Professional Documents
Culture Documents
7/2023
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BUXORO DAVLAT UNIVERSITETI ILMIY AXBOROTI
SCIENTIFIC REPORTS OF BUKHARA STATE UNIVERSITY
НАУЧНЫЙ ВЕСТНИК БУХАРСКОГО ГОСУДАРСТВЕННОГО УНИВЕРСИТЕТА
Ilmiy-nazariy jurnal
2023, № 7, avgust
Jurnal 2003-yildan boshlab filologiya fanlari boʻyicha, 2015-yildan boshlab fizika-matematika fanlari
boʻyicha, 2018-yildan boshlab siyosiy fanlar boʻyicha Oʻzbekiston Respublikasi Vazirlar Mahkamasi
huzuridagi Oliy attestatsiya komissiyasining dissertatsiya ishlari natijalari yuzasidan ilmiy maqolalar chop
etilishi lozim boʻlgan zaruruiy nashrlar roʻyxatiga kiritilgan.
Jurnal 2000-yilda tashkil etilgan.
Jurnal 1 yilda 12 marta chiqadi.
Jurnal Oʻzbekiston matbuot va axborot agentligi Buxoro viloyat matbuot va axborot boshqarmasi tomonidan
2020-yil 24-avgust № 1103-sonli guvohnoma bilan roʻyxatga olingan.
TAHRIR HAY’ATI:
Bosh muharrir: Xamidov Obidjon Xafizovich, iqtisodiyot fanlari doktori, professor
Bosh muharrir o‘rinbosari: Rasulov To‘lqin Husenovich, fizika-matematika fanlari doktori (DSc), professor
Mas’ul kotib: Shirinova Mexrigiyo Shokirovna, filologiya fanlari bo‘yicha falsafa doktori (PhD)
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Алиева Н.Х. Семантические особенности компьютерных
фразеологических единиц и их классификация в 98
разносистемных языках
Axmedova M.B. Ingliz tilida “Spirituality” semantik maydoni: sotsial 106
va lingvistik tahlil
Панжиев Н.П. Сравнительный анализ согласных систем русского
и узбекского языков с учѐтом влияния родного 111
языка
Sobirova Z.R. Mutual translation and its problems of touristic terms 118
in English and Uzbek languages
Achilova R.A. Allusive comparison 123
Yusupova D.Y., Ҳалима Худойбердиеванинг лексик-поэтик 126
Furqatova M. бирликлардан фойдаланиш маҳорати
ADABIYOTSHUNOSLIK *** LITERARY CRITICISM ***
ЛИТЕРАТУРОВЕДЕНИЕ
Seytnazarova I.E. Шеъриятда бадиий такрор ва унинг турлари 132
Murodova G.A. Maxtumquli ijodida Ahmad Yassaviy gʻoyalarining 138
badiiy in‟ikosi
Boltayeva G.Sh. Muxammas janrining nazariy asoslari 144
Bozorova V.M., The term “American culture” in the literary works of 147
Maqsudova M.U. world writers
Elmanova M.T. Family dissonances in Joyce Carol Oates‟ novel 153
«Night. Dream. Death. Stars»
Davletova Sh.B. The symbol of women in Muhammad Yusuf‟s poetry 157
Qayumova N.М. Dunyo sonetchiligiga nazar 163
Shomurodova S.G„. Aza marosimi qo„shiqlarida motam kiyimlarining 168
tasviri
Sharipov M.M. O‟zbek jamiyatida xizmatkor obrazi rivoji va 173
adabiyotda “uchinchi odam” tushunchasi
Амир Тимур в русскоязычной литературе:
Пардаева Д.Р. комплексный анализ образа и его исторического 177
контекста
Ўроқова Н.Ё. Замонавий шеъриятда от образи талқини 181
Tashova D.S. Individual badiiy shakllarga xos xususiyatlar 185
Safarova Z.T. Tarbiya romanlarining badiiy adabiyotdagi genezisi va 192
o„rni
Shermamatova Avaz Oʻtarning “Yoʻq boʻling...” nomli gʻazalining 197
Sh.B. talqinlari tahlili
Бабаев О.А. Hемисзабон мамлакатларда форс адабиѐти 202
Yо„ldоshеvа M.B. Bаdiiy tаrjimаdа роrtrеt tаsvirining milliy-mаdаniy
tа‟sirini ifоdаlаnishi 207
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Ashurova G.N. Болалар адабиѐтида Навоий ҳақидаги достон 212
таҳлили
MATNSHUNOSLIK VA ADABIY MANBASHUNOSLIK *** TEXTOLOGY
AND LITERARY SOURCE STUDY *** ТЕКСТОЛОГИЯ И
ЛИТЕРАТУРНОЕ ИСТОЧНИКОВЕДЕНИЕ
Olimova M.S. “Huvaydoyi Chimyoniy” toshbosmasi matni xususida 217
ayrim mulohazalar
“NAVOIY GULSHANI”
Ахмедова Ш.Н. Алишер Навоий хатларида шоир ички оламининг 223
акс этиши ҳақида баъзи мулоҳазалар
FALSAFA VA HUQUQ, SIYOSATSHUNOSLIK *** PHILOSOPHY, LAW
AND POLITICAL SCIENCES *** ФИЛОСОФИЯ, ПРАВО И
ПОЛИТОЛОГИЯ
Галимов Р.Р. Геополитические аспекты формирования
трансрегиональной модели безопасности в 227
центральной и южной Азии
Бафоев Ф.М. К вопросам эффекта политической воли и харизмы 233
в современной мировой политике
Rasulov H.M. Huquqiy madaniyat shakllanishining ijtimoiy-siyosiy 237
omillari
Қудратов Б.А. Демократик ислоҳотлар жараѐнида демократик
меъѐр ва давлат ижтимоий муносабатлари 241
динамикаси
PEDAGOGIKA *** PEDAGOGICS *** ПЕДАГОГИКА
Allahverdiyev P.R. Organization forms of military patriotic education in 247
secondary schools
Karimova G.Z. Dependence of the effectiveness of using proverbs in
education on the ethno-pedagogical training of 251
teachers
SAN‟AT *** ART *** ИСКУССТВО
Hajiyeva S.Z. Absheron motifs in the works of people‟s artist Jalil 258
Huseynov
Ismayilov J.V. The development of realism traditions in Azerbaijan 262
painting
IQTISODIYOT *** ECONOMICS *** ЭКОНОМИКА
Мaхаммадалиева Влияние электронной коммерции на изменение 267
М.Ш. облика розничной торговли в Узбекистане
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Жумаев Жура,
Бухарский государственный университет
j.jumayev @buxdu.uz
Annotatsiya: Ushbu maqolada paxta terish mashinalarida o‘rnatiladigan paxtani tozalash qurilmasi
ish jarayonini matematik modeli keltirilgan. Masalani sonli yechish uchun ushbu qurilma sxematik
ko‘rinishi 1152239 ta nuqtadan iborat to‘r bilan qoplangan. Qo‘yilgan masalani yechish uchun fazalar
orasidagi aloqani hisobga oluvchi Reynol‘ds bo‘yicha o‘rtachalashtirilgan Nav‘e-Stoka tenglamalaridan
foydalanilgan. Turbulent qovushoqlik koeffisientini hisoblashda COMSOL dasturida mavjud SST-modelidan
foydalanilgan. Natijalar grafiklar ko‘rinishida keltirilgan bo‘lib, ularda tezlik, bosim, kinetik energiya va
oqim dissipasiyasi jarayonlari aks ettirilgan.
Kalit so’zlar: paxta terish mashinasi, paxtani tozalash, gidrodinamika tenglamalari, chang uytgich,
turbulentlik modellari, sonli yechim.
Abstract: This article proposes a mathematical model of a device for cleaning cotton from impurities,
which is installed on a cotton harvester. For the numerical solution, the schematic view of the device is
covered with a grid of 1152239 points. For a numerical study of the problem posed, a system of Reynolds-
averaged Navier-Stokes equations is used, taking into account the interaction between the phases. To
determine the turbulent viscosity, the SST-model turbulence models, which are embedded in the COMSOL
Multiphysics software package, were used. The calculation results are presented in the form of graphs,
which show the isolines of the velocity, pressure, kinetic energy, and flow dissipation.
SCIENTIFIC REPORTS OF BUKHARA STATE UNIVERSITY 2023/7 (101) 4
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Keywords: cotton picker, cotton cleaning from impurities, hydrodynamic equations, dust collectors,
turbulent models, numerical solution.
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C D
R2 2
G
B K
φ 1
R1 R3
А
0
φ
E O F 3 L
1
а) б)
с) д)
Рис. 2. Схематический вид - а), вид снаружи б), вид внутри с), вид решѐток д)
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U j i i j'
v'u
t x j x j x j x j x j k 1 ρ
i
U pk i U U pk i k U U
t
j
x j
k i
pk i ,
ρk ρ ρk
U j k , (1)
t x j x j x j
U
i 0.
x j
Метод решения.
В работе для разностной аппроксимации исходных уравнений (1–2) применен метод
контрольного объема SIMPLE [13]. Интегрирование велось шагом по времени Δt<0.001.
Моделирование было начато со времени t=0 с и моделировалось до t=500 с с использованием
фиксированного числа Куранта 1 [14–18].
Расчѐтная сетка.
В работе использовано 1152239 точек, вблизи стенки сетка была сгущена (рисунок 3).
Результаты расчѐтов и их обсуждение
На рисунке 4 представлены изолинии скорости, давления, кинетической энергии и диссипации
потока. Также на рисунке 4 представлены векторы скорости потока.
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а) б)
с) д)
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е)
е) ж)
Рисунок 4. Изолинии скорости а) м/с, давлений б) Па, кинетической энергии с) м2/с2,
диссипации потока д) м2/с3, векторы скорости потока е) и изоконтуры потока ж)
Как видно из рисунка 4, скорость вращения вентилятора может увеличиваться до 82 м/с. Это
направляет частицы пыли в сторону устройства.
Выводы. Перспективы коммерциализации рассматриваемого в статье устройства достаточно
широкие, так как это устройство может быть применено ко всем хлопкоуборочным машинам,
разработанным на заводах республики. Это повысит качество разрабатываемых хлопкоуборочных
машин и сделает их более доступными. Это, в свою очередь, будет способствовать повышению
рейтинга разработанных в республике хлопкоуборочных машин на мировом рынке и увеличит
импортный потенциал. Кроме того, предлагаемое устройство может быть предложено
хлопкопрядильным предприятиям в качестве дополнительного хлопкоочистительного оборудования
и может быть применено в других областях производства. Разработаны гидродинамические
уравнения для расчѐта оптимальных параметров устройства и получены результаты.
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ЛИТЕРАТУРА:
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УДК 665.219.5
Abstract: Silk production in our republic has a long, ancient and extremely interesting history and has
been practiced for more than four thousand years. It should be noted that the efficient use of cocoons not
only provides additional income, but also expands the possibilities of using waste generated in production
processes. Silkworm pupae are a by-product of the silk industry and can be used as an alternative source of
oils for various purposes, and the oil obtained from it is characterized by a high content of unsaturated fatty
acids. This paper describes in detail the process of extracting fatty substances from cocoons available in
local silk production. Extraction gasoline and hexane were chosen as extractants for the extraction process.
The effect of the ratio of these substances and the duration of the extraction process on the product yield was
determined.
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Key words: silk industry, cocoon, extraction process, by-product, extraction gasoline, hexane, Soxhlet
apparatus, lubricant, product yield.
а) б)
1-расм. Маҳаллий саноат корхоналарида етиштириладиган
пилла (а) ва унинг ғумбаги (б)
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Тадқиқот учун олинган пилла ғумбаги 18-20 оС ҳароратда сақланди. Пилла ғумбагининг асосий
озиқ моддаларидан бири ѐғ бўлиб, ипак қурти нафақат ѐғларга бой, балки тўйинмаган ѐғ
кислоталарга, айниқса, озиқ-овқат ѐғи манбаи сифатида муҳим озуқавий қийматга эга бўлган
политўйинмаган ѐғ кислоталарига ҳам [8] эгадир.
Эритувчи танлашда қўлланилдиган эритувчиларнинг нархи, қўлланилиши, фойдаланиш
шароитлари, сақлаш ва утилизация қилинишига алоҳида эътибор қаратилди ва юқоридагилардан
келиб чиқиб, экстракциялаш учун қулайлиги жиҳатидан эритувчи сифатида экстракция бензини ва
гексан танлаб олинди.
Экстракция бензини – кам олтингугурт сақлаган нефтни (Нефрас С3-70/95) бевосита ҳайдаш
маҳсулоти. Таркибида бензол сақламайди. Рангсиз, паст қовушқоқли суюқлик. Зичлиги 0,78 кг/л
атрофида. Экстракция бензини – турли экстракциялаш жараѐнларида, хусусан, уруғлар ва суяклардан
ѐғ олиш учун ҳамда каучук, бўѐқ ва локларда эритувчи сифатида ишлатилади [16,17].
Гексан - органик модда, тўйинган углеводород (кимѐвий формуласи - C6H14), алканлар синфига
киради. Рангсиз суюқлик, моляр массаси - 86,17848 г/моль, зичлиги - 0,6548 г/см³ га тенг. Гексан
ўткир бўлмаган ҳидга эга, шаффоф учувчан суюқлик. Суюқлик ѐнувчан ва портловчидир. У сувда
эримайди, лекин органик эритувчилар: хлороформ, этанол, метанол, ацетон, диэтил эфир билан яхши
аралашади [18,19].
Экстракция жараѐни Сокслет экстрактори (Сокслет аппарати)да олиб борилди. Сокслет
аппарати [20] қаттиқ материаллардан кам эрийдиган қаттиқ моддаларни узлуксиз ажратиб олиш учун
мўлжалланган қурилма ҳисобланади. Сокслет аппаратида пилла ғумбагидан ѐғни ажратиб олиш ѐки
экстракциялаш жараѐни қуйидаги босқичларни ўз ичига олади (2-расм):
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Мазкур тадқиқот ишлари Бух МТИ “Чарм буюмлари технологияси ва дизайни” кафедраси
илмий лабораториясияда бажарилди. Тажриба ускуналари йиғилиб, экстракциялаш жараѐнлари 2 хил
экстрагентда 3 хил вариантда олиб борилди. Пилла ғумбагидан ѐғни ажратиб олишда маҳсулот
унумига давомийлик ва бошланғич моддалар нисбатининг таъсири 1-жадвалда ифодаланган.
1-жадвал.
Пилла ғумбагидан ѐғни ажратиб олишда маҳсулот унумига давомийлик ва бошланғич
моддалар нисбатининг таъсири
МПҒ:Г
МПҒ:ЭБ ω, % ω, %
№ τ, дақиқа № (С6Н14) τ, дақиқа
масс.нис
масс.нис
30 4,04 30 5,69
60 6,23 60 8,46
1 1:2 90 8,75 4 1:2 90 10,67
120 8,78 120 10,83
150 - 150 -
30 16,47 30 17,05
60 19,22 60 19,93
2 1:3 5 1:3
90 20,15 90 21,14
120 22,08 120 22,19
150 22,11 150 22,23
30 17,01 30 17,23
60 20,18 60 20,21
3 1:4 90 21,53 6 1:4 90 21,6
120 22,14 120 22,35
150 22,17 150 22,39
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Бундан ташқари, маҳсулот унуми экстрагентга ҳам боғлиқ бўлиб, экстракция бензинида турли
хил қўшимча органик моддалар мавжудлиги сабабли, гексан эса таркиби бир хил органик моддадан
иборатлиги учун маҳсулот унумининг нисбатан ошиши билан изоҳланади.
Хулоса. Тажрибавий тадқиқот натижаларидан хулоса қилинганда, таъкидлаш жоизки, пилла
ғумбагидан ѐғни экстракциялаш жараѐнида чиқадиган маҳсулот унумига танланган экстрагентлар,
уларнинг нисбати ва жараѐн давомийлиги таъсир кўрсатади. Бинобарин, экстрагентлар 1:4 нисбатда
оширилганда, экстрагентлар сарфи, қўлланиладиган қурилма ҳажми ҳамда давомийлик оширилганда
ҳам маҳсулот унуми 1:3 нисбатда 2 соат мобайнида олинган маҳсулот унумининг (0,16% ± 0,1%)
сезиларди даражада ошишига имкон бермайди. Шунинг учун, пилла ғумбагидан ѐғловчи моддаларни
экстракциялашнинг оптимал варианти сифатида (МПҒ:ЭБ ѐки Г) 1:3 нисбатда 2 соат мобайнида
давом эттириш мақсадга мувофиқ деб белгилаб олинди. Олинган ѐғловчи моддаларни
модификациялаш, чарм ва мўйна яриммаҳсулотларини ѐғлантириш жараѐнларида қўллаш тадқиқот
ишларининг кейинги вазифалари сифатида белгилаб олинди.
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13. Ji, Y.; Xu, L.; Xu, Q.; Liu, X.; Lin, S.; Liao, S.; Wang, W.; Lan, D. Synthesis and
Characterization of Epoxidized Silkworm Pupae Oil and Its Application as Polyvinyl Chloride.
Appl. Biochem. Biotechnol. 2022, 194, 1290–1302.
14. Saviane A., Tassoni L., Naviglio D., Lupi D., Savoldelli S., Bianchi G., Cortellino G.,
Bondioli P., Folegatti L., Casartelli M. Mechanical processing of Hermetia illucens larvae
and Bombyx mori pupae produces oils with antimicrobial activity. Animals. 2021;11:783.
DOI: 10.3390/ani11030783.
15. Авазова, О. Б., Югай, С. М., Рашидова, С. Ш. Эффективное извлечение масла из
куколок тутового шелкопряда Бомбухмори и его структурные характеристики. // Химия и
химическая технология, (1), 2020. С.23-26.
16. https://www.chem21.info/info/588765/ Мурожаат санаси 31.07.2023.
17. https://ru.wikipedia.org/wiki/Бензин Мурожаат санаси 31.07.2023.
18. https://ru.wikipedia.org/wiki/Гексан Мурожаат санаси 31.07.2023.
19. https://pcgroup.ru/blog/geksan-opasnoe-no-poleznoe-organicheskoe-veschestvo/
Мурожаат санаси 31.07.2023.
20. https://ru.wikipedia.org/wiki//Экстрактор_Сокслета#Устройство Мурожаат
санаси 31.07.2023.
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UDK 517
Annotatsiya: Maqolada aralash uzluksiz moduli bilan aniqlangan ikki o‗zgaruvchili funksiyalarning
umumlashgan Hölder fazosida Volter o‗ramasi ma‘nosidagi aralash integral operatorining xossalari
o‗rganilgan. Zigmund ma‘nosidagi baholardan foydalanib, aralash uzluksizlik moduli bilan aniqlangan ikki
o‗zgaruvchili funksiyalarning umumlashgan Hölder fazolarini akslantiruvchi Volter o‗ramasi ma‘nosidagi
aralash integral operatorning chegaralanganligi haqidagi teoremalar isbotlangan.
Kalit so’zlar: ikki o‘zgaruvchili funksiya, Volter o‘ramasi, integral operator, umumlashgan Hölder
fazosi, aralash chekli ayirma.
Abstract: The action of the mixed integral operator of the Voltaire convolution type in the generalized
Hölder space of functions of two variables defined by the mixed modulus of continuity is studied. Using
Zygmund-type estimates, we prove theorems on bounded actions of a mixed integral operator of the Volterra
convolution type in generalized Hölder spaces of functions of two variables defined by the mixed modulus of
continuity.
Keywords: functions of two variables, generalized Hölder space, Volterra convolution type integral,
mixed integral operator, mixed finite differences.
Kirish. Jаhоn miqyоsidа оlib bоrilаyоtgаn ilmiy vа аmаliy tаdqiqоtlаrning sаlmоqli qismi, mаxsus
(singulyаr) intеgrаl ореrаtоrlаri аmаliy xаrаktеrdаgi kо„рlаb muhim mаsаlаlаrni, xususаn, аnаlitik
funksiyаlаrning chеgаrаviy mаsаlаlаrini, chiziqli vа chiziqli bо„lmаgаn mаxsus (singulyаr) intеgrаl
tеnglаmаlаrni yеchishdа uchrаydi. Fаzоlаrdаgi intеgrаl ореrаtоrlаr nаzаriyаsining еng muhim
muаmmоlаridаn biri оbrаz silliqligining рrооbrаzining silliqligigа bоg„liqligini аniqlаsh muаmmоsidir.
Bundаy mаsаlаni yеchish intеgrаl tеnglаmаlаrning yеchilishi, ulаrning bаrqаrоrligi vа hоkаzоlаrdа muhim
rоl о„ynаydi. Silliqlik tushunchаsi turli аtаmаlаr bilаn ifоdаlаnishi mumkin. Funksiyаning silliqlilik
xоssаlаrini judа nоzik tushunish usullаridаn biri bu uzluksizlik mоdulining hаtti-hаrаkаti nuqtаi nаzаridаn
shаkllаntirilgаn umumlаshgаn Höldеr xоssаsi tushunchаsidаn fоydаlаnishdir. Bir о‟zgаruvchili
umumlаshgаn Höldеr funksiyаlаr fаzоlаridа bundаy mаsаlаlаr dеyаrli tо‟liq о‟rgаnilgаndir [2]-[8].
Kо‟р о‟zgаruvchili fuksiyаlаr fаzоsidа bundаy mаsаlаlаr dеyаrli о‟rgаnilmаgаn [9]-[10]. Biz аrаlаsh
Vоltеr о‟rаmаsi mа‟nоsidаgi intеgrаl ореrаtоrning xоssаlаrini ikki о„zgаruvchili umumlаshgаn Höldеr
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funksiyаlаr fаzоsidа qаrаdik. Ushbu mаqоlаmizdа bir о‟zgаruvchili hоldа оlingаn nаtijаlаrgа о‟xshаsh yоki
аynаn shundаy nаtijаnlаrni оlish mumkin yоki mumkin еmаsligini о‟rgаndik.
Mаtеriаllаr vа mеtоdlаr. Hоzirgi vаqtdа fаn, tеxnikа, iqtisоdiyоt vа insоn fаоliyаtining bоshqа
sоhаlаridа, аyniqsа, еlаstiklik nаzаriyаsi vа kаsr tаrtibli diffеrеnsiаl tеnglаmаlаr nаzаriyаsidа mаtеmаtik
usullаr vа kоmрyutеr mоdеllаshtirishlаrdаn fоydаlаnish jаdаllik bilаn kеngаymоqdа. Umumlаshgаn Höldеr
fаzоlаridа kаsr tаrtibli intеgrо-diffеrеnsiаllаshni о„rgаnishning muhim bоsqichi bu Zigmund mа‟nоsidаgi
bаhоlаrni оlishdir, yа‟ni аsl funksiyаning uzluksizlik mоduli оrqаli kаsr tаrtibli intеgrаllаrning uzluksizlik
mоdulini bаhоlаsh tushinilаdi.
Uzluksizlik mоduli bilаn аniqlаngаn bir о„zgаruvchili Vоltеr о„rаmаsi mа‟nоsidаgi intеgrаlning
Zigmund mа‟nоsidаgi bаhоsini оlish usulidаn fоydаlаnib, аrаlаsh uzluksizlik mоduli bilаn аniqlаngаn ikki
о„zgаruvchili Vоltеr о„rаmаsi mа‟nоsidаgi аrаlаsh intеgrаlnig Zigmund mа‟nоsidаgi bаhоlаrini оlаmiz.
Sоʻngrа оlingаn Zigmund mа‟nоsidаgi bаhоlаrdаn fоydаlаnib, аrаlаsh uzluksizlik mоduli bilаn аniqlаngаn
ikki о„zgаruvchili funksiyаlаrning umumlаshgаn Höldеr fаzоlаrini аkslаntiruvchi Vоltеr о„rаmаsi
mа‟nоsidаgi аrаlаsh intеgrаl ореrаtоrning chеgаrаlаngаnligi hаqidаgi tеоrеmаni isbоtlаymiz.
1-tа’rif [1]. Аgаr 0 l0 b a funksiyа quyidаgi
1) 0 0 ;
2) ning kаmаymаydigаn funksiyаsi;
3) yаrim аdditiv, yа‟ni 1 2 1 2 ;
4) [0, b a] dа ning uzluksiz funksiyаsi
shаrtlаrni qаnоаtаntirsа, u hоldа bu funksiyа uzluksiz mоduli dеyilаdi.
2-tа’rif [1]. Аgаr (0, b a] оrаliqdа аniqlаngаn funksiyа quyidаgi shаrtlаrni qаnоаtlаntirsа,
а) uzluksizlik mоdul funksiyаsi;
t
b) dt C1 ;
0
t
t
ba
c) dt C1 ;
t2
d) ~ ,
u hоldа bu funksiyа 1 sinfgа qаrаshli dеyilаdi.
2-tа’rif ([8]). [0, l] dа аniqlаngаn k (x) musbаt funktsiyаni V , > 0 sinfgа qаrаshli dеymiz, аgаr u
quyidаgi shаrtlаrni qаnоаtlаntirsа:
1) k x = 0, x k ( x) - dеyаrli о‟suvchi vа x k ( x) |x = 0 = 0 ;
2) shundаy > 0, 0 < < mаvjudki, x k (x) - dеyаrli kаmаyuvchi bо‟lаdi;
3) shundаy C1 mаvjudki
k ( x) k ( y ) k ( x* )
C1 * , bundа x = max ( x, y).
*
x y x
x1 , x2 uzluksiz funksiyа Q R , Q x1x2 : a1 x1 b1, a2 x2 b2 dа аniqlаngаn bо‟lsin.
2
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Ikki о'zgаruvchili uzluksiz funktsiyаlаrning xоssаlаrini о'rgаnishdа biz quyidаgi funktsiyаlаr sinfini
qаrаymiz [10]:
1, 0
H H 1 2 1,1 x, y C Q : 1 , 0 O1 1 ,
~ , ,
1 , 2 O1,1 1 , 2 ,
0 ,1 1,1
0, 2 O2 2 ,
Bundа
1) birinchi tаrtibli xususiy mоdul uzluksizliklаr
1,0
1,0
(1 , 0) := sup sup h 1 ( x1 , x2 ) , 0 < 1 b1 a1 ;
x 2 [ a 2 , b2 ] 0 < h1 1
0,1
0,1
(0, 2 ) := sup sup h2 ( x1 , x2 ) , 0 < 2 b2 a2 ;
x1 [ a1 , b1 ] 0 < h2 2
2) 1,1-tаrtibli аrаlаsh mоdul uzluksizlik
1,1
1,1
(1 , 2 ) := sup sup h 1, h2 ( x1 , x2 ) , 0 < i bi ai , i 1, 2.
xi [ ai , bi ] 0 < hi i
3-tа’rif. Ikki о„zgаruvchili funksiyа 1 ,2 quyidаgi shаrtlаrni qаnоаtlаntirsа
1) tаyinlаngаn 2 uchun 1 о„zgаruvchi bо„yichа 1, 2 1 ;
2) tаyinlаngаn 1 uchun 2 о„zgаruvchi bо„yichа 1, 2 1 ,
u hоldа bu funksiyа 1,1 Q sinfgа qаrаshli dеyilаdi.
Bu sinfni ikki о„zgаruvchili uzluksiz funksiyаlаrning birinchi tаrtibli аrаlаsh uzluksizlik mоdullаri
sinfi dеb аtаymiz.
4-tа’rif. Аgаr quyidаgi
1) 1 1 , 2 2 vа 1,1 1 , 2 1,1 ;
1
1 , 0 0, 2
1, 0 0 ,1
sup , sup
0 1 b1 a1 1 1 0 2 b2 a2 2 2
shаrtlаrni qаnоаtlаntirsа, u hоldа bu funksiyа H 1 , 2 Q H Q sinfgа tеgishli dеyilаdi.
Ushbu 1 1 vа 2 2 funksiyаlаrni H 1 ,2 Q umumlаshgаn Höldеr fаzоning xаrаktеristik
funksiyаlаri dеb аtаymiz.
6-tа’rif. Аgаr x1 , x2 H 1 , 2 Q bо„lib,
1 , 2
1,1
sup
0i bi ai 1,1 1 , 2
i 1, 2
~ 1 , 2 , 1,1
Ushbu 1,1 1 , 2 funksiyаni H Q аrаlаsh umumlаshgаn Höldеr fаzоsining xаrаktеristik
funksiyаlаri dеb аtаymiz.
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, ,
1 2 1,1 xаrаktеristikаlаr bilаn Q tо„rtburchаkning chеgаrаviy nuqtаlаridа nоlgа
~ , ,
H Q H 1 2 1,1 Q
~
аylаnаdigаn, fаzоdаn оlingаn x1 , x2 funksiyаlаr qism fаzоsini
~ , ,
H 0 Q H 0 1 2 1,1 Q оrqаli bеlgilаmiz.
~
Nаtijаlаr. Аrаlаsh Vоltеr о‟rаmаsi mа‟nоsidаgi intеgrаl ореrаtоri quyidаgichа bеrilgаn bо‟lsin
1 x x2
1-tеоrеmа [10]. k xi Vi , 0 < i < 1, x1 , x2 xi ai = 0 vа x1 , x2 C(Q) i 1, 2, bо„lsа,
u hоldа quyidаgi Zigmund mа‟nоsidаgi bаhоlаr о„rinli:
; t1 , b2 a 2
1,1
b1 a1
K; h 1 , 0 C1 h 1k (h 1 ) ; h 1 , b2 a2 h 1 k t1 dt1 ,
1,0 1,1
~
h
1
t 1
; b1 a1 , t 2
1,1
b2 a 2
K; 0, h 2 C 2 h 2 k (h 2 ) ; b1 a1 , h2 h 2 k t 2 dt 2 ,
0,1 1,1
~
t
h2 2
K; h 1 , h2 C12 h 1k h 1 h 2 k h 2 ; h 1 , h2
1,1 1,1
~
; t1 , b2 a 2 ; b1 a1 , t 2
1,1 1,1
b1 a1 b a
k t 2 dt 2
h1
t1 h2
t2
; t1 , t 2
1,1
b1 a1 b2 a2
; t1 , t 2
h 1 h2
1) dt1dt 2 C12; h 1 , h2 ,
0 0
t1t 2
; t , t
b 1 a1 b2 a2
2) k t k t t t dt dt
1 2
1 2
1 2 C12k h 1 k h2 ; h 1 , h2 .
h1 h2 1 2
bо„lsа, u hоldа H 0 fаzоni H 0 k fаzоgа k h1 , h2 = h1h2 k h1 k h2 h1 , h2 xаrаktеristikаsi bilаn
~ ~
~
аkslаntiruvchi K аrаlаsh intеgrаl ореrаtоr chеgаrаlаngаn bо„lаdi.
~
Isbоt. f x1 , x2 : K x1 , x2 bо‟lsin, bundа x1 , x2 H 0 Q . Аgаr
~
f x1 , x2 xi ai 0 ,
i 1,2 vа
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f ; t1 , 0 f ; 0, t 2
1.0 0.1
sup <.
0 < t1 b1 a1 t1t 2 k t1 k t 2 1,1 t1 , t 2
0 < t 2 b2 a2
f h1 , 0 h1 , b2 a2
1, 0
1,1 1,1
t1 , b2 a2
b1 a1
C1
1
1
h1k h1 1 h1 1 h1
k h1 1 h1 h 1 t1
k t1 dt
h 1 , 0
1, 0
t1 , 0
1, 0
b1 a1
k t1 dt1
1
C1
1 h 1
k h 1 1 h 1 h 1 t1
1 h 1 b a
1 t1
C1 H~
1 1
1
1 h 1 k h 1 1 h 1 h1 t1
1
0
k t1 dt
1 h 1 k h 1 1 h 1
C1 H~ 2C1 ~ ,
0
1 1 h
k h 1 1 h 1
H0
1,1
f 0, h2 b1 a1 , h2 b1 a1 , t 2
0 ,1 1,1
b2 a 2
k t 2 dt 2
1
h2 k h2 2 h2
C2
2 h2
k h2 2 h2 h2 t2
0,1
0, h2 0, t 2
0 ,1
b2 a2
C2
1
k t dt 2 C2 H ~ ,
2 h2
k h2 2 h2 h2 t2
2
0
f h 1 , h2 h 1 , h2
1,1
1,1
C12
h 1k h 1 h2 k h2 1,1 h 1 , h2 1,1 h 1 , h2
h 1 , t 2
1,1
t1 , h2
1,1
b1 a1 b2 a2
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b1 a1 b2 a2
1,1 t1 , t 2
1
h h t1t 2 1 2
k h 1 k h2 1,1 h 1 , h2
k t k t dt dt
1 2
1 2
1,1 h 1 , h2 k h 1 1,1 h 1 , h2
C12 H~
0
1,1 h 1 , h2 k h 1 1,1 h 1 , h2
k h h , h k h k h h , h
2
1,1 1
C
2 1 2 1,1 1 2
k h h , h k h k h h , h
~
H 0
.
2 1,1 1 2 1 2 1,1 1 2
Yа‟ni
1, 0
( f ; t1 , 0)
sup C1 H~ ,
0 < t1 b1 a1 t 1,1 t1 , b2 a2
1
0
1
0 ,1
( f ; 0, t2 )
sup C2 H~ , (5)
0 < t 2 b2 a 2 t 1,1 b1 a1 , t 2
2
0
2
1,1
( f ; t1 , t2 )
sup C12 H~ .
0 < t1 b1 a1 t t 1,1 t1 , t2
1 2
1 2
0
0 < t 2 b2 a 2
f C Q
max
ai xi bi k x 1 t1 k x2 t 2 t1 , a2 a1 , a2 dt1dt 2
i 1, 2 a1 a2
x1 x2
a1
k x
a2
1 t1 k x2 t 2 a1 , t 2 a1 , a2 dt1dt 2
x1 x2
1,1
a1
a 1 1 2 2 t1 a1 , t2 a2 a1 , a2 dt1dt 2
k x t k x t
2
C12 max x1 a1 , 0x1 a1 k x1 a1
1, 0
a1 x1 b1
max 0, x2 a2 x2 a2 k x2 a2
0,1
a2 x2 b2
max x1 a1 , x2 a2 x1 a1 k x1 a1 x2 a2 k x2 a2 C12
1,1
.
~
ai xi bi H 0
i 1, 2
Ushbu tеngsizlik vа (4) dаn quyidаgi kеlib chiqаdi
f ; t1 , 0 f ; 0, t 2
1, 0 0,1
f = f sup sup
0<t1 b1 a1 t1 k t1 1 t1 0<t 2 b2 a2 t 2 k t 2 2 t 2
~
H 0k C (Q )
f ; t1 , t 2
1,1
sup C12 .
0<ti bi ai t1t 2 k t1 k t 2 1,1 t1 , t 2
H 0
~
i 1, 2
f x1 , x2 | xi =ai = 0, i 1, 2 tеnglikni isbоtlаsh uchun (3) tеnglikdа ti xi xi ai i , i 1,2
kаbi аlmаshtirishlаr оlаmiz, nаtijаdа
f x1 , x2 K x1 , x2
~
SCIENTIFIC REPORTS OF BUKHARA STATE UNIVERSITY 2023/7 (101) 22
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1 1
x1 x1 a1 1 , x2 x2 a2 2
x1 a1 x2 a2 k x d1d 2 .
1 a11 k x 2 2 a 2 2
1
0 0 1
1 1 1,1
C12 x1 a1 x 2 a 2 1 ,1 k x
1 2 1 a1 1 k x 2 a 2 2 d1 d 2
0 0
1,1
k x1 a1 k x 2 a 2 1 1
1 1 , 1 2
x1 a1 1 x 2 a 2 1 0 0
C12 d 1 d 2
1 2 1 2 .
