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PUBLISHED DATE: - 20-07-2024
DOI: -
https://doi.org/10.37547/tajssei/Volume06Issue07-13
PAGE NO.: - 124-131
LOVE AND ITS SPECIFICITY IN THE RUSSIAN
AND ARABIC LINGUOCULTURAL PICTURE OF
THE WORLD
Akhmedova Saodat Shukhrat kizi
Free applicant, Tashkent State University of Oriental Studies, Tashkent,
Uzbekistan
INTRODUCTION
Love is one of the most universal and at the same
time culturally dependent phenomena that plays a
central role in human life. The understanding and
expression of love is highly dependent on cultural,
social and historical contexts, making its study
particularly interesting and important for
understanding
the
diversity
of
human
relationships and emotional experiences.
Different cultures interpret and express love in
different ways. Cultural norms, religious beliefs,
and social structures determine how people
perceive and express this concept. For example, in
some cultures love is often associated with
obligations to family and society, while in other
cultures it may emphasize individual feelings and
choice of partner.
Language plays a key role in the expression and
interpretation of love. Each language has its own
unique lexical units, metaphors and phraseological
units that reflect the specifics of cultural ideas
about love. For example, romance languages often
use metaphors related to fire and passion to
describe love relationships, while Japanese has
terms that express unique aspects of relationships
between people.
Ideas about love have changed throughout human
history under the influence of social, economic and
cultural changes. For example, in the Middle Ages
in Europe, love was often associated with chivalry
and ideals, and during the Enlightenment, love
came to be seen as an individual feeling freed from
social obligations.
In today's world, the concept of love continues to
evolve under the influence of globalization,
multimedia technology and changes in social
structures. Research shows that many cultures
RESEARCH ARTICLE
Open Access
Abstract
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maintain unique approaches to love despite
globalization and cultural exchange. Scientists like
I.A. Ivanova , V.I. Karasik, V.N. Kolesov, E.S.
Kubryakova, A.Kh. Merzlyakova, Z.D. Popova, G.G.
Slyshkin, I.A. Sternin, Yu.S. Stepanov, V.N. Telia,
P.M. Frumkin, philosophers and theologians (Vl.
Solovyov, N. Berdyaev, P. Florensky, S. Bulgakov, I.
Ilyin, L. Karsavin, etc.), poets and writers (I. Bunin,
A. Kuprin, K. Balmont, A. Blok, A. Bely, Z. Gippius
and others), critics (V. Rozanov, D. Merezhkovsky
and others), cultural historians and literary
scholars (V. Zhirmunsky, A. Veselovsky, N.
Arsenyev and others contributed greatly
contribution of the concept of love.
I.A. Ivanova in her study gives the definition: “the
Indo-European root *leubh-, combining two
meanings “
to get lost, go astray, come into
disarray” and “to thirst for something” is reflected
in the ancient noun - lyby, which was transformed
under the influence of indirect cases in love and
remains unchanged in words such as smile, u-smile
(smile), u-smile. The study of the lexeme love from
the point of view of its origin made it possible to
establish that the verb to love is causative in its
origin and form; it exactly corresponds to the
ancient Indian lobhauati -
“to arouse desire, make
one love, make one fa
ll in love. ”
To understand the modern understanding of love
in the Russian language, I.A. Ivanova emphasizes
that: “in the modern Russian language, the
religious understanding of love has been lost, it has
become a purely anthropocentric category. The
linguistic consciousness of modern man appeals
primarily to interpersonal relationships (love: 1) -
a feeling of deep attachment to someone,
something; 2)
̒
feeling of warm heartfelt
inclination, attraction to a person of the opposite
sex; 3) internal desire, attraction, inclination,
attraction to something "
Cultural diversity is evident not only in ideas about
love, but also in its expression. Different cultures
may have unique rituals, traditions, and customs
related to love and romantic relationships. For
example, some cultures have long courtship and
marriage rituals that differ from modern Western
customs.
The study of love as a culturally specific concept
allows for a deeper understanding of the diversity
of human relationships and emotional experiences
in different cultural contexts. It helps expand our
knowledge of the influence of language, culture,
religion and historical factors on the formation of
ideas about love. Further research in this area can
shed light on the diversity of human feelings and
the ways they are expressed in different cultures,
promoting cultural understanding and interaction
on a global level.
