradition came to Russia. Russian archeologists have made a number of achievements in this area. In particular, the study of manuscripts stored in library collections and private funds has been the task of scientific research since that time. In addition to Europe and Russia, the study of Arabic manuscripts in Uzbekistan began, especially in Bukhara, Samarkand and Khorezm. However, the study of manuscripts in these areas was considered more religious. It is noteworthy that unlike Russia and Europe, large theoretical studies on Arabic were carried out in Uzbekistan until the 14th century. This shows that Arabic studies have developed early on the territory of Uzbekistan.
The author notes in the article that good-neighborly and friendly relations between Tajiks and Uzbeks are unique in our world. New friendships are not only completely political and symbolic, but primarily socially oriented towards the well-being of people. The article notes that the literary ties of the Tajik Uzbek peoples were formed under the influence of a common religion, tradition and way of life, geographical proximity, and in the course of the historical process brought these peoples closer. A strong foundation and guarantor of sustainable development and prosperity are willingness and sincere desire for cooperation. It is this factor that consistently serves to further strengthen ties between Uzbekistan and Tajikistan in various spheres of life. The Uzbek and Tajik peoples have been close neighbors for centuries, they were tied by friendly and family ties. The intertwining of spirituality, literature, music and the way of life of the two peoples is a unique phenomenon in history. In the most difficult historical periods, they supported each other, stood shoulder to shoulder. The author notes that the far-sighted heads of Tajikistan and Uzbekistan saved the peoples of their countries, preventing them from becoming strangers to each other, and created conditions for the continuation of the glorious
historical traditions of friendship. The author also examines the merits of the leaders of the two countries, the consistent steps of the President of the Republic of Uzbekistan Shavkat Mirziyayev, including the efforts of the Founder of Peace and National Unity - the Leader of the Nation, President of Tajikistan Emomali Rahmon to create literary and friendly Tajik-Uzbek ties during the period of independence.
This article is about scholars who have studied modern Uzbek folk art in terms of tradition and innovation. Today, the creative analytical sources of all scientists, art critics, and researchers who have made a scientific contribution to the gradual formation of artistic craftsmanship, have directly guided the research conducted during the years of independence. The following is a general study of the specificity of these factors.
Tradition is the most important factor in understanding the identity of any nation and introducing it to the world.In this article, you will learn about the customs and traditions of the two nations, especially the similarities and differences between the authors, who have played an important role in English and Uzbek literature.
Young people who have received sound religious education and grow up with love of faith and worship will never go astray. Adolescence is a time of active youth when human blood boils. During these years, young people make hasty decisions without thinking clearly, because their emotions and feelings prevail. In this case, young people are more likely to make mistakes. We must educate our youth in the spirit of love for the country. Because young people who grow up with the love of faith spend their youth years without problems. Therefore, it is necessary to give the necessary religious knowledge from childhood, to convey the importance of worship to young people, in order to lead them without problems. In Uzbekistan, a tendency to return to “true” national and religious values as a rebirth of the tradition of the uniqueness of Islamic culture in raising the spiritual and moral worldview of youth and its adoption in the modern context, special attention is paid to Islamic culture in raising the spiritual and moral worldview of youth.
This article is devoted to the study of the problem of the formation of "literary communities" in India (South Asia) in the Middle Ages. When studying the history of literature of the Foreign East, a certain pattern is revealed in the formation of literary unities and communities. The Middle Ages can be hypothetically considered as the time of the immediate formation of literary complexes, which represent a huge amount of material from the prehistories of literary trends. One of the factors that contributed to the creation of a kind of "literary associations" was the language, the primary element of literature. The concept of “special literary communities,” which emerged as a corrective to Western European centrist ideas about the history of literature, is, in our opinion, very valuable for orientalists, especially for Indologists. As we will try to show in this article, this concept, when applied to Indian material, can take on a broader, generalized meaning than what was originally put into it. More specifically, a "special literary community" should not necessarily be a community of "national literatures." In other words, "a special literary community" is a more universal concept than the concept of "national literature". India (South Asia) is a huge diversity of human communities, both historically and in modern terms. Accordingly, a wide variety of literary communities is revealed to the literary critic. In India, at the end of the 1st − beginning of the 2nd millennium, in parallel with Sanskrit literature, represented mainly by imitative works that copied classical samples, a literary tradition arose in living languages. In this article, we examined how promising the concept of "special literary community" is for Indologists and Oriental studies in general. At the same time, it follows from these examples with sufficient evidence that the "special communities" of national literatures are only a special case of a broader phenomenon, i.e. “Special communities” can also exist between literatures of a different type with a different social basis.