Xulоsаlаr. Аrаlаsh uzluksizlik mоduli bilаn аniqlаngаn ikki о‟zgаruvchili funksiyаli Vоltеr о‟rаmаsi
mа‟nоsidаgi аrаlаsh intеgrаl ореrаtоri uchun Zigmund mа‟nоsidаgi bаhоlаri оlinib, ushbu bаhоlаrdаn
fоydаlаnib, umumlаshgаn Höldеr fаzоsidа Vоltеr о‟rаmаsi mа‟nоsidаgi аrаlаsh intеgrаl ореrаtоri xоssаsi
о‟rgаnildi. Bu nаtijаlаrdаn shuni xulоsа qilish mumkin, аgаr qаrаlаyоtgаn intеgrаl ореrаtоr (4) kо‟rinishdа
bо‟lsа, u hоldа ikki о‟zgаruvchili funksiyаlаr uchun hаm xuddi bir о‟zgаruvchili funksiyаlаrdа оlingаn
tеоrеmаlаrgа [8] о‟xshаsh tеоrеmаni оlish mumkin еkаn.
ADABIYOTLAR:
1. Баба-Заде M.A. Об одном классе непрерывных функций двух переменных // Уч. зап. МВ и
ССОАзССР, серфиз-мат наук, (1979), №3. c. 315-321.
2. Карапетянц Н.К., Мусалаева 3. У. Дробное интегро-дифференцирование произвольного
порядка в обобщѐнных Гельдеровских классах // Рук.деп. в ВИНИТИ 25.11.93. № 2917-В93. 41 с.
3. Мурдаев Х.М. Оценка модуля непрерывности интегралов и производных дробного порядка.
Деп. В ВИНИТИ 14.0435. №4209. Грозный, (1985).
4. Самко С.Г., Мурдаев Х.М. Весовые оценки модулей непрерывности дробных интегралов от
функций, имеющих с весом заданный модуль непрерывности. Ростов н/Д, (1986), С. 42. Деп. ВИНИТИ
11.05.86, № 3351-В.
5. Самко С.Г., Мурдаев Х.М. Действие дробного интегро - дифференцирования в весовых
обобщѐнных пространствах Гельдера.// Вопросы вычислений и прикладной математики. Ташкент,
(1986), Вып. 80. с. 116-117.
6. Kilbas A, Saigo M, Bubakar S. Zygmund type Estimates and Mapping Properties of operators with
power-logarithmic kernels in generalized Hölder spaces // Math. Japonica,(1994), № 3. P. 473-485.
7. Samko S. G., Murdayev Kh. M. Weighted Zygmund estimates for fractional differentiation and
integration and their applications// Proc. Steklov Inst. Math. (1989) № 3, P. 233-235.
8. Samko S.G., Musalaeva Z.U. Fractional type operators in weighted generalized Hölder spaces //
Proc. of Georgian Acad. Sciences. Math. (1993), vol. 1, № 5. P. 601-626.
9. Mamatov T. Hölder fazosida aralash kasr tartibli integral operatorlar//NamDU ilmiy
axborotnomasi, 2-сон, (2020), 32-39 betlar.
10. Mamatov T., Mustafoyev N. Ikki o'zgaruvchili funksiyalar fazosida volter o‘ramasi tipidagi ba'zi
operatorlar uchun Zigmund tipidagi baholar// NamDU ilmiy axborotnomasi, (2022), 6-son. 21-29 betlar.
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UDC 541.123:54621
Abstract. The polarization and frequency dependences of the coefficients of three-quantum absorption
of polarized light in cubic symmetry semiconductors due to vertical transitions between the states of the spin-
orbit splitting zone and the conduction band with the participation of three photons are calculated. The
calculation is carried out in the multi-zone Kane approximation for narrow-band crystals.
The contributions to the three-quantum interband light absorption of optical transitions, which differ
from each other in the nature of intermediate states, which can be found both in the subzones of the valence
band and in the conduction band, are analyzed.
Keywords: polarized light, semiconductor, three-quantum transitions, intermediate states of current
carriers, multi-zone Kane approximation, Luttinger Hamiltonian, linear-circular dichroism.
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когда два виртуальных состояния лежат в подзонах валентной зоны, и рисунком 3, когда оба
виртуальных состояния лежат в зоне проводимости, и рисунком 4, если начальные виртуальные
состояния лежат в зоне проводимости, а следующие - в валентной зоне (в квадратичном по
волновому вектору приближении в эффективном гамильтониане носителей тока часть оптических
переходов запрещены, а часть отлична от нуля).
Из рисунков 2-4 видно, что основной вклад в коэффициент трѐхквантового ПС дают
оптические переходы, у которых начальные виртуальные состояния лежат в зоне проводимости, а
следующие - в валентной зоне.
Заключение. Показано, что как поляризационная, так и частотно-поляризационная
зависимости коэффициентов трѐхквантового ПС и его ЛЦД имеют несколько экстремумов. Этот
случай можно охарактеризовать спецификой многозонного приближения Кейна, где некоторые
недиагональные зонные матричные элементы эффективного гамильтониана носителей тока линейно
зависят от их волнового значения, а в приближении Латтинжера-Кона эта зависимость квадратичная.
Последний случай усложняет расчѐт спектральной и поляризационной зависимости как
коэффициента ЛЦД, так и коэффициента трѐхквантового ПС. Также теоретически доказано, что в
коэффициент трѐхквантового ПС даѐт оптические переходы, у которых начальные виртуальные
состояния лежат в зоне проводимости, а следующие - в валентной зоне.
ЛИТЕРАТУРА:
1. Miller A., Johnston A., Dempsey J., Smith J., Pidgeon C. R., and Holah G. D., Two‐ photon
absorption in InSb and Hg1-xCdxTe //-J. Phys. –1978. № 12. - pp. 4839‐ 4849.
2. Comparee C. R., Pidgeeon B. S., Wherrett A. M., Johnston J., Dempsey and A. Miller:
Two‐ photon absorption in zinc‐ blende semiconductors //-Phys. Rev. Lett.-1979. -Vol. 42. - pp. 1785‐ 1788
(1979), and references therein.
3. Braunstein R. and Ockman N. Optical double‐ photon absorption in CdS//- Phys. Rev. A. - 1964. -
Vol. 34. - pp.499‐ 507.
4. Расулов Р.Я. Поляризационные оптические и фотогальванические эффекты в
полупроводниках при линейном и нелинейном поглощении света. Диссертация на соиск. уч. степени
доктора физ.-мат. наук. Ст.-Петерург. 1993. c. 203 – 206 .
5. Ивченко Е.Л. Двухфотонное поглощение и оптическая ориентация свободных носителей в
кубических кристаллах // ФТТ. -1972.-Т.14. Вып.12. -С. 3489-3485.
6. Берегулин Е.В., Дворников Д.П., Ивченко Е.Л., Ярошецкий И.Д. Поляризационные свойства
и линейно-циркулярный дихроизм при нелинейном поглощении света в полупроводниках A 2В6// ФТП.
-1975. -Т. 9. -Вып. 5. – С. 876-886.
7. Арифжанов С.Б., Ивченко Е.Л. Многофотонное поглощение света в кристаллах со
структурой алмаза и цинковой обманки//ФТТ. 1975. Т.17. №1. 81-89 с.
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UO‘K 687.6
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Abstract: Glassy semiconductors are known for their infrared conductivity. They extend uniformly to
much higher wavelengths than oxide halide glasses. The heat transfer edge is connected to a glass-based
chalcogen element. It can be observed to be transmitted up to wavelengths approaching 20 μm. Bulk glasses
have long-wavelength and short-wavelength transmission edges defined by multiphonon and electron
absorption, respectively. Under the influence of light, it is possible to cause various physical changes in
semiconductor film materials. Although these changes are not unique to sulfide glass, these photoelectric
effects are powerful and offer a variety of practical applications, some of which are just being explored.
There are at least seven mechanisms of photoinduced changes in amorphous chalcogenides, which can lead
to optical, electrical, chemical, structural, and physical changes in the properties of materials after optical
irradiation.
Keywords: photosensitive, nanophotonics, metastable, binary, photoluminescent, chalcogenide,
selenium, tellurium, chalcogenide, heteropolar, homopolar, spectroscopy, telluride, arsenic, trisulfide,
tendency, photoinduction, precursor, modification, metastable, dichroism, silica, fluorides, sulfides,
stoichiometry, tellurides, selenides.
Kirish. O‟tgan yillar davomida fotonik, optoelektronika va integral optikada kristal bo'lmagan
qattiq jismlardan foydalanishning intensiv o'sishi kuzatildi. Ushbu o'sish o'tgan asrning oxirida
boshlangan va optik tolali optikada va optik aloqa uchun qurilmalarda oksidli oynalardan
foydalanishning rivojlanishi bilan bog'liq. Boshqa tomondan, 1950-yillardan boshlab nusxa ko'chirish
mashinalarida fotosensitiv elementlar sifatida amorf Se plyonkalaridan foydalanishning ko'payishini
kuzatishimiz mumkin. Bundan tashqari, tartibsiz materiallarning yupqa plyonkalari, shu jumladan
TiO2- PbTe - PbSe tizimiga asoslangan holda, optik muhitda ma'lumotlarni yozib olish uchun o'z
qo'llanilishini topdi. Plyonkalari quyosh batareyalarini ishlab chiqarishda va suyuq kristalli monitorlar
uchun yupqa plyonkali tranzistorlarda qo'llaniladi [1]. Materiallar o'zining ajoyib strukturaviy, elektron
va optik xususiyatlari tufayli katta qiziqish uyg'otadi. Yarimo‟tlazgich аsosli yuqori sezgir buyoqli quyosh
elementlari ko'pgina xususiyatlari tarmoq bo'shlig'iga yaqin to'lqin uzunliklarida nurlanishga sezgir
ekanligi aniqlandi. Fotonlar quyosh elementlariga asoslangan materiallarning optik, elektr, kimyoviy va
mexanik xususiyatlariga ta'sir qilishi mumkin. Ushbu o'zgarishlar vaqtinchalik yoki doimiy bo'lishi
mumkin. Kalkogenid amorf yupqa plyonkalarning fotosensitiv xususiyatlaridan kelib chiqib, ularni
qo'llash imkoniyatlari ishlab chiqilgan. Ular orasida barcha optik signallarni qayta ishlash tizimlari
uchun yuqori sifatli optik elementlarni ishlab chiqish alohida qiziqish uyg'otadi. Shu sababli,
fotosensitiv materiallarning tuzilishi va tarkibini nazorat qilish kelajakdagi nanoelektronika va
nanofotonikani oqilona loyihalash uchun katta ahamiyatga ega.
Asosiy qism. Shunday qilib, titan oksidi (TiO2- PbTe - PbSe) asosidagi kalkogenid materiallari
alohida qiziqish uyg'otadi, chunki ular infraqizil (IR) mintaqasida (0,7-20 mkm) keng shaffoflik
oynasiga, katta sinishi indeksiga (2,5-3,5) oltingugurt va selenga asoslangan ko'zoynaklarga nisbatan
past fonon energiyasiga ega. Nisbatan tor tarmoqli bo'shlig'i bilan birgalikda ushbu materiallar IR
optoelektronika va fotonikada qo'llanilishi uchun katta imkoniyatlarga ega [2].
Bu ish ta'sirni o'rganish edi elementar komponentlardan PECVD usuli bilan sintez qilingan
plyonkalarining ishlab chiqarish sharoitlari, tarkibi va keyinchalik tuzilishi va optik xususiyatlariga turli
xil tashqi ta'sirlar nartijalarini o‟rganib chiqildi.
Biz o‟z ishimizda maqsad qilib shuni oldikki.
1. PECVD usulida elementar komponentlardan sintez qilingan kalkogenidli shishasimon
yarimo‟tkazgich plyonkalarning tayyorlanish sharoiti va tarkibiga qarab strukturaviy va optik
xossalarini o rganish.
2. Strukturaviy va optik xususiyatlarning o'zgarishiga olib keladigan CGS plyonkalarini
modifikatsiyalash mexanizmlari va usullarini o'rganish.
3. CGS plyonkalarining fotolyuminessent xossalarini va ularda mikro/nanokristalli
qo'shimchalar hosil qilish imkoniyatini o'rganish. Bundan ishning yangiligi sifatida. TiO2, ZnO, SnO2,
Ta2O5, CdSe, CdS kabi moddalardan binar sistemalarining plyonkalari, shuningdek, muvozanatsiz past
haroratli argon plazmasi sharoitida pasaytirilgan bosimda plazma-kimyoviy bug' cho'ktirish yo'li bilan
sintez qilingan turli stexiometriyadagi uchlik kalkogenid sistemasi TiO2-PbTe-PbSe elementar
makrokomponentlari yordamida dastlabki makrokomponentlardan foydalangan holda (S) olindi, ishga
tushirildi va vaqt o'rganildi.
Cho'kish jarayoni parametrlarining kalkogenidli yarimo'tkazgich moddalar plyonkalarining fizik-
kimyoviy va optik xususiyatlariga ta'siri o'rgandik [3]. Shuningdek, gaz razryadga beriladigan
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quvvatga qarab, plyonkaning o'sish tezligi va uning tarkibining o'zgarishi kuzatiladi. Natijada,
plyonkalarning strukturaviy va optik xususiyatlari ham o'zgaradi. Ushbu ishda olingan tadqiqot
natijalari, agar ular o'rta IQ diapazonida integral optika va fotonika elementlarini yaratish uchun
foydalanilsa, CGS plyonkalarining kerakli optik xususiyatlarini olish uchun optimal sharoitlarni
tanlash uchun ishlatilishi mumkin.
Kalkogenidlar asosan bir yoki bir nechta xalkogen elementlardan iborat bo‟lib ular: oltingugurt,
selen va tellurdan hosil bo'lgan birikmalardir. Ular birinchi marta 50 yil oldin o'rganila boshlangan
bo'lsa-da, so'nggi paytlarda kalkogenid oynalariga qiziqish sezilarli darajada oshdi, chunki
ko'zoynaklar, kristallar va qotishmalar keng fotonik qurilmalarda yangicha imkoniyat bo‟ldi. Oksid
materiallari shisha hosil qiluvchi eng qadimgi tizim bo'lib, ularni nisbatan yaqinda kashf etilgan
kalkogenid birikmalaridan alohida davolash an'anaviy bo'lib qoldi. Oksidli materiallar kalkogenidlarga
qaraganda boshqacha harakat qilishlari ilmiy jihatdan isbotlangan. Xususan, ularning juda xilma-xil
tarmoqli bo'shliqlari juda boshqacha optik va elektr xususiyatlariga olib keladi.
Ikkilik oynani hosil qiluvchi kalkogenid modeli kremniy dioksidiga o'xshash hisoblanadi. Eng
barqaror ikkilik kalkogenidli ko'zoynaklar xalkogen birikmalari va 4- yoki 5-guruh elementlaridir.
Bularning barchasi atom nisbatlarining keng doirasini qo'llash imkonini beradi. Uchta ko'zoynak
tuzilishga ko'proq atomlarni o'z ichiga olishi mumkin, bu ularning xususiyatlarini muhandislik qilish
uchun yanada ko'proq imkoniyatlar beradi. Kalkogenid materiallari keng doiradagi kompozitsiyalarda
mavjud bo'lishi mumkin, ularning hammasi emas shishasimon shaklda mavjud. Amorf kalkogenid
materiallarini amorf tizimlarni hosil qilish uchun bog'langan atomlar turiga ko'ra keng tasniflash
mumkin. Bitta elementdan tashkil topgan materiallardan farqli o'laroq, ko'pchilik amorf
kalkogenidlarning tuzilishi to'liq tavsiflanmagan [4]. Har qanday ikkilik tizim uchun AXIN1-
chiradial taqsimlash funktsiyasini (RDF) tahlil qilish A-A, B-B va A-B obligatsiyalaridan hissalarni
ajratish juda qiyinligi bilan murakkablashadi. Ko'p komponentli ko'zoynaklarda bu identifikatsiya
yanada noaniq. Rayt va Leadbetter rentgen nurlari difraksiyasi bo'yicha ishlarni ko'rib chiqishdi.
Asosan, rentgen nurlarini yutish spektrlarining (EXAFS) kengaytirilgan nozik tuzilishini tahlil
qilganda, bog'lanish turlarini ajratish mumkin, ammo hozirgacha eksperimental ma'lumotlarni
o'zgartirish va tahlil qilish bilan bog'liq muammolar tufayli, bir nechta holatlar bundan mustasno,
ishonchli natijalarga erishib bo'lmadi. Ba'zi tizimlar oynalarining mahalliy tuzilishini o'rganishning eng
mos usullari infraqizil spektroskopiya va yorug'likning Raman tarqalishidir. Ikkilik tizimning eng
oddiy strukturaviy modeli uzluksiz tarmoqdir, unda "8-N qoidasi" muvofiqlashtirish har ikkala
komponent uchun har qanday nisbatda bajariladi. Masalan, As tizimidaXSe1-chihar qanday qiymat
uchunXhar bir As atomi uch karra koordinatsiyaga ega va har bir Se atomi ikki tomonlama
koordinatsiyaga ega [5] (1.1-rasm). Ammo bunday nisbatan oddiy tarmoqlarda ham kimyoviy tartib
darajasi haqida savol tug'iladi. Boshqacha qilib aytadigan bo'lsak, geteropolyar bog'lanishlar
homopolyarlarga nisbatan qanchalik ustunlik qilishi noaniqligicha qolmoqda.
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2-rasmda TiO2- PbTe - PbSe ko'zoynaklari uchun hisoblangan Rayleigh tarqalishining birgalikda
chizilgan Urbax va multifononli yutilish qirralari ko'rsatilgan. Ko'rsatilganki, shisha tarkibidagi
tebranishlar tufayli Rayleigh tarqalishi zichlik tebranishlari tufayli [7] Rayleigh tarqalishiga qaraganda
taxminan kattaroq tartibdir. Amalda erishilgan minimal ichki yo'qotish va uzatish o'rtasidagi bir nechta
kattalikdagi farq kuzatildi, Silikon dioksidga asoslangan zamonaviy optik tolalar uchun qilinganidek,
ushbu materiallarning minimal yo'qotilishiga erishiladimi yoki yo'qmi, noaniqligicha qolmoqda.
Amaliyotda kalkogenidlarning nazariy yo'qolishiga to'sqinlik qiladigan asosiy hisoblanmagan yo'qotish
mexanizmi mavjud. Kalkogenid oynalarini hosil qiluvchi og'ir metallar nisbatan yuqori sinishi
indeksiga ega bo'lgan materiallarga olib keladi. Ushbu yuqori sinishi indeksi tufayli, boshqa bog'liq
effektlar, asosan, elektro-optik xususiyatlar yaxshilanadi. Ko'rinadigan va yaqin infraqizil diapazonda
bu materiallar kuchli normal dispersiyani namoyish etadi. Nolinchi dispersiya to'lqin uzunligi ham
an'anaviy oynaga nisbatan uzoqroq to'lqin uzunliklariga siljish tendentsiyasiga ega. 3-rasmda yaxshi
o'rganilgan mishyak trisulfid oynalari uchun sindirish ko'rsatkichi va dispersiya ko'rsatilgan.
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Kalkogen plyonkalarni olish uchun tez-tez sinovdan o'tkaziladigan yana bir usul kimyoviy
bug'larning cho'kish jarayoni yarimo'tkazgich sanoatida nozik plyonkalarni ishlab chiqarish uchun
keng qo'llaniladi. Ushbu usulning muhim afzalliklaridan biri bu rivojlangan relyef bilan yuzalarni teng
ravishda qoplash qobiliyatidir. Masalan, turli xil chiplarda, diametri bir necha o'nlab nanometr bo'lgan
teshiklarni to'liq to'ldirish kerak bo'lganda, bunday ob'ektlar uchun optimal texnikadir [9].
4-rasmda ko'rsatilgan tizimdan foydalanib, yupqa plyonkalarni turli substratlarga joylashtirish
mumkin [10-11]. kimyoviy bug'larning cho'kishning asosiy afzalliklari: - ko'p qirrali (deyarli har
qanday kino kompozitsiyasi); - jarayonning moslashuvchanligi; - murakkab shakldagi va katta
maydondagi qismlarga bir va ikki tomonlama plyonkalarni qo'llash imkoniyati; - plyonkaning yuqori
sifatini saqlab qolgan holda yuqori cho'kish tezligiga (soatiga bir necha millimetrgacha) erishish
imkoniyati; - yuqori vakuumli uskunadan oqimli o'rnatishga o'tish, uskunaning soddaligi va arzonligi.
Kamchiliklari: - substratlarni tanlashning "simbiotik" muammosi, - plyonkaning katyonik va anion
stoxiometriyasini nazorat qilish (T, PO 2, PCO2, ...,) bir nechta manbalar, aerozol etkazib berish, kamar
evaporatator ...); - yuqori va takrorlanadigan uchuvchanlikka ega bo'lgan moddalarni maqsadli izlash; -
optimalni yaratishkino morfologiyasi; - plyonkaning prekursorlarning uchuvchi komponentlari (H, P
va boshqalar) bilanifloslanishi. Kvitansiyaning sxematik diagrammasi 5-rasmda keltirilgan.
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purkash, ular optoelektronikaning turli sohalarida qo'llanilishini cheklaydigan bir qator afzallik va
kamchiliklarga ega. Yorug'lik ta'sirida kalkogenid materiallarida turli xil jismoniy o'zgarishlarni
keltirib chiqarish mumkin. B u o'zgarishlar faqat sulfidli shishaga xos bo'lmasa-da, bu fotoelektr
effektlari kuchli va turli xil amaliy qo'llanmalarni taklif qiladi, ularning ba'zilari endigina o'rganila va
tushunila boshlandi. Amorf kalkogenidlarda fotoinduktsiyali o'zgarishlarning kamida ettita
mexanizmi mavjud [13], ular optik nurlanishdan so'ng materiallarning xususiyatlarining optik, elektr,
kimyoviy, strukturaviy va fizik o'zgarishlariga olib kelishi mumkin. Ushbu o'zgarishlar qaytarilmas va
qaytarilmas deb tasniflanishi mumkin. Foto induktsiyalangan kalkogenid o'zgarishining eng keng
tarqalgan va foydali shakllari tasvirlangan. Kalkogenidlarda optik o'zgarishlarni keltirib chiqaradigan
jarayonlarning ko'pligi, Fotokristallanish[14] - Kalkogenid plyonkasi isitish effekti tufayli optik
nurlanish ta'sirida kristallanadi. Bu, ayniqsa, past shisha o'tish haroratiga ega bo'lgan kalkogenidlarga
xosdir. Bu jarayonni kristallangan hajmni shisha erish haroratiga qizdirish va tez sovutish orqali bekor
qilish mumkin. Fotokristallanish a-Se uchun olingan va 1968 yilda Dresner va Stringfellow tomonidan
har tomonlama o'rganilgan [15]. Boshqa CSPlar ham shunga o'xshash hodisalarni ko'rsatadi.
To'g'ridan-to'g'ri mikroskopik kuzatishlarga qaraganda sezgirroq bo'lgan Raman spektroskopiyasi GeSe
dagi fotokristallanishning harakatini o'rganish uchun qo'llanilgan va As-Se. Shuni ham ta'kidlash
kerakki, fotokristallanish oqsillarda ham sodir bo'ladigan jarayonlarni bir o'lchovli molekulyar tizimlar
uchun umumiy ekanligi kuzatiladi. Fotokristallanish tellurid plyonkalarida fototermal faza o'zgarishi
bilan bog'liq. Polimerlanish - bu ikki yoki undan ortiq molekulalarni birlashtirib, yanada murakkab,
uzluksiz bog'langan molekula hosil qilish jarayoni. Ba'zi kalkogenidlarda bunday jarayonlar termal va
fotoinduktsiyali bo'lishi mumkin. Yaxshi o'rganilgan shisha uchun As2S3 Polimerizatsiya modeli taklif
qilindi, unga ko'ra polimerlar shisha o'tish haroratida termal tavlanishdan so'ng materialda hosil bo'ladi.
Plyonka optik yutilish chegarasining ~0,1 eV ga qizil siljishi (6-a-rasm), sinishi indeksining ~0,1 ga
oshishi, qalinligining ~1% ga kamayishi va ~20% ga mustahkamlanishini ko'rsatadi [16]. Bundan
tashqari, gidroksidi eritmalar va plazma bilan plyonkalarni qirqish tezligida keskin o'zgarishlar mavjud
. Fotopolimerizatsiya bu o'zgarishlarga olib keladigan asosiy mexanizm hisoblanadi. Filmlar As2S3,
vakuumli bug'lanish natijasida olingan, kabi molekulyar komplekslardan tashkil topgan ko'rinadi.4S4,
As4S6va S- klasterlar, 6-(b)-rasmda ko'rsatilganidek, va bu komplekslar tarmoqli bo'shliqqa qiyoslanadigan
energiya bilan yoritish ostida o'zaro polimerlanishga uchraydi, bu esa As tarmog'ining shakllanishiga olib
keladi.
6-rasm. (a) optik yutish chegarasi va (b) atom modelidagi qaytarilmas o'zgarishlar film
sifatida yangi saqlangan
Metalllarning fotodissotsiatsiyasi [17]. Kalkogenid bilan aloqada bo'lgan metall qatlami unda
kalkogenidning tarmoqli bo'shlig'i bilan taqqoslanadigan energiya bilan nur bilan nurlanish orqali
eritilishi mumkin. Bu jarayon kuchsiz qaytariladi. Fotosuratlarni siqish– Surat yoki nurlanish
qisqarishi aniqlangan bir qancha kalkogenidlar [18-19].
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Olingan maʼlumotlar [23] As-Se plyonkalarida zaryad tashuvchilar uchun tutqichlarning asosiy
parametrlarini nazorat qilish imkoniyatini koʻrsatadi. Tadqiqoti ta'siri ostida l= 532 nm 35 mVt
quvvatga ega. Xususan, ular optik tarmoqli bo'shlig'ining (9-rasm) va sinishi indeksining ta'sir qilish
vaqtiga bog'liqligini oldilar (10-rasm).
qilish vaqtida
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holati mavjudligini ko'rsatadi, ular hech bo'lmaganda optik tarmoqli bo'shlig'i va sinishi indeksining
qiymatida farqlanadi. Bu shuni anglatadiki, bu bog'liqliklar uzoq vaqt davomida ta'sir qilishda
to'yingan. Biroq, bu erda ko'rib chiqilgan ishda nafaqat optik xususiyatlarda o'zgarishlar kuzatildi.
XPS spektrlarini tahlil qilish natijasida nurlanish paytida plyonkadagi kimyoviy bog'lanishlar
quyidagi sxema bo'yicha qayta joylashishi aniqlandi: ya'ni geteropolyarlarning yemirilishi hisobiga
gomopolyar bog'lanishlar ulushi ortadi. Bundan tashqari, 532 nm to'lqin uzunligida yorug'lik ta'siri
sirt oksidlanishiga yordam berishi aniqlandi [24]. Buni As strukturasidagi mishyakdan cho'qqining
o'sishidanko'rish mumkin chizig'ining kimyoviy siljishiga mos keladi[25].
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Xulosa. Shunday qilib, adabiyot ma'lumotlarini ko'rib chiqishga asoslanib, biz prekursorlarning
uchuvchi komponentlari bilan ifloslanish, plyonkaning qattiq zarrachalar va tomchilar bilan
ifloslanish ehtimoli, maqsadli materialning kichik qalinligi, plyonkaning o'sishining past tezligi va
boshqalarni nazorat qilish kabi kamchiliklardan xoli yuqori sifatli CGS plyonkalarini olish uchun
yangi yondashuvlarni izlash zarurligi va dolzarbligini ko'rsatdik.
CGS plyonkalari tarkibidagi o'zgarish plazma ajralish turini va yetkazib beriladigan energiyani,
shuningdek, prekursorning haroratini o'zgartirish orqali erishildi. Elementar moddalar manbalarining
harorati quyidagi diapazonlarda o'zgargan: TiO2 = 370-410° C, PbTe = 500-590° C, T (Se) = 300-385° C,
PbSe =160-180° C va plazma quvvati 0 dan 50 Vt gacha.
ADABIYOTLAR:
1. Mamatkarimov O.O., Kuchkarov B.H., Sharibaev N.Yu., Abdulkhayev A.A. ―Influence Of The
Ultrasonic Irradiation On Characteristic Of The Structures Metal-Glass-Semiconductor‖ European Journal
of Molecular & Clinical Medicine 2021/1/1 8/01 str 610-618.
2. Kuchkarov B.Kh., Mamatkarimov O.O. ―Influence of ultrasonic action on the rate of charge
formation of the inversion layer in metal-glass-semiconductor structures‖ Vestnik KRAUNC. Fiziko-
Matematicheskie Nauki 2019 y 29/4 str 125-134.
3. Vlasov S.I., Ovsyannikov A.V., Kuchkarov B. Kh. ―Influence of thermo cyclic treatments on SiO2-
Si interface properties in Al-SiO2-n-Si structures‖ Uzbekiston Fizika Zhurnali 2012 y 14/1 стр 20-22.
4. Кучкаров Б.X. ―Влияние ультразвукового воздействия на скорость формирования заряда
инверсионного слоя в структурах метал-стекло-полупроводник Вестник КРАУНЦ‖ Физико-
математические науки 2019y 29/4 стр 125-134.
5. Kuchkarov B.Kh., Mamatkarimov O.O, Abdulkhayev A.A. ―Relaxation dependence of the
capacity of a three-layer structure in the process of charge formation of an inversion layer‖ Scientific and
Technical Journal of Namangan Institute of Engineering and Technology 2019 y 1/6 str 26-33.
6. Zaynobiddinov S., Kuchqarov B. ―Development of effective methods of teaching theoretical
electrotechnics Web of Scientist‖ International Scientific Research Journal 14/4/2022 y 3/4 str 431-437.
7. Kuchkarov B., Abdulkhayev A. ―Factors providing the efficiency of semiconductor lazers‖
Scientific and Technical Journal of Namangan Institute of Engineering and Technology 2022 y 3/5 str 48-52.
8. Vlasov S.I, Saparov F.A, Kuchkarov B.Kh ― Effect of the semiconductor-insulator interface on the
characteristics of the metal-insulator-semiconductor structures ‖ Uzbekiston Fizika Zhurnali 2009 y 11/3
стр 203-206.
9. Kuchkarov B.H., Mamatkarimov O.O., Abdukarimov A.A., Khalmirzayev A., and Mirtojiyeva
D.M. ―Influence of All-Round Compression on Formation of the Mobile Charge in Lead-Borosilicate Glass
Structure‖ AIP Conference Proceedings 2432, 030039 (2022); https://doi.org/10.1063/5.0089980 2432,
030039 © 2022 Author(s)..
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UO‘K 535
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Abstract: The results of the study of samples of bonded silicon wafers by the non-stationary capacitive
deep level spectroscopy (DLTS, MCTS) method are presented. The parameters of the levels of the dislocation
network in the band gap of n- and p-type silicon are determined: energy states and eclipse sections. The
identified levels of the dislocation network can be grouped into two main groups: shallow levels with an
activation energy of about 0.1 eV and deep levels with an activation energy of more than 0.2 eV, hereafter
simply referred to as shallow and deep. Correspondence of the energy positions of the levels in the band gap
in n and p type samples was found. For both n- and p-type samples, a non-monotonic behavior of the
determined concentration of small levels of the dislocation network was found with the increase of the
misorientation angle of the bonded plates. At small misorientation angles (up to 3°), the amplitude of the
DLTS peak increases as the misorientation angle increases; with a further increase in the angle, the peak
amplitude decreases until it is completely suppressed for samples with a misorientation angle greater than 4.
Keyword: plate, cathodoluminescence, dislocation, luminescence, inversion, Schottky, inversion, Volt-
Farad, simulation, plate, monotonic, asymmetric, correlation, pinning, momentum, localization, stationary,
injection, silicon, spectroscopy.
Kirish. Hozirda dunyo olimlari tomonidan olib borilayotgan ilmiy tadqiqot ishlarining amaliy va
nazariy hisoblashlarini bir-biriga mutanosib ravishda olib borilishi fan va ta‟limning rivojlanishiga katta
hissa qo‟shmoqda. Bu borada yarimo‟tkazgichlar sohasida kremniy sohasidagi dislokatsiyalarni optik
hamda elektrik xususiyatlarini tatbiq qilishda olib borilayotgan ilmiy tadqiqotlar jadal ravishda o‟sib
bormoqda. Yarimo‟tkazgich sohasidagi turli xil protsessorlarning alohida funksional bloklari o'rtasida
axborotni simli uzatishdan optika uzatishga o'tish hozirgi vaqtda zamonaviy mikroelektronikani
rivojlantirishning asosiy istiqbolli yo'nalishlaridan biri sifatida qaralmoqda.
Asosiy qism. Signalni uzatish uchun eng mos keladigan to'lqin uzunligi taxminan 1,5 mkm
(0,8 eV) bo'lgan radiatsiya bo'lib, u mavjud aloqa tizimlarida qo'llanilishi mumkin, chunki u optik
to'lqin o'tkazgichlarning maksimal shaffoflik oynasiga to'g'ri keladi va kremniyda yutilmaydi, bu esa
uzoq vaqt xizmat qilishi mumkin.
Mikrosxema ichidagi yorug'lik qo'llanmasi sifatida element uchun yana bir muhim talab uni
ishlab chiqarishning bir kristalli kremniydan foydalanishga asoslangan ommaviy texnologiyasi bilan
muvofiqligi asosida solishtirilgan.
1976-yilda silikonda kashf etilgan dislokatsiya Lyuminesans (DL) chiziqlaridan birida D1
chizig'i (0,8 eV) deb ataladi, bu talablarni qondiradigan nurlanishning istiqbolli manbai hisoblanadi,
chunki bu chiziq nafaqat spektral holatiga mos keladi, balki xona haroratida ham yuqori intensivlikka
ega[1]. Yaqinda DL ning D1 liniyasida ishlaydigan LED qurilmalarining eksperimental namunalarini
yaratishi bizning olib borayotgan ilmiy tadqiqot ishimizning solishtirishda foydali bo‟ldi.
Dislokatsiyalar bilan bog'liq bo'lgan lyuminestsent xususiyatlar va elektron darajalar bo'yicha
ko'plab tadqiqotlarga qaramasdan, bu sohada kerakli bilim darajasiga erishilmagan.
Elektrofizik o'lchovlarda aniqlangan tarmoqli bo'shliqdagi energiyaning darajalari va
lyuminestsent xususiyatlarni o'rtasidagi aniq moslikni o'rganish kuzatiladigan optik nurlanishlar
o'rnatishning asosiy muammolardan biridir [2-3]. Lyuminesans chiziqlarining spektral pozitsiyasi
faqat mahalliy darajalar orasidagi energiya farqi haqida ma'lumotni olib yuradi, lekin emitentning
cheklovchi samaradorligini baholash uchun zarur bo'lgan ishtirokchi rekombinatsiya markazlarining
kontsentratsiyasi haqida miqdoriy ma'lumot bermaydi. Boshqa tomondan, yarimo'tkazgichning
tarmoqli bo'shlig'idagi mahalliy darajalarning kontsentratsiyasi va ularning ruxsat etilgan
chiziqlarning chekkalariga nisbatan energiya holati vaqtinchalik sig'imli chuqur darajadagi
spektroskopiya usullari yordamida aniqlanishi mumkin: Chuqur darajadagi vaqtinchalik spektroskopiya
(DLTS) asosiy tashuvchilarni ushlab turish darajasini vaqtinchalik spektroskopiyasini (MCTS)
o'rganish uchun optik va elektrofizik o'lchovlar ma'lumotlari o'rtasida to'g'ridan-to'g'ri o'rnatish
deyarli mumkin emas, ayniqsa dislokatsiya namunalari uchun xos bo'lgan energiya darajalarining ancha
murakkab spektri uchun [4-5]. Shu sababli, shoshilinch vazifa - tarmoqli bo'shliqdagi darajalarni
o'rganishning yangi usulini ishlab chiqish, bu nafaqat sathning chuqurligini, balki uning optik
o'tishlardagi ishtirokini ham baholashga imkon beradi.
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, .
