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Journal articles on the topic 'Uzbek drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Mirzokhidova, Nozima Ulugbek kizi. "THE SIGNIFICANCE OF THEATER ART IN THE EXAMINATION OF SHAKESPEARE'S WORKS IN UZBEKISTAN." Frontline Social Sciences and History Journal 4, no. 5 (May 1, 2024): 69–74. http://dx.doi.org/10.37547/social-fsshj-04-05-09.

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In terms of aesthetics, the Uzbek translators were able to translate the works of the English writer into the Uzbek language. In 1941, the Uzbek State Drama Theater (now the Uzbek National Academic Drama Theater) in Tashkent presented the performance "Othello" by our esteemed artists A. Hidoyatov (Othello), L. Nazrullaev (Iago), and S. Eshonto'raeva (Desdemona) (translation by G. Gulom, 1940 y.). In 1939-1949, he performed in the play "Hamlet" by O. Khojaev (Hamlet) (translation by A. Cholpon, 1934) and in 1958, he played the role of "Brutus" in the play "Julius Caesar" (translation by Uygun, 1958). Additionally, he performed in other stage works. The scenes that these artists performed were such a sensation at the time that, in a certain sense, the interest of the Uzbek people in Shakespeare's work increased significantly.

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2

BAYDEMİR, Hüseyin. "A Branch of Traditional Uzbek Drama: Masxarabaz and Qiziqchi Drama." Journal of Turkish Studies Volume 6 Issue 1, no. 6 (2010): 763–77. http://dx.doi.org/10.7827/turkishstudies.2044.

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3

Akhmedova, Vazirakhon, and Maksimova Nataliya Leonidovna. "THE INFLUENCE OF WORLD DRAMATURGY ON THE DEVELOPMENT OF UZBEK DRAMATURGY DURING THE PERIOD OF INDEPENDENCE." Current Research Journal of Philological Sciences 5, no. 5 (May 1, 2024): 120–28. http://dx.doi.org/10.37547/philological-crjps-05-05-24.

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This scientific article examines the general theoretical problems of Uzbek drama of the period of independence. The subject area of Uzbek dramaturgy, theoretical problems of dramaturgy, theoretical aspects of world dramaturgy, in particular, French, German, Spanish and Italian dramaturgy, are subjected to comparative analysis.

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4

Khodjiyeva, Gavhar. "THE IMAGE OF IMAM BUKHARI IN MODERN UZBEK LITERATURE." INTERNATIONAL JOURNAL OF WORD ART 1, no. 3 (January 30, 2020): 109–19. http://dx.doi.org/10.26739/2181-9297-2020-1-16.

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LITERATURE AN NOTATION If you look at the pages of new Uzbek literature, you will see that most of the poetic dramas are written on historical themes. This process, it can be said, began with Oybek's Mahmud Torobi and H. Olimjon's Muqanna. Thisliterary tradition continued during the years of independence. In particular, the high artistic samples of the poetic drama "Sahibkiron" (A.Oripov), "Imam Bukhari" (U.Kochkor), "Samarkand saykali" (Ikbol Mirzo) saw the world. In the work of Imam Bukhari by Usman Kochkar, the image of the great mystic Imam al-Bukhari was created.

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5

KHAMIDOVA, MARFUA. "AT THE ORIGINS OF THE UZBEK MUSIC THEATER (STUDIOS, TEACHERS, FIRST EXPERIMENTS: 1920-1930S)." Культурный код, no. 2021-2 (2021): 32–45. http://dx.doi.org/10.36945/2658-3852-2021-2-32-45.

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This article is about the origins of the national opera that was born in Uzbekistan in the first half of the twentieth century. It also tells about the studio training of production and performing personnel for the national music scene within the framework of the Moscow, Baku studios, the Uzbek Opera Studio at the Moscow State Conservatory; about the first experiments of staging musical plays in the Uyghur Drama Troupe, the Concert and Ethnographic Troupe of M. Kari-Yakubov and further in the State Uzbek Musical Theater.

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6

Ulugov, Abdulla. "Mahmudkhuja Behbudiy – The Symbol Of History." American Journal of Social Science and Education Innovations 03, no. 04 (April 30, 2021): 274–87. http://dx.doi.org/10.37547/tajssei/volume03issue04-41.

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Mahmudkhuja Behbudiy holds a special place in the history of the Uzbek people as a person who devoted his life to the prosperity of the country. The history of the Uzbek people of the 20th century can not be imagined without its vibrant socio-political, literary and educational activities. He actively participated in the socio-political movements of the period, gained fame as a political figure, self-sacrificing educator, co-founder of the new Uzbek literature, founder of the new school, theater, publisher, newspaper, organizer of magazines, was one of the first to raise the socio-political, spiritual and educational problems of the time in his literary and artistic works. In this article, Mahmudkhuja Behbudy’s “Padarkush” drama and some articles on the social importance of the comments were made.