Understanding a foreign culture involves
understanding the concepts with which it
understands,
structures,
and
linguistically
represents the realities of its lifeworld. This course
illuminates Arab culture through an analysis of
etymology, semantic history, and contemporary
use of terms of particular significance to the mental
and cultural history of the Arabs and the present,
such as lifestyle, cultural practices, religion,
philosophy, science, social organization, politics,
morality/ ethics, etc. It compares these key
concepts with their Western counterparts and vice
versa, thereby aiming to train the student to be
competent as a “translator between cultures.”
In Russian culture of the early 20th century, love
became the subject of great attention and study of
the problems of the concept of love - S.G.
Vorkachev, he actively explores concepts that are
key to understanding the culture and mentality of
the Russian people and writes: Implicative,
derivative semantics as part of the concept of love
is associated, first of all, with the centrality of the
position of the object of love in the system of
personal values of the subject and is represented
through the “caritative block”: benevolence,
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tenderness, care, respect for the person of the
loved one, condescension to his weaknesses and
shortcomings, compassion and sacrifice, devotion
and willingness to forgive -
love “covers all things,
believes all things, hopes all things, endures all
things” (1 Corinthians: 13, 7 ). The caritative signs
of love in the Russian proverb fund are conveyed
by the proverbs “Love knows no revenge, and
friendship knows no flattery”; “For the sake of/for
a dear friend a
nd an earring from my ear”; “For the
sake of the dear one, don’t feel sorry for yourself”;
“It’s a pity for the dear one, but I would run away
from the hateful one”; “For a dear one, it’s not a pity
to lose a lot”; “I will sacrifice myself for my dear
one”; “To love is to bear someone else’s grief, not
to love is to crush your own”; “Where my friend is
dear, so goes my boot”; “Wherever you go, only
with your sweetheart along the way”; “Although /
love or love, yes / just look more often”; “Wife,
don’t love,
just look!”; “Even if you don’t love, just
look more often (i.e., please, serve)”; “I endure
because I love everyone more”; “I endure from him
whom I love more”; “Love us in black, and in red,
everyone will love us”; “Love us in black, and in
white, and e
veryone will love us”; “He who loves
whom loves him.” The Russian paremiological
consciousness
especially
highlights
the
“peacemaking qualities” of love: “Where there is
advice, there is love”; “Where there is advice
(union, love), there is light”; “Love a
nd all is well -
no need for treasure”; “Love and advice
-
that’s the
light”; “Love and advice, but no grief (needs)”;
“Where there is love and advice, there is no grief”;
“Where there is love, there is advice”; “Advice and
love, that’s all there is to it.
” Vorkachev considers
love as a complex and multi-layered phenomenon,
reflected in language through various lexemes,
phraseological units and metaphors. In his work,
he emphasizes that love is not only an individual
feeling, but also a cultural phenomenon that has its
own national characteristics and manifestations:
Love, like any emotion, cannot be evoked
arbitrarily, and the sign of uncontrollability (both
“external”
-
coercion, and “internal”
- volitional) in
the Russian language confidently ranks second in
the number of proverbial realizations: “Love, fire,
yes you can’t hide/hide a cough from people”;
“Love does not know the law, does not count the
years”; “Love is not a potato: you can’t cook it in a
pot”; “Love is not a potato: you can’t throw it o
ut
the window”; “Love is not a fire, (and) if it catches
fire, you can’t put it out”; “You can’t lock up love”;
"Lawless Heart"; “You can’t throw it out of your
heart, but you can’t put it into your heart”; “Love is
not subject to reason”; “Money can’t buy
love”;
“You won’t be nice by force/You won’t be nice by
force”; “Love is not a fire, but if it catches fire, you
can’t put it out”; “The priest will tie his hands and
his head, but will not tie his heart”; “You will force
yourself to be afraid, but you will not force yourself
to love”; “You cannot bind love with the cross”;
“Love is not alms: you cannot give it to everyone”;
“The hillbilly Yermil, he is dear to the townsfolk
women”) .
