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cohesion and educational outcomes, as students benefit from learning in their mother tongue while
gaining proficiency in global languages.
Ultimately, globalization presents both opportunities and challenges for language policies
and education. While it facilitates cross-cultural communication and economic growth, it also
poses a threat to linguistic diversity. The key to a sustainable linguistic future lies in a balanced
approach—one that encourages global language learning without neglecting the importance of
native languages. Educational institutions, policymakers, and communities must collaborate to
ensure that globalization enriches rather than diminishes the world’s linguistic heritage.
In conclusion, the impact of globalization on language policies and education is profound
and multifaceted. By implementing inclusive language policies, investing in multilingual
education, and leveraging digital tools for language preservation, societies can embrace
globalization while safeguarding their linguistic and cultural identities. The challenge lies in
finding the right balance between embracing international communication and preserving the
unique languages that define different cultures across the world.
References
1. Crystal, D. (2003). English as a Global Language (2nd ed.). Cambridge University Press.
2. Phillipson, R. (1992). Linguistic Imperialism. Oxford University Press.
3. Skutnabb-Kangas, T. (2000). Linguistic Genocide in Education – Or Worldwide Diversity and
Human Rights? Routledge.
4. Cenoz, J., & Gorter, D. (2015). Multilingual Education: Between Language Learning and
Translanguaging. Cambridge University Press.
5. Fishman, J. A. (2001). Can Threatened Languages Be Saved? Reversing Language Shift,
Revisited: A 21st Century Perspective. Multilingual Matters.
6. Graddol, D. (2006). English Next: Why Global English May Mean the End of ‘English as a
Foreign Language’. British Council.
7. UNESCO. (2019). Language Vitality and Endangerment. Retrieved from www.unesco.org
8. Hornberger, N. H. (2009). Multilingual Education Policy and Practice: Ten Certainties
(Grounded in Indigenous Experience). Language Teaching, 42(2), 197–211.
9. García, O., & Lin, A. M. Y. (2017). Translanguaging in Bilingual Education. Springer.
10. Baker, C. (2011). Foundations of Bilingual Education and Bilingualism (5th ed.). Multilingual
Matters.
THE USE OF ARTISTIC DEVICES IN KARAKALPAK FOLK SONGS
Juginisovs X, Student of KSU
Scientific advisor: Kudaybergenova S
Abstract:
The article provides a general description of the function of artistic devices in poetic
lines.
Keywords
: classical literature, folk songs, literary arts, tropes, metaphor, subject.
If we look at the classical literature of any nation, folk songs occupy a certain place within it.
The Karakalpak people treated their songs with great respect. Poetry is considered an artistic image
of the most beautiful phenomena in nature. In ancient times, poets, zhyrau-bakhshis, musicians,
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and storytellers enjoyed great authority among the people. Young men and women entertained
themselves by singing songs and playing musical instruments during festivals. The difference
between people was also determined by their eloquence and ability to sing. At gatherings and
ceremonies, it was customary not to begin without singing. The Karakalpaks didn't use the proverb
"a fault that entered without permission, a fault that came out without a response" for nothing.
For example, let's take the poem "Qizlar uyge kir." The content of the song is as follows:
"A group of girls who came to the gathering, observing propriety, shyly, do not enter the house.
They don't listen to the trivial request to enter the house, but wait for the young men to sing this
request and solemnly invite them inside. This is done by the guys as follows:
Kir degende kirmey turmań uyalıp,
Túrmennıń sırtınan aydınlı shalıp,
Gúlzar jeńgeńizdi aldıǵa salıp,
Qızdır merekendi, qızlar úyge kir.
The song begins and continues like this. Each line of the song not only asks the girls to
enter the house, but also has the power to make a deep impression on the listener. Every word is
expressed through a lyrical image that affects the soul of a person. [1]
Furthermore, in this article, we explore the artistic devices used in such folk songs. The
main function of artistic means is to increase aesthetic impact, to emotionally convey thoughts and
feelings. In the science of literary studies, artistic means are also called "artistic means,"
"descriptive means," "tropes." In Eastern classical literature, the term "metaphors" is used. Tropes
are a source of the richness of spoken language and artistic creation.
Trop
- (from Greek - in the sense of becoming something else) figurativeness, the use of
words not in their literal sense, but in a figurative sense to reflect something in a work of art. In
fiction, metaphor, metonymy, synecdoche, allegory, litota, hyperbole, symbol, personification,
and other types of tropes are used.