Optik o'tish mexanizmlarining asosiy mavjud modellari ko'rib chiqiladi. Elektron holatlarni
o'rganish usullariga bag'ishlangan va qo'shilgan kremniy gofretlarning interfeysida dislokatsiya
tarmoqlarining lyuminestsensiyasi o'rganilgan namunalar, transmissiya elektron mikroskopi (TEM)
yordamida dislokatsiya tarmog'idagi dislokatsiyalar turini va dislokatsiya tarmog'ining zichligini
aniqlash usullari tasvirlangan [13]. Elektr maydonini hisoblash va kosmik zaryad hududida (SCR)
interfeysi bo'lgan Shottki diyotidagi elektr potentsialining xatti-harakatlari o‟rganildi.
Maydon yo'nalishining inversiyasi hosil bo'lgan muvozanatsiz tashuvchilarning oqimlarining
modulyatsiyasi tufayli qayd etilgan foto va katodolyuminesans spektrlariga tanqidiy ta'sir ko'rsatishi
mumkin. Bundan tashqari, maydon yo'nalishining inversiyasi dislokatsiya tarmog'ining energiya
darajalari dastlab neytral ekanligini anglatadi [14]. Ularning ko'pchilik tok tashuvchilar bilan
to'ldirilishi interfeysda zaryad to'planishiga olib keladi, bu esa inversiya effektiga olib keladi.
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C-V xarakteristikasi DW ning energiya darajalarida Fermi sathining pinlanishiga mos keladigan
tekis gorizontal uchastkalar ko'rinishidagi xususiyatlarni kuzatildi[15-16]. C-V xarakteristikasi DW
ning energiya darajalarida Fermi darajasining piniga mos keladigan tekis gorizontal uchastkalar
ko'rinishidagi xususiyatlarni aniqlandi.
Hozirgi sakrashni kuzatish diodning old qismidagi maydon yo'nalishini teskari o'zgartirish uchun aniq
mezondir [17]. Kremniy gofretlari interfeysida C-V xarakteristikasida dislokatsiya tarmog'i bo'lgan Shottki
diodida katodolyuminesansni aniqlash usulining asoslari tasvirlangan. Elektr maydonining luminesans
intensivligiga ta'siri ko'rsatilgan. Katodolyuminesans spektrlarini o'rganish uchun ishlatiladigan
eksperimental qurilmaning tavsifi berilgan. Kremniy gofret namunalarining strukturaviy tadqiqotlari
natijalari keltirilgan barcha namunalar uchun dislokatsiyalarning zichligi va turi aniqlandi va plitalarning
aniq noto'g'ri yo'nalishi burchaklari hisoblab chiqildi. Bog'langan silikon plastinalarning namunalarini sig'im-
kuchlanish xarakteristikalari usuli bilan o'rganish natijalari solishtirildi.
Statsionar bo'lmagan sig'imli chuqur darajadagi spektroskopiya (DLTS, MCTS) usuli bilan bog'langan
kremniy plastinalarining namunalarini o'rganish natijalari keltirilgan[18-19]. n-p tipli kremniyning tarmoqli
oralig'idagi dislokatsiya tarmog'ining darajalari parametrlari aniqlanadi: energiya holati va tutilish kesimlari,
dislokatsiya tarmog'ining aniqlangan darajalarini ikkita asosiy guruhga birlashtirish mumkin: faollashtirish
energiyasi taxminan 0,1 eV bo'lgan sayoz va faollashtirish energiyasi 0,2 eV dan yuqori bo'lgan chuqurlar
uchun.
n-p tipidagi namunalardagi tarmoqli bo'shlig'idagi darajalarning energiya pozitsiyalarining mos kelishi
dislokatsiya tarmog'ining kichik darajalarida aniqlangan kontsentratsiyasining monotonik bo'lmagan xatti-
harakati n- va p-tipli namunalar uchun ham bog'langan plitalarning noto'g'ri yo'naltirish burchagi ortishiga
olib keladi[20]. Kichkina noto'g'ri yo'naltirilgan burchaklarda (3° gacha) DLTS cho'qqisi amplitudasi
noto'g'ri yo'naltirish burchagi ortishi bilan ortadi; burchakning yanada oshishi bilan tepalik amplitudasi
noto'g'ri yo'naltirish burchagi 4° dan ortiq bo'lgan namunalar uchun to'liq bostirilgunga qadar kamayadi.
Foton oralig'ida 0,9°-6° oralig'ida gofretlarning noto'g'ri burilish burchaklari bilan katodolyuminesans
usuli bilan n-p tipli birlashtirilgan kremniy gofretlari namunalarini o'rganish natijalari 0,75-0,89 eV
energiyalari keltirilgan. Kichik burchakli (0,9°-3°) n-p tipidagi namunalarning lyuminesans spektrlari D1
pozitsiyasiga to'g'ri keladigan 0,80 eV energiyadagi asosiy cho'qqining maksimal shakli bilan va energiya
holatiga mos keladigan qo'shni tuzilmalarni namoyish etadi [21]. Dislokatsiya luminesans chizig'ining
taxminan 0,79 eV energiyada qo'shimcha to'liq hal qiluvchi tepalikda bo‟ladi. Lyuminesans spektrlari
assimetrik shaklga ega bo'lib, yuqori energiyalar tomon kuchli tortilishini kuzatish mumkin.
Noto'g'ri yo'naltirilgan burchakning 3° dan ortishi bilan D1 chizig'ining intensivligi pasayadi va spektr
birinchi navbatda taxminan 0,85 eV energiyada keng maksimalga aylanadi, so'ngra 5° dan ortiq noto'g'ri
yo'naltirish burchagida aniq maksimalsiz keng fon signali kuzatiladi[22-23]. Dislokatsiya
lyuminesansiyasining D1 chizig'ining intensivligi va 50-70 K harorat oralig'ida DLTS cho'qqisining kattaligi
o'rtasida korrelyatsiya o'rnatiladi, bu dislokatsiya tarmog'ining sayoz darajasiga (aktivatsiya energiyasi ~ 0,1
eV) to'g'ri keladi. Past burchakli (0,9°–3°) namunalarda bir vaqtning o'zida kuchli D1 luminesans (n- p
tipdagi) va sayoz darajadan yuqori amplitudali cho'qqisi kuzatiladi[24-25].
Xulosa. Radiatsion rekombinatsiyada DLTS o'lchovlarida aniqlangan ko'pchilik zaryad
tashuvchilarning tutilish darajalarining ishtirokini aniqlashning yangi texnikasi taklif qilindi va
ishlab chiqildi. Texnika ko'pchilik tashuvchilar tomonidan Schottky diodining SCR-ga joylashtirilgan
interfeysda lokalizatsiya qilingan energiya darajalarini nazorat ostida to'ldirishning ketma-ket
jarayonlari bilan rag'batlantirilgan lyuminesansni aniqlashga asoslanadi, bu esa elektr impulslari va
ozchilik tashuvchisi in'ektsiya impulslarini ketma-ket qo'llash natijasida kuzatildi. Ro'yxatga olingan
spektral diapazonning luminesansiyasi uchun mas'ul bo'lgan daraja stimulyatsiya qilingan luminesans
intensivligi signallari va DLTS cho'qqisining to'ldirish puls amplitudasiga bog'liqligini solishtirish
orqali aniqlanadi.
Yangi texnikani bog'langan kremniy gofret namunalariga qo'llash natijasida D1
lyuminestsensiyasida kremniyning tarmoqli oralig'idagi dislokatsiya tarmog'ining kichik darajalari (Ec-
0,1 eV va Ev+0,07 eV) ishtirok etishi aniqlandi. Darajalararo energiya va aniqlangan lyuminestsent
zonaning energiyasi o'rtasidagi farqni tushuntirish uchun yangi model taklif qilindi, bu juft
nuqsonlarning neytral darajalarida tutilgan tashuvchilarning Kulon o'zaro ta'sirini hisobga oladi.
Tegishli darajalarni to'ldirish tugagandan so'ng D1 dislokatsiya luminesans intensivligining
parchalanish vaqti konstantasini baholashdan va miqdori ozchilik tashuvchilarning qayd etilgan
oqimidan, birlashtirilgan kremniy gofretlarining interfeysi asosida radiatsion rekombinatsiyaning
samaradorligi baholandi. Radiatsion rekombinatsiyaning samaradorligi taxminan 1% ni tashkil etdi,
SCIENTIFIC REPORTS OF BUKHARA STATE UNIVERSITY 2023/7 (101) 46
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ADABIYOTLAR:
1. Mamatkarimov O.O., Kuchkarov B.H., Sharibaev N.Yu., Abdulkhayev A.A. ―Influence Of The
Ultrasonic Irradiation On Characteristic Of The Structures Metal-Glass-Semiconductor‖ European Journal
of Molecular & Clinical Medicine 2021/1/1 8/01 str 610-618.
2. Kuchkarov B.Kh., Mamatkarimov O.O. ―Influence of ultrasonic action on the rate of charge
formation of the inversion layer in metal-glass-semiconductor structures‖ Vestnik KRAUNC. Fiziko-
Matematicheskie Nauki 2019 y 29/4 str 125-134.
3. Vlasov S.I., Ovsyannikov A.V., Kuchkarov B. Kh. ―Influence of thermo cyclic treatments on SiO2-
Si interface properties in Al-SiO2-n-Si structures‖ Uzbekiston Fizika Zhurnali 2012 y 14/1 стр 20-22.
4. Кучкаров Б.X. ―Влияние ультразвукового воздействия на скорость формирования заряда
инверсионного слоя в структурах метал-стекло-полупроводник Вестник КРАУНЦ‖ Физико-
математические науки 2019y 29/4 стр 125-134.
5. Kuchkarov B.Kh., Mamatkarimov O.O, Abdulkhayev A.A. ―Relaxation dependence of the
capacity of a three-layer structure in the process of charge formation of an inversion layer‖ Scientific and
Technical Journal of Namangan Institute of Engineering and Technology 2019 y 1/6 str 26-33.
6. Zaynobiddinov S., Kuchqarov B. ―Development of effective methods of teaching theoretical
electrotechnics Web of Scientist‖ International Scientific Research Journal 14/4/2022 y 3/4 str 431-437.
7. Kuchkarov B., Abdulkhayev A. ―Factors providing the efficiency of semiconductor lazers‖
Scientific and Technical Journal of Namangan Institute of Engineering and Technology 2022 y 3/5 str 48-52.
8. Vlasov S.I., Saparov F.A., Kuchkarov B.Kh. ― Effect of the semiconductor-insulator interface on
the characteristics of the metal-insulator-semiconductor structures ‖ Uzbekiston Fizika Zhurnali 2009 y 11/3
стр 203-206.
9. Kuchkarov B.H., Mamatkarimov O.O., Abdukarimov A.A., Khalmirzayev A., and D.M.
Mirtojiyeva ―Influence of All-Round Compression on Formation of the Mobile Charge in Lead-Borosilicate
Glass Structure‖ AIP Conference Proceedings 2432, 030039 (2022); https://doi.org/10.1063/5.0089980
2432, 030039 © 2022 Author(s)..
10. Кучкаров Б.Х., Кахаров М.―МДП-структура и ультразвук‖ Экономика и социум 2019 г. 12/
(67) стр 623-626.
11. Nazirov D.E., Vlasov S.I., Kuchkarov B. Kh., Bobokhuzhaev K.U. ―Influence of gadolinium on the
electric properties on the interphase boundary of silicon–silicon oxide‖ Science and world 9/2013y 12/88
str 26-28.
12. Маматкаримов О.О., Хамидов Р.Х., Жабборов Р.Г., Туйчиев У.А., Кучкаров Б.Х.
―Релаксационные изменения подвижности и концентрации носителей заряда в Si с глубокими
примесными уровнями при воздействии импульсного давления‖ Физическая инженерия поверхности
2012.
13. Qo‘chqarov B. X., Nishonov A., Qo‘chqarov X.O. ―The effect of tunneling current on the speed
surface generation of charge carriers‖ Scientific Bulletin of Namangan State University 2019y 1/7 str 3-6.
14. Kuchkarov B., Mamatkarimov O., Abdulkhayev A., ICECAE IOP Conf. Series: Earth and
Environmental Science 614 012027 ―Influence of the ultrasonic irradiation on characteristic of the
structures metal-glass-semiconductor‖, (2020) y. Paper ID 116.
15. Qo‘chqarov B.X., Nishonov A., Qochqarov X.O., Scientific bulletin of Namangan State
University, ―The effect of tunneling gurrent on the spedd surface generation of charge garries‖, (2020)y.
1(7), 3-6.
16. Vlasov S.I., Nazirov D.N., Kuchkarov B.K., Bobokhujayev K.U., ―Influence of all-round
compression on formation of the mobile charg in Iead-borosilicate qlass structure‖. ―Uzbekiston Fizika
Zhurnali‖, (2014) y. 3(16), 231-233.
17. Kuchkarov B.Kh., Mamatkarimov O.O., ―Influence of ultrasonic action on the rate of charge
formation of the inversion layer in metal-glass-semiconductor structures‖ Vestnik KRAUNC. Fiziko-
Matematicheskie Nauki, (2019) y. 4(29), 125-134.
18. Vlasov S.I., Ovsyannikov A.V., Ismailov B.K., Kuchkarov B.H., Effect of pressure on the
properties of Al-SiO₂ -n-Si<Ni> structures. ―Semiconductor Physics Quantum Electronics &
Optoelectronics‖, (2012) y. 2(15), 166-169.
SCIENTIFIC REPORTS OF BUKHARA STATE UNIVERSITY 2023/7 (101) 47
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EXACT AND NATURAL SCIENCES
19. Vlasov S.I., Nazyrov D.E., Kuchkarov B.Kh., Bobokhujayev K.U. ―Influence of all-round
compression on formation of the mobile charge in lead-borosilicate glass structure‖ Uzbekiston Fizika
Zhurnali 16/3 cтр 231-233.
20. Vlasov S.I., Saparov F.A., Kuchkarov B.Kh. ―Effect of the semiconductor-insulator interface on
the characteristics of the metal-insulator-semiconductor structures‖ Uzbekiston Fizika Zhurnali 2009 y. 11/3
str. 203-206.
21. Abdulazizov B.T., Gulyamov G., Baymatov P. J., Inoyatov Sh. T., Tokhirjonov M. S. and Kh. N.
Juraev//Peculiarities of the Temperature Dependence of the Chemical Potential of a Two-dimensional
Electron Gas in Magnetic Field// SPIN Vol. 13, No. 1 (2022) .pp (2-7),
https://doi.org/10.1142/S2010324722500023.
22. Abdulazizov B.T. /Cyclotron mass of an electron in strong magnetic fields in a wide InAs
quantum well/ Eurasian Journal of Physics and Functional Materials (2022), 6(1), pp 32-37,
doi.org/10.32523/ejpfm.2022060103.
23. Gulyamov G., Abdulazizov B.T., Baymatov P.J. Three-band simulation of the g-factor of an
electron in an InAs quantum well in strong magnetic fields .Journal of Nanomaterials, Volume (2021),
Article ID pp (559-563), https://doi.org/10.1155/2021/5542559.
24. Baymatov P.J., Abdulazizov B.T. Concentration dependences of the electron effective mass ,
Fermi enerjy, and filling of subbands in doped InAs/AlSb quantum wells.Украинский Физический Журнал.
Ukr. J. Phys.2017. Vol. 62, No. 1, стр 46-50, https://doi.org/10.15407/ujpe62.01.0046.
25. Gulyamov G, Abdulazizov B.T. On the thermodynamics of a two-dimensional electron gas with
non-parabolic dispersion. World Journal of Condensed Matter Physics.pp 294-299.
doi: 10.4236/wjcmp.2016.64028.
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УДК 53.082
Abstract: A number of laws and orders are being adopted in order to grow fruits and vagetables, store
them and process them in time.Therefore, it is necessary to properly organize the collection, storage and
processing of agricultural products, to build new modern warehouses and processing plants, and to apply
science and technology ans advanced technologies in this regard, it will be appropriate to study the
achievements of foreign experience and widely introduce them to production.
Keywords: packaging materials, aseptic packaging, aluminum containers, innovative technologies,
milk and packaging of milk products.
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ва бир хил қадоқланган ҳар қандай миқдордаги мева-сабзавотлар партия ҳисобланади. Хом ашѐлар
тараларда келтирилганда ҳар бир транспортдаги, ҳар бир 100 дона тарадан ўртача намуна учун уч
донадан тара ажратиб олинади. Агар автомобилда (трактор тележкаларида) 100 донадан ортиқ
таралар бўлса, у ҳолда ҳар бир ортиқча 50 донасидан яна битта дантара олинади. Сўнгра ҳар бир
ажратиб олинган идишдан (юқорисидан, ўртасидан ва пастидан) камида 10% мева ва сабзавотлар
олинади. Ажратиб олинган маҳсулотлар ўзаро аралаштирилиб, улардан камида 10 кг миқдорида
ўртача намуна олинади. Карам, лавлаги ва сабзилар уюм ҳолида келтирилганда, ҳар бир уюмдан
(юқорисидан, ўртасидан ва пастидан)
Стандартларга мувофиқ барча кўрсаткичлар бўйича ўртача намуналар текширилади ва анализ
қилинади (ҳар бир маҳсулот учун алоҳида стандарт мавжуд). Агар маҳсулотлардаги яширинча
камчиликлар аниқланиши лозим бўлса, мисол учун пиѐзнинг буғиз чириш касаллигини аниқлаш учун
ўртача намунадан камида 50 пиѐз кесилади. Стандартлар ѐки техник шартларда кўрсатилганидек
ташхис натижалари 0,1 аниқликкача фоизларда ифодаланади. Барча кўрсаткичларнинг йиғиндиси 100
% ни ташкил этиши керак. Бунда илдиз меваларга ѐпишган тупроқлар кўрсаткичлар йиғиндисига
кирмайди[2]. Узум, мева, резавор мева ва сабзавотларни ташиш ва сақлашда турли қутилардан
фойдаланиш. Олманинг сақлашга чидамлилиги уни сақлашда пишиб етилиш хусусияти билан
аниқланади. Олманинг эртапишар навлари кам муддатга, кечки навлари эса 7-8 ойгача сақланиши
мумкин. Олма сақлаш учун яшикларга жойлаштирилади. Бунда олма қоғозга ўралса яхши сақланади.
Олма яшикларга жойлаштирилганда улар орасига қоғоз ѐки қиринди солинса ҳам бўлади. Яшиклар
омборга девор томондан 25-30 см, яшиклар орасида икки метрли йўл қолдирилиб жойлаштирилади.
Бир тахда 7-8 та яшик бўлади. Энг юқоридаги яшик билан омбор шипининг орасида 50-60 см қолиши
керак. Олма солинган яшиклар тахларга шахмат усулида учтадан ва жуфт-жуфт қилиб
жойлаштирилади. Тахларга нави, сорти, сифати, каттакичиклиги бир хил бўлган маҳсулот жойланган
яшиклар териб қўйилади. Шуни таъкидлаб ўтиш керакки, унча пишмаган олма паст ҳароратда пишиб
етилмайди, акс ҳолда улар қаттиқлашиб, таъми ва хушбўйлиги ўзгармайди. Шу сабабли, омборда
ҳавонинг ҳароратини олманинг пишганлигига қараб ўзгартириб туриш лозим. Олманинг совуққа
чидамли навлари-1-2 0 ҳароратда сақланади. Бундай олмалар иссиқ ҳароратда узоқ вақт сақланмайди.
Пепин шафран, Қандил синап, Ренет Симиренко, Гольден делишес, Бойкен, Ренет Кичунова, Сари
синап, Розмарин каби олма навлари совуққа чидамли ҳисобланади. Олманинг совуққа чидамсиз
навлари 2-4 0С да сақланади. Март, Суворовец, Апрел, Жонатан, Старкинг, Антоновка, Ренет
шампан, Оддий антоновка навлари совуққа чидамсиз навлар жумласига киради. Олмани сақлашда
ҳавонинг нисбий намлиги 85-95% бўлиши мақбул ҳисобланади. Омборни совитишга сақлаш
ҳароратига етгунча ҳавони жадал аралаштириб туриш орқали эришилади, бунда тахлар орасида ҳаво
оқимининг тезлиги 0,2-0,3 м/сек бўлиши тавсия қилинади. Олмани омборда сақлаш вақтида газ
муҳитини бошқариш муҳим ҳисобланади. Бунда айниқса паст ҳароратга чидамсиз олмани сақлашда
фойдаланиш яхши самара беради. Одатда олма дарахтининг пастки шохларидан йиғилган мевалар
яхши сақланади. Шу сабабли улар алоҳида териб олинади ва сақлашга ҳам алоҳида жойланади. Олма
узилгандан сўнг 4-8 соатдан кечиктирмасдан мева омборига олиб келиниши керак. Олмани
сақлашдан олдин улар махсус бўлмаларда совитилади. Ҳар куни мева омбори бўлмаси сиғимининг
10-15% олма билан тўлғазилади. Бўлма 7-10 кун деганда бутунлай тўлғазилади. Бўлмаларда ҳаво
аста-секин совитилиб 4-6С га етказилади, кейин эса нав учун керакли бўлган ҳарорат даражасида
қолдирилади. Олий ва биринчи навли олмалар узоқ муддатга, иккинчи ва учинчи навли олмалар 2-3
ой сақлашга қўйилади. Улар яшик, картон қути ва контейнерларда сақланади. Меваларни
контейнерларда сақлаш омборнинг 1 м3 ҳажмидан самарали фойдаланишни таъминлайди. Бунда 1 м3
фойдали ҳажмда мевалар яшикларда сақланганда унинг зичлиги 250-300 килограмм, контейнерларда
400 килограммни ташкил қилади. Олмани сақлашда уларни полиэтилен плѐнкаларга жойлаштириш
кенг қўлланилмоқда. Бунда сиғими 1-3 килограмм полиэтилен халтачалардан фойдаланилади. Бундай
халтачалар ичида 1,5-2 ой ичида кислороднинг миқдори 14-16% га, карбонат ангидрид эса 5-7% га
етади. Полиэтилен халтачаларни омборга жойлаштиргач, уларнинг оғзи икки-уч кун очиб қўйилади
олма совитилгандан сўнг уларнинг оғзи ѐпилади. Полиэтилен халтачалар контейнерларга
жойлаштирилган ҳолда омборларга жойлаштирилади. Олмани сақлашда полиэтилендан ясалган
контейнерлардан фойдаланиш яхши самара беради. Бунда 600-800 кг мева сиғадиган контейнерлар
қўлланилади. Полиэтилендан ясалган контейнерларга газ муҳитини бошқариш учун махсус
туйнуклар қўйилади. Олма навининг хилма-хиллиги уни сақлашни анча мушкуллаштиради. Чунки
ҳар бир нав учун маълум сақлаш тартиби талаб қилинади. Сақлаш даврида олмани кўздан кечириб
туриш керак. Олма жойлаштирилган яшиклар ҳар ойда бир икки марта қараб чиқилади. Сақланадиган
SCIENTIFIC REPORTS OF BUKHARA STATE UNIVERSITY 2023/7 (101) 51
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олмада нуқсон бўлса, улар қайтадан сортларга ажратилади. Нокнинг сақлашга чидамли навларини 4-
5 ой, кузги навларини эса 1,5-2 ой сақласа бўлади. Нок олмага нисбатан тез уриниб қолади, шу
сабабли уни узишда ва яшикларга жойлашда эҳтиѐткорлик билан ишлаш талаб қилинади. Нок одатда
пишиб етилиш олдидан узилиб, тоза ва қуруқ яшикларга жойлаштирилади. Яшиклар тагига қоғоз
ѐйиб қўйилади, қоғознинг иккинчи учи нокнинг устига ѐпилади. Қоғоз устига қиринди сепилади ѐки
картон ѐпилади. Нокни шахмат усулида жойлаштириб қатор орасига қиринди сепиш ҳам мумкин.
Яшиклар худди олма сингари тахт қилиб қўйилади. Газ муҳити бошқарилиб туриладиган омборларда
нок 300-350 килограммли контейнерларда сақланади. Нокни сақлашда ҳарорат 1-2С гача бўлиши
мақбул ҳисобланади. Кўпинча бу ҳароратда ўта кечпишар навлардан терилган мевалар жуда секин
етилади ва сақлаш муддатининг охиригача рангини йўқотмай қаттиқ ҳолда бўлади. Бундай нокларни
савдога жўнатишдан аввал 4-7 кун давомида 15-20С да сақлаб етилтириш лозим. Омборда ҳавонинг
нисбий намлиги 85-90% бўлиши керак. Шунга эътибор бериш керакки, омборда ҳаво ҳароратининг
тез-тез ўзгариб туришига йўл қўймаслик лозим, акс ҳолда мевалар тез етилиб қолиши мумкин бундай
нокни узоқ вақт сақлаб бўлмайди. Нокни бошқариладиган газ муҳитида узоқ вақт сақлаш мумкин.
Бунда кислороднинг миқдори навлар бўйича 2-3%, карбонат ангидриднинг миқдори 1-5% гача
бўлиши уларнинг сифатли сақланишини таъминлайди. Беҳи одатда ҳаво қуруқ пайтида териб
олинади. Териш пайтида унинг устидаги туки сақланиб қолиши муҳим ҳисобланади. Тук беҳининг
сақлашга чидамлилигини оширади. Беҳи сақлаш учун яшикларга жойлаштирилганда тагига коғоз
тўшалади ва ораларига қиринди солинади. Беҳи 35 кг яшикларга ѐки контейнерларга (газ муҳити
бошқариладиган омборларда) жойлаштирилади. Беҳини сақлашда ҳаво ҳарорати 0-1 0С, нисбий
намлиги 85% бўлган омборларда сақланади. Данакли меваларни сақлаш. Данакли меваларнинг
сақлашга чидамлилиги паст бўлиб, улар ўзидан сувни тез йўқотиб, сўлийди, шу билан бирга
касалликларга тез чалинади. Ўрик сақлаш учун сал ғўрароқ, эти тиғиз, мазаси навига хос бўлиб
етилган пайтида узилади. Ўрикни иложи борича банди билан бирга узиш керак. Йирик ва ўртача
катталикдаги ўриклар тўғри қаторларга терилиб, майдалари эса тўкма қилиб яшикларга жойланади.
Яшик тагига қиринди солинади ва устига қоғоз тўшалади унинг устига ҳам қиринди сепилади. Ўрик
0°С ҳароратда ва нисбий намлиги 85-95% бўлган. шароитда сақланади. Бундай шароитда ўрикни 1-
1,5 ой сақлаш мумкин. Ҳаво ҳарорати 17-25С бўлган омборларда ўрикни 8-10 кун сақлаш мумкин.
Бошқариладиган газ муҳитида ўрикни 1,5-2 он сақлаш мумкин. Бунда карбонат ангидриднинг
миқдори 3-5%, кислороднинг миқдори 2-3% ва азотнинг миқдори 92-95% бўлишилозим. Олхўрини
сақлаш учун яшикларга тўғри қатор қилиб жойлаштирилади. Майда олхўри яшикка тўкма қилиб
солинади. Олхўри ҳарорати 0-1°С, нисбий намлиги 90-95% бўлган омборларда сақланади. 1°С
ҳароратда сақланганда маълум вақтдан кейин унинг эти қораяди. Полиэтилен халтачаларда -1С
ҳароратда 2-3 ой сақлаш мумкин.
Хулоса. Бошқариладиган газ муҳитида сақлашда унинг таркиби қуйидагича бўлиши тавсия
қилинади: карбонат ангидрид-3-4%, кислород 3%, азот 93- 94%. Саноатда №1 номи билан аталувчи
яшикнинг сиғими 8 кг. Яшиклар тахланадиган яшикнинг узунлиги 1,2 м, эни 0,8 м. Яшикларни
тахлаш баландлиги 3-4 м, яъни битта таглика 16-20 дона яшик тахланади. Омборнинг фойдаланиш
коэффициенти 85%. Сабзавот ва мевалар доимий омборларда хирмонларда тўкма ҳолда,
контейнерларда, ѐғоч яшикларда ѐки қопларда сақланади.
АДАБИЁТЛАР:
1. Bix L., Rifon N., Lockhart H., de la Fuente, Javier (2003). "The Packaging Matrix" (PDF).
1536266. IDS Packaging. Retrieved 2009-12-11.
2. Shaw Randy. "Food Packaging: 9 Types and Differences Explained". Assemblies
Unlimited.Retrieved 19 June 2015
3. Glushenkova A. I., Sagdullaev S. S., & Davlyatova M. B. (2017, September). Oil cake of
sesamiumAcad. InS. YU. Yunusov Institute of the chemistry of plant Substances AS RUz «12 th International
Symposium on the Chemistry of Natural Compounds (p. 202).
4. Baxtiyorovna D. M. (2022). Food safety management. Texas Journal of Multidisciplinary Studies, 8,
64-67.
5. Bakhtiyarovna D. M., Shakhidovich, S. S., Khalilovich, M. K., Mukimovna, A. Z., & Karimovna, Y.
N. (2020). Investigation Of The Effect Of Plant Extracts On The Rheological Properties Of Wheat
Dough. The American Journal of Agriculture and Biomedical Engineering, 2(09), 41-47.
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EXACT AND NATURAL SCIENCES
6. Davlyatova M. B., Shernazarova D. S., & Rashidova G. N. (2022). Studying the effect of plant
extracts on the rheological properties of wheat flour. Science and Education, 3(12), 398-405.
7. Davlyatova M., & Rashidova g. (2022). Получение целебных национальных хлебобулочных
изделий с добавками по стандарту. Science and Innovation, 1(a5), 135-149.
8. Bahtiyarovna D. M., Shakhsaidovich S. S., Khalilovich M. K., Mukimovna A. Z., & Karimovna Y. N.
(2020). Nutritional And Biological Value Of National Breads With The Use Of Vegetable Extracts. The
American Journal of Agriculture and Biomedical Engineering, 2(09), 85-96.
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LINGUISTICS
UO„K 81.1
Annotatsiya. Dunyo tilshunosligida somatizmlar alohida leksik-semantik guruh sifatida tan olinib,
ularning struktur-semantik hamda kommunikativ-pragmatik jihatlari, nutqda voqelanish mexanizmlari,
ularning translotologik xossalari keng ko‗lamli tadqiqotlarda yoritilgan. Shu asosda o‗zbek tilida ham
somatizmlarning milliy-madaniy, gender, stilistik-funksional, kognitiv-pragmatik, denotativ va konnotativ
xususiyatlarini belgilash, chog‗ishtirma tilshunoslik, tarjimashunoslikning ilmiy-amaliy asoslarini yanada
mustahkamlashga xizmat qiladi, til va nutq, xalq tili va adabiy til, bir tildan boshqa tilga somatizmlarni
o‗girish tamoyillarini aniqlash imkonini beradi.
Kalit so„zlar: somatizmlar, qiyosiy tadqiqotlar, leksik birliklar, iboralar semantikasi, mikro semantik
maydon, somatik frazeologizm, frazeologik birliklar, chog‘ishtirma tilshunoslik.
Abstract. In the world of linguistics, somatisms are recognized as a separate lexico-semantic group,
their structural-semantic and communicative-pragmatic aspects, mechanisms of implementation in speech,
their translotological properties are covered in a wide range of studies. On this basis, the definition of
national-cultural, gender, stylistic-functional, cognitive-pragmatic, denotative and connotative features of
somatisms in the Uzbek language serves to further strengthen the scientific and practical foundations of
comparative linguistics, translation studies, allows us to identify the principles of translation of somatisms
from one language to another, language and speech, folk language and literary language.
Key words: somatisms, comparative studies, lexical units, semantics of phrases, microsemantic field,
somatic phraseology, phraseological units, comparative linguistics.
ADABIYOTLAR:
Abstract. This article discusses the linguaculturological features of military aviation terminology,
discusses the linguistic features and cultural influences that serve to shape communication in this field.
Linguaculturological features of aviation terminology are shown in the terms, standardized phrases,
abbreviations used in this field, based on examples. It has been noted that linguistic and cultural dynamics
play an important role in ensuring effective communication in aviation. Today, the field of
linguaculturological studies, which is related to the concept of language and culture, which is newly studied
in linguistics, is being researched by many linguists. At this point, in this article, the new field of linguistics,
linguaculturological studies, is worth attention as it focuses on the linguistic and cultural characteristics of
the terms in aviation terminology. Studying these features allows you to understand the ins and outs of
aviation terminology, which improves communication in industry and safety in the Air Force.
Keywords: linguoculturological feature, aviation terminology, term, special word, technical accuracy,
linguistics, communication
These are just a few examples of the jargon used in military aviation English. These terms are specific
to the field and are used to ensure efficient and effective communication within the military aviation
community.
Linguaculture in military aviation refers to the specific language and cultural aspects that are unique to
the military aviation community. It encompasses the specialized terminology, communication protocols, and
cultural norms that are essential for effective communication and collaboration within this field. Here is a
detailed explanation of linguaculture in military aviation:
1. Terminology: Military aviation has its own set of specialized terms and acronyms that are used to
describe various aspects of aircraft, equipment, procedures, and missions. These terms are often
abbreviations or acronyms that are unique to the military aviation community. For example, terms like
REFERENCES:
Abstract: This article is devoted to many languages lean on ancient Greek and Latin written
languages that later other languages in the XIX century were analyzed and studied separately. Linguistic
structuralism, advanced by De Saussure and E.Sepir later divided into generative linguistics and functional
linguistics; Western linguistics later influenced Russian. The Russian language influenced on the
development of Uzbek.
V. Humbolt, I. Filmore, L. Talmy, J.Lakoff, J.Austin and B.Whorf and others, who made significant
contribution to the formation, popularization and development of these trends in Western linguistics as their
resulted in the appearance of linguistic expertize, neurolinguistics, artificial intelligence. In the Uzbek
language tense category depends on the grammatical tense, temporal paradigm nuclear. Temporality is the
collection of elements in different layers that farm tenses. A. Gulomov, A. Hojiev and their follower‘s works
are also significant. The comparison of the conclusions shows that the category of tense in English and
Uzbek can be considered a central part of the functional – semantic field of temporality.
Key words: the evolutionary stage, content essence, confirming, morphological level, syntactic level,
functional-semantic field, temporality.
Annotatsiya: Ushbu maqola qadimgi yunon va lotin yozuvlariga asoslangan ko‗plab tillarga
bag‗ishlangan bo‗lib, keyinchalik XIX asrda o‗sha tillar alohida tahlil qilingan va o‗rganilgan. De Sossyur
va E.Sepir tomonidan ilgari surilgan lingvistik strukturalizm keyinchalik generativ tilshunoslik va funksional
tilshunoslikni keltirib chiqardi; G‗arb tilshunosligi keyinchalik rus tiliga, rus tili esa o‗z navbatida o‗zbek
tilining rivojlanishiga ta‘sir ko‗rsatdi.
G‗arb tilshunosligida bu yo‗nalishlarning shakllanishi, ommalashishi va rivojlanishiga katta hissa
qo‗shgan V.Gumbolt, I.Filmore, L.Talmi, J.Lakoff, J.Ostin va B.Uorf va boshqalarning xizmati tufayli yangi,
ya‘ni lingvistik ekspertiza, neyrolingvistika, sun'iy intellekt yuzaga chiqdi. O‗zbek tilida zamon kategoriyasi
grammatik zamon, temporal paradigma yadrosiga bog‗liq. Temporallik – zamonlarni ifodalovchi turli
qatlamlardagi elementlarning to‗plami hisoblanadi. A.G‗ulomov, A.Hojiyev va ularning izdoshlari ijodi ham
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ahamiyatlidir. Sanab o'tilgan faktni taqqoslash shuni ko‗rsatadiki, ingliz va o‗zbek tillaridagi zamon
kategoriyasini temporallikning funktsional-semantik maydonining markaziy qismi deb hisoblash mumkin.
Kalit so„zlar: rivojlanish bosqichi, mazmun mohiyati, tasdiqlash, morfologik daraja, sintaktik daraja,
funksional-semantik maydon, temporallik.