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7

Абдуллаев, Р. С. "Uzbek maqamat and composers creative." Музыкальное искусство Евразии. Традиции и современность, no. 1(10) (June 6, 2023): 25–34. http://dx.doi.org/10.26176/maetam.2023.10.1.002.

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В статье рассматриваются вопросы взаимоотношений традиционной музыки и композиторского творчества в музыкальной культуре Узбекистана, в которой макомат в его различных аспектах проявления реализовал свои огромные креативные возможности при создании национальной стилистики в новых жанрах профессионального многоголосного искусства: в музыкально-сценических произведениях (музыкальная драма, опера, балет) В. Успенского и Г. Мушеля, М. Ашрафи, С. Василенко, Т. Садыкова, Р. Глиэра, М. Бурханова, У. Мусаева, И. Акбарова, М. Бафоева; в симфонической музыке Т. Курбанова, М. Таджиева, М. Махмудова и других. The article deals with the relationship between traditional music and composer creativity in the musical culture of Uzbekistan, in which maqamat, in its various aspects of manifestation, has realized its enormous creative potential in creating national stylistics in new genres of professional polyphonic art: in musical stage works (musical drama, opera , ballet) V. Uspensky and G. Muschel, M. Ashrafi and S. Vasilenko, T. Sadykov and R. Glier, M. Burkhanov, U. Musaev, I. Akbarov, M. Bafoev; in symphonic music by T. Kurbanov, M. Tajiev, M. Makhmudov and others.

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8

Yakubov, Bakhtiyor. "FEATURES OF THE UZBEK DRAMA IN THE PERIOD OF INDEPENDENCE." CROSSROADS OF CULTURE 3, no. 2 (March 30, 2020): 10–15. http://dx.doi.org/10.26739/2181-0737-2020-3-2.

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9

Sobirov, Q. S. "USE OF SYNONYMS IN SPEECH OF CHARACTERS OF UZBEK DRAMA WORKS." Theoretical & Applied Science 82, no. 02 (February 28, 2020): 634–38. http://dx.doi.org/10.15863/tas.2020.02.82.108.

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10

Yakubov, Bakhtiyor C., and Mukhayyo S. Muxtarova. "THE DEVELOPMENT OF THE NATIONAL COMEDY IN THE MODERN UZBEK DRAMA." Theoretical & Applied Science 86, no. 06 (June 30, 2020): 357–64. http://dx.doi.org/10.15863/tas.2020.06.86.68.

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11

Turobiddinovna Komilova, Shaxnoza. "The Development of Drama as a Genre in Chinese Literature." International Journal of Multicultural and Multireligious Understanding 8, no. 4 (April 3, 2021): 99. http://dx.doi.org/10.18415/ijmmu.v8i4.2565.

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The article discusses the emergence and development factors of the drama genre in Chinese literature. There is also information about the genre of drama and its development in Uzbek and world literature. In Chinese literature, the first drama genres in the development of the drama genre were called "siven" (戏文) or "nansiven" (南戏). During the Yuan Dynasty in the 13th and 14th centuries, a genre based on strict law, zaju (杂剧), flourished. In the XIII-XIV centuries, playwrights Guan Han Qing (关汉卿), Wang Shi Fu (王实甫), Bai Pu (白朴), Ma Zhi Yuan (马致远) played a role in the development of the above-mentioned dramatic genres. By the seventeenth and eighteenth centuries, the Chuanzi genre had emerged in dramaturgy. This article also discusses in detail the creative work of playwrights such as writers Li Yu, Hong Shen, Kun Shan Jen in the development of this genre.

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12

Akhmedova, Vazirakhon Askarovna. "Description Of Global Problems In Uzbek Drama Period Of Independence (On the example of E.Azam's drama "Lonely boat")." American Journal of Social Science and Education Innovations 2, no. 09 (September 10, 2020): 105–10. http://dx.doi.org/10.37547/tajssei/volume02issue09-14.

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This article is deals with the tragedy of the Aral Sea, which today has become a global problem not only in Uzbekistan but also around the world, and its negative impact on humanity. The article analyzes the play "The Lonely Boat" by E.Azam, given how deeply the playwright's knowledge of national life, poetic skills, style, reveals the inner world of the heroes (national image, thoughts, psycho-psychological drama).