Metaphor
- derived from Greek, meta - again, fora - I transfer. Metaphor is one of the most
effective tropes used in a literary work. Metaphor - a type of figurative image based on the
comparison of things to each other. The use of a metaphor in a meaning other than the main
meaning of the word. [2]
Metaphor is based on the similarity between two objects or phenomena (the one being compared
and the one being compared), the properties, qualities, and characteristics of an object similar to
the one being compared are transferred.
Dán joq jerde
torǵay
boldım,
Qonar jerim bolǵan emes.
(Berdaq)
In this case, the metaphor "sparrow" was used to convey the inner suffering of the lyrical
hero related to the difficulties of the time. The likened permet, that is, the lyrical hero, is
represented by the form of the first page. The helplessness, smallness, and singing of a similar
object - a sparrow - is transferred to the lyrical hero. Through this, his assessment of time and
social phenomena is revealed. [3]
We find remarkable examples of metaphor in folklore and classical literature.
Sánemler qolında tilla saz edim,
Háwijge keltirer janan bolmadı.
(Ájiniyaz)
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These two lines, cited by the poet Ajiniyaz, were analyzed by the literary scholar
B.Genjemuratov as follows. "The first line of the poem contains symbols and metaphors. "San'em"
- symbol, "Tilla saz" - metaphor. In this case, the qualities and characteristics of gold are
transferred to the "sazga"-dutar. We know that "Tilla saz" doesn't rust, doesn't rot, and its price
increases over time. Therefore, the poet, as a physically and spiritually mature person, consciously
compares himself to a "golden melody." "Saz" - if we understand this word literally, it's an
instrument played by a famous person accompanying a song. He can be a confidant and confidant
to a person. The qualitative features of "Tilla saz" are transferred to the lyrical hero himself. As a
result, we evaluate time and era from the perspective of the poet's spiritual world. [4]
This article describes the artistic function of artistic devices in the lines of Karakalpak folk
songs. The basis of the means of artistic representation on the transfer of the meaning of the word,
the principles of the transfer of the meaning of the word, the main types of means of artistic
representation, their differences in artistic service were explained. The article provides a
theoretical description of metaphors, metonymy, and synecdoche which are artistic devices in
literature, and analyzes their artistic function with examples.
References
1.Ә.Тәжимуратов. Қарақалпақ халық қосықлары. "Қарақалпақстан" баспасы. Нөкис-1965
2.Ахметов С, Есенов Ж, Жәримбетов Қ. Әдебияттаныỳ атамаларының орысшa-
қаракалпақша түсиндирме сөзлиги. Нөкис: Билим, 1992
3. A.Dosımbetova. Ádebiyatta kórkemlew quralları. Nókis,
“Qaraqalpaqstan” 2017
4. Генжемуратов Б. Әжинияз лирикасының поэтикасы. Нөкис, «Билим», 1997,
5. Konisov, G. (2024, May). ON THE MATTER OF CLT IN TEACHING GRAMMAR. In
Konferensiyalar| Conferences (Vol. 1, No. 14, pp. 22-24).
QARAQALPAQ XALÍQ QOSÍQLARÍNDA KÓRKEMLEW QURALLARÍNÍŃ
QOLLANÍLÍWÍ
Juginisova X, Student of KSU
Scientific advisor: Kudaybergenova S
Annotaciya:
Maqalada kórkemlew qurallarınıń qosıq qatarlarında atqaratuǵın xizmetine
ulıwma sıpatlama berilgen.
Tayanısh sózler
:
klassikalıq ádebiyat, xalıq qosıqları, kórkemlew quralları, trop, metafora,
metonimiya, sinekdoxa, lirika, predmet
Qaysı bir xalıqtıń klassikalıq ádebiyatın alıp qarasaqta, onıń ishinde xalıq qosıqları belgili
orındı iyeleydi. Qaraqalpaq xalqı óz qosıqlarına úlken húrmet benen qaraǵan. Qosıq- tábiyattaǵı
eń sulıw qubılıslardıń kórkem obrazı, dep esaplaǵan. Áyyemgi zamanlarda shayırlar, jıraw-
baqsılar, sazendeler hám qıssaxanlar xalıq arasında úlken abırayǵa iye bolǵan. Qız-jigitler mereke-
meyislerde qosıq aytıp, saz shertip kewil kótergen. Adamlardıń parqı da usı sheshenlik penen qosıq
aytıw qabiyletine qaray ayırılıp turǵan. Otırıspalar, mereke-meyislerde qosıqsız baslanbaytuǵın
bolǵan. Qaraqalpaqlar "ruxsatsız kirgen ayıp, juwapsız shıqqan ayıp" degen naqıldı biykarǵa
qollanbaǵan.