Works of S.G. Vorkachev's works allow us to gain a
deeper understanding of how the concept of love
reflects cultural and social realities, as well as how
it influences people's perceptions and behavior.
Over several decades in Russia, more has been
written about love than over several centuries, and
this literature stood out for the intensity of its
search, originality of thinking and depth of thought
. “The conceptual field of love” (Kashtanova, 1997)
describes one of the main human feelings, and the
area of feelings and emotions “is precisely the area
where the spiritual culture of the people is most
clearly manifested” (ibid., p. 25). The importance of
the concept of “love” in culture is clearly evidenced
by the words of N.A. Berdyaev: “The secret of any
individuality is recognized only by love. ”
One of the most striking expressions of the concept
of “love” is reflected in the poetic work of Anna
Akhmatova, in which back in 1922 V.V. Vinogradov
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identified three semantic spheres. According to the
scientist, each of these spheres “has at its core a
word, saturated with many associations in
Akhmatova’s consciousness. These words are
song, prayer and love. ” After Vinogradov’s work,
many studies were conducted confirming that love
is the main motive of Akhmatova’s work (see, for
example: Dobin, 1968 ; Urban, 1968 ; Eikhenbaum,
1969 ; Zhirmunsky, 1973 ; Ginzburg, 1987 ; Shilov,
1989 ; Veidle, 1989 ; Pavlovsky, 1991 ;
Razmakhnina, 1993 ; Vanyashova, 1993 ;
Pakhareva, 1994 ; Babenko, Ulyanova, 1997 ;
Shorkina, 1997 ; Kormilov, 1998 ; The importance
of the concept of “love” for Akhmatova’s individual
style is confirmed by the words of V.M.
Zhirmunsky: The main place in Akhmatova’s lyrics,
of course, is occupied by the love theme - as in folk
songs and sonnets of Petrarch, in the lyrics of
Goethe and Pushkin, and in all world poetry in
general.
The statements of V.M. can be called wonderful.
Zhirmunsky, who confirm the significance of the
concept of “love” in A. Akhmatova’s individual
style: “The main place in A. Akhmatova’s lyrics is
undoubtedly occupied by the love theme - as in folk
songs and in the sonnets of Petrarch, in the lyrics
of Goethe and Pushkin and in all world poetry in
general. Love in Akhmatova’s poems is a living and
genuine feeling, deep and humane, although for
real life reasons it is touched by the sadness of
ennob
ling suffering. ” Many researchers of Anna
Akhmatova’s work have noted that in the poetess’s
idiostyle, love is often depicted as suffering. The
inspirer of her poetry was identified as a
“sorrowful Muse, ” her work was identified as “the
poetry of unhapp
y love, ” and A. Akhmatova herself
was called “the poet of orphanhood and
widowhood. ” N.L. Raiderman writes about the
global nature of love suffering, which is in the
poet’s lyrics: “Akhmatova’s. the persistent thought
about “world boundaries”, about the
imperious
pressure of fate receives the most clear
embodiment, the most visible plot realization in
the theme of love, in experiencing it as a high
tragedy. ” N. Bannikov comprehensively and fully
characterized her love lyrics as a whole:
“Akhmatova wrote
about love with enormous
power of lyricism. Anxious, confused, bitter
Akhmatova's lines about love in the minds of many,
many for a long time seemed to merge with the
appearance of the poetess herself. If you arrange
the love poems of A. Akhmatova in a certain order,
you can build a whole story with many mise-en-
scenes, twists and turns, characters, random and
non-random incidents. Meetings and separations,
tenderness, guilt, disappointment, jealousy,
bitterness, languor, joy singing in the heart, pride,
sadness - in what facets and kinks we will not see
love on the pages of Akhmatov’s books. This is
either Tyutchev’s “fatal duel”, or a curse, torture. In
the lyrical heroine of Akhmatova’s poems, in the
soul of the poetess herself, there constantly lived a
burning, demanding dream of truly lofty love,
untempted by anything. Akhmatova’s love is a
formidable, commanding, morally pure, all-
consuming feeling. ” The concept of “love” in the
poetic work of A. Akhmatova plays an important
role in the formation of her individual worldview
and is a complex mental formation consisting of
three semantic planes: heartfelt attraction to a
lover, a deep sense of attachment to the
Motherland and friends, as well as a strong passion
for poetic creativity . These semantic aspects of the
concept of “love” do not have clear boundaries and
are closely intertwined in Akhmatova’s poetic
style, which emphasizes the uniqueness of her
creative thinking.