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13

Nigora Adizova Bakhtiyorovna and Nodira Adizova Bakhtiyorovna. "Anvar obidjon is a children’s poet." Middle European Scientific Bulletin 2, no. 1 (January 15, 2021): 13–19. http://dx.doi.org/10.47494/mesb.2021.2.156.

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This article focuses on A. Obidjon, who played a special role in the development of children's poetry and prose. At the same time, the artist, who thinks about the development of Uzbek children's drama, has created a dramatic epic, a play. Anvar Obidjan is an artist who has enriched not only children's prose and poetry, but also dramaturgy, as a children’s poet, known as a prose writer, he won the admiration of his fans with his dramatic works

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14

Komilovna, Isokova Matluba. "Khorezm regional state uzbek theater of musical drama and comedy named after agahi." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 4 (2020): 532. http://dx.doi.org/10.5958/2249-7137.2020.00195.0.

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15

Askarovna, Akhmedova Vazirakhon. "The phenomenon of inter genres diffusion in the uzbek drama of independence period." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 5 (2020): 384. http://dx.doi.org/10.5958/2249-7137.2020.00451.6.

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16

Ahmet, Nurimanguli. "Analysis on the Reasons for the popularity of Tutash Taqdirler in Central Asia." Scientific and Social Research 4, no. 6 (June 20, 2022): 82–85. http://dx.doi.org/10.26689/ssr.v4i6.4070.

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After independence, Uzbek film and television is playing an important role in the restatement of historical memory, reconstruction of national identity, and reintegration into the global system. It focuses on local conditions and customs, and eulogizes beauty of human nature. In addition, it explains the changes of daily public life, the difficulties encountered in the process of modernity, and it is good at exploring the contemporary value of classical classics and realizing them effectively. This paper mainly analyzes the reasons for the popularity of the family drama Tutash Taqdiller (Fantastic Fate) in Uzbekistan.

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17

YILMAZ, Tuğba. "UZBEKISTAN AND NATIONAL IDENTITY IN THE POEMS OF HURSHID DEVRAN." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 34 (November 15, 2022): 67–74. http://dx.doi.org/10.31567/ssd.793.

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Hurshid Devran was born on January 20, 1952 in Samarkand, Uzbekistan. H. Devran; he became one of the leading poets and writers of Uzbek Literature with his works written in epic, poetry, drama, theatre, story and translation. In the works he wrote in the field of poetry, homeland, nation, flag, language, independence, historical figures, poet, poetry, spring, autumn, nature etc. themes are often included. He frequently emphasized the historical, geographical and cultural characteristics of Uzbekistan in order to create national consciousness among the Uzbek people in his works on Uzbek Literature of the Independence Period. However, Kashgarli Mahmud, Alisher Nava’i, Zahiriddin Muhammed Babur, Musa Aybek, Maksud Shehzada, Mirtemir, Osman Nasir, Abdülhamid Süleyman Cholpan etc. He mainly gave place to historical and literary figures in his poems. In the study, the concepts of Uzbekistan and national identity that Hurshid Devran used in his poems about homeland, nation, language, flag and independence were evaluated. In addition, a detailed analysis of H. Devran’s poems in which he describes the cultural characteristics of the geography he lived in and historical cities was made. At the same time, the poet's works were analyzed in terms of literary theories and stylistic features. Based on this study, detailed information about the life of the artist and the structure of the society he lived in was obtained.

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18

Хамидова, Марфуа Азизовна. "Uzbek music drama:about specifications and typological features of the genre." Музыкальное искусство Евразии. Традиции и современность, no. 3(4) (October 2, 2021): 40–51. http://dx.doi.org/10.26176/maetam.2021.4.3.004.

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В настоящей статье речь идет о жанре узбекской музыкальной драмы, его происхождении и оригинальном репертуаре; о том, что положило начало его становлению и развитию, включая музыкальные спектакли Узеира Гаджибекова, агитационные пьесы Хамзы, лирические зарисовки и спектакль «Халима» Гуляма Зафари, где нашли место слово, музыка, пение, танец и действие. Анализируются также музыкальные спектакли последующих десятилетий с точки зрения формы, содержания, типологических признаков и специфики жанра This article deals with the Uzbek musical drama, which has its own roots and original repertoire; about what laid the foundation for its development, including musical performances by Uzeyir Hajibeyov, Khamza's propaganda plays, lyrical sketches and the play "Halima" by Zafari, where word, music, singing, dance and action found their place; musical performances of subsequent years are traced from the point of view of the specifics and typological features of the genre, which actualizes the problematics, purposeand objectives of this article, in contrast to other attempts at scientific understanding of the problem

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19

YILMAZ, Tuğba. "THEMATIC APPROACH TO AZIM SUYUN’S POEMS." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 35 (January 15, 2023): 14–24. http://dx.doi.org/10.31567/ssd.808.