These two tenses are formed by suffix and ablaut. Essentially, the present indefinite tense does not
have a definite time limit, while the past indefinite tense means that an action or situation happened once and
did not happen again. Continuous and perfect tenses, on the other hand, differ in that they have a clear time
limit and the possibility of repetition of the action.
The present continuous tense is polysemic, meaning that the action-state is happening during speech,
that the action-state is intended to happen, or that the action-state is repeated over a certain period of time is
understood from the context of the text. The scope of the past continuous tense is slightly narrower - this
construction expresses that the action continued or was repeated for a certain period of time in the past. In
the future continuous tense, the semantic narrowing is more obvious, because this tense form indicates only
an action, a state, which is planned to happen at some time in the future.
The perfect tenses are formed by the simple and ablaut forms of the auxiliary verb, as well as by
combining the verbs that have changed to the adjective form by means of suffixes and ablaut. And action
determines the degree of completion of the situation in relation to the time of speech.
The category of English tenses, which shows a combination of analytical and synthetic forms, has
been studied mainly within the framework of the morphological level. Then, the use of these constructions in
the structure of the compound sentence formed the conclusion that the syntactic level also serves to express
the meanings of time. The meanings of the vid (aspectuality) category were also studied within the
framework of these forms, and the time meaning of the elements of the lexical or phonetic level was not
studied separately. So, time is defined as a morphological category in English linguistics, the question of
analyzing it in a wide scope as a functional-semantic field, and determining the mutual relations of paradigm
elements remains open.
Uzbek linguistics overcame the milestones of more than two centuries of scientific development
relatively late. In spite of the fact that practical areas such as lexicography and translation have developed in
classic Turkish linguistics, due to various political, social and economic crises, traditional theoretical
grammar issues began to be reviewed at the beginning of the last century. Formal Uzbek linguistics was
formed and developed under the influence of Russian linguistics. Therefore, most linguistic elements and
their speech accidents are classified, divided into components, like their counterparts in the Russian
language. After all, the main goal of traditional linguistics is to define the standards of language use, and the
conclusions of another school of linguistics are based on these standards. If the language taken as the basis is
related by etymology, the norms formed by formal linguistics are not denied. Conclusions made as a result of
the coordinated study of unrelated languages, such as Uzbek and Russian, lose their relevance over time due
to mistakes. However, the tendency to establish a traditional Russian school of linguistics has given two
advantages to formal Uzbek linguistics as a school. Firstly, during the process, theoretical conclusions in
REFERENCES:
Annotatsiya: Ushbu maqolada til, madaniyat, fol'klor uchligi o‗zaro ta'sir aspektlarining ilmiy-
nazariy tahlili keltirilgan.
Ma'lum-ki, tilning ko'p ma'noliligi turli xil sun'iy va tabiiy kommunikativ vositalarni anglatadi.
Bundan tashqari, har qanday til bir tomondan, ong va tafakkur bilan, ikkinchi tomondan, madaniyat bilan
bog‗liq. Ushbu tushunchalar bir biri bilan ko‗p jihatdan o‗zaro aloqada bo‗ladi va turli kontekstlarda
funksional vazifani bajarishi lingvomadniy xususiyatlarga ko`ra asoslanadi.
Madaniyatning turli xil belgi xususiyatlari milliy madaniyatlar, umuminsoniy va jahon madaniyati
nuqtai nazaridan o‗rganiladi. Madaniyatning ommabon, ommaviy va elita (sara) shakllari ajratib
ko‗rsatilgan. Shuningdek, ogʻzaki nutq va og'zaki til folklorning eng muhim belgilari sifatida folklorning
sotsiologik, badiiy, lingvistik va kommunikativ nazariyalari aniqlanadi. Birinchi ikki holatda folklor
terminini keng ma‘noda, oxirgi ikkitasida esa tor ma‘noda qoʻllanilish variantlarini tahlil etilаdi. Mazkur
uchlik til va madaniyat, til va xalq mentaliteti, til va etnos o'rtasidagi munosabatlarni organishga imkon
beradi.
Kalit so„zlar: til, kommunikativ mulosot, til va tafakkur, tarixiy va zamonaviy madaniyat,
lingvokulturologiya, badiiy nazariya, lingvistik va kommunikativ nazariya, folklor, xalq ijldiyoti, xalq og‗zaki
ijodiy, verbal va noverbal struktura, etnografik kontekst.
Abstract: This article presents a scientific and theoretical analysis of three aspects of the interaction
of language, culture, folklore.
It is known that the ambiguity of language refers to various artificial and natural means of
communication. In addition, any language is connected on the one hand with consciousness and thinking,
and on the other with culture. These concepts interact with each other in many ways, and their functional
task in different contexts is based on linguistic and cultural characteristics.
Kirish. Til davrlarning bevosita yagona guvohi bo‗lib, ajdodlar tajribasi xalq og‗zaki ijodi namunalari,
jumladan, ertaklarda o‗z aksini topgan. Ma‗lumki, til, xalq og‗zaki ijodi va madaniyat o‗rtasidagi o‗zaro
bog‗liqlik muammolari bugungi kunda dolzarb hamda ustuvor masala hisoblanadi. Buning sababi shunda-ki,
«dunyo haqidagi eng qadimgi g‗oyalar xalq og‗zaki ijodi, mifologiyada o‗rnatiladi va mentalitetning
shakllanishiga ta‗sir qiladi» [25; С.48].
«Til» kontseptsiyasining turli xil ma‗nolari noverbal tillar – imo-ishora tili, yuz ifodalari, shuningdek,
signallar, belgilar va ramzlar tili bilan bog‗liq. Ikkinchi darajali nominativ kontekstda metaforik manoga ega
bo‗lgan ushbu kontseptsiya «san‗at tili» (tasviriy san‗at, musiqa, xoreografiya; rasm va boshqalar) ma‗nosini
ifodalaydi. Keyingi nominativ ma‗nolarning kengayishiga va yangi tillarning (rang, tovush va boshqalar)
paydo bo‗lishiga olib keladi. Ilmiy tilning ikkilamchi nominatsiyasi matematika, geometriya va boshqalar
tilini yaratadi. «Til» terminini tahlil qilar ekanmiz, uning quyidagi ma‘nosini nazarda tutamiz: «Til – fikrni
so‗z bilan ifodalash tizimi, ma‗lum fonetik va grammatik tuzilishga ega bo‗lgan, muloqot vositasi hamdir»
[7]. Shunday qilib, til tizimi tushunchasi til darajalari, til birliklari, paradigmatik va sintagmatik, til belgisi,
sinxron va diaxron tushunchalarini o'z ichiga oladi. Til tizimi: yuqori darajadagi lisoniy birliklar pastki
darajadagi til birliklarining kombinatsiyasidan iborat ierarxik tuzilishga ega.
Ma‗lumki, til va tafakkur o‗rtasidagi munosabat tilshunoslik va falsafaning «abadiy» muammolaridan
biridir. V.Gumboldt birinchi bo‗lib til nafaqat muloqot vositasi, balki fikrlash jarayonini amalga oshirishning
zaruriy sharti ekanligini ta‘kidlaydi, uning fikricha, «til tafakkurni shakllantiruvchi organdir, shuning uchun
ham intellektual faoliyat va til bir butundir» [7; С.75].
E.Sapir bu borada o‗ziga xos fikr bildirib, til tafakkurga tinimsiz ergashib borib, garchi uning shakli va
tuzilishi yashirin bo‗lsa ham, faqat ma‗lum sharoitlarda talqin etilishi mumkinligini ta‗kidlaydi. Umume‗tirof
etilgan, sodda dunyo qarashdan farqli o'laroq, u «til ilgarilan tayyor fikr natijasiga qo‗yilgan yorliq emas»
degan xulosaga keladi» [20; С.36].
Yana bir til tadqiqotchi B.Uorf, tilni inson faoliyatining turli ta‗sirini undan foydalanishning alohida
holatlarida emas, balki uning umumiy qonuniyatlarida va muayyan hodisalarni kundalik baholashda, deb
biladi. Uning fikricha, har qanday til tizimining asosi (ya‗ni grammatika), faqat fikrlarni amalga oshirish
uchun vosita bo‗lmaydi. Aksincha, grammatikaning o‗zi fikrni shakllantiradi, «insonning aqliy faoliyati
uchun dastur va yo‗l-yo‗riq, taassurotlarini tahlil qilish va ularni sintez qilish vositasi sifatida maydonga
chiqadi» [20; С.36]. Klassik tilshunoslikda til va tafakkurning o‗zaro bog‗liqligi masalalari ham uzoq
vaqtdan beri munozara va mulohaza mavzusiga aylandi.
E.Sepir va B.Uorf g‗oyalariga ularning kontseptsiyalarining individual qoidalarini obyektiv deb tan
olishdan tortib, butunlay rad etishgacha qarama-qarshi munosabat mavjud. Shunday qilib, V.Panfilov «til,
aslida, insonning bilim faoliyati va tafakkuriga ma‗lum darajada ta‗sir qiladi», deb ta‗kidlaydi [17; С.5].
A.Potebniyaning fikricha, tilni tushunmaslik mumkin emas, lekin tushunish faqat so‗zlar orqali amalga
oshishi mumkin [18; С.15]. K.Bekkerning fikricha, tilning genezisi va uning tafakkur bilan o‗zaro bog‗liqligi
masalasini hal qilish tilni tirik organizm sifatida qabul qilish demakdir[1; С.116]. B.Gumboldtning fikricha,
tilda mavjud barcha qarama-qarshiliklarga nutq va tushunish, subyekt va obyekt, ilohiy va insoniy
munosabatlarga ko‗z yumishni anglatadi [7; С.75].
A.Potebnyaning ta‗kidlashicha, «onglilik o‗rniga ma‗naviyatni qabul qilsak (buni so‗zlarsiz amalga
oshirish mumkin emas), shunda biz tilsiz ma‗naviyat mumkin emasligini va uni ifodalash vositasi sifatida til
o‗z vaqtida birlamchi voqelik ekanligini ko‗ramiz» [19; С.33]. Ehtimol, A.A.Potebniyanining bunday fikrlari
V.Gumboldtning «til xalqning ruhi, xalqning ruhi esa tildir» degan xulosasidan kelib chiqadi.
Bu masala hozirgi tilshunoslar tomonidan butunlay boshqacha ko‗rib chiqiladi. Jumladan,
M.K.Mamardashvili va A.M.Pyatigorskiy til va tafakkur o‗rtasidagi munosabatga oid ong va metaongning
shakli, tuzilishi kabi tushunchalarni kiritadi: «Til va ong shu obyektlar haqida ma‗lum g‗oyalar (biz ularni
metaobyekt deb ataymiz) mavjud bo‗lgandagina bir-biri bilan o‗zaro ta‗sir qilishi mumkin. Ya‗ni, ong
ilgaridan mavjud, chunki unga ishora qiluvchi narsa bor. Til, o‗z navbatida, til haqida biror narsa bo‗lsa,
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peallashadi» [14; С.34]. Tilshunoslarning ta‗kidlashicha, ong haqida gapirganda, biz ongning lingvistik
«qobig‗ini» uning shakliga «qo‗yib» ololmaymiz. Til bor joyda ong bor, deyish noto‗g‗ri. Biz tadqiqotimizda
ongni talqin qilishda tildan foydalanamiz, degan fikrga tayanamiz, chunki til tafakkurimizda hosil bo‗lgan
tushunchalarni tashqi tomondan ifodalaydi.
Yuqorida tilga olingan mualliflar ongni matnning lingvistik tahlili yordamida amalga oshirish mumkin
emasligini, lingvistik tafakkurda ongning mavjudligi bilan emas, balki uning yo‗qligi bilan ko‗proq bog‗liq
bo‗lgan ayrim strukturalar mavjudligini ta‗kidlaydilar. Ong sohasini tahlil qilishda bunday yondashuv ong
sohasi dunyo obyekti yoki dunyo hodisasi bilan o‗zaro munosabatda «universal kuzatuvchi» maqomini oladi.
Bizningcha, bu fikrni anglashda quyidagi xulosa juda muhim: «Ong tildan o‗zi uchun foydalanmaydi, balki
faqat ruhiyat uchun «til» blan ishlaydi va bu til «lisoniy» ramzlar bilan bir xil maqomga ega» [14; С.145].
Demak, yuqoridagilardan kelib chiqadiki, E.Sapir, B.Uorf va V.Gumboldt kontseptsiyalarida til
«tabiatni ajratish»ning barcha yo'nalishlarini taxmin qiladigan va o‗z asosida fikrlashning muayyan
shakllarini belgilaydigan «qonun chiqaruvchi» rolini bajarishi kerak.
Shuningdek, M.K.Mamardashvili va A.M.Pyatigorskiy, ozaro ta‗sir tushunchalarini ta‗kidlaydilar, til
va ong faqat obyektlarning o‗zlari haqida har qanday g‗oyalar mavjud bo‗lganda o‗zaro bog‗liq bo‗lishi
mumkinligini aytib o‗tadilar.
Umuman olganda, Sh.Safarov ta'kidlaganidek, «insonning kommunikativ va bilishga oid faoliyatida
yagona bir vosita – tildan foydalanish umumbashariy taraqqiyotning muvaffaqiyatini ta'minladi»[4; Б.20].
Tahlil va natijalar. Umumbashariy ijtimoiy o‗zgarishlar davrida madaniyatning funksiyasi ortib
boradi va shu bilan birga, insonning ma‗naviy kamolotiga ta‗sir etuvchi harakatlantiruvchi kuch sifatida unga
e‗tibor qaratilmoqda. Madaniyatning jamiyatdagi o‗rni masalasi, shubhasiz, XX asr muammosi sifatida
belgilanishi mumkin. Turli tarixiy, falsafiy va lingvistik nazariyalar u yoki bu tarzda madaniyatga xos
muammolarga turli jihatlar bilan bog‗liq. Til va madaniyat o‗zaro bog‗liqligini o‗rganishda ushbu
tushunchaga batafsil to‗xtalib o‗tish lozim. Ma‗lumki, «madaniyat» tushunchasiga ko‗plab ta‗riflar mavjud.
Madaniyatning tuzilishi va mazmuni turlicha talqin qilinadi, bu uning tarkibiy qismlariga, shuningdek, tadqiq
etilayotgan muammolar va shu masalalar bilan shug‗ullanayotgan ilmiy maktablarga bog‗liq. Madaniyatni
aniqlashga ijtimoiy yondashuvning asosi, biz ko'rib turganimizdek, ushbu hodisani biologik va fiziologik
xususiyatlaridan farqi alohida shaxsga emas, balki muliqot bilan bog'liq bo'lgan odamlar guruhiga xos deb
talqin qilishni anglatadi [9; С.85].
Madaniyat tushunchasiga kognitiv yondashuv ham mavjud bo‗lib, u shaxs tomonidan amalga
oshirilayotgan madaniyat lisoniy voqelik, ruhiy jarayonlar va tuzilmalar nuqtai nazaridan talqin qilinishida
namoyon bo‗ladi. Bunday tadqiqotning o‗ziga xos xususiyati madaniyatga bilim sifatida alohida
munosabatni ifoda etadi va u kognitiv bilim [27; Р.36-39], deb ataladi.
Semiotik yondashuv madaniyat orqali dunyoni aks ettiruvchi moddiy belgilarning muayyan tizimi
sifatida talqin qilishda ham farqlanadi, bu esa o‗z navbatida aloqa vositasi sifatida ham qo‗llanilishi mumkin
[13; С.211].
Biroq bizning fikrimizcha, bu ta‗riflar yetarli darajada ochib berilmagan, chunki ularning barchasi
madaniyatning turli jihatlaridan faqat bittasini izohlaydi, madaniyatga bo‗lgan munosabat bilan
chegaralanadi va uni bir butun sifatida belgilamaydi. Masalan, G.V.Elizarova «madaniyat» terminini
aksiologik turga tegishli deb hisoblaydi, birinchi qarashda bu «shaffofdek» ko‗rinadi. Biroq aslida
«madaniyat» kabi murakkab tushunchaga ta‗rif berish juda qiyin [8; С.10]. Maishiy madaniyatning boshqa
ta‗riflari mavjud bo‗lib, uning bu tavsifi «madaniyatni jamiyatda yashayontgan insonlarning turmush tarzi»
tushunchasini alohida lahzalariga e‗tibor bermasdan barcha jihatlarini qamrab olishga qaratilgan.
Turli jamiyatlar madaniyatlari o‗rtasidagi farqlar ularning mazmunida emas, balki bir xil madaniy
hodisaning rivojlanish darajasidagi farqlar sifatida talqin qilinadi, sababi hamma narsaning o‗lchovi
insoniyatning vahshiylikdan taraqqiyot sari o‗sib borishida ko‗rinadi [10]. Jamiyat sivilizatsiya belgilari
jihatidan qanchalik kuchli bo‗lsa, madaniy ma‗noda ham shunchalik rivojlangan va ilg‗or bo‗ladi. Ilgari
madaniyatga ta‗rif berishda barcha jamiyatlarga xos bo‗lgan umuminsoniy hodisa ekanligi to‗g‗risida fikr
yuritilgan edi. Masalan, madaniyatni tushunishga bunday yondashuv E.Taylor asarlarida o‗z ifodasini topgan
bo‗lib, madaniyatni jamiyatda shaxsga xos bo‗lgan bilim, e‗tiqod, san‘at, axloq, huquq, urf-odatlar va boshqa
xususiyatlar, an‗analarni o‗ziga singdiruvchi murakkab shakllanuvchi jarayon sifatida belgilanadi. Biroq biz
bu nuqtai nazarga qo‗shila olmaymiz, chunki sivilizatsiya va madaniyat tengsiz substansiyalardir [8; С.26].
G.V.Elizarov tavsifiga ko‗ra, «bu tushunchalarning ikkalasi ham turli chegaralarga ega» [8; С.10].
Shu bilan birga, E.Sapir madaniyatni «ma‘lum bir jamiyat yaratadigan va fikrlaydigan bir voqelikdir»,
deb taʼriflaydi [20; С.193]. A.Vejbitskaya K.Gerts tomonidan taklif etilgan madaniyat ta‗rifini eng
mukammal ta‘rif, deb hisoblaydi uning fikricha, madaniyat «ramzlarda aks ettirilgan va tarixan
rivojlanayotgan ma‗nolar modeli, shuningdek, jamiyatda qo‘llanilishi natijasida odamlarning hayot haqidagi
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bilimlarini ravshanlashtiradi va kengaytiradi hamda avloddan-avlodga o‗tadigan g‗oyalar tizimini
shakllantiradi» [5; С.289]. G.P.Neshimenko, o‗z navbatida, madaniyatning umumlashtirilgan ta‗rifidan
foydalanishni taklif qiladi, bu termin voqelikning manaviy rivojlanishini anglatadi. U madaniy qadriyatlarni
insonning ma‗naviy faoliyatining namoyon bo‗lishi natijasi sifatida talqin qiladi [26; С.98-132]. Madaniyatni
o‗rganuvchi barcha ilmiy maktablar vakillari ushbu murakkab hodisada tilning asosiy rolini tan oladilar.
Bizningcha, E.Sapirning quyidagi fikri ushbu bahsni boshlab bergan: «madaniyatni boyitishda va uning
tarixiy uzluksizligida tilning o‗rni uning barcha darajalarida ham yuksak, ham primitiv darajada aniq-ravshan
va nihoyatda muhimdir. Ibtidoiy madaniy fondning asosiy ulushi jamiyat ozmi-ko‗pmi aniq shakllangan til
formasida saqlanadi» [20; С.38]. Ma‗lumki, linvomadaniyatda milliy madaniyatlarning o‗ziga xos
xususiyatlarining juda qiziqarli, muhim va murakkab muammosi paydo bo‗ladi. Biroq mavjud bo‗lgan turli
xil milliy madaniyatlarning o‗ziga xos xususiyatlariga qaramay, ularning barchasida umumiy jihat bor, bu
bizga umuman insoniyat madaniyati haqida gapirish imkonini beradi.
Demak, madaniyat – bu inson tomonidan yaratilgan va shu bilan birga insonni yaratadigan, insoniyat
fenomenini o‗zi ishlab chiqaradigan ob‘ektdir. Adabiyot, san'at, falsafa shu ma'noda madaniyatning yeng
shubhasiz tarkibiy qismidir, chunki ular insoniyat tomonidan o‗z-o‗zini anglash va insoniyatni o‗zgartirish
uchun yaratilgan.
Madaniyatning o‗ziga xosligi shundan iborat-ki, har bir millat yoki xalq borliqning universal
tuzilishini alohida nuqtai nazardan ko‗radi, uni G.Gachev «olamning milliy manzarasi», deb ataydi. Ularning
barchasi birgalikda, go‗yo global dunyo sivilizasiyasining variantlari, yagona tarixiy jarayonning yo‗llaridir
[6; С.214].
Har qanday lingvistik manzara va o‗ziga xos «olamning milliy manzarasi» G.Gachevning fikriga
ko‗ra, tarix va kundalik hayot, mentalitet, til va tafakkurning va milliy xarakterning birlashmasini o‗z ichiga
oladi. Bu o‗zaro bog‗langan komponentlarning alohida maxsus tizimidir. Barcha noan‗anaviy hodisalar, shu
jumladan til va etnos ham ijtimoiy va sinfiy tafovutlar, qisqarishlar va bo‗linishlarga bo‗ysunadi. Chunki
har qanday mamlakatning tabiati materiyada yashiringan ma‗nolar bilan to‗ldirilgan matndir» [6; С.146].
Asrlar davomida yer yuzida yashovchi odamlar tabiatning sirlari va xabarlarini ochishga harakat
qiladilar va aynan o‗sha jarayonda ular o‗zlarining madaniyatini shakllantiradilar. Milliy madaniyatlarning
xilma-xilligi umuminsoniy va jahon madaniyatini boyitadi. Boshqa millatlarning milliy madaniyatini bilish
va o‗rganish orqali, inson uni umuminsoniy moddiy va ma‗naviy qadriyatlar bilan bog‗laydi, shu tariqa
o‗zining ichki dunyosini yanada boyib boradi. Milliy madaniyatning ajralmas qismi sifatida xalq og‗zaki
ijodi nihoyatda muhim o‗rin tutadi.
Madaniyatni kim yaratganiga va uning darajasiga qarab, sotsiologlar madaniyatning ommabon,
ommaviy va elita (sara) shakllarini ajratib ko‗rsatishadilar [12; С.270]. Xalq madaniyatida ikki daraja
mavjud – yuqori daraja, folklordan kelib chiqqan va shu jumladan, ertaklar, dostonlar, xalq afsonalari,
qadimiy raqslarda, quyi daraja musiqa, kino va animasiya, adabiyot, bugungi kunda ommaviy axborot
vositalari (shu jumladan, komikslar va Internet), moda, oshpazlik, reklama, sport, turizm, dizayn va boshqa
ko‗plab elementlarni o‗z ichiga olgan pop madaniyatda namoyon bo‗ladi.
Ommaviy madaniyat xalqning yuksak didi yoki ma‘naviy yo‗lini aks ettirmaydi. XX asrning
oʻrtalarida, ommaviy axborot vositalari deyarli barcha mamlakatlar va qitʻalarga kirib borgan, barcha
ijtimoiy qatlamlar vakillari mazkur madaniyatdan foydalanish imkoniga ega boʻlgan bir paytda paydo
boʻlgan. Ommaviy madaniyat ham xalqaro, ham milliylik kasb etadi. U aholining barcha qatlamlari uchun
ularning ta‗lim darajasidan qat‗i nazar tushunarlidir.
Elita yoki yuksak madaniyat jamiyatning eng sara vakillari tomonidan yoki ularning buyrugʻi bilan –
professionallar tomonidan yaratilgan. Uning tarkibiga mumtoz musiqa, adabiyot va nafis sanʻat turlari kiradi.
Bunday san‘at turlari, insonning rivojlanish darajasidan o'nlab yillar oldinda bo‗lganligi bois, Shekspir
sonatasi yoki Leonardo da Vinchi kabilarga xos yuksak madaniyatni qabul qilishi tayyor boʻlmagan odam
uchun idrok etish qiyin.
Yuqorida ta'kidlab o'tilganidek, o'tgan asrning oxiri va yangi asrning boshlari tilni tashkil etishning
turli darajalarida o'rganish sezilarli o'zgarishlar va yangi yo'nalishlar bilan ajralib turadi. Shu bilan birga,
insonning turli tomonlarini ifodalovchi lingvistik usullarni tahlil qilishga qiziqish sezilarli darajada oshadi.
Ushbu o'rganish tilshunoslikning yangi lingvokulturologiya yo'nalishini vujudga keltirdi, chunki «til
madaniyat bilan chambarchas bog'liqi bois o'sadi, u bilan rivojlanadi va uni ifodalaydi» [16; С.9]. Ko'rib
turganingizdek, V.A.Maslova ushbu fikr asosida yangi fan sifatida lingvokulturologiya paydo bo'lganligini
ta'kidlaydi.
Shuni ham ta'kidlash lozim-ki, lingvokulturologiya tilshunoslikning etnologiya, etnografiya va
madaniyatshunoslik kabi tegishli fanlar bilan o'zaro ta'siri natijasidir. Turli madaniyatlarni taqqoslash
muqarrar ravishda milliy o'ziga xos til va madaniyat masalasini muhokama qilishga olib keladi.
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Bir tomondan, tildan tashqari voqelikning o'ziga xos xususiyatlarini aks ettiradi, ular ma'lum bir tilda
so'zlashadigan madaniyat ma'ruzachilari uchun odatiy holga aylanadi; boshqa tomondan, tilni va xususan,
turli xil so'zlarning ma'nosini o'rganish orqali til tashuvchisi dunyoni ona tili prizmasi orqali ko'rishni
boshlaydi va tegishli madaniyatga xos bo'lgan dunyoni kontseptsiyalashga odatlanib qoladi. Lingvistik
tahlilning ushbu bosqichida ma'lum bir etnik guruh madaniyatini yaratish va mustahkamlash jarayonida
tilning faqat shakli va tuzilishini va uning kommunikativ rolini o'rganish tilning haqiqiy rolini ko'rsatadi.
Demak, uning mohiyatini o'rganish uchun tilga mutlaqo boshqacha yondashuv qo'llaniladi va bunda til
nafaqat «aloqa vositasi, balki birinchi navbatda etnik guruh madaniyatining ajralmas elementi» sifatida
qaralganda erishish mumkin [2; С.115-120].
Tilning mohiyatini tushunishga o'xshash yondashuvni boshqa tilshunoslarda ham topish mumkin:
«ona tilida so'zlashuvchilarning etnik doirasidagi til nafaqat aloqa vositasi, balki odamlarning xotirasi va
tarixi, dunyoqarashi va psixologiyasi, bilim faoliyati tajribasi, tabiat va makon, kasalliklar va ularni davolash
usullari, shuningdek – xalqni va uning o'ziga xosligini saqlab qolish va ko'paytirish manfaati uchun yangi
avlod odamlarini tarbiyalash va hayotga tayyorlash to'g'risida hamdir. Demak, til – bu tarixiy shakllangan
milliy hayot turini o'ziga xos dialektik qarama-qarshilikning barcha xilma-xilligi bilan singdiradigan
madaniyat shakli» [22; С.6].
Ter-Minasova, o'z navbatida, tilni oyna bilan taqqoslashni taklif qiladi, chunki u aslida haqiqiy
dunyoni aks ettiradi. Bundan tashqari, til, biz bilganimizdek, geografiya, iqlim, tarix va inson hayotining
sharoitlarini aks ettiradi. Tilni talqin qilishga bunday yondashuv V.fon Gumboldt falsafasidan kelib chiqqan
bo'lib, uningcha, «til etnik guruhlar ma'naviyatining aksidir: xalq tili uning ruhi, xalq ruhi esa uning tilidir va
bundan boshqacha bo'lishi mumkin emas» [23; С.40].
Shubhasiz, tilning aloqa vositasi sifatidagi tavsifi uning mohiyatini tushunish uchun yetarli emas. Har
bir xalqning tili, tarixi etnos va uning tarixidan ajralmasdir, chunki etnik ko'rinishlarning hech biri tilda
ifodalangan iboralarning barqarorligi, universalliligi, to'liqligi va etnikligini ming yillar davomida
saqlashning doimiyligi jihatdan til bilan raqobatlasha olmaydi. Bu tilshunoslikning yangi yo'nalish sohasi –
etnolingvistikaning paydo bo'lishiga turtki bo'ldi.
Demak, tilshunoslarning fikriga ko'ra, lingvokulturologiya etnolingvistikaning yangi paydo bo'lgan va
eng yosh tarmog'idir. Til va madaniyat, til va xalq mentaliteti, til va etnos o'rtasidagi munosabatlarni
nisbiylashtirish va o'rganish ushbu ilmiy fanning asosiy vazifalariga kiradi, chunki etnolingvistika uchlik –
til, madaniyat, inson shaxsiyati asosida yaratilgan deb ishoniladi.
Lingvokulturologiya madaniyatshunoslik va tilshunoslik fanlari o‗rtasida yuzaga kelgan umumlashma
fan bo‗lib, til va madaniyatning o‗zaro ta‘siri va bog‗liqligi, bu bog‗liqlikning shakllanishi hamda yaxlit bir
sistema sifatida til va tildan tashqarida aks etishi kabi hodisalarni o‗rganish bilan shug‗ullanadi. Bir
tomondan lingvokulturologiya insoniyatning madaniy til faktoridagi o‗rni, ikkinchi tomondan esa, til
faktoridagi insonning o‗rnini o‗rganadi.
Bizning tadqiqotimizda, eng avvalo, folklorni ars ettiruvchi xalq madaniyatining yuqori darajasi
oʻrganiladi. «Folklor» atamasi birinchi marta ingliz olimi Uilyam Toms tomonidan 1846 yilda xalqning ham
badiiy, ham moddiy madaniyatini ifodalash uchun kiritilgan. XIX asrda «xalq ijodi» ma'nosida nemis olimi
I.F.Knafl tomonidan «die Volkskkinde», Fransiyada «tradictiones populaires», Italiyada «tradiziononi
popolari», Ispaniyada «tradicionnes populaires» kabi xalq og‗zaki ijodi va u bilan bog‗liq marosimlar nomini
bildiruvchi turli xil terminlar qo‗llanilgan. Folklor (inglizcha folklor – «xalq hikmati») – xalq og‗zaki ijodi,
qoida, xalqning hayoti, ideallari, qarashlarini aks ettiruvchi xalq ijodiy faoliyatining badiiy uyshmasi, xalq
ogʻzaki shaklda yaratgan va xalq ommasi orasida avloddan-avlodga oʻtib kelayotgan she‗riyat, xalq
musiqasi, teatr, raqs, me‗morchilik, tasviriy va bezak sanʼati hamdir [10; В.13]. Antik davrda paydo bo‗lgan
xalq ijodiyoti barcha ma'lum jahon badiiy madaniyatining tarixiy asosi, milliy badiiy an'analarning manbai,
shuningdek, milliy o‗ziga xoslikning ifodasidir. Ba'zi tilshunoslar professional bo‗lmagan san'atning barcha
turlari (havaskorlik san'ati, xalq teatrlari)ni o‗z ichiga olgan folklorga ham murojaat qiladilatr. «Folklor»
atamasiga aniq ta'rif berish qiyin, chunki xalq ijodiyotining bu shakli o‗zgarmas va doimiylik tavsifiga ega.
Xalq og‗zaki ijodi hamisha xilma-xil evolyutsiya va rivojlanish jarayonida bo‗ladi. Ko‗rinib turibdiki,
folklor-bu og‗zaki bo‗lmagan elementlar bilan bog‗liq bo‗lishidan qat'i nazar, nutq, so‗z bilan bog‗liq
darajalar tizimidir. Folklorning mazmun-mohiyatini ifodalash uchun allaqachondan buyon ishlatilmaydigan
«og‗zaki adabiyot» iborasi yoki ma‘nosi yetarlicha aniq bo‗lmagan «og‗zaki xalq adabiyoti» iborasini
qo‗llash to‗g‗riroq bo‗ladi [24; С.46]. Ushbu termin ta‗riflaridagi bunday farq folklorning madaniyat va
tushunchalarning boshqa shakllari hamda qatlamlari bilan bog'liqligini turlicha talqin qiladi.
Fransuz fol'klorshunosi V.Gennep fol'klor terminini xalq og‗zaki badiiy ijodini o‗rganuvchi fan
ma'nosida qo‗llagan. Yana bir bir fransuz fol'klorshunosi P.Sentiv esa fol'klorshunoslikning qiyosiy tadqiq
metodlari usulida ana'nalarni o‗rganishini ta'kidlaydi [10; С.13].
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Fransiyadagi folklor ko‗p asrlar davomida rivojlanib kelgan boy va xilma-xil tarixga ega. Shuni
ta'kidlash kerakki, Fransiyada folklorning rivojlanishi asosan tarixiy, madaniy va ijtimoiy omillar bilan
bog‗liq edi.
Fransiya tarixdan oldingi boy merosga ega va mamlakat hududlari o‗ziga xos madaniyat va
an'analarga ega edi. Oldingi tarixiy davrlarda bu sohada avloddan-avlodga o‗tib kelayotgan og‗zaki
an'analar, afsonalar, afsonalar va qo‗shiqlar ko‗p bo‗lgan.
O‗rta asrlarda fransuz adabiyoti, musiqasi va raqsi madaniyatning muhim jihatlariga aylandi.
Qo‗shiqlar ijro yetib, qahramonlar, sevgi, risarlar va o‗rta asr an'analari haqida hikoyalar aytib beradigan
trouvores va trubadurlar kabi janrlar paydo bo‗ldi. Bu davr fransuz musiqiy an'analari va adabiyotining
rivojlanishiga katta ta'sir ko‗rsatdi.
XVI-XVIII asrlarda fransuz madaniyati rivojlandi. Bu davrda san'at, adabiyot, arxitektura va falsafa
faol rivojlandi. Mintaqaviy an'analar va folklorga qiziqish ortmoqda. XIX asrda milliy folklorga qiziqish,
ayniqsa, yaqqol namoyon bo‗ldi. Bir qator tadqiqotchilar xalq qo‗shiqlari, ertaklar, afsonalar va urf-odatlarni
to‗pladilar. Ushbu bosqichda fransuz folklori milliy madaniyatda alohida o‗rin egallay boshladi va milliy
o‗ziga xoslikni shakllantirishning muhim elementiga aylandi. XX asrda folklorga qiziqish saqlanib qoldi va
shu bilan birga madaniy ifodaning yangi shakllari rivojlandi. Musiqa, raqs va an'anaviy liboslar xalq
bayramlarining muhim elementlariga aylandi. An'analarni saqlab qolish bilan bir vaqtda fransuz folkloriga
jahon madaniyati ham ta'sir ko‗rsatdi, bu esa an'anaviy qo‗shiq va raqslarning zamonaviy versiyalarini paydo
bo‗lishiga olib keldi.
O‗zbek adabiyotida ―fol'klor‖ termini XX asrning 30-yillaridan e'tiboran keng qamrovda ―xalq ijodi‖,
ya'ni so‗z san'atining og‗zaki an'anasi sifatida shakllangan fol'klor ijrochiligi, ma'nosida qo‗llanila boshlandi
[10; С.13].
Fol'klorshunoslik o‗zbek xalqi og‗zaki ijodining o‗ziga xos xususiyatlari, laparchi, o‗lanchi,
askiyaboz, qiziqchi, qo‗g‗irchoqboz, maddoh, ertakchi, baxshi, qushnoch va boshqa fol'klor ijrochilarining
repertuarini o‗rganish, fol'klor ijrochiligiga xos lokal xususiyatlarini aniqlash, o‗zbek xalqi og‗zaki badiiy
ijodini turkiy hamda jahon xalqlari fol'klorlari kontekstida tadqiq etish singari fundamental masalalar bilan
shug‗ullanadi.