T.N. Dankova identifies three types of semantic
plans of the concept in the work of A. Akhmatova:
“The LSPs of the three identified semantic plans of
the concept “love” in the work of A. Akhmatova are
heterogeneous in their volume and composition.
The largest and most complexly organized is the
LSP of the semantic plan “a feeling of war
m
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heartfelt inclination, attraction to a lover. In the
named lexical-semantic grouping there are several
semantic lines (microfields), united by the IS name
of the field: “a strong heartfelt feeling that brings
suffering, torment”; “a painful feeling that
can lead
to death”, “a heartfelt feeling that gives happiness”,
“a deep, spiritual feeling”, “a heartfelt feeling
sanctified by heaven”, “a passionate feeling”. The
microfield of “a strong feeling that brings suffering,
torment” is most clearly represented
in the poet’s
idiostyle, in which fragments are distinguished,
united by potential semes derived from the seme
“suffering/torment”: “separation”, “unrequited
love”, “deception”, “incompatibility of love and
poetic creativity”, “lack of freedom”, “betrayal”,
“jealousy”, “a feeling from which liberation is a
blessing” .
She pays special attention to the lexical-semantic
plan of A. Akhmatova’s works and conveys the
deep semantic layers of her poems: “LSP of the
semantic plan “a feeling of deep affection and
sincere affection for the Motherland (native land)
and friends” of the concept “love” also plays a
significant role in the overall system of poetic
idiostyle by A. Akhmatova, although it is less
represented than the previous one. The
functioning of the second semantic plane of the
concept “love” in A. Akhmatova’s individual style in
two varieties allows us to speak of two separate
LSPs: LSP of the semantic layer “a feeling of deep
affection and sincere affection for the Motherland
(native land)” and LSP of the semantic layer “a
feeling of deep affection and sincere affection for
friends. ”
T.N. Dankova explores how: “as part of the LSP of
the semantic plan “a feeling of deep affection and
sincere affection for the Motherland (native land)”
of the concept “love”, microfields are
distinguished, united by the IS name of the field: “a
strong feeling that brings suffering, torment”,
“deep, spiritual feeling”, “feeling that gives
happiness.” In the first microfield there are two
subfields: “suffering/torment”, “suf
fering due to
separation” .
Love is a complex phenomenon of a person’s inner
life, it is a situation of emotional relationships and
experiences of two people, it has a multi-
component
structure.
Consequently,
the
ideographic space must be structured according to
the main components and features of this
structure, without which the phenomenon under
study cannot be identified as a fragment of the
linguistic picture of the world .
E.V. Lobkova, exploring the image-concept of
“love” in the Russian linguistic p
icture of the world,
writes: “the ideographic space of the image
-
concept “love” as a type of semantic space does not
have clear boundaries and intersects with the
spaces of other phenomena (adjacent to love -
friendship, sympathy, and opposed - indifference,
hatred).
Love is a complex phenomenon of a person’s inner
life, it is a situation of emotional relationships and
experiences of two people, it has a multi-
component structure. She can analyze how love is
reflected in language, literature, folklore and
everyday expressions. In Russian, love is often
associated with strong emotions, spirituality and
self-sacrifice, which distinguishes its image from
other cultural contexts. Lobkova probably
emphasizes the uniqueness of the Russian concept
of love, its versatility and significance in Russian
culture.
“Stories about couples in love are a very popular
and fairly developed genre in many literatures of
the world, and in this sense, Arabic literature is no
exception. In pre-Islamic times, among the Arab
tribes, which were generally distinguished by a
sincere love of words and eloquence, the art of
storytelling was very developed, as evidenced by
the famous monument of pre-Islamic Arab folklore
“Days of the Arabs,” recorded after the rise of Islam
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by the prominent philologist Abu 'Ubaida (728
–
825).