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Azim Suyun was born on February 22, 1948 in the village of Nakurt, in the province of Samarkand, Uzbekistan. He is known for his works in the genres of story, drama, epic, poetry and translation in Uzbek Literature. In addition to his; he has many works written about poetry and poet. The poet is one of the important figures of Uzbek Literature in the Soviet and Independence Period. Azim Suyun did not remain indifferent to the problems of the age in which he lived, and dealt with the existing troubles and the events he personally witnessed in his works. At the same time, the poet drew attention to the unique beauties of the geography he lived in after mentioning the historical importance of the ancient cities of Uzbekistan. Between 1978 and 2020, Azim Suyun came to the forefront with his works written on many subjects such as love, nature, family, homeland, nation, independence, language, religion, goodness, philosophy, historical and literary figures, poets and poetry, criticism and so on. In the study, after the subjects that the poet mainly deals with in his poems are mentioned, his works are examined thematically. It covered classified under eight headings as “Poems About Homeland and Nation”, “Literary Personalities”, “Poems About Poet”, “Criticism Poems”, “Poems on Religious Subjects”, “Poems About Nature”, “Poems About Seasons” and “Love Poems”. In this study, it is aimed to introduce his works by emphasizing the aesthetic power and poetic features of the poet’s poems.

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20

ZHIYENBAYEV, Yerlan, and Shakhida JUMABAYEVA. "Literary Analysis of Sharof Boshbekov’s Comedy «The Iron Woman»." Turkology 3, no. 107 (October 20, 2021): 44–56. http://dx.doi.org/10.47526/turkology.v3i107.726.

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Sharof Boshbekov, a unique writer, played an important role in the development of Uzbek drama in the 1980s. It is obvious that realism prevails in his plays. In the writer's works, the flaws of society are implied by humorous descriptions. His dramatic works depict the events and phenomena of that time, and not the depths of history. His works also critically describe the life of villagers and peasants. In this study, we analyzed Sharof Boshbekov's comedy “The Iron Woman” using the modern method of text analysis, which is widely used today in Turkish literature, and tried to determine the literary value of the text and the views of the writer. The analysis of the text covers the political and cultural landscape of Uzbekistan in the 1980-1990, the structure of the text, the relationship between the concepts of character, time and space. In addition, the language features and writing style of the work have been clarified.

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21

ZHIYENBAYEV, Yerlan, and Shakhida JUMABAYEVA. "Literary Analysis of Sharof Boshbekov‟s Comedy «The Iron Woman»." Turkology 107, no. 3 (September 30, 2021): 44–56. http://dx.doi.org/10.47526/turkology.v3i107.728.

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Sharof Boshbekov, a unique writer, played an important role in the development of Uzbek drama in the 1980s. It is obvious that realism prevails in his plays. In the writer's works, the flaws of society are implied by humorous descriptions. His dramatic works depict the events and phenomena of that time, and not the depths of history. His works also critically describe the life of villagers and peasants. In this study, we analyzed Sharof Boshbekov's comedy “The Iron Woman” using the modern method of text analysis, which is widely used today in Turkish literature, and tried to determine the literary value of the text and the views of the writer. The analysis of the text covers the political and cultural landscape of Uzbekistan in the 1980-1990, the structure of the text, the relationship between the concepts of character, time and space. In addition, the language features and writing style of the work have been clarified.

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22

Khaydarov, Аnvar Аskarovich, and Mavluda Fayzulloyevna Norova. "CONNOTATIVE MEANINGS OF PHONE TIVE MEANINGS OF PHONETICALLY MODIFIED WORDS Y MODIFIED WORDS IN PRONUNCIATION." Scientific Reports of Bukhara State University 5, no. 5 (December 30, 2021): 45–55. http://dx.doi.org/10.52297/2181-1466/2021/5/5/4.