Hozirda fransuz folkloriga qiziqish saqlanib qolmoqda. Tashkilotlar, ilmiy institutlar va jamoat
guruhlari folklor materiallarini to‗plash va saqlashni davom ettirmoqdalar. Folklor jonli va dinamik bo‗lib
qoladi va uning elementlari zamonaviy fransuz madaniyatining turli jihatlarida uchraydi. Demak, etnografiya
va folklor paydo bo‗lgan o'tgan asrlardan buyon katta su‘ratlarda rivojlanib kelgan. Bugungi kunga kelib,
asosan, zamonaviy folklorda doimo bir-biriga o‗zaro ta‘sir qiladigan to‗rtta tushuncha mavjud: a) xalq
og‗zaki ijodi – og‗zaki ravishda avloddan-avlodga o‗tib kelayotgan tajriba va bilimlar to‗plamidir. Tajriba
deganda, biz ma'naviy va moddiy madaniyatning faqat yagona sotsiologik cheklash («umumiy xalq») va
tarixiy-madaniy mezonni qo'llash – bir vaqtlar hukmronlik qilgan yoki allaqachon eskirgan so‗z sifatida
faoliyat yuritgan arxaik shakllarni nazarda tutamiz; b) folklor xalq ijodiyoti yoki zamonaviy ta‗rifi, «badiiy
muloqot»dir. Bu nazariya «folklor» terminini ham musiqiy, ham xoreografik, ham tasviriy xalq san‗ati, deb
atashga imkon beradi; v) folklor – xalq og‗zaki ijodining barcha turlari ichida faqat lug'at bilan bog‗liq
bo'lganlari ajralib turadigan xalq tili an‗anasi; d) xalq ogʻzaki ijodi – ogʻzaki ijod, bunda savodsizlikka katta
ahamiyat beriladi, bu esa, oʻz navbatida, xalq ogʻzaki ijodini boshqa (lingvistik) shakllardan ajratish (birinchi
navbatda, uni adabiyotga qarshi qoʻyish) imkonini beradi. Shunday qilib, biz folklorning quyidagi asosiy
nazariyalarini sanab o'tdik: sotsiologik, badiiy, lingvistik va nazariy-kommunikativ (ijtimoiy). Birinchi ikki
holatda biz «folklor» terminining «keng» ma‘noda qoʻllanilishi, oxirgi ikkitasida esa «tor» ma‘noda
qoʻllanilish variantlarini tahlil etamiz. Yuqorida qayd etilgan tushunchalar «folklor» terminining noaniq
ishlatilishi uning predmetini, inson faoliyati va inson hayotining turlari bilan bog'liqligini o'rganish
qiyinligini ko'rsatadi. U yoki bu nazariya doirasida folklorshunoslik terminining taʻrifi va darajasi qanday
badiiy ijod turi bilan boʻgliqligi va ularning qay biri ikkinchi darajali, periferik deb hisoblanishi bilan
aniqlanadi. Bundan kelib chiqadi-ki, yuqoridagi tushunchalar maʻlum maʻnoda nafaqat bir-biriga mos
kelmaydi, balki baʻzan bir-biriga qarama-qarshi boʻlmaydi. Shunday qilib, masalan, ogʻzaki nutq va og'zaki
til folklorning eng muhim belgilari sifatida ta‘riflansa, bu ularning boshqa badiiy faoliyat shakllari bilan
bog'liqligini majburiy ravishda inkor etishni yoki bundan tashqari, folklorning oʻziga xos xususiyatlarga ega
ekanligini inkor etishni anglatmaydi, chunki u hamisha xalq maishiy madaniyati doirasida amal qilgan.
Shuning uchun folklorning filologik yoki etnografik fan ekanligi haqida tez-tez kelib chiqadigan bahsni biz
asossiz deb hisoblaymiz.
Tilga kelsak, birinchidan, verbal strukturalarni o'rganishni, filologik jihatga ega, ammo xuddi shu
tuzilmalarning xalq turmush tarzida qoʻllqnilishini hisobga olsak, bir vaqtning oʻzida etnografiya tomonidan
ham o'rganiladi hamda ikkala fanda ham ular birgalikda ajralmas tarkibiy qismi hisoblanadi. Biroq, ikkinchi
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tomondan, bu uning ma'lum ma'noda mustaqil soha bo'lishiga to'sqinlik qilmaydi – holbuki, folklor tadqiqot
usullarining oʻziga xosligi muqarrar ravishda ushbu ikki fanning, musiqashunoslik, ijtimoiy psixologiya, va
boshqalardan oʻziga xos jihatlari bilan farqlanadi. Qizigʻi shundaki, folklorning maqomi va tabiati
toʻgʻrisidagi bahslardan soʻng folklorshunoslik nazariyasi fan sifatida sezilarli darajada filologiyalashtirildi
va shu bilan birga etnografiklashtirildi, musiqashunoslik va madaniyatning umumiy nazariyasiga yaqinlashdi
[15; С.47].
Fol'klorning birlamchi va umumiy ta'riflaridan shubhasiz, etnografiya va fol'klorshunoslik kelib
chiqadi. Biroq bu fanlarda hali ertak (yoki ballada), epik qo‗shiq, xalq o‗yin yoki temirchilik kabi xalq
madaniyatining turli sohalarini o‗rganish uchun manbalari yetarli emas edi. Shu bilan birga, an'anaviy
madaniyatning ushbu sohalarini differensial tahlil qilish va talqin qilish uchun zarur shartlar ham mavjud
emas edi.
Ikkinchi tushuncha (estetik) tor qo‗llanishga asoslangan (faqat xalq madaniyatining badiiy shakllari)
xalq madaniyati doirasida an'anaviy qadimiy folklor shakllarining tabiiyligini e'tiborsiz qoldirish
tendensiyasiga olib keldi. Folklor madaniyat shakllariga nisbatan ushbu «badiiylik» termini mavhum
ma'noga ega va uning mezoni juda nisbiy bo‗lgan baholovchi kategoriyaga aylanishi mumkin.
Bu, birinchi navbatda, marosim folklorini, sehrli afsonalarni va ta‘ziya marosimlarni o'z ichiga oladi,
ya'ni afsonalar va rivoyatlarning bir qismi, birinchi navbatda, axborot funktsiyasini bajargan va mazkur
hikoyalar har doim ham «badiiylashtirilgan» tarzda olib borilmagan.
Barcha folklor janrlarini ikki sinfga birlashtirish mumkin: birinchi sinfda har doim ma'lum bir estetik
bo‗lmagan funksiya ustunlik qiladi, ikkinchi o‗rinda-estetik. Ikkinchi sinfda siz barcha ertaklarni, dostonlarni
to‗plashingiz mumkin qo‗shiqlar (axborot funksiyasi bilan birlashtirilgan), balladalar, tarixiy qo‗shiqlar va
boshqa ba'zi janrlar. Bu sinf, odatda, xalq ijodiyotining o‗ziga xos namunasi. Uchinchi nazariya lingvistik
(verbal) shakllarni ajratadi, folklorni nutq, og‗zaki muloqot deb nomlaydi. Shu munosabat bilan quyidagi
savollar tug‗iladi: birinchisi, folklor va amaliy, kundalik, ishbilarmonlik nutqi o‗rtasidagi farq. Har bir
berilgan til shunchaki gapirish yoki yozish vositasi emas, balki, birinchi navbatda, inson dunyosini, uning
dunyo haqidagi g‗oyalarini, dunyo manzarasini, folklorni (shuningdek, mifologiya va adabiyotni)
tavsiflovchi tizim ekanligini hisobga olsak, uni ikkinchi darajali modellashtirish tizimi sifatida tilni ishchi
manba sifatida belgilash mumkin.
Ikkinchi muammo shunda-ki, kundalik nutq amaliyotidan farqli o‗laroq, ma'lum grammatik, mantiqiy
va boshqa qoidalarga muvofiq bir martalik matnlarni yaratishni talab qiladi, umuman olganda, muloqot
amalga oshiriladigan til an'anasini tashkil etuvchi folklor an'anasi, avvalambor, urf-odatlarga yo‗g‗rilgan
matnlarning o'zaro ta'siridir. Ma'lumki, bu jarayon aniq belgilangan chegaralarga ega emas. Badiiy matnlar
kabi folklorshunoslik materiallari an'anaviy yo‗nalishga aynan nutq muloqoti jarayonida kirishadi.
Birinchidan, bir martalik matnlar yaratiladi, so‗ngra ular folklorga aylanadi. Bu minimal matnlar frazeologik
birliklar, barqaror nutq iboralari, nutqdan til an'anasiga o'tadigan ikkilamchi ahamiyatga ega bo'lgan
«ikkilamchi so'zlar»dan iborat matn hajmiga ega bo‗ladi. Ular o‗z odatiy vazifalarini bajaradilar, ushbu til
birliklarini nutqda mustahkamlaydilar va folklorning eng oddiy shakllariga aylanadilar. Maksimal hajmdagi
matnlar (dostonlar, ertaklar, epik she'rlar va boshqalar) boshqa semantik vazifani bajaradi. Birinchi va
ikkinchi turlar orasida turli xil funktsiyalar va tuzilishga ega bo'lgan folklor janrlarining barcha turlari
mavjud.
Shunday qilib, yopiq va ochiq tuzilmalarga differensiyalashtirilgan yondashuv zarur, masalan, bularga
alla qo'shiqlari, ertaklar, a‘za qo‗shiqlari, tuzilishiga ko‗ra kuchli bo‗lgan o'yin qo'shiqlari, marosim folklori
va matndan tashqari kuchsiz aloqalarga epik qo'shiqlar, balladalar, lirik qo'shiqlar kiradi. Shuning uchun
matndan tashqari aloqalar folklor janrlari va adabiyotining butun guruhini farqlashning asosiy omillaridan
biridir. To'rtinchi nazariya esa folklorning asosiy xususiyatlaridan biri sifatida og'zaki nutqqa asosiy e'tiborni
qaratadi. Ushbu nazariya uchinchi filologik konsensiya bilan chambarchas bog‗liq bo‗lib, uning vazifasi
lisoniy shakllar orasidan og‗zaki nutqni ajratish, folklorni kommunikasiyaning boshqa turlaridan farq
qiladigan to‗g‗ridan-to‗g‗ri va o‗zaro muloqot turlarini ko‗rsatishdan iborat. Shuningdek, mazrur o g‗zaki
nutq xotirada saqlanadi va folklor janrlarida qollaniladi, matn vazifasida kommunikasiya sub'ektilariga
tayangan holda muloqot jarayoni va natijasi amalga oshiradi.
Shu bilan birga, folklorshunoslik nazariyasida ozaro muloqot muammosi matnining ijrochisi va
tinglovchilarining reaktsiyasi, og'zaki idrok etish va verbal steriotip formulalarni shakllanish jarayonlarida
ham juda muhim.
XX asrda xalq og'zaki ijodi muammosini o'rganish yuqorida muhokama qilingan to'rtta nazariyada
ham sodir bo'lgan. Folklorshunoslarning ishlarida har bir millatning og'zaki ijodiga xos folklorni sotsiologik
birlik sifatifa nazariy jihatdan baholash zarurati mavjudligi ko'rsatiladi. Xalq og'zaki ijodi folklor doirasida
ijtimoiy fikr tarixida romantik deb ataladigan davrda paydo bo'lgan.
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LINGUISTICS
Tarixiy va madaniy rivojlanish nuqtai nazaridan, bu arxaik an'analardan voz kechish jarayoni
boshlangan Evropaning eng rivojlangan mamlakatlari urbanizatsiyasining dastlabki bosqichi edi.
Zamonaviy madaniy ana‘analarda madaniyat va ana‘nalarning o'zaro aloqalari ta‘kidlanadi.
Madaniyatsiz jamiyatni harakatga keltiruvchi mexanizm yo'q. Bunday mexanizmni «kollektivning
noan'anaviy ijtimoiy ahamiyatga ega stereotiplar tizimisiz, genetik asosga ega bo‗lmagan xotirasi»siz yaratib
bo'lmaydi. O‗tgan asrlardan buyon yaratilgan an'analar va madaniyat to hozirgi davrgacha yo‗qolib
ketmaydi, aksincha bir an‗analar tizimi boshqasi bilan, madaniyatning bir turi boshqasi bilan
muvofiqlashtiriladi.
Xulosa. Shunday qilib, ikki davrni bir biriga qarama-qarshi qo‗yish bizning davrimizda doimo amalga
oshiriladi va bu jaroyon shartli bo‗lib nazariy asosga ega emas. Folklor haqida ham shunday deyish mumkin.
Og‗zaki yoki yozma, folklor va adabiy matndagi har qanday o‗zgarish, xoh u qo‗lyozma bo‗ladimi yoki
bosma kitob bo‗ladimi, bularning barchasi an‗anaviylik kasb etadi. Ularning bir-biridan farqi mazmunida
ko‗rinadi. Bu yo‗nalishlar mazmuni stereotiplar to‗plami, ma‗lum bir usullar to‗g‗ridan-to‗g‗ri yoki bilvosita
muloqot orqali yetkaziladi.
Lingvistik va informatsion tushuncha bilan bog‗liq bo‗lgan folklorning tor tushunchasi haqida
gapirganda, kengroq etnografik kontekstni ham yodda tutish kerak, shunda aytish mumkin bo‗ladiki, folklor
– barcha verbal va noverbal narsalarning yig‗indisi, kundalik turmushda qo‗llaniladigan og‗zak tuzilmalar
sifatida shakllanadi. Bunda, birinchi navbatda, aloqa guruhlarida (oila, jamoa, aholi punkti, tuman, viloyat,
etnik guruh, til zonasi, ikki tillilik) ogzaki darajada ishlaydigan modellarni ko‗z oldimizga keltiramiz. Bu
ta‗rif mazmunan, uslubiy xususiyatlar yoki janr yoki syujet repertuarining tavsifini o‗z ichiga olmaydi,
chunki folklor, uning ko‗p asrlik tarixini hisobga oladigan bo‗lsak, butun an‘anaviy xarakteriga qaramay,
dinamik, rivojlanayotgan hodisa edi. Ma'naviy madaniyat tarixi rivojlanishining turli bosqichlarida folklor bu
davrga xos bo‗lgan (va, afsuski, har doim ham bizga ma'lum emas) xususiyatlarga ega bo‗ldi.
Butun folklorning vazifalari, shuningdek, uning alohida janrlarining vazifalari ularning rivojlanishi
davomida tabiiy ravishda o‗zgarib bordi va butun ma‗naviy madaniyat tarkibidagi umumiy o'zgarishlar,
folklor va «nofolklor» o‗rtasidagi o‗zaro bog‗liqlik turlari bilan birlashib bordi.
ADABIYOTLAR:
1. Беккер Карл. Организм языка (перевод) 1860 г. // Филол. зап. 1860. № 2. – C.116.
2. Бижева 3. X. Языковая картина мира и этнический менталитет //МАН ВШ Известия № 4
(22). – М,: 2002. – С.115-120.
3. Бромлей Ю. В. Этнос и этнография. – М., 1973. – С.284.
4. Бушуй Т.А., Сафаров Ш.С. Тил қурилиши: таҳлил методлари ва методологияси илмий-
нашр. «Фан» нашриѐти. Тошкент. 2007 й. – Б.20.
5. Вежбицкая А. Язык. Культура. Познание / Пер. с англ. Отв. ред. М.А.Кронгауз, вступ. ст.
Е.В. Падучевой. М., 1996. – С.289.
6. Гачев Г.Д. Г24. Национальные образы мира. Евразия – комос кочевника, земледельца и
горца. – М.: Институт ДИ-. ДИК, 1999. – С.214.
7. Гумбольдт В. Избранные труды по языкознанию / Пер. с нем. Общ. ред. Т.В. Рамишвили,
послесл. А.В. Гулыги и В.А. Звегинцева. М., 2000. – C.75.
8. Елизарова Г.В. Культурологическая лингвистика (Опыт исследования понятия в
методических целях). СПб., 2000. – С.10.
9. Зарубежная лингвистика. II: Пер. с англ. / Общ. ред. В.А. Звегинцева, Б.А. Успенского,
Б.Ю. Городецкого. – М.: Издательская группа «Прогресс», 2002. – С.97.
10. Жўраев М. Фолклоршунослик асослари. Т.: ―Фан‖ нашриѐти, 2009. – Б.13.
11. Каган М.С.. Философия культуры. Учебное пособие. Санкт-Петербург. 1996. – 310 с.
12. Кравченко С.Л. Амхарская сказка Три вора (перевод с амхарского языка). МГУ, 2018. –
С.270.
13. Леви-Строс К. Первобытное мышление. / Пер., вступ. ст., примеч. А. Островского. – М.:
ТЕРРА – Лотман Ю.М. Структура художественного текста. М., 1970. – С.123.Книжный клуб;
Республика, 1999. – С.211.
14. Мамардашвили М.К., Пятигорский А. М. Символ и сознание. Метафизические
рассуждения о сознании, символике и языке. М., 1999. – С.34.
15. Маркарян Э. С. Теория культуры и современная наука (логико–методологический анализ).
– М., 1983. – С.25.
16. Маслова В.А. Лингвокультурология. – М.: Академия, 2001 – С.9.
SCIENTIFIC REPORTS OF BUKHARA STATE UNIVERSITY 2023/7 (101) 77
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LINGUISTICS
17. Панфилов В.3. О гносеологических аспектах проблемы языкового знака. Вопросы
языкознаниния//. М.: Наука, 1977. – С.15.
18. Потебня А.А. Слово и миф. М, 1989. – С.15.
19. Потебня А.А. Мысль и язык. Киев, 1993. – C.33.
20. Сепир Э. Избранные труды по языкознанию и культурологи. М.: 1993. – C.36.
21. Тайлор Э.Б. Первобытная культура. М., 1989. – С.26.
22. Тарланов 3. К. Язык. Этнос. Время. Очерки по русскому и общему языкознанию.
Петрозаводск, 1993. – С.6.
23. Тер-Минасова С.Г. Язык и межкультурная коммуникация. – М.: Слово, 2008. – С.40.
24. Чистов К. В. Культурология. XX век. М., 1998. – С.46.
25. Эпоева Л. В. Образные художественные средства в языке волшебной сказки // Культурная
жизнь Юга России. 2007. № 1. – С. 48.
26. Neshimenko, G.P. Dynamics of Speech Standard of Modern Public Verbal Communication:
problems, tendencies of development. Questions of linguistics, 2001. – С. 98-132.
27. Goodenough W. H. Cultural Anthropology and Linguistics. In: Language in Culture and Society.
A Reader in Linguistics and Anthropology (ed. by D. Hymes). New York: Harper&Row.1964. P. 36–39.
Annotatsiya: Xalqlar o‗rtasidagi muloqot qilish imkoniyatlari kuchayib borayotgan dunyoda tarjima
madaniyatlar o‗rtasidagi tushunish va muloqotni osonlashtirishda muhim rol o‗ynaydi. Maqollarni tarjima
qilish haqida gap ketganda, tilning milliy koloriti yoki madaniy mohiyatini saqlab qolish hal qiluvchi
ahamiyatga ega bo‗ladi. Ushbu maqolada maqollar tarjimasida milliy koloritni saqlashning ahamiyati
o‗rganilib, tarjimonlar bu qiyin vazifani qanday uddalashi mumkinligi haqida fikr yuritiladi.
Kalit so‟zlar: milliy kolorit, kontekst, metafora, lisoniy tuzilma, madaniy meros, madaniy
ekvivalentlar, moslashuvchanlik.
Аннотация: В мире, где общение между народами расширяется, перевод играет важную роль
в облегчении общения и взаимопонимания между культурами. Когда дело доходит до перевода
пословиц, решающее значение имеет сохранение национального колорита или культурной сути
языка. В данной статье рассматривается важность сохранения национального колорита при
переводе пословиц, а также рассказывается о том, как переводчики могут выполнить эту
непростую задачу.
Ключевые слова: национальный колорит, контекст, метафора, языковая структура,
культурное наследие, культурные эквиваленты, адаптивность.
Kirish. Maqollar xalq donishmandligining nodir namunasi sifatida og‗zaki ijodiyotning umumiy
mustaqil janridir. Shartli ravishda ularni jamoat axloq qoidalari deb atash mumkin. Maqollar xalqning asrlar
hayotiy tajribalarida sinovdan o‗tgan ijtimoiy-siyosiy, ma‘naviy-madaniy, axloqiy-falsafiy qarashlarining
o‗ta ixcham va obrazli ifodalanishi natijasidir. Maqollar maxsus yaratilgan emas, balki muayyan vaziyat
talabi bilan sinovdan o'tgan hayotiy tajribadan olingan xulosaning axloqiy qiymati sifatida hukm sifatida
yuzaga keladi. Ular insonning turli sohalardagi faoliyati jarayonida barqaror va o‗zgarmas, to‗g‗ri va
haqqoniy xulosalar shaklida shakllangan uzoq yillik hayotiy tajribalar mahsuli ekanligini ko‗rsatadi.
Tarjima madaniy bo'shliqlarni bartaraf etish va turli tillar o'rtasida samarali muloqotni rivojlantirish
uchun muhim vositadir. Biroq maqollar tarjimasi madaniy va lingvistik nozikliklari tufayli o'ziga xos
qiyinchiliklarni keltirib chiqaradi. Ushbu maqola maqollarni ingliz tilidan o‗zbek tiliga tarjima qilishda duch
keladigan qiyinchiliklarni o‗rganish, ularning murakkabligini ko‗rsatadigan misollarni keltirishga qaratilgan.
Xalqlar o‗rtasidagi muloqot qilish imkoniyatlari kuchayib borayotgan dunyoda tarjima madaniyatlar
o‗rtasidagi tushunish va muloqotni osonlashtirishda muhim rol o‗ynaydi. Maqollarni tarjima qilish haqida
gap ketganda, tilning milliy koloriti yoki madaniy mohiyatini saqlab qolish hal qiluvchi ahamiyatga ega
bo‗ladi. Ushbu maqolada maqollar tarjimasida milliy koloritni saqlashning ahamiyati o‗rganilib, tarjimonlar
bu qiyin vazifani qanday uddalashi mumkinligi haqida fikr yuritiladi. Maqollarning ahamiyati shundaki, ular
an‘anaviy hikmatning ixcham ifodasi bo‗lib, ularda muayyan millat yoki jamoaning qadriyatlari, e‘tiqodlari
ADABIYOTLAR:
Annotatsiya: Ushbu maqolada, tibbiy eponimlar, eponimlarning turlari,shaxs nomi bilan bog‘liq
tibbiy eponimlarning tasnifi, turli eponimlarning izohi keltirilgan. Bugungi kunda turli fan sohalaridagi
yangiliklar tufayli eponimlardagi o‘ziga xos o‘zgarishlar, yangiliklar haqida fikr yuritilgan. Zamon
rivojlanishi tufayli tilimizga yangidan yangi so‘zlar kirib kelmoqda. Shuning uchun tilshunoslik sohasi ushbu
so‘z va birikmalarning nomlarini o‘rganish bilan mashg‘ul. Eponimlar muayyan kashfiyot yoki ixtironi
amalga oshirgan olim nomi bilan nomlash uchun o‘rnatilgan xalqaro an‘ana bilan bog‘liq holda tibbiyot
sohasidagi yangi hodisa yoki kashfiyotni nomlashda muhim rol o‘ynaydi. Ularni tasniflash va tizimlashtirish
jarayonida ayon bo‘ldiki, u yoki bu hodisani birinchi marta kashf etgan va tavsiflagan olimlar hamda
shifokorlar nomlari son jihatdan eng yuqori ko‘rsatkichni egallab turgan. Quyida kasallikni ilk bor
aniqlagan, tavsiflagan olim va shifokorlar sharafiga nomlangan eponimlardan bir qanchasini keltirib
o‘tamiz.
Kalit so‟zlar: eponim, shaxs nomi bilan bog‘liq tibbiy eponimlar, joy nomi bilan bog‘liq tibbiy
eponimlar, joy nomi bilan bog‘liq tibbiy eponimlar, ―Bombey‖ sindromi, ―Florida‖ sindromi, ―Siam‖
egizaklari, afsonaviy qahramonlar, asar qahramonlari nomi bilan bog‘liq tibbiy eponimlar, ―Axilles‖
sindromi, ―Edip‖ sindromi; kasallikni qo‘zg‘atuvchi qism asosli eponimlar, ko‘richak, oshqozon raki, rang
ko‘rligi.
Abstract: This article presents medical eponyms, types of eponyms, classification of medical eponyms
related to personal names, explanation of various eponyms. Today, thanks to the news in various fields of
science, specific changes and news in eponyms are discussed. Due to the development of time, new words
are entering our language. Therefore, the field of linguistics is engaged in studying the names of these words
and phrases. Eponyms play an important role in naming a new phenomenon or discovery in the field of
medicine in connection with the established international tradition of naming a particular discovery or
invention after a scientist. In the process of their classification and systematization, it became clear that the
names of scientists and doctors who discovered and described this or that phenomenon for the first time
occupied the highest numerical index. Below we will mention some of the eponyms named after the scientists
and doctors who first identified and described the disease.
Kirish. Eponim atamasining tibbiyot sohasiga kirib kelishini sohadagi yangi bir hodisa deyish
mumkin. Kashfiyot yoki ixtironi ushbu kashfiyot yoki ixtironi yaratgan olim nomi bilan nomlash xalqaro
an‘analar bilan bog‘liqdir. Tabiiyki, bugungi kunda tibbiyot borasida ham bu kabi atamalarni uchratish
mumkin. Jumladan, kasalliklar: ―Xodgkin‖ kasalligi, ―Kesson‖ kasalligi; sindromlar: ―Daun‖ sindromi,
―Diogen‖ sindromi; tibbiy asboblar: ―Kuper‖ qaychi; kasalliklarni aniqlash uchun testlar: ―Dik testi‖ va
boshqalar.
Simptomlar, reflekslar, hodisalar, sinovlar, testlar, qonunlar, simptom komplekslari, sindromlar va
kasalliklarning nomlarini tahlil qilish asosida tibbiy eponimlar paydo bo‘lishining bir necha nominativ
modelini ajrtib ko‘rsatish mumkin. Bular quyidagicha (1-rasm):
1) shaxs nomi bilan bog‘liq tibbiy eponimlar: ―Van Gog” sindromi, ―Daltonizm”, ―Bell” falaji;
2) joy nomi bilan bog‘liq tibbiy eponimlar: ―Bombey” sindromi, ―Florida” sindromi, ―Siam”
egizaklari;
3) afsonaviy qahramonlar, asar qahramonlari nomi bilan bog‘liq tibbiy eponimlar: “Axilles”
sindromi, “Edip” sindromi;
4) kasallikni qo‘zg‘atuvchi qism asosli eponimlar: ko‟richak, oshqozon raki, rang ko‟rligi.
Muhokama va natijalar. Inson borki, xotiralar bilan yashaydi. Xotira – inson umrining tilla sandig‘i.
Keksalik davrining yomon illatlaridan biri bu – xotiraning susayishi. Xotiraning sekin-asta yo‘qolishi,
ayniqsa, keksalik davrida ko‘p kuzatiladi. Shunday kasalliklar borki, bunda inson xotirasi butunlay
yo‘qoladi. Bulardan biri ―altsgeymer‖ kasalligidir. Altsgeymer – oliy ruhiy faoliyatning kuchayib boruvchi
buzilishi bilan kechuvchi hamda yillar o‘tib demensiya kasalligi bilan tugallanuvchi neyrodegenerativ
kasallik. Ushbu xastalik ayrim adabiyotlarda ―Alsxaymer” kasalligi, “Presenil demensiya” deb ham
yuritiladi. Kasallik ilk marotaba 1906-yil nemis psixiatri Alois Altsgeymer tomonidan aniqlangan va
ko‘pincha o‘lim bilan yakun topishi olimlarning uni yanada chuqur o‘rganishiga turtki bo‘lgan. Altsgeymer
kasalligi yuzasidan butun jahon olimlari hozirgi kungacha turli izlanishlar olib bormoqdalar.
ADABIYOTLAR:
1. Xoliqov P.X., Qurbonov Q.A., Daminov O.A., Tarinova V.M. Tibbiy biologiya va genetika. –T.:
Tibbiyot nashriyoti matbaa nashriyoti, 2019.- B. 45.
2. Ibodullayev Z. Asab va ruhiyat. Toshkent: Fan va ta‘lim, 2018. –B.74
3. Shamov I. Zudek sindromi. ―Tibbiyot gazetasi‖, 2012. 24-son. –B.9
4. https://uz.wikipedia.org/wiki/Parkinson_kasalligi
5. https://uz.wikipedia.org/wiki/Van Gog_sindromi
6. Извекова Ф.Т., Грищенко В. Е., Пуртов А. С. Эпонимы в медицинской терминологии\
Новосибирск, Медицина и образование в Сибири. 2014. № 3. 2014. -7 с.
7. htts://wiki.1vc0.ru/enciklopediya/seksologiya/bertranizm-nekrosadinizm.html
8. Чикильдин В. Д. Важность эпоними в медицинском дискурсе\European Research. 2016. №. 3
(14). С. 41 – 44.
9. Новодранова В. Ф. Когнитивно коммуникативная парадигма языка науки // Когнитивная
семантика: в 2-х ч. Тамбов, 2000. Ч. 2. -128 С.
Annotatsiya. Maqolada o‗zbek adabiy tilidagi I shaxs ma‘nosini bildiruvchi vositalar ma‘nodoshligi
va ma‘nodosh vositalarning nutq (gap, matn)da qo‗llanishi tahlil qilinadi. Shaxs ma‘nosining nutqda bitta,
ikkita, uchta vosita bilan ifodalanishi bayon qilinadi. Shu bilan bog‗liq ravishda kishilik, o‗zlik olmoshining
tejab tejalmay ishlatilishiga e‘tibor qaratiladi. Shuningdek shaxs ma‘nosini bildiruvchi vositalarning
almashinib qo‗llanishi, umumlashishi, shaxs ifodalamaydigan shakllarning kontekst yordamida shaxs
ma‘nosini ifodalashi ham tahlil qilinadi.Uzvli tahlil tuslovchi vositalar va kishilik, o‗zlik olmoshi ikki xil
ma‘nosi (shaxs, son ) o‗zaro o‗xshash ekanligini ko‗rsatadi. Jumladan -m, -man, -(a)y va men, o‗zim to‗liq
ma‘nodosh. Ma‘nodosh vositalarning denotativ xususiyati mos kelib konnotativ (uslubiy) xususiyati farq
qiladi. Bajaruvchini ta‘kidlash, aniqlashtirish zarur bo‗lmaganda tuslovchi vositaning o‗zi qo‗llanadi.
Bajaruvchini ta‘kidlash, oydinlashtirish zarur bo‗lsa, ya‘ni hissiy bayonda olmosh ham qo‗llanadi.
Kalit so„zlar: shaxs ma‘nosi, so‗z va qo‗shimcha ma‘nodoshligi, ma‘nodosh vositalarning denotativ
xususiyati, ma‘nodosh vositalarning konnotativ xususiyati, kishilik olmoshi, subyekt, tema, rema, I shaxs
vositalari paradigmatik xususiyatining o‗zgarishi.
Abstract. The article analyzes the synonymy of first person means in the Uzbek literary language and
the use of such means in speech (sentence, text). The expression of the meaning of the first person in speech
is described by one, two, three means. In this regard, attention is drawn to the economical use of personal
pronouns. Also analyzed are the use of first person forms in the meaning of other persons, the generalization
of the meaning of means expressing the first person, the expression of the meaning of a person using the
context of forms that do not express faces. Component analysis shows that the two meanings (person,
number) of conjugation affixes and personal pronouns are the same. In particular, -m, -man, -(a)y end
men, oʻzim are completely synonymous. The denotative properties of synonymous means are similar, but
their connotative (stylistic) characteristics are different. When there is no need to emphasize or qualify the
subject, the conjugation affix itself is used. Pronouns are also used in an emotional utterance if it is
necessary to emphasize and clarify the subject.
SCIENTIFIC REPORTS OF BUKHARA STATE UNIVERSITY 2023/7 (101) 88
https://buxdu.uz
LINGUISTICS
Key words: meaning of a person, synonymy of words and affixes, denotative property of synonymous
means, connotative property of synonymous means, personal pronoun, subject, theme, rheme, change in the
paradigmatic property of means of the first person.
Kirish. O‗zbek adabiy tilida shaxs ma‘nosi boshqa tillardagi kabi uch ko‗rinishga ega bo‗lib, quyidagi
vositalar bilan ifodalanadi: 1) fe‘lning o‗zak, negizi, 2) tuslovchi qo‗shimchalar (kesim tarkibidagi shaxs, son
va hurmat qo‗shimchalari), 3) kishilik olmoshi, 4) so‗roq olmoshi (kim, nima, qaysi), 5) gumon olmoshi, 6)
ko‗rsatish olmoshi, 7) jamlovchi va ayiruvchi olmosh (hamma, barcha, har kim, har nima), 8) bo‗lishsizlik
olmoshi (hech kim, hech nima), 9) egalik qo‗shimchasini olgan o‗zlik, jamlovchi, ayiruvchi, so‗roq olmoshi
(o‗zim, o‗zing, o‗zi, hammamiz, har birimiz, qaysimiz, nechtamiz), 9) otning o‗zak, negizi, 10) otlashgan
so‗z, 11) harakat nomi, sifatdosh (borishim, borganing). Ko‗rinadiki, o‗zbek tilida shaxs ma‘nosi ham
morfologik, ham lug‗aviy vosita bilan ifodalanadi. An‘anaviy va substansial o‗zbek tilshunosligida bu
vositalar alohida holda o‗rganilgan. Biroq ularning o‗zaro ma‘nodoshligi tadqiq qilinmagan. G‗. Zikrillayev
tuslovchi vositalar va kishilik olmoshining ma‘nodoshligini tadqiq qilib, kishilik olmoshining qo‗llanishi
gapning aktual bo‗linishi va konnotatsiya bilan bog‗liqligini asoslab bergan [1; 2]. Bu maqolada I shaxs
ma‘nosini bildiruvchi vositalar ma‘nodoshligi va nutq (gap, matn)da qoʻllanishi uzvli va kontekstual usul
asosida tahlil qilinadi.
Asosiy qism. O‗zbek adabiy tilida I shaxs ma‘nosi quyidagi vositalar bilan ifodalanadi: 1) tuslovchi
qo‗shimchalar (-man, -m, -(a)y, -miz, -k, -(a)ylik), 2) kishilik olmoshi (men, biz, bizlar), 3) o‗zlik olmoshi
(o‗zim, o‗zimiz). Uzvli tahlil tuslovchi qo‗shimchalar va kishilik, o‗zlik olmoshlarining ikki xil grammatik
ma‘nosi (shaxs, son) o‗xshashligini ko‗rsatadi. Binobarin, tuslovchi qo‗shimcha va kishilik, o‗zlik olmoshlari
orasida ma‘nodoshlik mavjud.
Ma‘nodosh vositalarning o‗zaro farqini aniqlashga kontekstual va matniy tahlil imkon beradi.
Kontekstual va matniy tahlil ularining uslubiy (konnotativ) xususiyati mos kelmasligini ko‗rsatadi. Kishilik
va o‗zlik olmoshining qo‗llanib qo‗llanmasligi bayonning hissiy-nohissiyligi aniqrog‗i bayonning hissiy-
nohissiyligi aniqroq qilib aytganda, tuslanish vositasi (kesimni shakllantiruvchi vosita)ning valentligi va
gapning aktual (kommunikativ, nutqiy) bo‗linishi bilan bog‗liq. Nutqiy maqsad-u vazifa ixcham tarzda xabar
(fikr, so‗roq, buyruq, istak) bildirishni taqozo qilsa, o‗zbek tilida gap birgina so‗zdan iborat bo‗ladi. Bu so‗z,
asosan, kesim vazifasini bajaradi. O‗zbek tilida kesimda boshqa grammatik ma‘nolar bilan birga shaxs
(subyekt) ma‘nosi mavjud bo‗ladi. Demak, bunday gapda aktual bo‗linishning ikkala uzvi (tema va rema)
ayni bir vositada mavjud bo‗ladi. Nutqiy amal temani konkretlashtirishni taqozo etsa mikro yoki
makrokontekstda lug‗aviy vosita (olmosh) qo‗llanadi.