Many people know that the special science of organology deals with the issues of the origin, functioning and interaction of musical instruments. Among its well-established rules, it is believed that the instrument is the most important support of the musician. In a sense, it is a partner and companion of the performer in his creative aspirations, a reliable basis for improvisation, a source of inspiration and fantasy.
Especially great is the importance of musical instruments in the context of the unwritten tradition. Here, in addition to everything, musical instruments act as a kind of fixators for the established norms of oral traditions.
It is no accident that the notation system in the classical music of the East was formed as a tablature for the instrument dominating in its era, for example, the tablature for oud of the 13th-15th centuries, the Khorezm tanbur tablature of the 19th century. The instrument was used to explain the modal and rhythmic systems, the principles of the structure of vocal and instrumental melodies. It is not for nothing that they say that the Bukhara tanbur is the key to the maqomat system, the tar is the personification of the Azerbaijani-Iranian mugams and dastgahs, the Kashgar tanbur (a different scale and principles of execution than the Bukharian one) is the leading instrument of the Uyghur muqams.
The forms and designs of the instruments are the result of the age-old searches of musicians to perfect their timbre-acoustic capabilities, the adaptation of the instruments of their profession to themselves. And the scales established on them are also the result of natural selection of more than one generation of musicians-performers and listeners, in a word, the material embodiment of stages in the history of musical culture.
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.
This study was designed to examine barriers to harmonization of the sub-systems of primary education in the Littoral and South West Regions of Cameroon. The study was guided by two objectives which where to inquire whether bicultural traditions of the country is a hindrance to the harmonization process of the curriculum of primary education and to find out if the fear of assimilation is a barrier to harmonization of the curriculum of primary education. The concurrent mixed-methods research approach specifically the descriptive survey design was adopted for the study. The sample population for the study was made up of 20 pedagogic staff from the Regional Delegation, 20 from the Divisional Delegation, 20 from the Inspectorates, 200 head teachers and 300 teachers from both regions. The purposive and simple random sampling techniques was adopted for the study. The instruments use for data collection were a questionnaire (closed ended questions) for Teachers and Head teachers and an interview guide for regional delegation staff, divisional delegation staff and inspectorate staff. Data from the close ended questions was analysed using SPSS 23.0, with the aid of descriptive and inferential statistical tools while open ended questions were analysed thematically. The hypotheses of the study were tested using Chi-square test. Statistically, findings showed that head teachers and teachers did not significantly differ in their perception on the bi-cultural tradition of the country acting as a barrier to the harmonization of the curriculum for primary education (P=0.270, >0.05) whereby majority of the head teachers 154 (76.9%) and teachers 214 (71.4%) strongly agree and agree that the bi-cultural tradition of the country is a barrier to the harmonization of the curriculum for primary education while a minority of the head teachers 46 (23.1%) and teachers 86 (28.6%) disagree and strongly disagree. Statistically, findings showed that head teachers and teachers did not significantly differ in their perception on the fear of assimilation acting as a barrier to the harmonization of the curriculum for primary education. (P=0.555, >0.05) whereby, majority of the head teachers 144 (71.8%) and teachers 222 (74.1%) of almost the same proportion strongly agree and agree that the fear of assimilation is a barrier to the harmonization of the curriculum for primary education while a minority of the head teachers 56 (28.2%) and teachers 78 (25.9%) disagree and strongly disagree. It is generally recommended that, harmonization in its context of preserving cultural patrimony as an objective of multicultural education. Cultural patrimony refers to the sum total of ways of living, including values, beliefs, aesthetic standards, linguistic expression, and patterns of thinking, behavioural norms and styles of communication, which a group of people have developed to assure its survival in a particular physical and human environment.
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.