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Introduction. The article is dedicated to the phonostylistic features of one of phonetic changes elision in English and Uzbek languages which occur in pronunciation. The connotative meanings conveyed with the omission of sound or syllables in the verbal root-stems of the compared languages are shown on the basis of well-grounded examples. The phonopragmatic aspects of the literary speech of elision are thoroughly analyzed and studied. The connotative meanings expressed in the case of syncope are also explained on the basis of evincive examples taken from English and Uzbek languages. Syncopic words and their making up the great number in English language, their providing poetic meter specific for rhythmic tone in the artistic image and its creating a sense of artistic impressionability in the reader are conceived in the article. Research methods. Among the language units there are also words that have undergone phonetic changes in pronunciation. From a phonostylistic point of view, the pronunciation of such words have additional, i.e. connotative meanings. Phonetically modified words are divided into two, that is, the increase and decrease of speech sound in the pronunciation of words. The phenomenon of so-called sound acquisition includes the phenomena of prosthesis, epenthesis, epithesis. The so-called sound omission includes aphaeresis, syncope, apocope, elision. Results and discussions. Connotative meanings occur in the pronunciation of words with the phenomenon of sound omission, such as aphaeresis, syncope, apocope, elision. The phonopragmatic phenomenon of syncope has been used not only in poetry but also in prose and drama. The phenomenon of apocope is characteristic of colloquial speech in both languages, revealing that they have a number of connotative meanings, such as love, caress, intimacy, diminution. The connotative meanings of the phenomenon elision in the comparative languages have been studied on the basis of examples taken from the fiction in both languages. Conclusion. Thus, the connotative meanings formed by the phenomenon of sound omission in the pronunciation of words are similar from point of variety and versatility. They express a number of connotative meanings in speech, such as brevity, excitement, rhythmic tone, rhyme adjustment, gentleness, passion.

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23

Tokoeva, Zhumabubu. "CH. AYMATOV AND INTERCULTURAL RELATIONSHIPS (BY THE EXAMPLE OF CH. AITMATOV’S NOVEL “AND THE DAY LASTS LONGER THAN A CENTURY”)." Alatoo Academic Studies 23, no. 1 (January 30, 2023): 438–51. http://dx.doi.org/10.17015/aas.2023.231.41.

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The main purpose of the article is to identify intercultural relationships in the work of the great Kyrgyz writer Chingiz Aitmatov based on the study of dramatizations and adaptations of Aitmatov's novel "And the Day Lasts Longer than a Century" on the world stage and in the cinema of neighboring countries and to find similarities and differences in screen and stage productions of this novel. The article uses such research methods as comparative typological and comparative historical methods, in addition, such research principles as the principles of general and singular, induction and deduction, historical and logical are used. The article analyzes the features of film adaptations and dramatizations of Ch. Aitmatov’s novel “And the day lasts longer than a century” in world culture: Russian (Moscow Drama Theater named after E. Vakhtangov), Lithuanian (Lithuanian Youth Theatre), Turkmen (“Turkmenfilm”), Uzbek (“ Uzbekfilm) and Kyrgyz (“Kyrgyzfilm”) scenes and on the screen, according to the comparative typological method, the similarities and differences of these productions, the strengths and weaknesses of dramatizations and screen adaptations in the context of intercultural relationships, as well as the features of the actors’ performance, especially the interpretation of the image of the main character Edigey Russian actor M. Ulyanov, Lithuanian actor A. Latenas; as well as the image of Mankurt by the Turkish actor Takir Tarzhan in the Turkmen film "Mankurt" and the Kyrgyz actress A. Azhibekova; their originality and skill, as well as some shortcomings and omissions in the interpretation of images.

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24

Xurshid, Serobov. "ARTISTIC PRINCIPLES OF EXPRESSING NAVOI'S SPIRITUAL WORLD IN UZBEK DRAMAS." Current Research Journal of Philological Sciences 5, no. 4 (April 1, 2024): 62–68. http://dx.doi.org/10.37547/philological-crjps-05-04-11.

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The article examines aspects specific to the artistic interpretations of Alisher Navoi's character created in Uzbek dramaturgy. Dramas of authors such as Uygun and Izzat Sultan, Muhammad Ali, Amon Mukhtar, Iqbal Mirza, Abdulla Azam were analyzed based on the artistic principles of expressing the Navoi spiritual world.

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25

Karshieva, Gulabza. "THE IMAGE OF WOMEN IN THE DRAMAS OF UZBEK ENLIGHTENERS." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 03, no. 05 (May 1, 2022): 99–103. http://dx.doi.org/10.37547/philological-crjps-03-05-22.

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The article discusses the activities of the Jadid enlighteners of the nation, who worked extensively in the early twentieth century, the issues raised in their works, including women's issues. The images of women in the dramas of the period creators Mahmudhoja Behbudi, Abdulla Badri, Hamza Hakimzoda Niyazi, Haji Muin Shukrullo are analyzed from the point of view of the period. Attention is also drawn to the attitude to the issue of women, the fact that for the first time in his poems women were brought to the level of the main image, some of the issues raised in his works are still relevant today.

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U, Boltaboeva. "FACTORS OF DEVELOPMENT OF UZBEK TRADITIONAL THEATER." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 11 (November 1, 2021): 32–40. http://dx.doi.org/10.37547/pedagogics-crjp-02-11-09.