So‗zlovchini ta‘kidlash (temani oydinlashtirish yoki rema sifatida ko‗rsatish) zarur bo‗lmasa I shaxs
ma‘nosi tuslovchi qo‗shimcha bilan ifodalanadi. Bunda eng kichik gap birgina so‗z (kesim)dan iborat
bo‗ladi. Kontekstual tahlil nuqtayi nazaridan bunday gap hajmiga ko‗ra minimal kontekst, xususiyatiga ko‗ra
betaraf kontekst hisoblanadi. Bir so‗zdan iborat quyidagi gaplarda men, biz olmoshlari tejalgan: ‒
Tushundim. (Sh. Xolmirzayev, Ot yili, 333) ‒ Qoyilman. (Sh. Xolmirzayev, Ot yili, 421) Aytaveraymi? (Sh.
Xolmirzayev, Ot yili, 313) Ketamiz. (S. Ahmad, 543) Osaylik. (Sh. Xolmirzayev, Ot yili, 325)
I shaxs ma‘nosining iborada ifodalanishi o‗ziga xos: Boshimiz qotib qoldi. (S. Ahmad, Ufq, 110) Bu
gapda tuslangan fe‘l III shaxs shaklida bo‗lsa-da mazmunan ish-harakat subyekti I shaxs ekanligi anglashilib
turibdi. Bu gapni shu tuzilishdagi erkin birikma bilan almashtirsak ish-harakat subyekti III shaxsni bildiradi:
Qo‗limiz qotib qoldi. Ibora qo‗llangan gapda I shaxs ma‘nosi ot (boshimiz) tarkibidagi egalik qo‗shimchasi
orqali ifodalangan. Iboraning ma‘nosi erkin so‗zlar bilan ifodalansa, bu ma‘no tuslovchi qo‗shimcha orqali
ifodalanadi: Nima qilishni bilmay qoldik.
Quyidagi misollarda olmosh bilan birga to‗ldiruvchi ham tejalgan: ‒ Olmayman. (S. Ahmad, Ufq, 445)
Uyg‗otmoqchi edim. (S. Ahmad, Ufq, 20) Yiqitardim. (S. Ahmad, Ufq, 79) Uchala misolda ham to‗ldiruvchi
oldingi gaplarda mavjud shuning uchun takrorlanmagan. Uchala misolda ham men olmoshi tejalgan.
Quyidagi misolda lug‗aviy ega (olmosh) bilan birga hol tejalgan: [Olib ketgani keldim.] ‒
Ketolmayman, aka. (S. Ahmad, Ufq, 179) Ish-harakatning o‗rnini ta‘kidlash zarur bo‗lmaganidan aniqrog‗i u
mantiqan ayon bo‗lganidan oldingi gapda ham hol qo‗llanmagan.
Bir so‗zning o‗zida uchala shaxs ham ifodalanishi mumkin: Bittagina akangman-a, shunaqa
bemehrmisan?! (S. Ahmad, Ufq, 79) Ajratib ko‗rsatilgan so‗zda tuslovchi qo‗shimcha I shaxsni, otning
o‗zagi III shaxsni, egalik qo‗shimchasi II shaxsni bildiryapti. Tuslovchi qo‗shimcha subyektni ifodalasa,
otning o‗zagi subyektning kimligini oydinlashtirgan, egalik qo‗shimchasi esa qaratqichni anglatadi. Subyekt
va qaratqichni ta‘kidlash nazarda tutilmaganidan birinchi gapda men va sening olmoshlari tejalgan. Ikkinchi
gapda esa sen olmoshi qo‗llanmagan.
ADABIYOTLAR:
Abstract. This article is about main peculiarities of homonymy and polysemy in the Uzbek and English
languages and indicates differences and similarities of these phenomena relatively. To determine related and
unrelated meanings, it was proposed to use the etymology and intuition of the speaker in the article. And
also, one of the most debatable problems in semasiology is the demarcation line between homonymy and
polysemy, between different meanings of one word and the meanings of two homonymous words and these
problems are solved in the article. There given some Uzbek examples which are absolute homonymy which
are the same written and spelling.
Key words: polysemy, homonymy, meaning, lexemes, synchronically.
REFERENCES:
1. Ginzburg, R.S. A Course of Modern English Lexicology / R.S. Ginzburg, S.S. Khidekel, G.Y.
Knyazeva, A.A. Sankin. – M.: Higher School Publishing House, 1966. – 275 p.
2. Ginzburg, R.S. [et al.]. A Course of Modern English Lexicology [Text] / R.S. Ginzburg, S.S.
Khidekel, G.Y. Knyazeva, A.A. Sankin. – M.: Higher School Publishing House, 1966. – 43 p.
3. http://n.ziyouz.com>kutubxonasi
4. Ginzburg, R.S. A Course of Modern English Lexicology / R.S. Ginzburg, S.S. Khidekel, G.Y.
Knyazeva, A.A. Sankin. – M.: Higher School Publishing House, 1966. – 44p.
Abstract: Computer phraseology as a new, unique type of communication used among Internet users,
as well as information technology professionals, which has become an important aspect of the digital age.
This article is a study of the semantic features of computer phraseology, revealing its linguistic
characteristics and presenting a classification on selected topics. Based on existing research and scientific
materials, the peculiarities of literary phraseology in the language are delineated and further emphasizing
the role of computer phraseology in improving the effectiveness of communication, the types of computer
phraseology are presented based on the studies conducted in multi-system languages. In the discussion
section, various phraseological units of the computer sphere are given, including proverbs and sayings,
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formed by distorting literary phraseological units or used in users‘ speech as new units of the language. In
addition, a thorough analysis of the given examples in multi-system languages is carried out, noting their
differences and similarities. From the study, the fact of borrowing a large number of computer
phraseological units of the English language into the Russian and Uzbek languages is revealed.
Keywords: computer phraseology, semantic features, online chats, internet user, online
communication, idiom, collocation, calking, frequentalia, network jargon.
ЛИТЕРАТУРА:
Annotatsiya: Ushbu maqolada ―spirituality‖ terminining ingliz tilida shakllanishi manbalari haqida
to‗xtalib o‗tar ekanmiz, ingliz tilida ―spirituality‖ konsepti dastlab diniy tushuncha sifatida shakllangan
bo‗lsa-da, inglizzabon davlatlarning mustamlakachilik siyosati, qolaversa, ushbu tilning xalqaro miqyosda
muloqot uchun maqbul til sifatida keng omma tomonidan e‘tirof etilishi uni bir necha millatlar ongi va
madaniyatidagi axloqiy normalarni belgilab beruvchi bazaviy konseptga aylantirgani tahlil qilingan.
Bundan tashqari, ―spirituality‖ atamasining ijtimoiy hayotdagi o‘rni, ma‘noviy o‘zgarishlari haqida ham
fikr yuritilgan.
Kalit so„zlar: ma‘naviyat, eski ma‘naviyat, yangi ma‘naviyat, xususiyat, konsept, tushuncha, tarixiy-
etimologik yondashuv, sinxron-zamonaviy yondashuv, termin.
Abstract: In this article, we will focus on the sources of the formation of the term "spirituality" in
English. Although the concept of "spirituality" was initially formed in English as a religious concept, the
colonial policy of English-speaking countries, moreover, this language is acceptable for communication at
the international level. It has been analyzed its recognition by the general public as a language has turned it
into a basic concept defining moral norms in the consciousness and culture of several nations. In addition,
the role of the term "spirituality" in social life and spiritual changes were also discussed.
Key words: spirituality, old spirituality, new spirituality, feature, concept, historical-etymological
approach, synchronic-modern approach, term.
Kirish. ―Spirituality‖ atamasining ingliz jamiyati ijtimoiy hayotidagi o‘rni haqidagi professor Antoon
Gilsning quyidagi fikri butun bir insoniyatning dunyoda ro‘y berayotgan falokatlarga qarshi birgalikda
kurashishga da‘vat qiluvchi kuch ekanligi haqidadir: ―Spirituality can be an antidote to the selfish and
destructive attitude. Spirituality might unite a greater part of the world in the battle for survival. Spirituality
addresses such issues as never-ending wars and conflicts we now also have to confront global threats as
climate change, global pollution, food distribution problems‖.
Asosiy qism. Bugungi global ingliz dunyosida ―spiritual man, not religious‖ degan tushunchaning
paydo bo‘lishi spirituality atamasining dindan ancha uzoqlashib, ijtimoiy hayot bilan bog‘liqligini
kuchaytiradi. Bir necha yillar oldin Paul Hilas va Linda Vudhidlar ma‘naviyat revolyutsion davrni boshidan
kechirishini, ya‘ni u ―hayot-din sifatida‖ (life-as religion)dan ―subyektiv-hayotiy ma‘naviyat‖ (subjective-
life spirituality)ga, ya‘ni insonning ichki resurslarini boyitishga qaratiladi, deb ta‘kidlashgan. Hayotga
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dinning aralashuvi tushunchasi ancha pasayib, hayotiy ma‘naviyat rivojlanishni boshladi. Hilas keying
kitobida Yangi asr ma‘naviyatini insonparvarlik va qadriyatlarga sadoqat va xuddi shu sadoqat tushunchasi
hayotning ko‘plab qirralarida foydali ekanligini ta‘kidlaydi. Ma‘naviyatning o‘sib borayotgan yangi shakli
yaxlit, inson ma‘naviy faoliyati ong bilan bog‘liq, bundan tashqari, ma‘naviyat anglash va sabr tushunchasini
rivojlantirish manbaidir.
―Yangi ma‘naviyat‖ (New spirituality) atamasi professor Jeyms A.Herrik tomonidan kiritilgan.
G‘arbiy diniy qarashlar tarixiga nazar tashlasak, oxirgi 50-yilda Amerikadagi hozirgi ma‘naviyat tushunchasi
diniy dunyoqarashlardan butkul chetlashganini sezish mumkin. Jeyms A.Herrik ―The Makings of the New
Spirituality‖ asarida sotsiolog Robert Wuthnowning Amerika ma‘naviyatidagi o‘zgarish, Karlos
Kastanedaning 60-70-yillardagi Don Juanning ruhiy sayohati haqidagi mashhur kitoblari, Shirley
MkKleinning 80-yillardagi ma‘naviy sayohati, Fritjof Kapraning ma‘naviyat va fan sohasidagi bog‘liqliklari
haqidagi ko‘plab kitoblardan iqtibosliklar keltirgan.
―Eski ma‘naviyat‖ (old spirituality) tushunchasi Herrik tomonidan quyidagicha tahlil qilingan: ―The
‗revealed word‘ of old time consists of elements such as 1) supernatural authority of Judeo-Christian
scriptures, delivered to humanity through the medium of for example prophetic utterance and the teachings
of Jesus 2) personal God, who 3) is a creator of the universe…..7) the belief in the final judgment of the
human race‖.
Herrik tahlil qilgan yangi ma‘naviyatning mazmuni yangi diniy sintezni o‘z ichiga oladi: ―1) a
conviction that ‗history is not spiritually important; and 2) sacred texts are understood as largely symbolic,
allegorical, or mythic. Other characteristics are 3) the dominance of reason or consciousness as tools in order
to gain spiritual insight; 4) the spiritualization of science; 5) the animation of nature, infused as it is with a
life force; 6) the existence of hidden spiritual knowledge, accessible to gifted persons and, in principle, to
each and every one of us; and finally 7) religious pluralism as rooted in mystical experience.
Demak, tahlillardan shu xulosaga kelish mumkinki, yangi ma‘naviyat tarixiy ahamiyatga ega emas,
muqaddas matnlar asosan ramziy, allegorik yoki afsonaviy deb tushuniladi, ma‘naviyat ruhiy tushuncha
sifatida aql yoki ongning hukmronligini ko‘rsatadi. Ma‘naviyatning yangi ma‘nosining eng asosiy xususiyati
- ilm-fanni ham ma'naviylashtirishdir. Ma‘naviyat - iqtidorli shaxslar va har birimiz uchun ochiq bo'lgan
yashirin ruhiy bilimlarning mavjudligi; tasavvufiy tajribaga asoslangan diniy plyuralizm.
Garchi eski ma‘naviyat tushunchasini yoqlovchilar va uning o‘zgarishiga qarshi olimlar mavjud
bo‘lsa-da, ma‘naviyatning yangi shaklini to‘g‘ri talqin qilish dunyoviy jamiyat uchun muhim ekanligini
ta‘kidlagan olimlar soni anchagina edi. Britaniyalik olim Uord Keiz barcha diniy qadriyatlar qisman
haqiqatni o‘z ichiga olib, ilohiy dunyo bularning barchasini rad etishi ham mumkin. Biror bir diniy qarash
haqiqatni to‘liqligicha aks ettiradi deyish yanglish bo‘ladi. Ma‘naviyatning fan bilan bog‘liqligi shundaki,
fizikada ham xuddi shunday qonuniyat mavjud. Hech bir fizik olim dunyo manzarasini to‘liqligicha anglay
olmaydi, barcha fizik qonuniyatlarda qisman haqiqat mavjuddir. Uord dindan ma'naviyatga o'tishni
eksklyuziv dogma shakliga kelgan dindorlikdan shaxsiy tajribaga asoslangan inklyuziv diniy qarashlarga
o'tish g‘oyasi sifatida qaraydi.
Amerikalik islomshunos olim Charles Kimbal ham o‘zining ―When Religion Becomes Evil‖ kitobida
Uord g‘oyalariga yaqin fikrni keltiradi: ―I am convinced that it is possible to be a person of faith with
integrity – a Christian, a Jews, a Muslim, a Buddhist – and at the same time recognize one‘s own experience
of God does not exhaust all the possibilities. A constructive outlook of religious pluralism can take us
beyond simple diversity and embracing it as a source of strength. Rather than being necessarily divisive,
religious traditions can provide models for tolerance‖.
Olimlarning fikrlari tahlili asosida ma‘naviyatning yangi tushunchasi xususiyatlarini quyidagicha
ajratdik:
a) Birinchi xususiyat – bir xillikdan xilma-xillikka o‘tish. Bir din, bir dunyoqarashdan ko‘ra hozirgi
ma‘naviyat (spirituality) dunyoning turli dinlarini insonning diniy dunyoqarashini shakllantirish uchun
manba sifatida qabul qiladi. Global dunyoda muayyan jamiyatlar o‘rtasidagi munosabatlar, alohida
madaniyatlar va dinning nisbiylashuvi, turli muqobil e‘tiqodlarning oshib borayotganini kuzatish mumkin.
Yangi davrda ma‘naviyatning xilma-xilligi (spiritual eclecticism) boshqa diniy talqinlarga nisbatan diniy
bag‘rikenglikka yetaklaydi.
b) Ikkinchi xususiyat – dogmatik qarashlardan tajribaga o‘tish. Barcha e‘tiqodiy qarashlar nisbiydir,
vaqt o‘tishi bilan mutlaq haqiqat tushunchasi eskiradi.
c) Uchinchi xususiyat – umumiylikdan shaxsiylikka o‘tishi. Yangi davr ma'naviyati (New Age
spirituality)ga insonning shaxsiy hayoti bilan bog'liq bo‘lgan faoliyat yoki amaliyotlar, salomatlik,
farovonlik, sevgi, insonparvar qadriyatlar, ta'sirchan, ekspressiv munosabatlarni kiritish mumkin.
1
Oxford Dictionary of English. Second Edition. Edited by Catherine Soanes, Angus Stevenson. - Oxford University
Press. 2003. - P.1706.
ADABIYOTLAR:
1. Charles Kimball. When Religion Becomes Evil. New York: Harper San Francisco, 2002.- P.8
2. Robert K.C.Forman. The Problem of Pure Consciousness. Mysticism and Philosophy. New York:
Oxford University Press, 1990
3. Robert K.C.Forman. The Innate Capacity.Mysticism, Psychology, and Philosophy. New York:
Oxford University Press, 1998
4. Keith Ward. The Case for Religion. Oxford: Oneworld, 2004. – P.226
5. 5.James A.Herrick. The Making of the New Spirituality. The Eclipse of the Western Religious
Tradition. Downers Grove: Inter Varsity Press, 2003.
6. Islomov Eldor Yusupovich, Ahmedova Mehrinigor Bahodirovna. The essence of spirituality in the
uzbek language. xiii mejdunarodnaya nauchno-prakticheskaya konferensiya " yazыk i kultura"CHelyabinsk,
26 aprelya 2018 goda. - P.12-15
7. Akhmedova Mekhrinigor Bahodirovna. ―Analysis and different interpretations of the concept of
spirituality‖. Indonesian Journal of Innovation Studies, Vol. 18, May 2022, doi:10.21070/ijins.v18i.590.
8. Crystal D. English as a Global Language. Second Edition. – New York, Cambridge University
Press, 2003. – P. 78.
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LINGUISTICS
9. Newman L.L. Faith, Spirituality and Religion: A Model for Understanding the Differences. The
College of Student Affairs Journal, Volume 23, № 2, 2004. – Pp.102-106.
10. Fisher, J.W. Spiritual Health: Its Nature and Place in the School Curriculum. PhD thesis,
University of Melbourne, 1998, Melbourne, Australia, 2010 Available from
http://eprints.unimelb.edu.au/archive/00002994/ & Melbourne University Custom Book Centre: Melbourne,
Australia, 2010 – 234 p.
Abstract. In this article, a comparative study of the consonant systems of the Russian and Uzbek
languages was carried out in order to identify the potential influence of the native language (Uzbek) on
Russian speech. Using the comparative method, internal interpretation, oppositions and positional
approaches, significant differences were revealed between the phonemes of the Russian and Uzbek
languages in acoustic and articulatory characteristics. The specificity of the system of consonant phonemes
of the Russian language was also determined, which leads to interference at the paradigmatic level in the
Russian speech of Uzbeks. The study revealed potential phonetic interference, such as substitution
(substitution), under-differentiation, semi-differentiation, over-differentiation and reinterpretation, when
comparing the phonological systems of the Russian and Uzbek languages. It is determined that the influence
of the native language is not due to the coincidence of the phonetic characteristics of phonemes and the
implementation of phonological oppositions in the Russian and Uzbek languages.
Keywords: comparative study, potential impact, acoustic-articulation characteristic, interference,
paradigmatic level, consonantism, system, opposition; substitution; under differentiation; semi-
differentiation; redifferentiation; reinterpretation.
Annotatsiya. Ushbu maqolada ona tilining (o'zbek) rus nutqiga potentsial ta'sirini aniqlash
maqsadida rus va o'zbek tillarining undoshlar tizimini qiyosiy o'rganish amalga oshirildi. Qiyosiy usul, ichki
talqin, qarama-qarshilik va pozitsion yondashuvlardan foydalangan holda rus va o'zbek tillari fonemalari
o'rtasida akustik va artikulyar xususiyatlarda sezilarli farqlar aniqlandi. Rus tilining undosh fonemalari
tizimining oʻziga xosligi ham aniqlandi, bu esa oʻzbeklarning rus nutqiga paradigmatik darajada
aralashishga olib keladi. O‗rganish jarayonida rus va o‗zbek tillarining fonologik tizimlarini solishtirishda
o‗rin almashish (almashtirish), kam differensiatsiya, yarim differensiatsiya, qayta differensiatsiya va qayta
talqin qilish kabi fonetik interferensiya ehtimoli aniqlandi. Ona tilining ta‘siri fonemalarning fonetik
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xususiyatlarining mos kelishi, rus va o‗zbek tillarida fonologik qarama-qarshiliklarning amalga oshirilishi
bilan bog‗liq emasligi aniqlanadi.
Kalit so'zlar: qiyosiy o'rganish; potentsial ta'sir; akustik-artikulyatsiya xarakteristikasi; aralashuv;
paradigmatik daraja; konsonantizm; tizim; qarama-qarshilik; almashtirish; kam tabaqalanish; yarim
tabaqalanish; qayta farqlash; qayta talqin qilish.
ЛИТЕРАТУРА:
Abstract. the article deals with the complex study of the problems of mutual translation of tourist
terms into English and Uzbek. Translating realities is considered one of the biggest challenges for a
translator working with the tourism term system. If this dictates the use of transliteration/transcription in the
translation of individual terms, the method of associalization in accordance with the needs of the customer in
the translation of tourist texts is carried out using descriptive comments or functional alternatives. At the
same time, it should be remembered that the term-words, like any lexeme, is not applicable alone. The main
purpose of their application in the structure of tourist texts is a functional-rhetorical function, and we are
talking about the need to do this in coordination with the various possibilities of languages.
Keywords: reality, term system, tourism, neutralization, tourism content, equivalence, modulation.
Introduction. The primary challenges frequently stem from the inability to translate the English
scientific name elements in an appropriate way. For instance, the core of the complimentary lexeme in the
scientific name complimentary ticket meant ―takalluf‖ and its direct translation should have been
―takallufli‖. But in the context of touristic-specific, the above combination with his participation is
REFERENCES:
1. Mengliev, B., and Z. Sobirova. Some issues related to the transfer of English tourism terms in
Uzbek language //Journal of critical reviews. No. 15. ISSN-2394-5125 VOL 7, 2020.
2. Bahodirovna, Akhmedova Dildora, and Bakhtiyor Mengliev. "Semantic Tag Categories in Corpus
Linguistics: Experience and Examination International Journal of Recent Technology and Engineering
(IJRTE) ISSN: 2277-3878, Volume-8, Issue-3S, October 2019." 208-212.
3. Mengliev, Bakhtiyor, and Shakhnoza Gulyamova. "Linguistic Modeling of Polysemous Words for
the Semantic Analyzer of The Uzbek Language." 2022 7th International Conference on Computer Science
and Engineering (UBMK). IEEE, 2022.
4. Sobirova, Z. "The Realistic Genre and its Development in World Literature-International Journal
of Recent Technology and Engineering (IJRTE). 2019." (2019).
5. Mengliyev, Bakhtiyor, Shohida Shahabitdinova, Shahlo Khamroeva, Shakhnoza Gulyamova, and
Adiba Botirova. ―The Morphological Analysis and Synthesis of Word Forms in the Linguistic Analyzer.‖
ALLUSIVE COMPARISON
Abstract. This article deals with the concepts of allusion and appraisal, analyzes various approaches
to their interpretation in domestic and foreign linguistics. A distinction is made between allusion and other
markers of intertextuality, on the one hand, and evaluativeness, expressiveness and emotionality, on the
other. An attempt is made to separate the concepts of allusion and text link based on the functions they
perform. Article is devoted to allusion as part of stylistic convergence as an evaluative predicate of
increased expressiveness. The main theoretical issues related to the phenomenon of convergence are
considered. A brief description of the stylistic devices that converge with allusion is given, and the pragmatic
effect of their joint use is revealed.
Key words: Allusion, intertextuality, precedent texts, linguistic personality, reminiscence, denotative,
connotative.
АЛЛЮЗИВНОЕ СРАВНЕНИЕ
ALLYUZIV QIYOSLASH
Introduction. Allusion is the process of incorporating textual and discursive elements and fragments,
evoking different kinds of meanings and having an intertextual and interdiscursive result. The allusion
process can be seen as a dynamic process of activating texts from the author and decoding from the reader,
each of which has 3 stages of processing. The process from the author includes the stages of introducing
textual elements and marking, evocation of the implicit part and irradiation to a new context, which
correspond to the stages of recognition-identification, analysis based on associations and evaluation by the
recipient. Different types of allusions are represented differently on the discursive scale of reproduction and
activation of textual meanings. The most non-textual, i.e. close intra- and intertextual relations not associated
with a specific text are clichés, popular expressions, famous quotes. They are in a relationship of 'dead'
intertextuality and are the result of a discursive, social reformation of meaning and constitute one pole of
discursiveness - topos. Echo, located in relations of 'dispersed' intertextuality, is the result of the creation
and use of a collective source and constitutes another pole of discursiveness - metafictional.
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LINGUISTICS
Main part. All intertextual relations conveyed by allusions per se are in an active interdiscursive field.
Metaphorical proper names, having a metaphorical meaning formed on the basis of the symbolization of
textual meaning, are able to name and characterize a new object in a specific way. Since metaphorical proper
names carry generated and unique characteristics in their meaning, we call this method of introduction
expressive nomination. Allusion is ―the presence in the text of elements whose function is to indicate the
connection of this text with other texts or to refer to certain historical, cultural and biographical facts.‖
[Allusion / Encyclopedia "Krugosvet"1999, p 87.] Elements that indicate the connection between texts are
called markers, or allusion representatives, and the texts and facts of reality to which the reference is made
are called allusion denotations. Precedent texts (or pretexts) must be referred to the denotations of allusion.
The outstanding Soviet scientist Yu.N. Karaulov was the first to introduce the concept of a precedent text
into scientific circulation, considering it in relation to the consciousness of a linguistic personality and
defining it as follows: ―Let's call precedent texts, (1) significant for a particular personality in cognitive or
emotional terms, (2) having a superpersonal character, i.e., well-known to a wide circle of a given
personality, including his predecessors and contemporaries, and, finally, such (3) appeal to which is renewed
repeatedly in the discourse of a given linguistic personality‖ [Karaulov, 2010, p. 216]
The referential method of introduction differs from the expressive-nominative one by the deictic
nature of the designation of the object. The specificity of an allusive reference lies in the fact that it
simultaneously has both an explicit and implicit referent, and a large semantic load falls on the implicit part,
which implies both a semantic component and a cognitive one (in the recipient's database).
The citation method of introduction is based on the marked or unmarked inclusion of identifiable text
fragments in the text, their verbatim reproduction, which generates a modification of the context.
The lexico-syntactic method of introduction is a directed mimetic repetition of both lexical and
rhythmic-syntactic structures. Since the mimetic repetition of lexical units is less pronounced in the formal
aspect - at first glance, lexically neutral units can act as markers - multiple textual and discursive support is
needed to determine intertextual allusiveness. Otherwise, it will refer to instances of echo or neutral use.
Rhythmic-syntactic coincidences are more obvious due to sound, rhythmic, musical and syntactic
coincidences.
The stylizing method of introduction is designed to recognize the stylistic patterns (patterns) of the
previous text and support the multi-modal perception of the text with the activation of emotional and sensory
channels of information processing.
Irradiation consists in both the generation of textual and metatextual results. Irony, parody, satire are
constant companions of allusion, because just as similarity is relevant for highlighting allusion, differences
are also - and even more important - for the new existence of the text, which are most often expressed in an
ironic, parodic, satirical, allegorical, parable metaphorical context. In the poetic works of T.S. Eliot, the
skillful use of allusions generates the inclusiveness of the author's consciousness, aimed at evocation of the
inclusive consciousness of the reader, i.e. allusion can generalize experience and direct attention from the
immediate moment to the whole, creating a commentary on society and history and on an individual vision
of the world. Allusion intensifies and defines the author's self-awareness and expands it to a generalized one.
The evaluation by the recipient is the most subjective stage of the decoding process.
The second level is literary and cultural, including the literary process in the context of many years of
cultural and historical development, signaled by specific intra- and intertextual and interdiscursive relations.
The third level - communicative-conversational - is characterized by the circulation of socially significant
inter-discursive elements that are actualized in a dialogic interactive situation of cultural-mass
communication (in the press, for example). The allusion of topos includes the reader in the context of
common discursive knowledge with the author, when recognizing and taking into account external
information, the recipient cooperates with the author in recognizing the implicit meaning of a scene,
character or phenomenon. Appeal to an inert collectivity shortens the distance between author and reader
('you know what I mean' context) and creates the conditions for both collective self-irony and collective
defense.
Conclusion. Intertextual relations place new texts in the context of inevitable repetition, but the appeal
to previous knowledge always has different forms of manifestation - borrowing, processing scenes, themes
and plots, quoting, conscious or unconscious reproduction of 'cultural moves' Ecclesiast motifs 'pursue' any
new creation, from mere imitation and unworthy plagiarism to exquisite sophistication of playing with
allusions. In the broadly understood cultural context of metatextuality, any cultural phenomenon can be
considered as a collated and reworked old one. In this study, we were interested in the structural-functional
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художественной прозе (на материале английского языка): Автореф. дис. ... канд. филол. наук. - Л.,
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М.: «Просвещение», 1990. - 300 с.
11. Арнольд И.В. Стилистика. Современный английский язык: учебник для вузов / И.В. Арнольд.
- 11-е изд. - М.: ФЛИНТА: Наука, 2012. - 384 с.
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13. Ахманова О.С., Гюббенет И.В. «Вертикальный контекст» как филологическая проблема. //
Вопросы языкознания, 1977. - №3.
Abstract. It is not enough only to theoretically define the various characteristics of linguistic systems.
Considering that the study of speech phenomena of linguistic units in the communication system increases
attention to the human factor, let us consider below the features of euphemisms of Uzbek speech, because
national, cultural identity is reflected in the behaviour, culture and communication.
The direct, rational and effective use of the language of cultural heritage, its deep study and
admiration is necessary to achieve spiritual perfection. After all, the relationships, beliefs, customs,
aspirations, adherence to national values of any person with people in the environment in which he lives,
SCIENTIFIC REPORTS OF BUKHARA STATE UNIVERSITY 2023/7 (101) 126
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LINGUISTICS
ensure his formation as a person. Every aspect of this process is linked to language, for language in every
situation fulfils the function of a medium.
Key words: synonymous words in the poems of Halima Khudoberdieva, connotation, dialect words,
dialect.
АДАБИЁТЛАР:
1. Миртожиев М.М. Ўзбек тили семасиологияси. – Тошкент: Mumtoz so‗z, 2010. – 288 б.
https://www.twirpx.com/file/3052388/
2.Гулямова Ш.К. Ўзбек тили эвфемизмларининг гендер хусусиятлари: филология фанлари бўйича
фалсафа доктори (PhD) диссертацияси автореферати. –Бухоро, 2020. http://213.230.96.51:8090/files/ebooks
3. Дилором Юлдашева (Dilorom Yuldasheva). Профессиональные фразеология (Professional Phraseology).
International conference on academic studies in philology (BICOASP) 26-28 September 2019 Bandırma
https://d1wqtxts1xzle7.cloudfront.net/60539392/
4. Шомақсудов А., Расулов И., Қўнғуров P., Рустамов А. Ўзбек тили стилистикаси. – Тошкент:
Ўқитувчи, 1983. – 248 б. https://www.twirpx.com/file/1070737/
5.Ғайбуллаева Н.И. Ўзбек тилида тиббий эвфемизмлар (тиббий даврий нашр материаллари асосида):
Филология фанлари бўйича фалсафа доктори (PhD) диссертацияси автореферати.– Бухоро, 2019. –50 б.
http://library.ziyonet.uz/uzc/book/108708
6. Юлдашева Дилором Нигматовна. Особенности некоторых профессиональных фразеологизмов
узбекского и английского языков. «Сўз санъати» халқаро журнали (ISSN: 2181-9297 DOI: 10.26739/2181-9297
www.tadqiqot.uz) –2021, 1-сон, 4-жилд. –B.:119-127. https://tadqiqot.uz/index.php/art/article/view/446
https://tadqiqot.uz/index.php/art/issue/view/41
7.Дилором Юлдашева. Нутқий мулоқотда сукутнинг ўрни. Образование и инновационные исследования.
Том 1 № 1 (2020). http://interscience.uz/index.php/home
8.Юлдашева Д. Н. Сукут нутқий мулоқотнинг таркибий қисми сифатида //Сўз санъати халқаро
журнали. – 2020. – Т. 3. – №. 3. www.tadqiqot.uz
9.Tueva Zulfiya Nozimovna, Yuldasheva Dilorom Nigmatovna. Statement and about its types. International
Scientific Journal ISJ Theoretical & Applied Science Philadelphia, USA issue 01, volume 93 published January 30,
2021. – Pag.72-77. https://elibrary.ru/item.asp?id=44644256
10.Yuldasheva Dilorom Nigmatovna. Silence-is a nonverbal unit of speech communication. Impact Factor (SJIF
20 20= 6.156) ―American Journal of Research‖, 2020, 11-12 issue of the Journal.– Pag.87-95.
https://journalofresearch.us/wp-content/uploads/2020/12/2020_11_12-AJR_11.pdf
11. https://zenodo.org/record/5651590#.Ycaq42lN3qs Dilorom Nigmatovna Yuldasheva, Guli Toirova
Ibragimovna, Dildora Yunus kizi Yusupova Silence is a Pragma linguistic event taking medical Ephemic significance.
Philosophical Readings XIII.4 (2021), pp. 2290-2297. 2290
12.Ashurbayeva Rukhiya Kaxxarovna. The concept of integration and its application in education.
―International Scientific Journal Theoretical & Applied Science‖ (ISSN: 2308-4944 (print) e-ISSN: 2409-0085). –Year:
2020 Issue: 02 Volume: 82. –83-86 p. https://www.elibrary.ru/item.asp?id=42658976
13. Rukiya Ashurbaeva Kahharovna. Effective methods of teaching the mother tongue in theeducation system.
―International Engineering Journal For Research & Development‖. Vol.5Issue 7E-ISSN NO: -2349-0721.
https://iejrd.com/index.php/%20/article/view/1313
14.R.K.Ashurbaeva. Ways of effective Implementation of Integration. Middle European Scientific Bulletin.
Volume 10, March 2021. ISSN 2694-9970. Pag.45-51.
https://cejsr.academicjournal.io/index.php/journal/article/view/308
15. Chullieva Gulchekhra Toshpulot qizi. Intonation. Intonema, its structure. Functions of intonema. Middle
European Scientific Bulletin. Volume 8, January 2021. ISSN 2694-9970. Pag. 141-148.
https://cejsr.academicjournal.io/index.php/journal/article/view/179
16. G.T.Chullieva. Intonema and its Types. Middle European Scientific Bulletin. Volume 10, March 2021. ISSN
2694-9970. Pag. 91-95. https://cejsr.academicjournal.io/index.php/journal/article/view/314
17. DY Yusupova. Poetess Khalim Khudoyberdieva and his skill in use of the word. International Scientific
Journal ISJ Theoretical & Applied Science Philadelphia, USA issue 01, volume 93 published January 30, 2021.–
Pag.238-241. https://www.elibrary.ru/item.asp?id=44644284
18. Dildora Yunus kizi Yusupova. About Polisemanic Words (on the example of the poems of the Uzbek poetess
Khalima Khudoyberdiyeva). Middle European Scientific Bulletin. Volume 10, March 2021. ISSN ISSN 2694-9970.
Pag.384-389. https://cejsr.academicjournal.io/index.php/journal/article/view/367
19. Худойбердиева Ҳ. Сайланма.–Тошкент: Шарқ, 2000.–398 б.
20. http://library.ziyonet.uz/ru/book/119112
21. http://library.ziyonet.uz/ru/book/119111
22. http://library.ziyonet.uz/ru/book/119110
УЎК 82.01
ШЕЪРИЯТДА БАДИИЙ ТАКРОР ВА УНИНГ ТУРЛАРИ
(Тилеўберган Жумамуратов шеърияти мисолида)
Аннотация. Мазкур мақолада шеъриятда бадиий такрорнинг ўрни, вазифаси, жозиба бахш
этувчи хусусиятлари борасида сўз юритилади. Хусусан, Қорақалпоқ адабиѐтининг йирик
намоѐндаси, Ўзбекистон ва Қорақалпоғистон халқ шоири Тилеўберган Жумамуратов асарларида
бадиий такрор ва уларнинг турлари, шеърдаги ўзига хос хусусиятлари ҳақида мисоллар асносида
атрофлича мулоҳаза юритилади.
Калит сўзлар: тасвирий восита, бадиий такрор, товуш, сўз, морфема, тенг ўлчовли такрор,
тенг ўлчовли бўлмаган такрор, фонетик такрор, лексик такрор, морфологик такрор, синтактик
такрор, аллитерация, ассонанс, анафора, параллелизм, эпаналепсис, эпанстрофа.