This monument is a collection of individual stories
about inter-tribal wars and strife, but sometimes in
the outline of such historical legends small love
stories or episodes were placed that were part of
the biographies of famous tribal poets, especially if
these poets were also brave warriors.”
“the poetic heritage of some Bedouin poets
consisted exclusively of love lyrics in the form of
separate small poems in which a single beloved
was glorified, and her name was mentioned in
almost every fragment.”
“that such stories were genetically related to the
nasib - the love part of the pre-Islamic qasida,
which was a large lyrical poem,”
“In nasib, the poet talks about past love
experiences, passion and jealousy, describes his
beloved and dates with her. The development of
this genre form is associated with the cult of the
beloved, which resembles, and in a certain sense
anticipates, the medieval European cult of the lady.
In their independent form, love poems are
e
xtremely rare in ancient Arabic poetry,” notes I.
M. Filshtinsky. Since the poetic heritage of these
Bedouin
authors
has
common
genre
characteristics, researchers conventionally call
their work “Uzrit lyrics” (see [Ḍ
ayf: 359] ,
[Filshtinsky: 220] , [Jayyusi: 421] , [Jacobi, 1998b:
789
–
791] , etc.) named after the Yemeni tribe Banu
'Uzra, to which the very first famous Bedouin poets
belonged 'Urwa ibn Hizam and Jamil ibn Ma'mar,
who sang unrequited "platonic" love for one single
woman. "
In the time period under consideration (VII
–
X
centuries), the authors-compilers of literary
anthologies used the term khabar, which means
“message”, “news”, or less commonly dhikr
-
“mention”, “memory”, “story”, to designate a prose
passage-episode. " More precisely, swag can be
defined as a short oral prose story, which is based
on real events.
Khabar was the smallest compositional unit of
medieval Arabic written monuments; The story of
Kays and Lubna in the medieval... each khabar had
its own isnad, that is, a chain of transmitters of
informants from whom the author-compiler heard
this legend. The plural of the term khabar - akhbar
as a collection of khabars - was used to designate a
series of interconnected episodes about some
important event or famous person. Taking into
account the fact that the selection of swag for each
story depended entirely on the taste of the
anthology compiler, their quantity and quality in
each story about a particular poet was individual
and could vary greatly even within the same work,
as will be shown below. Therefore, in this work, the
terms “history”, “tradition”, “legend” will be used
as equivalents for the story called Akhbar Qays va-
Lubna, which literally means “Information about
Qays and Lubna”.
“These are tales about unhappy lovers, A. A.
Sadykhova forcibly separated by parents and
circumstances: the beloved was married off to
another; lovers were forced to suffer in separation,
sometimes meeting in secret, exchanging letters or
objects; the poet was sick, wasted away from
melancholy, suffered hardships, went crazy and
eventually died; Having learned about the poet’s
death, his beloved also died or died at the same
time as him, having felt his death. These are the
stories about the Bedouin poets of the 7th
–
8th
centuries: about Majnun and Layla, 'Urwa ibn
Khizam and 'Afra, Jamil ibn Ma'mar and Busayn,
Tawb ibn Humayyir and Layla al-Akhyaliyya, Qays
ibn Zarikh and Lubna, Kusayyir and 'Azza etc.
(author Ibn Qutayba). The most famous couple in
love in this galaxy is the couple of Qais ibn al-
Mulyavwah, nicknamed Majnun, and his beloved
Layla. This sentimental story about a mad poet
who lost his mind from unrequited love also
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organically entered the literature of the Iranian
and Turkic peoples. ”
While listing the well-known loving couples of the
pre-Islamic period and the beginning of Islam, al-
Jahiz twice mentions the story of the pre-Islamic
poet 'Abd Allah ibn al-'Ajlan and his beloved Hind.
It turned out that a very brief legend about this
poet is contained in the anthology of Ibn Qutayba,
and its content resembles the story of Qais ibn
Zarikh: ‘Abd Allah and Hind were married, but then
divorced; Soon after the divorce, the poet,
obsessed with passion for his ex-wife, could not
survive separation and died . At the same time, Ibn
Qutayba gives the poet the following description:
“He is [one] of the famous Arab lovers who died of
love
”.
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