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This article discusses the factors of development of traditional Uzbek theater, folk oral dramas and their performers, the role of musicians in art, the new theater under the Soviet regime, the development of cultural heritage, the formation of a new circus and a new theater in Turkestan.

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27

Ikromova, Gulhida Ahmadillo kizi, and Nodira Alisherovna Abduvaliyeva. "SOME FORMS OF REFERENCE (ADDRESSING) IN UZBEK DRAMAS." Theoretical & Applied Science 81, no. 01 (January 30, 2020): 23–26. http://dx.doi.org/10.15863/tas.2020.01.81.5.

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28

Cho, Nam-hyun, and Boyeong Kim. "A study on Korean proficiency and Uzbek students’ adaptation to Korean culture." Korean Association for Literacy 14, no. 3 (June 30, 2023): 33–64. http://dx.doi.org/10.37736/kjlr.2023.06.14.3.02.

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This study explored the adaptation to Korean culture through phenomenological research on the advanced level of Korean among Uzbek students studying at domestic universities. The results of an in-depth interview with three Uzbek students are as follows. First, Uzbek students learned Korean through acquaintances and media even before coming to Korea and showed strength in speaking but difficulty in writing and learning Chinese characters. Second, Uzbek students regularly interacted and formed close relationships with Koreans. Third, Uzbek students had a high understanding of Korean food-related idioms and culture, tried to actively accept Korean-style personnel culture, and above all, enjoyed Korean dramas. However, they were not familiar with the culture of young Koreans who spoke informally and quickly when they became close. Fourth, Uzbek students found it difficult to adapt to food containing pork for religious reasons, and they felt awkward because the Korean language learned in their hometown or through the media was radically different from that used by young Koreans. They also had difficulties dealing with school administration and adapting to portal sites, and they faced substantial difficulties getting a part-time job.

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29

Reichl, Karl. "L’épopée orale turque d’Asie centrale. Inspiration religieuse et interprétation séculière." Études mongoles et sibériennes 32, no. 1 (2001): 7–162. http://dx.doi.org/10.3406/emong.2001.1141.

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The first chapter provides a short introduction to the Turkic oral epic of Central Asia (Bref aperçu de l’épopée orale turque d’Asie centrale). Among the various traditions of Turkic oral poetry, this and the following chapters focus on the epics of what is termed the « central traditions », i.e. the oral poetry of the Uzbeks, Uighurs, Kazakhs, Karakalpaks and Kirghiz. In these traditions different types of singers can be distinguished: baxši, aqïn, žïraw, manasči and others; these singers are in general professionals who have acquired their art and their repertoire in the course of a more or less formal training with one or more master singers. Although there are many similarities between these traditions, there is also a fair amount of variety as to the form, the genre and the manner of performance of the epics. Epics can be in verse, they can be in a mixture of verse and prose; the verse can be in octosyllabic lines, often alliterating, or in lines of eleven/twelve syllables, often rhyming; in the singers’ repertoire there are both heroic epics and lyrical love romances (dastans); the singer might perform the epic in chanting without the accompaniment of an instrument (as the Kirghiz manasči), he might accompany himself on a plucked or bowed instrument, and he might be further accompanied by another musician or even a small ensemble. In the second chapter the influence of Islam on the Central Asian oral epics is discussed (Le héros et le saint: l’influence islamique sur l’épopée turque d’Asie centrale). Islamic influence is found in epics and oral narratives of an overtly religious persuasion as well as in secular heroic epics and romances. The former (called džañnāma in Uzbek) celebrate the deeds of the Prophet and his followers and successors, their wars against the infidels and their achievements as Moslem leaders. These narratives have also influenced non-religious epics such as for instance the Uzbek dastan of Yusuf and Ahmad. An important role in these and other epics is given to various helper saints, in particular to ‘Alī, the Forty Saints, the Twelve Imams, and various pirs and holy men. In discussing the heterodoxy in the invocations of these saints it is argued that the most important source of religious inspiration in the epics must be sought in the popular Islam of Central Asia, which incorporates many pre-Islamic elements. In the third chapter the pre-Islamic strata as found in the Central Asian epics are further examined (Le héros et le chamane: les strates archaïques de l’épopée turque). It is shown that there is an intimate connection between epic singer and shaman. This emerges from the use of terms like baxši for both the bard and the shaman, from the symbolism of the singer’s instrument, comparable to that of the shaman, and from initiation visions and sicknesses found both among bards and shamans. A closer view at two Altaian epics (Kögütey and Altay Buučay) shows that in this tradition the world of the pre-Islamic Turks is well preserved, but similar archaic strata can also be detected in the epics of the central traditions, among them the transformations of the hero and his horse, heroic adventures in the underworld, various mythological figures and the reanimation of the hero. The fourth chapter is concerned with questions of interpretation (“Sens” et “conjointure”: problèmes d’interprétation). With reference to the distinction between sens and conjointure as made in the introduction to Chrétien de Troyes’ Érec et Énide it is argued that an oral epic such as Qoblan or Manas should not only be interpreted on the textual level but must also be interpreted from a pragmatic point of view. While a close reading of the epic as a work of verbal art (plot, characterisation, style, narrative structure and narrative technique) is indispensable for its analysis, a fuller understanding presupposes a knowledge of the function an epic performance has in an oral (or partially oral) society and the place an epic occupies in its value system. Heroic epics like Qoblan or Manas are felt to be historical (by singer and audience) and they play an important role in identifying the roots of an ethnic group and in re-inforcing its identity. While these heroic epics are believed to reflect historical truth, they have nevertheless undergone considerable transformation in the course of their transmission, thus conforming in the plot and motif structure to mythic patterns as described by M. Eliade. The final chapter examines the actual performance of Central Asian oral epics (La voix vive: aspects de la performance). With the help of the terminological apparatus of the ethnography of communication the various constituents of an epic peformance are described and the event character of oral epic poetry is underlined. By the same token, the comments on the musical aspects of performance in the first chapter are elaborated, with examples from the various central traditions of Turkic epic poetry. While the recitation of epic contains many dramatic elements, the performance of Turkic epic poetry does not cross the borderline to drama as in some African or Asian traditions. It is stressed in concluding that as an oral art the performance aspects of Turkic epic are of the utmost importance for its full appreciation.