Abstract. This article discusses the role, function, and attractive features of artistic repetition in
poetry. In particular, in the works of Tileobergan Jumamuratov, the great representative of Karakalpak
literature, the national poet of Uzbekistan and Karakalpakstan, artistic repetition and its types, poet's
specific features are discussed in detail.
Key words: figurative means, artistic repetition, sound, word, morpheme, equidimensional repetition,
unequal repetition, phonetic repetition, lexical repetition, morphological repetition, syntactic repetition,
alliteration, assonance, anaphora, parallelism, epanalepsis, epanstrophe.
Кириш. Такрор – шеъриятда қадимдан фаол қўлланган бадиий тасвирий восита. У халқ оғзаки
ижоди ва мумтоз адабиѐтда ҳам фаол қўлланиб, маълум маъновий-услубий вазифани бажариб келган.
Бадиий асарда ҳам мазмуннинг эмоционаллигини таъминловчи бадиий қуроллардан бири – бадиий
такрор бўлиб ҳисобланади. ―Такрорлаш – бадиий асарда унинг таъсирчанлигини ошириш, ғояни
ўткирлаштириш, қаҳрамоннинг ички дунѐсини теранроқ очиб бериш учун қўлланиладиган синтактик
усул‖. Бундай усул орқали матн ичида бир сўз ѐки бир неча сўзлар такрорланиб келади. Бироқ
такрорланиб келган сўзларнинг ҳар бири алоҳида бадиий-эстетик вазифа бажаради.
Асосий қисм. Бадиий такрор – товушлар, сўзлар, сўз бирикмалари ѐки гапларнинг бир нутқ
бирлиги ичида ѐки аралаш нутқ бирликлари оралиғида қайталаниб келиши орқали фикр
таъсирчанлигини орттирадиган услубий фигуралардан биридир. Тадқиқотчи Ш.Асқарова бадиий
такрорнинг мураккаб жараѐн эканлигини таъкидлаб унинг бир неча турларини кўрсатади:
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зўрма-зўракилик, сунъийлик ва нотабиийликдан холи бўлиши керак эканлигини инсон доимо англаб
туради. Демак, бу ҳолатга ихтиѐрий эмас, балки ихтиѐрийсиз равишда эришилади.
Фонетик такрорлар нутқ товушларидан бирортасининг такрори ѐки товушлар оҳангдошлиги
асосида юзага келади. ―Шеър китобхонда эстетик завқ уйғотиши учун у маъно таъсирчанлигига эга
бўлиши, ижодкорнинг ички эмоциясини ифодалай олиши керак. Шеърнинг эмоционаллиги эса вазн,
ритм, қофия, поэтик фигуралар, бадиий санъатлар билан бирга поэтик фонетикага ҳам боғлиқ бўлади.
[3. 114б] Шеърий асарлар ўзига хос оҳангга, жозибадорликка, экспрессив таъсир кучига эга бўлади.
Фонетик такрорга аллитерация ва ассонанс ҳодисалари киради. Т.Жумамуратов асарларида
ассонанс ва аллитерация кам учрайди.
Такрорнинг барча турлари, кўринишлари сингари лексик такрорлар ҳам ўз ифода шаклига ва
тасвир усулига эга. Айниқса, поэтик нутқда лексик такрорлар турли шаклларда бадиий-услубий
вазифа бажаришга хизмат қилади.
Лексик такрор орқали муаллиф хабар гапнинг ўзини эмоционал муносабатдаги гапга
айлантира олади. Шу такрорни қўллаш орқали тингловчининг диққатини шу такрордаги сўзга
қаратади. Лексик такрорга анафора, эпифора, симплока, анадиплозис каби ҳодисалар кириб, бу
ҳодисаларда лексик бирлик – сўз турли шаклда такрорланади. Мазкур барча услубий қуроллар
умумий ном билан «лексик такрор» деб юритилади.
Анафора – сўзларнинг нутқда ѐки шеърий сатрларининг бошида такрорланиб келиш ҳодисаси
[13.24].
Биреў ойлар, гәўҳар бар деп түсинде,
Биреў ойлар, полат бар деп күшинде.
Биреў – патша, кӛптиң қолы жетпеген,
Биреў турмыс кеширип жүр еп пенен (149,12).
Шоир Т.Жумамуратовнинг ушбу шеърий сатрларининг ҳар бири бирдек сўзларнинг такроридан
бошланган.
Т.Жумамуратов асарларида бирдек сўзларнинг шеърий сатрлар охирида такрорланиши –
эпифора ҳодисаси бир неча кўринишда келган.
а) бир сўз шеър бандининг барча қаторларида такрорланган:
Зарыққан болса бурында Абай,
Ҳәзир тап халықтың жырында Абай,
Кӛринер түсим, оңымда Абай,
Мухтардың уллы томында Абай (149,262).
б) бир сўз шеър бандининг дастлабки уч қаторида такрорланган:
«Шүй тастамақ», «Бардымқаш» ойынларым бар еди,
Бирге ӛскен ҳәзиллесип, сүйискен дилбар бар еди,
Қосылмақ мақсетинде опалы ашық яр еди,
Жүрегимди бәнт еткен Мийирханым бармысаң?! (149,122).
в) бир сўз шеър бандининг иккинчи ва тўртинчи сатрларида такрорланган:
Әкем жигит болғанда,
Турпатын көрген мыс қуман.
Анам келин болғанда,
Сымбатын көрген мыс қуман (149,137).
г) бир сўз шеър бандининг биринчи ва учинчи сатрларида такрорланиб келади:
Ӛз бӛлмемде меннен басқа адам жоқ,
Түрли ойлар қаплап тыным бермейди.
Тәғдийримниң тәдбийрине шамам жоқ,
Кеткен бенде енди қайтып келмейди (149,152).
д) бир сўз шеър бандининг биринчи, иккинчи ва тўртинчи сатрларида такрорланган:
Сап жүреги ӛртенипти дүт болып,
Тири қалдым ақыр түби қут болып.
Қар үстинде қаңбақлардай жумалап,
От басында аяқларым шыт болып (149,130).
е) бир хил сўзлар ҳар икки қаторда такрорланган:
Сатыўшы қолға берди,
Қабақ үйип зорға берди.
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UO„K 34.01.48(05)
Annotatsiya. Ushbu maqolada Turkman xalqining iste‘dodli shoiri Maxtumqulining Ahmad Yassaviy
ijodidagi turli tasavvufiy g‗oyalar bilan birgalikda yosh bilan bog‗liq qarashlarini o‗zida aks ettirgan
o‗rinlar tahlilga tortilgan. Yassaviy ijodida komillik masalalari bilan bir qatorda, shoirning yosh
xususiyatlari bilan bog‗liq qarashlari izchillikda ifoda etilganligini ko‗rish mumkin. Ya‘ni insonning
go‗daklik chog‗laridan tortib, oltmish uch yoshigacha bo‗lgan yosh xususiyatlari ketma-ket yoritilgan.
Ahmad Yassaviy ijodida yosh bilan bog‗liq izchillik kuzatiladi, ammo Maxtumquli bu an‘anani ayrim
jihatlarini o‗z ijodida saqlab qolgan.
Kalit so’zlar: turkiy tasavvuf adabiyoti, axloqiy-didaktik xarakterdagi o‗gitlar, ilohiy-irfoniy g‗oyalar,
adabiy ta‘sir masalasi, insonning paydo bo‗lishi, ma‘rifatulloh sirlari, biografik mohiyat, o‗z-o‗zini
malomat qilish.
Abstract. In this article, the places in the works of the talented poet of the Turkmen people
Makhtumkuli, Ahmed Yassavi, which reflect the views related to age together with various mystical ideas,
are analyzed. In Yassavi's work, along with the issues of perfection, it can be seen that the views of the poet
related to the characteristics of youth are consistently expressed. That is, the age characteristics of a person
from infancy to the age of sixty-three are covered in a row. In the work of Ahmed Yassavi, there is a
consistency related to age, but Makhtumquli preserved some aspects of this tradition in his work.
Key words: Turkish mystical literature, moral-didactic teachings, theological-mystical ideas, the issue
of literary influence, the emergence of a person, the secrets of enlightenment, biographical essence, self-
reproach.
Kirish. Ahmad Yassaviy – turkiy tasavvuf adabiyotining atoqli vakilidan biri. Uning ―Devoni hikmat‖
asarida islomiy-tasavvufiy g‗oyalar, axloqiy-didaktik xarakterdagi o‗gitlar keng yoritilgan. Yassaviy ijodida
komillik masalalari bilan bir qatorda, shoirning yosh xususiyatlari bilan bog‗liq qarashlari izchillikda ifoda
etilganligini ko‗rish mumkin. Ya‘ni insonning go‗daklik chog‗laridan tortib, oltmish uch yoshigacha bo‗lgan
yosh tavsifi ketma-ket keltirilgan. So‗fiy shoirning irfoniy ta‘limoti uzoq davrlar mobaynida turkiy xalqlar
uchun ibrat maktabi bo‗lishi bilan birga, ilhom manbayi ham edi. Uning ijodidan turk, qozoq, qirg‗iz, tatar va
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turkman shoirlari ta‘sirlanib, Yassaviy g‗oyalarini o‗z asarlarida aks ettirdilar. Ana shunday ijodkorlardan
biri, turkman xalqining sevimli shoiri Maxtumquli Firog‗iydir. U XVIII asr Sharq ma‘rifiy she‘riyatining
buyuk vakillaridan biridir. Uning adabiy merosida turkiy xalqlarning qon-qardoshlik tuyg‗ulari o‗z badiiy
ifodasini topgan. Daho shoirning aksariyat she‘rlarida ijtimoiy-siyosiy, axloqiy-ma‘naviy, ilohiy-irfoniy
g‗oyalar talqini yetakchilik qiladi. Salohiyatli so‗z san‘atkori qoldirgan ma‘naviy xazinada pok islomiy
ma‘rifat ruhi ufurib turadi. Qolaversa, tasavvuf bilan jonli vobastalik Maxtumquli she‘riyatida oson
anglashiladigan holat.[1;67-b.] Shoir ijodida tasavvuf tariqatlari, timsollari, g‗oyalari aks etgan misralar
talaygina. Uning ijodida diniy-tasavvufiy mavzudagi she‘rlar yetakchi o‗rin tutadi. Ulug‗ shoirning bir necha
she‘rlari Ahmad Yassaviy ijodidan ta‘sirlanish natijasi o‗laroq dunyoga kelgan. Ayniqsa, so‗fiy shoirning
yosh bilan bog‗liq hikmatlariga hamohang tarzda bitilgan baytlar Maxtumquli ijodiga mansub “Jona
keldim” va “Bu naqldir, odamzod” nomli she‘rlarida uchraydi. She‘rlarda kuzatiladigan adabiy ta‘sir
masalasini batafsil yoritish uchun har ikkala ijodkorning mushtarak mazmundagi misralarini tahlilga
tortamiz.
Tadqiqot obyekti. Ahmad Yassaviy hikmatlarida odamning paydo bo‗lishidan to dunyoga
kelgunigacha bo‗lgan holat quyidagicha ifodalangan:
Rahm ichra paydo bo‗ldum, ovoz keldi,
Zikr ayt dedi, vujudlarim junbush qildi,
Ruhum kirdi, so‗ngaklarim ―Olloh‖ dedi,
Ul sababdin oltmish uchda yerga kirdim.
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Shoir ―yetti‖ yoshidagi o‗ziga xoslik haqida to‗xtalar ekan, Arslonbob uni izlab topib, xurmo
berganligi va latif xislatlardan birini topganligini ta‘kidlash bilan yuqorida keltirilgan rivoyatga ishora qiladi.
Talmeh vositasi bilan ma‘rifatulloh sirlariga yetganligiga ishora qiladi. Maxtumquli esa ushbu yoshda ancha
ulg‗ayganligini, ayniqsa, do‗st-u dushmanni ajrata olish darajasiga yetganligiga urg‗u beradi: ―Yetti yoshga
yetganda, do‗st-dushmanni bilardim‖.
Xoja Ahmad Yassaviy “sakkiz” yoshida sakkiz tomondan yo‗l ochilib, ―Hikmat ayt!‖ deb boshiga dur
sochilganini yozadi. Ta‘kidlash joizki, hikmat so‗zi Qur‘oni Karimning yigirmaga yaqin o‗rnida ―nasihat va
o‗git‖ (―Baqara‖ surasi, 23-oyat), ―nozikta‘blik va ilm‖ (―Aniqki, biz Luqmonga hikmat ato etdik…‖
―Luqmon‖ surasi, 12-oyat), ―payg‗ambarlik salohiyati‖ (―Baqara‖ surasi, 251- oyat), ―Qur‘on sirlarini bilish‖
(―U o‗zi istagan kishilarga hikmat berur. Kimga hikmat berilgan bo‗lsa…‖ ―Baqara‖ surasi, 269-oyat) kabi
ma‘nolarda qo‗llangan.
―Hikmat – ―to‗g‗ri hukm berish‖, ―to‗g‗ri qaror qabul qila olish‖, ―Qur‘ondan to‗g‗ri hukm chiqara
olish ilmi‖, ―to‗g‗ri hukmning o‗zi‖, degan ma‘nolarni ifodalaydi. Hikmat – arab tilidagi ―hukm‖ o‗zagidan
turlangan kalimadir‖ .[6]
Demak, Yassaviy sakkiz yoshida ana shunday to‗g‗ri hukm berish darajasidagi shaxs bo‗lib, ayni
yoshda Qur‘ondan to‗g‗ri hukm chiqara olish ilmini egallagan ulamo darajasida bo‗lganligini yuqoridagi
hikmatidan anglash mumkin. Ahmad Yassaviy ijodida ―to‗qqiz‖ yoshdagi xususiyatlar quyidagicha
ifodalanadi:
To‗qquzimda to‗lg‗onmadim egri yo‗lg‗a,
Tabarruk deb olib yurdi qo‗ldin-qo‗lg‗a,
Quvonmadim bu so‗zlarga, qochtim cho‗lg‗a,
Ul sababdin oltmish uchda yerga kirdim.
So‗fiy-shoir bu yoshda egri yo‗lga yurishdan qat‘iy tiyilganligini, qolaversa, ―Quvonmadim bu
so‗zlarga, qochtim cho‗lg‗a‖ misrasi orqali kibrni yengishga alohida ahamiyat qaratganligiga urg‗u beradi.
Maxtumquli esa, “to„qqiz” yoshida besh vaqt namoz o‗qishga ayricha e‘tibor qaratganligi ta‘kidlaydi.
Tabiiyki, bu yosh balog‗atga yetish yoshi sanaladi. Musulmonchilik tamoyiliga ko‗ra, balog‗atga yetgan har
bir shaxs farz qilingan bir kundagi besh vaqt namozni bekamu ko‗st ado etishi lozim. Maxtumquli ayni shu
masalaga urg‗u beradi.
Xoja Ahmad Yassaviy “o„n” yoshni quyidagicha ta‘riflaydi:
O‗n yoshingda o‗g‗lon bo‗ldung, Qul Xoja Ahmad,
Xojaliqg‗a bino qo‗yub, qilmay toat,
Xojaman deb yo‗lda qolsang voh, na hasrat,
Ul sababdin oltmish uchda yerga kirdim. [2; 19-b.]
Shoir ―o‗n‖ yoshida o‗g‗lon bo‗lib, xojalikka bino qo‗ymasdan, toat-ibodat zarurligi haqida yozadi. Bu
hikmat ham to‗qqiz yosh bilan bog‗liq she‘rning mantiqiy davomi sanaladi. Chunki bunda ham kibrdan,
manmanlikdan qochishga targ‗ib g‗oyasi sezilib turadi. Maxtumqulining ―o‗n‖ yosh ta‘rifi bilan bog‗liq
she‘riga e‘tibor qaratsak, shoir bu yoshda ―odob-ikromga kelganligini‖ qat‘iy ta‘kidlaydi. Ma‘lumki, islom
dinida ham, uning zamirida shakllangan tasavvuf ta‘limotida ham odob-ikrom, tarbiya masalasi asosiy
planga ko‗tarilgan. Shuning uchun ham Yassaviy hikmatlarida, ham Maxtumquli she‘rlariga bu masalaga
alohida qalamga olingan.
Yassaviy ―o‗n bir‖ yoshida rahmat daryosi to‗lib-toshganligini, ―Olloh‖ deya zikr qilganida, shayton
undan yiroq ketganini yozadi va ―o‗n ikki‖ yoshida bu sirlarni ko‗rganligi ta‘kidlaydi:
O‗n birimda rahmat daryo to‗lub toshti,
―Olloh‖ dedim, shayton mandin yiroq qochti,
Hoyu havas, moumanlik turmay ko‗chti,
O‗n ikkimda bu sirlarni ko‗rdum mano. [2; 20-b.]
Maxtumquli she‘riyatida esa “o„n bir” yoshga doir aynan izoh keltirilmagan bo‗lsa-da, ammo ―o‗n
ikki‖ yosh― ta‘rifini keltirib, bu yoshda ―har kimga qayrilib so‗z qotardim‖ tarzida ifodalaydi.
Ma‘lumki, tasavvufda asosiy va o‗ta muhim masalalardan biri – bu nafs tarbiyasidir. Kamolotga
qadam qo‗ygan solik, dastlab, nafs tarbiyasi bilan shug‗ullangan. Ulug‗ shayxlardan Abul Husay Nuriy:
«Tasavvuf nafsning barcha istaklarini va zavqlarini tark etmoqdir‖, deya ta‘kidlagan edi. So‗fiylar Alloh
huzuridagi yuksak martabalarga erishmoq uchun nafsning orzu havaslariga muholifat qilganlar. Shuning
uchun Yassaviy ham “o„n uch” yoshida nafs-havoni qo‗lga olib, nafs boshiga yuz ming balo solganligini
yozadi. Uning g‗oyalaridan ilhomlangan Maxtumquli esa, bu yoshida “O‗n uch yoshga yetganda og‗ir majlis
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tutardim‖ tarzida ifodalaydi. Og‗ir majlis tutmoqlik – bu riyozatni qattiq tutmoqlikdir. Chunki riyozat
amallari bilan nafs tarbiyalanadi.
Yassaviy ―o‗n to‗rt‖ yoshda ―tufroq sifat‖ bo‗lganligini, ya‘ni kamtarlik sifatini haddi a‘losiga
yetkazganligini yozadi. O‗n besh‖ yoshida esa huru- g‗ilmon–jannatdagi xizmatkorga duch kelib, ta‘zim
qilganligi, Firdavs jannatidan kelganligini yozsa, Maxtumquli bu yosh haqida ―tir-u to‗fang otardim‖ tarzida
ta‘kid bilan nihoyalaydi.
Yassaviy “o„n olti ” yoshini quyidagicha ta‘riflaydi:
O‗n oltimda barcha arvoh ulush berdi,
Hay-hay, sizga muborak deb Odam keldi,
Farzandim deb boynum quchub, ko‗nglum oldi,
O‗n yettimda Turkistonda turdum mano. [2; 20-b.]
So‗fiy shoirning ushbu hikmatidan o‗n olti yoshga yetganida piru murshid imtihonidan muvaffaqiyatli
o‗tganligini, qolaversa, o‗n yetti yoshida esa Turkistonga kelib o‗z tariqatiga asos solganligini anglash
mumkin.
Maxtumquli ijodida ―o‗n olti ‖ yosh tavsifi berilmagan. Ammo ―o‗n yetti‖ yoshga yetganda ishq
savdosini ko‗targanini yozadi.
Yassaviy hikmatlarida yosh tavsifi izchillikda davom ettirilgan bo‗lsa-da, Maxtumquli ijodida qat‘iy
izchilikka amal qilinmaganligi ko‗zga tashlanadi. Jumladan, uning she‘rlarida ―o‗n sakkiz ‖ va ―o‗n to‗qqiz‖
yosh bilan bog‗liq qarashlar yoritilmagan.
Yassaviy “yigirma” yoshga quyidagicha ta‘rif beradi:
Yoshim yetti yigirmaga, o‗ttum maqom,
Bihamdilloh, pir xizmatin qildim tamom,
Dunyodagi qurtu qushlar qildi salom,
Ul sababdin Haqqa yovuq bo‗ldum mano. [2; 21-b.]
Yassaviy o‗n yetti yosh bilan bog‗liq hikmatlaridagi fikrlarga oydinlik kiritadi, ya‘ni yigirma yoshida
pir xizmatini to‗liq yakunlaganligini aynan ta‘kidlaydi. Ushbu yoshga yetganda shoir ―pir xizmatin qildim
tamom‖, shundan so‗ng esa dunyodagi qurt-u qushlar salom qildi, deydi. Bu orqali unda karomatlar zohir
bo‗layotganligiga ishora qiladi. Bunday karomatli insonlarni xalq aziz-avliyo, qudsiy nafasli kishilar sifatida
alohida e‘zozlagan. Yassaviy yana bir nuqtaga e‘tibor qaratadi. Bu ham bo‗lsa – Haqqa yaqin bo‗lishdir. Bu
barcha so‗fiylar Musharraf bo‗lishi mushkul bo‗lgan ruhiy holatdir. Zero, «Haqning bandaga muhabbati, —
deb yozadi Hujviriy, — xayr irodasidir. Bu xayr rahmati tufayli banda parvarish topadi, gunohlardan
qutuladi, maqom va karomatga ega bo‗ladi. [5; 50-b.]
Yassaviy bu yoshda ―Ollohga yaqin bo‗lganligini‖ yozsa, Maxtumquli bu yoshga quyidagicha ta‘rif
beradi:
Yigirmaga yetganda, falak jabrini ko‗rdim,
Falak oldi yorimni, oliy g‗amxona keldim. [4; 205-b.]
Ko‗rinib turibdiki, Maxtumqulining mazkur yosh bilan bog‗liq mulohazalari nafaqat ruhiy holat
ifodasi, balki biografik mohiyat ham kasb etadi. Shoirning tarjimayi holidan ma‘lumki, u Menglixon ismli
yoridan judo bo‗ladi. Yuqoridagi misralarda ana shu jihatlar qalamga olingan.
Yassaviy “o„ttiz” yoshni ―o‗tun qilib kuydurib, barcha ulug‗lar Haqni suydurgani, dunyo hoy-
havaslaridan qaytarganligi‖ni, “qirq” yoshida esa nafsni tiyishni, oxiratda shod bo‗lishini, iymon po‗sti-
shariat, mag‗zi esa- tariqat ekanligini, ushbu yo‗lga kirgan Haqdan ulush olishini yozsa, Maxtumquli
yuqoridagi yosh xususiyatlarini quyidagicha tavsiflaydi:
O‗ttizga kirdi umrim, kirdi tiri-kamona,
Ko‗ngil xuruj ayladi, bo‗ldim dalli-devona.
Ot minib, yarog‗ osib, surib kirib maydona,
Rustami doston kabi savash qildim mardona,
Qirqqa yetganda umrim, o‗qib Qur‘ona keldim. [4; 206-b.]
Yassaviy “ellik”yoshni ―erman dedim, fe‘lim zaif, nafsim uchun ko‗b yugurdum itdek kezib‖ deb
yozadi. Maxtumquli esa bu yoshda o‗lim nishoni rahna solib tushiga kirganligi, ishiga hamma hayron qolib
qari deyishini, qarilik hukm surayotganini, qo‗lga aso ko‗targanini yozadi. Maxtumquli mazkur yosh ta‘rifida
umr o‗tkinchiligiga ham, har bir nafasni inson g‗animat bilib, ezgulik sari oshiqishi lozimligiga ham urg‗u
beradi.
Xulosa. Tasavvuf shayxlari orasida o‗zini o‗zi malomat qilish hollari ko‗p uchraydi. Yassaviyda ham
bunday holni ko‗rish mumkin. Jumladan, hikmatlaridan birida, “oltmish” yoshga yetguncha biror yaxshi ish
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qilmadim, yoz-u qish bel bog‗lab toat qilmadim, ammo Ollohim diydoringdan umidvorman, deya iltijo
qiladi. Maxtumquli ham ayni yoshda malomatomuz kayfiyatda o‗z mulohazalarini bayon etadi. Ammo
Yassaviydan farqli o‗laroq, qarilik alomatlari: umrining yozi qishga almashganligini, bu yoshda ko‗zlari
ko‗rmas bo‗lganligi, holsiz bo‗lib, qartaygani, o‗g‗il-qizlari so‗zlariga quloq osmasligi, olamga
yolvormoqlikka tushganligini bilan bog‗liq mulohazalarni qalamga oladi.
Ahmad Yassaviy ijodida yosh bilan bog‗liq izchillik shoirning “oltmish uch” yoshigacha davom
etadi. Maxtumquli she‘rlarida esa, shoir “yetmish” yoshga yetganda, zor-zor yig‗lashini, ko‗zlaridan nur
ketib, quloqlari eshitmay qolganligini, barcha qarindoshlari atrofida yig‗ilib, taxti ravona kelganligini yozadi.
Ahmad Yassaviy hikmatlari xalqqa din va tasavvuf, ma‘naviyat va ma‘rifatdan saboq beruvchi bebaho
xazinadir. Shoir she‘rlarida Ollohdan qo‗rqish, dunyo ne‘matlariga muhabbat qo‗ymaslik, toat-ibodatda
bo‗lish, nafsni tiyish va savob amallarni bajarishga oid qarashlar ifodalangan. Shoir asarlarida ushbu
mazmundagi hikmatlar bilan bir qatorda, yosh xususiyatlari bilan bog‗liq misralar ham mavjud. Ahmad
Yassaviy ijodida shoirning yosh bilan bog‗liq misralarini tahlil qilar ekanmiz, yosh xususiyatlari izchillik
asosida keltirilganiga guvoh bo‗lamiz. Ijodkor hikmatlarida har bir yosh tavsiloti tasavvufiy g‗oyalar
mazmunini o‗zida jamlagan. Uning o‗lmas durdonalari barcha zamonlar uchun ibrat maktabi bo‗lishi bilan
birga, ko‗pgina shoirlar uchun ilhom manbayi ham edi. Jumladan, Turkman xalqining iste‘dodli shoiri
Maxtumqulini Ahmad Yassaviy ijodidagi turli tasavvufiy g‗oyalar bilan birgalikda yosh bilan bog‗liq
qarashlari ham ruhlantirgan. Uning ―Jona keldim‖ nomli she‘rida insonning yaratilishi, ―ikki‖, ―uch‖, ―besh‖,
―yetti‖, ―to‗qqiz‖, ―o‗n‖, ―o‗n ikki‖, ―o‗n uch‖, ―o‗n besh‖,‖o‗n yetti‖, ―yigirma‖, ―o‗ttiz‖, ―qirq‖, ―ellik‖,
―oltmish‖, ―yetmish‖ yosh bilan bog‗liq mulohazalari keltirilgan. Ta‘kidlash lozimki, Ahmad Yassaviy
ijodida yosh bilan bog‗liq izchillik kuzatiladi, ammo Maxtumquli bu an‘anani ayrim jihatlarini o‗z ijodida
saqlab qolgan. Yana Yassaviy hikmatlari to‗laligicha tasavvufiy g‗oyalar asosiga qurilgan bo‗lsa,
Maxtumquli ijodida qisman tasavvufiy o‗rinlar, ko‗pincha maishiy hayot tarzi ifodalangan. Bu bilan
Maxtumquli yosh bilan bog‗liq jihatlarni berishda Yassaviydan ilhomlangan bo‗lsa-da, bu an‘anani ma‘lum
ma‘noda yangiladi, deyish mumkin.
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UDK 82-1/-19
MUXAMMAS JANRINING NAZARIY ASOSLARI
Annotatsiya. Adabiyotda janrlar masalasi tadqiqi alohida ahamiyat kasb etadi. Chunki har janrning
o‘ziga xos genezisi, biografiyasi, nazariyasi, tadrijiy taraqqiyoti, badiiy takomili, spesifik xususiyatlari,
qonuniyatlari, shakl va mazmuni bor. Alohida bir janrning xususiyatlariga bag‘ishlangan mazkur maqolada
o‘zbek adabiyotida eng ko‘p qo‘llanilgan, aksariyat shoirlarning ijodiy laboratoriyasidan o‘rin olgan,
adabiy janr sifatida rivojlantirilgan va takomil bosqichiga yetgan mumtoz janrlardan muxammas ilmiy-
nazariy jihatdan tadqiq etiladi.
Kalit so’zlar: poetika, mumtoz she‘riyat, aruz tizimi, musammat, muxammas, beshlik, taxmis-
muxammas, tab‘i xud muxammas, adabiyot nazariyasi, adabiy-estetik qarashlar, adabiy ta‘sir.
Abstract. The issue of genres in literature holds a distinct significance in research. This is because
each genre possesses its unique genesis, biography, theory, developmental progress, literary achievements,
specific characteristics, regulations, form, and content. This article is dedicated to exploring the
characteristics of a specific genre, focusing on the extensively employed and well-established Mukhammas
genre within Uzbek literature. In this article, the Mukhammas genre, a refined literary genre, which has
been extensively utilized by the majority of poets' creative laboratories, developed as a literary genre and
has reached an advanced stage from a theoretical perspective.
Keywords: poetics, classical poetry, metric aruz (versification system), mukhammas (five verses);
musammat, takhmis-mukhammas (a poem where first stanza is taken as a model and added next 3 lines
keeping the model of the original lines), tabi khud mukhammas, literary theory, literary-aesthetic
perspectives, literary influence.
Kirish. Jahon adabiy tafakkuri taraqqiyotida poetik mazmun va shakl yangilanishining adabiy-estetik
asoslari, poetik an‘ana sintezi kabi masalalar dolzarb muammolardan biri sifatida tadqiq etib kelinmoqda.
Ijodkor poetik tafakkurining yangilanishi an‘analarga yondashuvning, lirik qahramon tabiatining, badiiy
obrazlar tadrijining, janrlar takomili va poetik shakllarning yangilanishiga asos bo‗ladi. Jahon adabiyotida
shunday ijodkorlar borki, ular ijodidagi adabiy-estetik yangilanish butun milliy adabiyotning yangilanishiga,
yanada yuksak bosqichga ko‗tarilishiga zamin yaratadi. Bunday ijodiy faoliyatlarni o‗rganish dunyo adabiy-
estetik olami taraqqiyoti bilan bog‗liq ko‗plab ilmiy muammolarning yechimini topishda muhimdir. Dunyo
she‘rshunoslik tarixida adiblarning ijodiy laboratoriyalarini o‗rganish, ulardagi o‗ziga xoslikning
an‘anaviylikka munosabati masalalarini talqin etish zaruriy ilmiy xulosalar chiqarishga asos bo‗lib kelgan.
Asarlarni mazkur yo‗nalishda tahlil etish adabiyotshunoslik ilmining mavzu, badiiy obraz, janr, vazn kabi
nazariy masalalarini yanada aniqlashtirishga, takomillashtirishga xizmat qiladi. Shu sababli ham jahon
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adabiyotshunosligida olib borilayotgan ishlar salmog‗idan kelib chiqib, bu yo‗nalishda o‗zbek mumtoz
adabiyoti vakillari faoliyatini o‗rganish va qayta baholash davr talabi bo‗lib qolmoqda.
Mavzuga oid adabiyotlarning tahlili. Musammat hamda uning tarkibiga kiruvchi muxammas janri
genezisi, tadrijiy taraqqiyoti, shu jumladan sohir so‘z ustasi Alisher Navoiy muxammaslarining janr tabiati
va o‘ziga xos xususiyatlari, muxammas va taxmis turlari, mazkur janrning ayrim masalalari A.Hayitmetov,
O.Nosirov, Y.Ishoqov, A.Abdug‘ofurov, I.Haqqulov, R.Orzibekov, R.Vohidov, V.Rahmonov, N.Jumaxo‘ja,
N.Afoqova, I.Adizova, D.Yusupova, Z.Qobilova, G.Xalliyeva, Sh.Rahmonova, Z.Salimova каби олимлар
томонидан тадқиқ этилган. Rus olimlaridan Y.E.Bertels, I.Y.Krachkovskiy, D.V.Frolov, D.S.Lixachev,
B.V.Tomashevskiy, L.I.Timofeyev, I.V.Ctebleva, V.M.Jirmunskiy, N.Y.Chalisova kabilarning darslik va
o‗quv qo‗llanmalarida o‗z aksini topgan.
Tadqiqot metodologiyasi. O‗zbek mumtoz adabiyoti dunyo badiiy tafakkuri taraqqiyoti va takomiliga
munosib ulush qo‗shganligi bilan bashariyat ma‘naviy va ma‘rifiy rivojida o‗ziga xos mavqe‘ kasb etadi.
Buni 2017-yil avgust oyida o‘zbek ziyolilari bilan uchrashuvda muhtaram Prezidentimiz ―bizning havas qilsa
arziydigan buyuk tariximiz bor, havas qilsa arziydigan ulug‗ ajdodlarimiz bor. Havas qilsa arziydigan
beqiyos boyliklarimiz bor. Va men ishonaman, nasib etsa, havas qilsa arziydigan buyuk kelajagimiz, buyuk
adabiyotimiz va san‘atimiz ham, albatta, bo‗ladi‖, deya qat‘iy ta‘kidlagan edi [1].
O‘zbekiston Respublikasi Prezidenti Sh.M.Mirziyoyevning adabiy-madaniy meros va ma‘naviy
qadriyatlarni o‘rganishga oid asarlari hamda o‘zbek tili va adabiyotiga oid fundamental tadqiqotlar mazkur
maqolaning metodologik asosini tashkil etadi.
Tahlil va natijalar. G‗azal, muxammas, mustazod, qasida, ruboiy, tuyuq, chiston, fardlar xalqimiz
badiiy tafakkuri mahsuli bo‗lib, aruz tizimida yaratilgan ushbu ijod namunalari adabiyotimiz mavzu ko‗lami
va badiiyatini tashkil etishda o‗ziga xos taraqqiyot bosqichlariga ega. Bu o‗rinda o‗zbek mumtoz she‘riyatida
muxammaslar alohida ahamiyat kasb etadi.
Muxammas – mumtoz she‘riyatning eng ko‘p tarqalgan turlaridan biridir. Ogahiy musammatlari
haqida ilmiy izlanishlar olib borgan olima G.Xalliyevaning ta‘kidlashicha, muxammas haqida
adabiyotshunos olimlardan A.Hayitmetov, A.Abdug‘ofurov, R.Orzibekov, O.Nosirov, M.Shayxzoda,
R.Majidiy, U.To‘ychiyev, N.Xotamov, B.Sarimsoqov asarlarida fikrlar bildirilgan bo‘lsa-da, muxammasni
alohida she‘riy janr yoki she‘riy shakl deb atash borasida bir to‘xtamga kelingan emas [5,58].
Musammat janri shakllari orasida muxammasning imkoniyatlari, betakrorligi, g`oyaviy-badiiy
mukammalligi adabiyotimiz taraqqiyotining barcha davrlarida ham ko`pgina shoirlarning mazkur janrga
qiziqishlarining ortishi va go`zal durdonalar yaratilishiga asos bo`lgan. Muxammas janri haqida 1974-yilda
chop etilgan ―Adabiyotshunoslik terminlari lug‗ati‖da ―Muxammas (muxammaz arabcha. «beshlik»
degan ma‘noni anglatib, Yaqin va O‗rta Sharq hamda O‗rta Osiyo she‘riyatining bandli she‘r shaklidir.
She‘rning har bir bandi 5 misradan iborat bo‗lib, 3 misra she‘r muallifiga tegishli, qolgan 2 misra esa boshqa
bir she‘rdan olingan misralardir. Muxammas bog‗lanayotgan she‘r mazmunan bir-biriga yaqin bo‗lishi
lozim.
Asosan mustaqil muxammaslar mavjud va ular tushkun kayfiyatni o‗zida aks ettiradi. Birinchi
bandning misralari umumiy qofiya (radif)ga ega bo‗lib, qolgan bandlar mustaqil qofiyaga ega bo‗ladi.
