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Books on the topic 'Uzbek women'

Author: Grafiati
Published: 5 June 2025
Last updated: 2 August 2025

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1

Mirzazhonova, Khaĭriniso. Zulfii︠a︡ qizlari: Davlat mukofoti sovrindorlari izhodidan. Ghafur Ghulom nomidagi Nashriët-Matbaa Izhodiĭ Uĭi, 2003.

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2

Kuzieva, Shoĭra. Mir, sotkannyĭ iz t︠s︡vetov: Shoĭra Kuzieva. Sanʺat, 2012.

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3

Maḣbuba, Qodirova, and Alisher Navoiĭ nomidagi adabiët muzeĭi., eds. Uvaĭsiĭ--Nodira: Ŭzbek shoiralari baëzi. Fan, 1993.

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4

Baĭmukhambetova, Raḣima Kalbaevna. Tarikh: Takht aël. Chŭlpon nomidagi nashriët-matbaa izhodiĭ uĭi, 2016.

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5

Ghulomova, Dilbar, та Bobokhon Sharipov. Qor qŭĭnida lolalar: Qataghon ėtilgan aëllar ḣaqida ocherklar. Akademii︠a︡, 2001.

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6

1944-, Tokhtakhodjaeva Marfua, ред. XX vek v vospominanii︠a︡kh, ustnykh istorii︠a︡kh, pisʹmakh i dnevnikakh zhenshchin Uzbekistana. Natalis, 2008.

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7

Tongning ŭzidaĭ pok va ërqin: Zulfii︠a︡ zamondoshlari khotirasida. Ghafur Ghulom nomidagi Nashriët-Matbaa izhodiĭ Uĭi, 2006.

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8

Aypak-i tālah-i Lurī: Afghānistān Ūzbīk ʻayyāl shāʻir-i Lurī. Al-Azhar, 2010.

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9

Merchant, Tanya. “Greetings to the Uzbek People!”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0005.

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This chapter examines estrada as it is played in from tape and CD vendors in the bazaars, sung karaoke-style by wedding musicians, and performed to sold-out audiences in the Bunyodkor Concert Hall (Creative Workers' Concert Hall, formerly known as the Friendship of Nations Concert Hall) located in the center of the city. It considers how women interact with popular music as performers and consumers, and analyze concert footage, recorded songs, and music videos by Rayhon G'anieva, Yulduz Usmanova, Sevara Nazarkhan, and Gulzoda Hudoinazarova. A large variety of these musical practices converge i
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10

How Can Women Thrive in the Local Church? (Uzbek Latin). 9Marks, 2023.

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11

How Can Women Thrive in the Local Church? (Uzbek Cyrillic). 9Marks, 2023.

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12

Zhenshchina i vremi͡a: Uzbekiston, XX vek = Woman through time : Uzbekistan, XX century = Ayol va zamon : O'zbekiston, XX asr. Uzbekiston, 2002.

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13

Persische Poesie Alla Turca: Sprache, Exil und die Grenzen der Kulturwissenschaftlichen Iranistik. Vandenhoeck & Ruprecht GmbH & Company KG, 2011.

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14

Merchant, Tanya. Like Tereshkova in the Cosmos. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0004.

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This chapter examines how women perform post-Soviet nationalism using the canon of European classical music by focusing on a project designed to produce Uzbek Western art music, one that retains prominence in independent Uzbekistan. The project has involved getting composers engaged in the creation of a sense of Uzbek style in composition. In Uzbekistan, from remarkably early in the Soviet period, women have been important figures in the performance and promulgation of Uzbek compositions. The chapter first provides a historical overview of Western art music in Soviet Uzbekistan and compares it
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15

Gray, Laurel Victoria. Women's Dance Traditions of Uzbekistan. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350249509.

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The first comprehensive work in English on the three major regional styles of Uzbek women’s dance –Ferghana, Khiva and Bukhara – and their broader Silk Road cultural connections, from folklore roots to contemporary stage dance. The book surveys the remarkable development from the earliest manifestations in ancient civilizations to a sequestered existence under Islam; from patronage under Soviet power to a place of pride for Uzbek nationhood. It considers the role that immigration had to play on the development of the dances; how women boldly challenged societal gender roles to perform in publi
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16

Merchant, Tanya. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0007.

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This conclusion considers the border-crossing process involved as women come together as a community, applying educational theorist Etienne Wenger's ideas about learning as engaged by a community of practice to musical activity—specifically to the musical activities of professional women musicians both inside and outside institutions. By contrasting practices within and beyond the Uzbek State Conservatory and by putting the rhetoric surrounding each of these musical styles into conversation, the diverse nature of women's musical contribution to the Uzbek national project comes into sharper foc
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17

Merchant, Tanya. Marrying Past, Present, and Future. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0006.

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This chapter examines the ways in which musicians cross the four musical genres in Uzbekistan: maqom, folk music, Western art music, and popular music. Most of the women interviewed for this book interacted with all four genres at some point, and most have strong opinions about each type of practice. The diversity of styles of music present in events associated with Uzbek weddings and the ubiquity of weddings means that they act as unifiers for Tashkenters across disciplinary divides. The chapter first provides an overview of the importance of wedding music throughout Central Asia before discu
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18

von Boemcken, Marc, Nina Bagdasarova, Aksana Ismailbekova, and Conrad Schetter, eds. Surviving Everyday Life. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781529211955.001.0001.

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The volume explores the everyday security practices of various people in Kyrgyzstan that feel threatened on the grounds of their ethnic belonging, gender or sexual orientation. In doing so, it provides a bottom-up perspective of security and insecurity in Kyrgyzstan, which differs from more state-centric and elitist accounts on this subject. Case studies include the Uzbek and the Lyuli minorities in the city of Osh in southern Kyrgyzstan, young women in the capital city of Bishkek, ethnically mixed couples and the lesbian, gay, bisexual and transgender (LGBT) community. Each case applies ethno
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19

Nalivkin, Vladimir, Maria Nalivkina, Marianne Ruth Kamp, and Mariana Markova. Muslim Women of the Fergana Valley: A 19th-Century Ethnography from Central Asia. Indiana University Press, 2016.

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20

Kamp, Marianne, Vladimir Nalivkin, Maria Nalivkina, and Mariana Markova. Muslim Women of the Fergana Valley: A 19th-Century Ethnography from Central Asia. Indiana University Press, 2016.

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21

Muslim Women of the Fergana Valley: A 19th-Century Ethnography from Central Asia. Indiana University Press, 2016.

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