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Tilavna, Hamroyeva Gulmira. "THE TRAGEDY OF THE COLONIAL ERA IN THE LIFE OF UZBEKS (BASED ON SH. BOSHBEKOV'S DRAMAS)." American Journal of Philological Sciences 4, no. 6 (June 1, 2024): 37–41. http://dx.doi.org/10.37547/ajps/volume04issue06-08.

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In this article, the tragedy of the nation is reflected in the fate of the nation in the tragicomedy "Iron Woman" by Sharaf Boshbekov. The idea imposed on the image of Kochkor and Kumri is revealed. In the play "The Iron Woman", the Uzbek people's freedom,the hard work of the people during the colonial period, and the worthlessness of the person. Children are forced to work in the fields instead of studying. It is said that in such a social life, there is no hope for the future of the nation and children.

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Norova, Nasiba Bakhtiyorovna. "CREATIVE ABILITIES OF THE ARTIST IN THE APPLICATION OF THE ART (ON THE EXAMPLE OF THE LYRICS OF OSMAN KOCHKAR)." Scientific Reports of Bukhara State University 4, no. 5 (October 27, 2020): 214–21. http://dx.doi.org/10.52297/2181-1466/2020/4/5/9.

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Background. The article examines the uniqueness of the lyrics of one of the great representatives of Uzbek poetry Usmon Kochkor and his mastery of the use of art, the poet's skill is illustrated on the basis of examples. In the seventies and years of independence of the last century, new voices, new spirit, new views appeared in Uzbek poetry. Among these young artists was Osman Kochkor, who in his poems searched examples from history, described world events in a unique way, and lived with the thoughts of his contemporaries. He was born in 1953 in Shafirkan district of Bukhara region. He studied at Tashkent State University (now UzNU). Poetic collections, epics, poetic dramas, journalistic articles and translations by Osman Kochkor defined his position as a person and his place as a creator.

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"THE CHARACTER OF ABU RAYHON BERUNI IS INTERPRETED BY NAFAS SHODMANOV." American Journal of Philological Sciences 4, no. 7 (July 1, 2024): 7–12. http://dx.doi.org/10.37547/ajps/volume04issue07-02.

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Uzbek literature contains many works of different genres in which the image of Abu Rayhon Beruni is highlighted . Among these works, dramatist Nafas Shodmonov’s dramatic work "Abu Rayhon Beruni" was published this year. The drama is distinguished by its uniqueness from a number of works depicting the character of the Alloma.

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"СONNOTATIVE MEANINGS WITH THE OMISSION OF SPEECH SOUNDS IN THE PRONUNCIATION OF WORDS." Philology matters, December 28, 2020, 85–97. http://dx.doi.org/10.36078/987654464.

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Among the language units there are also words that have undergone phonetic changes in pronunciation. From a phonostylistic point of view, the pronunciation of such words have additional, i.e. connotative meanings. Phonetically modified words are divided into two, that is, the increase and decrease of speech sound in the pronunciation of words. The phenomenon of so-called sound acquisition includes the phenomena of prosthesis, epenthesis, epithesis. The so-called sound omission includes aphaeresis, syncope, apocope, elision. The article reveals the phonostylistic meanings associated with the omission of speech sounds in pronunciation of words in the comparison of the English and Uzbek languages. Connotation is an extra notional essence included in the semantics of language units, which expresses the emotionally assessed and methodologically defined attitude of the subject of speech to the being. Such relationships are manifested in the connotative meanings that occur in the pronunciation of words with the phenomenon of sound omission, such as aphaeresis, syncope, apocope, elision. In particular, because the pronunciation of apheresis has certain connotative meanings such as speech facility, gentleness, delicacy, they are actively used in the speech of the characters in the artistic image. The phonopragmatic phenomenon of syncope has been used not only in poetry but also in prose and drama. The phenomenon of apocope is characteristic of colloquial speech in both languages, revealing that they have a number of connotative meanings, such as love, caress, intimacy, diminution. The connotative meanings of the phenomenon elision in the comparative languages have been studied on the basis of examples taken from the fiction in both languages. Thus, the connotative meanings formed by the phenomenon of sound omission in the pronunciation of words are similar from point of variety and versatility. They express a number of connotative meanings in speech, such as brevity, excitement, rhythmic tone, rhyme adjustment, gentleness, passion.

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Rasulmuhamedova, Durdona. "AMIR TEMUR AS AN OUTSTANDING PERSONALITY." InterConf, March 3, 2021, 666–73. http://dx.doi.org/10.51582/interconf.19-20.02.2021.065.

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This article is devoted to the study of the personality of Amir Temur, not only as an outstanding commander and statesman, but also as a great person, a person with exceptional virtues and a rich spiritual world. The article also highlights some of the problems of the historical vision of the image of Amir Temur and, in general, the principles of the artistic interpretation of his image in the Uzbek literature of the twentieth century; the problems of recreating the image of Amir Temur in the Uzbek dramaturgy of the independence period are explored by the example of the dramas of Abdullah Aripov «Sohibkiron» and Adil Yakubov «Fotihi Muzaffar ehod bir parivash asiri»; some problems of creating the image of Amir Temur in the Uzbek literature of the independence period are considered, in particular, the plot materials of the dramas by A. Aripov and A. Yakubov are compared with historical sources. The author comes to the conclusion that the image of Amir Temur can be adequately evaluated as a historical person.

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Xujaev, Muminjon. "Mahmudhoja Behbudiy leader of the Jadid reforms." Light of Islam, September 10, 2020, 39–47. http://dx.doi.org/10.47980/tloi/2020/3/4.

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We are witnessing that the ideas of our Jadids, who tried to raise Turkestan through enlightenment to the level of world civilization at the beginning of the 20th century, and who showed modern education as a solution to the problems of that period, have not lost their significance today. In this sense, the study of the works of the famous orientalist Mahmudkhodja Behbudi based on new scientific criteria plays an important role in the study of issues of interethnic communication, peaceful coexistence, education, culture, and religious tolerance. M. Behbudi in the late 19th and early 20th centuries began a systematic struggle against fanaticism, nationalism, voluntarism (rejecting the laws of nature and society and taking into account only desires), which negatively affects the development of Turkestan. To this end, he visited Saudi Arabia in 1899-1900 (according to some sources in 1902), Moscow and St. Petersburg in 1903-1904, to Kazan, Ufa, Nizhny Novgorod in 1906. As a result of these trips, after his return, he introduced various new scientific, secular sciences to his school, began to develop science in Turkestan using the scientific knowledge of that time. The fundamental scientific ideas of M. Behbudi on the issues of ensuring the prosperity and sustainable development of Turkestan through the reform of the education system as a solution to the problems remaining in the field of science, the development of not only religious but also secular sciences, as well as national tolerance in the public consciousness, contribute to the development of advanced sciences. Mahmudkhodja Behbudi reflects on the importance of the reform of secular sciences - public education, the need to establish a dialogue with culture, educational literature and textbooks of the Turkic peoples, in particular, he published such textbooks as "The Book of Literacy" (1904), "Introduction to the Geography", (1905), “Brief General Geography” (1906), “Children's Letter” (1905), “The Practice of Islam” (1908), “The History of Islam” (1909). He writes the dramas "Patricide" (1911), "Khatun with a white fan" (story), "The Grief of a child" (story), "Kitobat Al-atfol" (in the Old Uzbek language) and works related to education and training, as well as publishes his works in the printing house of the publishing house “Behbudiya”. Today, the significance of the ideas of the unity of the scientific heritage of Mahmudkhodja Behbudi is being studied as a valuable resource in the development of modern education in Turkestan in the late 19th and early 20th centuries.

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