Ba‘zan 5-misra barcha bandlarda takrorlanadi, - deya ta‘rif beriladi [7, 229].
Muxammaslar yaratilish xususiyatiga ko`ra ikki xil bo`ladi:
1) tab`i xud (mustaqil yoki erkin muxammas);
2) taxmis (g`azalni beshlantirish asosida yaratilgan).
Shoirning o‘z g‘azali asosidagi muxammaslari fikr, g‘oya, mavzu mazmunini kengaytirish
ehtiyojining samarasi bo‘lsa, ma‘naviy musobaqa, adabiy ta‘sirlanish natijasida yuzaga kelgan taxmislari
ustoz va izdosh shoirning ijodiy muloqoti sifatida, ular o‘rtasidagi hamohanglik, ularning fikrlarini,
g‘oyalarini rivojlantirish va boyitishdan iborat adabiy an‘anadir.
Muxammas bog‘lash uchun boshqa bir shoirning g‘azalini olish shart bo‘lmay, shoir o‘zining biror
g‘azalini mazmunan boyitib, badiiy jihatdan takomillashtirib ham taxmis qilishi mumkin. Bunda asosiy
masala – muxammasning badiiy imkoniyatlari kengligini namoyon qila bilishdadir. Ammo bu holat, ya‘ni
tab‘i xud muxammaslar yaratish ancha kam uchraydigan adabiy hodisa. Mashhur she‘rshunos Atoulloh
Husayniy ham o‘z risolasida bunday holatning kam uchrashini ta‘kidlab o‘tadi. Adabiyotshunos olim
A.Abdug‘ofurovning ta‘kidlashicha, ―o‘z g‘azallariga taxmis bog‘lash tajribasini adabiyotimiz tarixida
Navoiy boshlab bergan. Keyinchalik umuman she‘riyatimizda muxammasning g‘azaldan keyin yetakchi
o‘ringa ko‘tarilishida ulug‘ shoirning bu ijodiy faoliyati hal qiluvchi rol o‘ynagan‖ [2, 29].
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Muxammas janri fors-tojik adabiyotida ham eng faol va hajm jihatdan salmoqli she‘riy
namunalardandir. Fors-tojik adabiyotida ham muxammas janri va uning badiiy takomiliga doir bir qancha
tadqiqotlar amalga oshirilgan. Jumladan, o‘rta asr mumtoz adabiyot tadqiqotchilari Atoulloh Husayniy,
Husayn Voiz Koshifiy [3, 98], adabiyotshunos olimlardan S.Ayniy, A.Mirzoyev, S.Imronov,
Sh.Husaynzoda, R.Musulmonqulov, X.Mirzozoda, Y.Boboyev, Aliasqar Sherdo‘st, Sirus Shamiso,
Sh.Rahmonov, J.Hikmatov, D.Hakimovlar fors-tojik adabiyotida muxammas janrining genezisi va tadrijiy
taraqqiyotiga bag‘ishlangan asar va maqolalar yozganlar. Fors-tojik adabiyotining zukko tadqiqotchilaridan
adabiyotshunoslardan S.Ayniy, A.Mirzoyev va X.Mirzozodalar muxammasning shakllanish jarayonini XIV
asrda yashab o‘tgan Xoja Kirmoniy ijodi bilan bog‘laydilar. Adabiyotshunos olimlardan S.Imronov va
Sh.Rahmonovlar muxammas yozish ilk bor XII asrda So‘zani Samarqandiy ijodi bilan boshlangan deya
ta‘kidlaydilar [6, 10]. Fors-tojik mumtoz adabiyotining IX-X asrlarga tegishli adabiy merosi batafsil va
to‘liq o‘rganilmaganligi va bu boy meros bizgacha to‘liq yetib kelmaganligi uchun muxammasning paydo
bo‘lishi, janr sifatidagi takomili xususidagi bu bahsu munozaralar bugungi kunga qadar davom etmoqda.
Atoulloh Husayniy o‘zining ―Badoye‘ us-sanoye‖ asarida muxammas janri haqida to‘xtalar ekan, XII
asrda ijod qilgan Azxariy ismli shoirning muxammasini keltirib o‘tadi va fors-tojik adabiyotida XII asrda
muxammas janrining mavjudligini ta‘kidlaydi. Ammo S.Ayniy adabiyotshunos Abdug‘ani Mirzoyevga
yozgan xatida Xofiz davrigacha fors-tojik adabiyotida muxammas uchramasligini aytib o‘tadi. Fors-tojik
adabiyotida XII-XIX asrlarda muxammas janri taraqqiyotini tadqiq etgan olim Dilshod Hakimov esa bu
fikrga munosabat bildirib o‘rta asr olimlarining fikrlarini qo‘llagan hamda Davlatshoh Samarqandiyning
―Tazkirat -ush-shuaro‖ asariga tayangan holda, muxammaslar XI asrda mavjud bo‘lgan degan xulosaga
keladi [6, 11]. Olim tomonidan muxammas - fors-tojik mumtoz adabiyotining o‘ziga xos janriy
xususiyatlariga ega janri sifatida e‘tirof etiladi.
Xulosa va takliflar. Muxammas – musammat janri tarkibidagi eng keng tarqalgan she‘riy shakllardan
bo‘lib, shoir va ijodkorlar muxammas yaratish, taxmis bog‘lash, adabiyotda an‘anaviy ruhni davom ettirish
bilan birga, uni davrga xos yangicha ohanglar, ifoda vositalari, obrazlar bilan boyitganlar, mumtoz
she‘riyatga bir qadar yangi nafas olib kirishga muvaffaq bo‗lganlar. Ularning ijodida so‗z va sozga
munosabat, musiqiy ohang alohida ajralib turadi. O‗zbek adabiyotida Haydar Xorazmiy ijodi bilan
boshlangan muxammas yaratish an‘anasi Alisher Navoiy, Bobur, Mashrab, Nodira, Uvaysiy, Ogahiy, Furqat,
Zavqiy, Nodim, Rojiy, Muqimiy, Amiriy, Chustiy, A.Oripov, E.Vohidov, Jamol Kamol kabi shoirlar
she‘riyatida davom ettirildi. Alisher Navoiy davrida muxammas taraqqiyot darajasiga ko‗tarildi. Muxammas
yozgan, mashhur shoirlar g‘azallariga taxmis bog‘lagan ijodkorlar yaratmalarida adabiy ta‘sir masalasi ham
muhim o‘rin tutadi.
ADABIYOTLAR:
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UDC 82.091
Abstract. This article reviews literature in the term ―American culture‖ in the literary works of world
writers. Any text is to some extent a product of its socio-cultural and historical context. This is true even in
the absence of explicit social, cultural or historical references. Among all texts, literary works stand out as
texts, especially those tied to the context.
From the very beginning, the USA was characterized by the absence of ethno-racial, religious and
even linguistic uniformity, which, together with the long-standing regional, cultural division, constant
expansion to the West, and later, with massive waves of immigration, led to the urgent need to create at least
ideally a unified national culture, even if it required the suppression of most internal differences.
Keywords: geopolitical fact, a sign, cultural globalization, Americanization, American self-
determination, principles of equality, democracy, individual freedom.
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Introduction. In the novel "Redburn" ("Reships", 1849), Herman Melville wrote: "We (Americans -
M.T.) are not so much a nation as a world." This seemingly paradoxical statement of the writer was
explained not least by the fact that Melville's America still retained a very strong sense of its own
marginality in relation to Europe, to the former mistress — Great Britain, from which it managed to finally
free itself, especially in the cultural sphere, only in the XX century. But the idea that America is not a nation,
but the world was unexpectedly confirmed more than a hundred years after the Melville prophecy, becoming
today a very concrete geopolitical fact, a sign, on the one hand, of cultural globalization, actively manifested
in the United States, and on the other — of the "Americanization" of the rest of the world.
From the very beginning, the USA was characterized by the absence of ethno-racial, religious and
even linguistic uniformity, which, together with the long-standing regional, cultural division, constant
expansion to the West, and later, with massive waves of immigration, led to the urgent need to create at least
ideally a unified national culture, even if it required the suppression of most internal differences. For such a
nation (civilization), the main and very painful question has become and still remains - WHO ARE WE? It
was difficult to answer it unambiguously and in a positive way, and national identity was formed, as it were,
largely from the opposite, taking shape in the definitions of what was not American, what was alien to the
"imaginary" culture-ideal, the civilizational model that America aspired to, and therefore had to be from her
excluded. American was first of all, by definition, "not European", belonging to the New, not the Old World.
Therefore, a man crossing the ocean — in the XVII century, and at the end of the XX century, according to
the same Lerner, settling in the New World, committed parricide, in an "Oedipal" desperate gesture rejecting
the "old World" heritage (13; p.23-28). The anti-European, often "nativist" and extremist sentiments of many
American thinkers of the past in their imminent desire to abandon Europe are widely known (in this row
there will be such different people as R. W. Emerson and T. Jefferson, W. Whitman and W.G. Simms).
Interestingly, they are almost completely echoed by each of the newly-made immigrants, as if going through
anew in their personal fate and in individual experience the painful rejection of the former homeland and the
past associated with it. Gustavo Perez-Firmat, an American philologist and poet of Cuban origin, figuratively
writes about this phenomenon in his autobiography, explaining that if Cuba remained forever a mother for
him, then America became "almost a wife". (Already in the first texts of the New World, the pathos of
novelty was constantly emphasized, as is well known, as was the acute attention to the problem of national
and group identification. So, in 1782, the famous "Letters of an American farmer" by the French immigrant
Saint John de Crevecoeur were published, in which he called the American "a new man acting according to
new principles", drawing attention to the problems of interrelation and repulsion of American and European
cultures, advocating the development of American themes in domestic literature, which had yet to appear
into the light, and declaring America the center of the coming civilization of the mind, where everything is
"new, peaceful, beneficent, aspiring to a wonderful future." Interestingly, a scandal immediately broke out
related to the problematic identity of the author himself — an American colonist with almost twenty years of
experience, accused in Europe of being actually French and Catholic and therefore unable to speak on behalf
of "American farmers" ^| So, already in the fate of Krevker, a characteristically painful for the problem of
representation, which is written about by all researchers interested in the issues of post-cultural tradition and
postcolonialism — the problem of the right of an individual to speak on behalf of a cultural group, his own
or someone else's, as well as his adaptive and representative cultural ability. The border between "one's own"
and "someone else's", between "I" and "it", between an American and a non-American, no matter how
conditional the latter term may be, is declared very early, almost even before the existence of America as a
separate state. And it is not so important here who and when performs their own and others'. This very
principle of dichotomous division is important, which will remain until very recently.
Main part. The definition of what a "new", still "emerging" American was, and what was the essence
of his difference from the rest of the world, occupied many thinkers, including non—Americans, and their
view from the outside sometimes turned out to be more vigilant and from the outside they managed to better
grasp American culture - as a whole and as a whole the sum of the differences. One of the most famous
attempts to evaluate America and Americans from a European point of view was, of course, the book by
Frenchman Alexis de Tocqueville "Democracy in America", written as a result of his trip to the United States
in 1831. There are many subtle and fair remarks in it, many of which are relevant to this day, although
Tocqueville was not able to understand certain elements of the culture and the emerging national identity of
the new state due to personal preferences and idiosyncrasy, and due to the peculiarities of the time and his
own national tradition (American democracy was too young when he had to get to know her). The European
consciousness, not yet accustomed to taking this new power seriously, found it difficult to assess many
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elements that were only to be developed in the future. However, the main dichotomy, highlighted by
Tocqueville, and then developed by his, perhaps unwitting followers, such as J. Santayana, namely, the
opposition of American culture as a whole to Europe, has been preserved to this day, although the
conventionality of American and European cultural integrity is increasingly changing the meaning of such an
opposition. In certain important aspects, having copied their cultural system and "tradition" from the
European one, the Americans, ironically, soon enough (after just two centuries) faced the same problems as
Europe, which did not know how to interpret them until recently. Cultural historian Warren Susman notes:
"The Founding Fathers did not want to create a state in the European sense. The government they created
was not able (and was not called upon) to affect the individual citizen in any significant sense - in
determining citizenship, the issue of paying taxes, possible military service. The Civil War and the post-war
years changed all that. The development of the bureaucratic machine, which now made decisions, led to the
fact that by the end of the XIX century a state was born, almost equal in its police function, if not superior in
this sense to any European one."
It is also obvious that in the short American history, periods of forcing relative cultural unity (usually
coinciding with a national danger in any form — from Indians to the communist threat) were repeatedly
replaced by periods of diversity, which flourished on the contrary, in times of absence or sudden elimination
of the threat to national cultural integrity, when it became possible to address unresolved internal problems
of American self-determination.
The relationship with the European past, tradition, and later with the past in general, was a model in
which the paradoxes of the emerging American consciousness were reflected as in a mirror, no matter how
diverse and practically irreducible it turned out to be in the end. Rejecting the previous, pre-American
experience, which is not necessarily negative, the immigrant in the past and today most often understands
that it is he who gives the true meaning and dramatic depth to his current American existence. Burning
bridges, he starts life with a clean slate, hoping for a better future, trying his best to become a "self-made
man" not only in the sense of material success, as it is often interpreted primitivistic ally, but also in the
sense of abandoning the connecting threads with culture, family, past, tradition, etc.
It would also be wrong to interpret the rejection of the past and "living" in the future as a new
American trait that is not peculiar to Europe. After all, this very aspiration took shape in the depths of the
European Western consciousness, and it was from the Old World that immigrants brought and continue to
bring with them images and stereotypes of America, which they hope to combine with reality on the other
side of the Atlantic. Despite the great diversity of different groups of settlers, they all arrived in the New
World with the ready idea of America as a Promised Land, a cornucopia of freedom and prosperity, a
resource-rich country in which there is enough room for everyone. The notorious "American dream", which
largely replaces the national idea that does not exist in the traditional sense in the United States, is essentially
also an old—world dream. "Golden America" became, as we know, already in the Renaissance one of the
powerful cultural myths of Europe and an integral part of the European tradition. In this well-preserved
global myth about America as a nostalgia for the golden age and the lost paradise, which suddenly got the
opportunity of real embodiment not in the mythical past or the uncertain future, but in the foreseeable, near
present, the arguments of supporters and opponents of the "natural" way of life about the advantages of
savagery and civilization associated with the "otherness" of the newly discovered continent and its
inhabitants, and social utopias, like Thomas More's book, the setting of which is the New World. The
tragicomic metaphor of Shakespeare's "Tempest", which accurately and fabulously parabolically presented
the relationship between the enslaver culture and different variants of (non)subordination, is being
mercilessly exploited today by culturologists — supporters of the postcolonial project. The scope of the
study does not allow us to dwell in detail on the fate of the "American idea" in Europe and the European
heritage in the United States. This is the topic of a separate and very extensive study. We are dealing rather
with the final stage of this cultural war between the United States and Europe, which lasted for several
centuries, in which, on the whole, America won, despite the value and cultural crisis that it is experiencing
today.
We will only add that despite the active external rejection by Americans of the European heritage, the
philosophical and cultural connection and dialogue with the Old World remained very close for a long time,
preserved to this day, although noticeably re-romanticized. And we have to talk not about absolute novelty,
but rather about a unique combination of well-known and old cultural elements in a new context, in their
often paradoxical interaction. Hence, perhaps, the attempts of some modern researchers to "read" America as
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a postmodern text made up of fragments and remnants of pre-existing traditions, and at the same time often
unconsciously and objectively ironic in relation to them, and lately more and more in relation to themselves.
Today, America is undoubtedly going through one of the periods of mass uncertainty about the future,
once again doubting the reality of its existence as a great power — an example to follow, an idea that
Americans have believed in for a long time. There have been quite a few such periods in the short history of
the United States. Even if we limit ourselves only to the last century, it will be possible to count several cases
when the pendulum of national trust clearly leaned towards anti—American - from the moods of despair and
lack of faith at the end of the XIX century, through the time of left-wing radicalism of the progressive era, to
the value crisis of the Great Depression, to the political and cultural unrest of the 60s, finally, to their more a
sober and even cynical replica-a parody — of the 90s of the XX century. The metaphor of happy and
harmonious diversity, which is often used by modern American cultural researchers — let's just name
Ronald Takaki, author of the book "The Other Mirror", more about which below — turns out to be ultimately
not applicable in attempts to conceptualize the modern crisis of national identity and ultimately tradition. The
widespread and painful interest in its definition and re-creation in the United States in this sense fully
corresponds to the pathos of the "frontier" or rather its collective cultural inferiority complex. At the same
time, both 100 and 200 years ago, and today, the American providential basis, but which has acquired a
rather banal form of life on credit, the regularity of living in the future and the future, works. The search for
identity, respectively, is also being conducted in the indefinite future (America will only be, not is!) and is
still determined from the opposite. It is all the more important to understand the "metaphysics" of the
national dream-the ideal of America, which has stepped out of its first 200 years, to put it in different
contexts, to subject it to various tests. This is mainly what not only numerous cultural historians are doing
today, but also those who create and recreate artistic images of a not so New World — in literature, art,
cinema, theater, music, and popular culture.
Even some 20-30 years ago, any, even the most merciless interpretations of the "images of America"
of the past and present still retained the pathos of conversion and, most importantly, faith in the future, in the
utopian ideal, were deprived, with very few exceptions, of pessimism and cynicism towards the future of the
United States, imbued with the belief that that their history is not complete, everything is possible in it and
all possibilities are still in human hands, it is only necessary to revive the principles of equality, democracy,
individual freedom, and everything will fall into place. Today, the picture has changed to a large extent —
the role of the state and the principles of statehood in the daily life of Americans have largely been
formalized, unless, of course, we do not mean aggressive attempts to resuscitate them by official mass
culture, which are obviously doomed to failure. The specific American individualism, so diligently cultivated
for several centuries as an ideal, eventually not only made interest in public and especially political life an
odious synonym for "anti-American" behavior, but, having discovered the shakiness of the principles on
which it is based, inevitably caused another surge of "anti-American" in essence striving for the past, roots,
family, group, but not social, not ideological, but cultural community. The rather vague civic foundations of
Americanism — social equality, personal freedom, frozen pretty soon in a set of official ornamental symbols
of America, say, a flag, an anthem, some amorphous idea of a national community, especially such
extremely conditional phenomena as the lifestyle highlighted by many adherents of American cultural
homogeneity as the main one, have never played, and even more so today they cannot play such an important
role in the self-determination of Americans. The individual sphere, carefully cultivated for several
generations, coupled with today's distrust of the official foundations of national ideology, made it especially
natural in the case of the United States to move to certain surrogates of social, collective integrity, largely
opposed to state, official and officious forms of Americanism.
One of the main categories that, until very recently, not only politicians, but also cultural scientists,
historians, and writers operated on without hesitation, trying to define American national culture and idea,
was, as you know, the "dream" — not a clearly formulated national vision, but an extremely vague, fragile,
vague substance, moreover, purely personal by definition, that is, not shared by everyone and therefore
invisible to everyone, and ultimately, in principle, unrealizable, neither in the form of illumination, say, Hail
on a Mountain, nor in the form of a pink Cadillac and Elvis Presley's "dream houses", which still did not
bring the owners the desired sense of satisfaction, nor finally, in the form of a new simulacrum of a huge
department store, as the most modern and, in the words of J. Ritzer, the crazy expression of the "American
dream" of a post-war consumer paradise. The very status of the "dream" as a substitute for the national
doctrine, to some extent, presupposed constant rethinking, to which it was subjected from epoch to epoch,
from individual to individual, indicating its ambivalence and thereby inviting its constant revision.
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every day in many cities and towns of America. In the first case, the negativistic pathos prevails, so that the
new American publicly renounces loyalty and devotion to everything non-American (kings, states, citizens,
etc.), while in the second text, devotion to "the flag of the USA, the country it symbolizes, a SINGLE and
INDIVISIBLE nation with freedom and equality for all" is proclaimed in a positive way. all of them." Such
extreme simplicity and somewhat sentimental equating of the flag to the country (the sign to the meaning), a
kind of deification of national symbols are unique in their own way and in many ways are a defensive
reaction to the underlying, collective uncertainty of Americans in the existence of themselves as a nation.
Hence the civilizing pathos of presenting oneself as a unique, multi—component, although at the same time,
a single community, not a nation, but a world - a New World, with its own mentality, lifestyle and absolutely
unique "dream", which alone should hold together all that diverse mass of individuals who claim to be
Americans.
REFERENCES:
1. Muzaffarovna B.V., Usmonovna M.M The issue of equivalence in English and Uzbek proverbs. Middle
European Scientific Bulletin Volume 5 October 2020 ,93
2. Bozorova V.M. Easy to Use Interactive Methods of Distance Learning Foreign Languages. Science
and Practice: A New Level of Integration in the Modern World .DOI: http://doi.org/10.15350/UK_6/11
3. Maksudova Mokhigul Usmanovna, Bozorova Viloyat Muzafarovna. Pedagogical Process of Teaching
in Higher Education Institutions. Internatioal Journal of Recent Technology and Engineering (IJRTE) Volume 8,
Issue 3S
4. Bozorova B.M. Pазвитие терминов изобразительного искусства. Учѐный ХХI века.
Международный научный журнал. 2019, 3 (50), cт 67-69
5. Bozorova V.M. The Use of Psychology in Literary Genres. International Journal on Integrated
Education Volume 3, Issue2, Feb 2020, e- ISSN:2620 3502, p- ISSN: n2615 3785
6. Bozorova V. M. et al. The problem of understanding and teaching young generation //E-Conference
Globe. – 2021. – С. 107-112.
7. Bozorova Viloyat Muzaffarovna, Maqsudova Mohigul Usmonovna. Alienation as a form of self-
protection; the painfulness of growing up in the book ―The Catcher in the Rye‖ of J.D. Salinger. International
Journal of Integrated Education Volume 4, Issue 3, March 2021 e- ISSN:26203502, p- ISSN: 2615 3785, p 189-
192
8. Maqsudova Mohigul Usmonovna. Character of Maggie in George Eliot‘s ―The Mill on the Floss‖.
Til, adabiyot, tarjima, adabiy tanqidchilik xalqaro ilmiy forumi: zamonaviy yondashuvlar va istiqbollar
mavzusidagi xalqaro amaliy-ilmiy anjumani materiallar to‘plami Buxoro 2021
9. Maksudova M. U. (2019). Theoretical Foundations and Scientific Analysis of Characters' Illustrations
in the Works of Charles Dickens and William Thackerey. ISJ Theoretical & Applied Science, 09 (77), 277-280.
Soi: http://s-o-i.org/1.1/TAS-09-77-50 Doi: https://dx.doi.org/10.15863/TAS.2019.09.77.50
10. Sobirova Zarnigor Rakhimovna. (2022). The Historical Background of the Definition of Barbarism
and its Occurrence in The Literary Texts. Indonesian Journal of Innovation Studies, 18.
https://doi.org/10.21070/ijins.v18i.605
11. Sobirova Z. Definition of barbarism and history of occurrence //центр научных публикаций (buxdu.
uz). – 2021. – Т. 8. – №. 8.
12. Umarov U. A., & Sobirova , Z. R. (2022). The symbol of mirror in english children‘s literature and its
fantastic features. Eurasian Journal of Academic Research, 2(2), 70–74. извлечено от https://in-
academy.uz/index.php/ejar/article/view/577
13. Собирова З. Р. Диалектизм ҳодисаси ва унинг инглиз тили шеваларида қўлланилиши //Scientific
Reports of Bukhara State University. – С. 87.
14. Sobirova Z. English lаnguаge tоurism terms in vоcаbulаry аnd semаnticаl revisiоn //Центр научных
публикаций (buxdu. uz). – 2021. – Т. 8. – №. 8.
15. Gibbs R. W., & Colston H. L. (2012). Interpreting figurative meaning. Cambridge University Press.
16. Pinker S. (1994). The language instinct. Harper Collins.
17. Allan K. (2017). Oxford Handbook of Language and Humor. Oxford University Press.
18. Левин В. И., Щупак Е. И., Щупак Т. С. Иностранные слова. М.: Издательство АСТ, 2007.
19. Федоров Ю. Н. Эвфемизмы в языке современной рекламы // Пермский государственный
национальный исследовательский университет. - 2010 г.
20. Артемьев В. Д. ―Лингвистические аспекты эвфемизма и дисфемизма в современном русском
языке‖ // Научный журнал НИУ ИТМО. - 2014 г.
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UDС 82-31
Abstract. This article explores the family issues depicted in Joyce Carol Oates' novel «Night. Sleep.
Death. The stars» The novel delves into the lives of a family dealing with the aftermath of a tragic event and
how they navigate their relationships with one another. The article analyzes the impact of family dynamics,
conflicts, and the subsequent consequences on the characters and plot. Through an examination of these
relationships, the article highlights the themes of grief, loss, and forgiveness that permeate the novel.
Ultimately, the article argues that «Night. Sleep. Death. The stars» provides a poignant portrayal of the
complexities of familial relationships and the challenges that come with navigating them in times of crisis as
well as explores the intricate portrayal of family problems in the novel.
Keywords: family dynamics, conflicts, parental role, portrayal of grief and loss, complexities of
familial relationships.
Annotatsiya. Ushbu maqolada Joys Kerol Oatsning ―Tun. Uyqu. O'lim. Yulduzlar" romanida aks
ettirilgan muammolar tahlil qilinadi. Roman fojiali voqea oqibatlarini boshdan kechirayotgan oila hayotini
va ularning bir-birlari bilan munosabatlarini qanday yo'lga qo'yishini o'rganadi. Maqolada oilaviy
dinamika, mojarolar va keyingi oqibatlarning qahramonlar va syujetga ta'siri tahlilga tortiladi. Ushbu
munosabatlarni o'rganish orqali maqolada romanga singib ketgan qayg'u, yo'qotish va kechirim mavzulari
yoritilgan. Suningdek, maqolada «Tun. Uyqu. O'lim. Yulduzlar" romanidagi oilaviy munosabatlarning
murakkabliklari va inqiroz davrida ularni boshqarish bilan bog‗liq qiyinchiliklarning ta‘sirchan tasviri
hamda oilaviy muammolarning murakkab tasviri o‗rganilgan.
Kalit so’zlar: oila dinamikasi, nizolar, ota-ona roli, qayg'u va yo'qotishning tasviri, oilaviy
munosabatlarning murakkabligi.
Introduction. The novel "Night. Sleep. Death. Stars." by an American writer Joyce Carol Oates was
published in 2019 and became her first work written after more than a decade of hiatus from creativity. This
is a powerful and emotionally charged story that explores the complex themes of racism, violence, grief and
redemption in today's society. The novel opens with the sudden and tragic death of the protagonist, John Earl
McClarern, who was presented as a successful and respected man. After his death, the ideal picture of the life
of his wife, Jessalyn, and their five children is shattered, and they face many questions and problems that
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force them to rethink their ideas about themselves and the world around them. The whole novel is filled with
vivid images and sensual descriptions that allow the reader to fully get used to the story and understand the
emotional states of the characters. Oates is able to penetrate the depths of her characters' souls, and she
candidly examines their internal conflicts and doubts caused by the tragedy.[3] This novel by Joyce Carol
Oates is an interesting and emotionally charged exploration of the complex social issues that affect the lives
of so many people. Using strong and realistic imagery and vivid emotion, Oates gives readers a view of life
with richness and depth that allows us to reflect on the importance of mutual understanding, justice and
taking responsibility for our own actions.
Method. To examine the family problems within the novel, our research adopts a qualitative analysis
approach that incorporates close reading and textual analysis techniques. By closely studying the interactions
between characters and the way they respond to different conflicts and challenges, we aim to gain a
comprehensive understanding of the complex dynamics within the McClaren family. Our analysis begins
with a close reading of the novel, paying specific attention to the dialogues, actions, and thoughts of the
McClaren family members. We examine the conversations and exchanges between family members to
identify underlying tensions, unresolved issues, and patterns of communication that contribute to the family
problems. Additionally, we closely examine how characters respond to conflicts and challenges, noting their
emotional reactions and behavioral changes. Textual analysis is another key component of our research
methodology. We explore passages and scenes that highlight the family's struggles, conflicts, and grievances.
By identifying specific language choices, symbolism, and narrative techniques used by the author, we aim to
uncover deeper meanings and themes surrounding the family issues. We also analyze the portrayal of
familial relationships and dynamics throughout the novel, paying attention to power imbalances, generational
conflicts, and the impact of external factors on the family unit. To ensure the validity and reliability of our
findings, we adopt a rigorous and systematic approach to our qualitative analysis. Multiple researchers
independently conduct the close reading and textual analysis, comparing and discussing their interpretations
to ensure consensus. We also employ a coding system to categorize and analyze recurring themes, allowing
for a comprehensive understanding of the various family problems explored in the novel. Through this
method, we aim to shed light on the family issues portrayed in the novel and provide a nuanced analysis of
the underlying dynamics that contribute to these problems.
Results. The novel "Night. dream. death. stars" Joyce Carol Oates explores various family problems
that affect the relationship between family members of the characters under study. The novel is a
comprehensive meditation on family dynamics, psychological issues, and emotional conflicts that often
occur in the context of family life. The novel focuses on the study of family conflicts and tensions that can
arise from misunderstandings, differences or disagreements between family members. Oates shows how
these conflicts affect the lives and feelings of each family member, and how they can affect relationships
between them. The author explores topics such as irreconcilable differences of opinion, misconceptions
about other family members, and an unwillingness to accept their individuality.[5] Understanding and
accepting death is another important family issue explored in the novel. Oates analyzes how individuals and
families cope with the loss of loved ones, how they go through grief and overcome the emotional difficulties
associated with it. She also explores the different ways individuals and families recover from loss, and shows
how these processes can affect different families and their dynamics in different ways.
Finally, the novel explores family issues related to the role and expectations that society places on
each member of the family. She examines how these roles and expectations can create conflict and tension,
as well as influence individual self-expression and family harmony. Oates questions how individuals should
find their own place within the family system and how they can be happy while maintaining family ties. In
general, the novel "Night. dream. death. stars" Joyce Carol Oates offers a comprehensive analysis of various
family problems and explores their impact on individuals and their relationships. The author not only
discusses these problems, but also shows how they can be overcome, as well as how their solution can affect
the identity and happiness of each family.[4]
The story begins when John Earle McClaren, also known as "Whitey," pulls over on the expressway to
assist a man of a different ethnic background who is being brutally treated by the police. Interestingly,
Whitey had previously supported these same police officers during his tenure as mayor of Hammond, New
York. However, as he tries to intervene, Whitey is subjected to excessive taser use by the police, resulting in
a stroke and subsequent coma. This storyline resonates strongly due to the tragic killing of George Floyd and
serves as a stark reminder of the long-standing issue of state-sanctioned violence in the country.
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Whitey, who is nicknamed for his seemingly carefree and unaffected attitude towards race and police
brutality, embodies an idealistic viewpoint that disregards these important issues. However, when Whitey is
confronted and taken down, the facade of romanticism crumbles, exposing the underlying pretense in his
family's lives. This leads Whitey's widow, Jessalyn, and their five adult children - Thom, Beverly, Lorene,
Virgil, and Sophia - to question their own existence and grapple with an existential crisis.[3]
Oates's writing is remarkable, flawlessly capturing the essence of being in a coma and allowing
readers to immerse themselves in that experience. Her metaphors are perfectly executed, and her use of
stream-of-consciousness technique, employing fragments and omitting pronouns and verbs, mirrors the rapid
and disjointed nature of our thoughts and reactions. This creates a multi-dimensional and realistic portrayal
of a family, complete with their complex histories, motivations, and responses to death and the uncertainties
of life. In her novel, Oates explores the intersection of vanity and racial prejudice, showing how they work
together to drive certain characters' actions. The McClaren family, particularly Jessalyn's daughters, pretends
to be worried about their mother's well-being, but their true concern lies in their appearance to their
neighbors and the potential loss of their inheritance to their mother's new Hispanic friend. This vanity
becomes a cover for their complicity. The McClarens, in order to protect their vanity, choose to ignore the
truth and hold onto romanticized versions of their family stories. They actively withhold certain information
and refuse to acknowledge histories and prejudices, even when confronted with them.
Jessalyn, the protagonist of the novel mentioned, is described as resilient, almost to a fault. However,
author Joyce Carol Oates highlights that resilience often feels more like a burden than a blessing, especially
for those who have experienced significant loss. Oates questions whether Jessalyn's ability to remain sane in
her unhappiness is her punishment, an enduring and unyielding sanity that she cannot escape. «At her most
unhappy, she remained sane. Was that her punishment? — an irrevocable and implacable sanity?» [2]
The novel encapsulates the sense of loss and displacement that Jessalyn feels as a mother. The phrase
"quickly it had happened" suggests that the change was sudden and unexpected, leaving Jessalyn feeling
disoriented and unsure of her place in the family. The use of the phrase "she'd become a person who is taken
places" implies that Sophia has lost agency and control over her own life, as she is no longer able to dictate
her own path or make decisions for herself. [1; 93]
The reference to being "a passenger" reinforces this idea of being carried along by others, rather than
taking an active role in shaping one's own destiny. The fact that Jessalyn is now discussed in the third
person, using the pronouns "she" and "her", further underscores her sense of detachment and alienation from
her own identity. Overall, the description of Jessalyn in this literary captures the sense of confusion and
disorientation that can come with major life changes, particularly when they involve shifts in family
dynamics and relationships. It also touches on the theme of identity, as Jessalyn struggles to reconcile her
sense of self with the new roles and expectations imposed on her by her changing family situation.
The novel, while potentially daunting in length and having been published during the Covid-19
pandemic, is still relevant to the current moment. It explores a disease that runs through the McClaren
family, reflecting the centuries-long struggle the country has faced in combating diseases and finding
solutions. It draws connections to the unjust murders of George Floyd, Ahmaud Arbery, and countless
others, revealing the systemic issues that contribute to the disproportionate impact of the coronavirus on the
lives of black and Hispanic individuals.[4]
The novel delves into the struggles of a family as they navigate the changes brought about by their
mother's new partner. The youngest daughter, Sophia, fears that these changes may cause them to lose their
sense of identity and connection to each other. This fear stems from the belief that their roles and positions
within the family define who they are. The book emphasizes the importance of allowing family members to
grow and change according to their own desires and needs, while also maintaining a supportive and stable
environment.[4]
Oates portrays the challenges faced by the McClarerns as they adapt to their new circumstances with
empathy and understanding. For example, one daughter must compromise her professional ambitions in
order to stay true to her moral beliefs about animal welfare. Lorene, the middle daughter, must learn to view
her coworkers as colleagues rather than adversaries. However, one of the most significant struggles faced by
the older children in the family is their prejudice towards those of lower socioeconomic status and non-white
individuals. Through their casual elitism and racism, Oates exposes the root causes of prejudice as ignorance
and misguided anger.
The novel serves as a powerful reminder that change is essential for growth and that families must
learn to balance support with the freedom to evolve. Furthermore, it highlights the need for individuals to
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confront their own prejudices and biases in order to create a more just and equitable society. Ultimately, the
book offers a poignant message about the importance of embracing change while also staying true to oneself
and one's values.
In her novel, Oates provocatively underscores the need for not only dismantling institutionalized
racism in certain sectors of American society, such as the police force, but also for a shift in the hearts and
minds of citizens who unknowingly classify those who are different from them as "others" without
understanding the reasons behind their own biases. In this way, the novel powerfully emphasizes the
necessity for both systemic and personal transformation in order to combat discrimination and foster
understanding among diverse communities.[5]
Conclusion. The portrayal of family dynamics in «Night. Sleep. Death.» The Stars reinforces the
significance of understanding and managing emotions within the family context. It underscores the
importance of effective communication to support healing and to foster resilience in the face of adversity. By
exposing the characters' diverse coping strategies and the consequences of their actions, the novel invites
readers to reflect on the complex nature of familial relationships and the potential for personal growth and
transformation. «Night. Sleep. Death. The Stars», as examined through a scientific lens, provides a nuanced
exploration of family dynamics, coping mechanisms, and the impact of external pressures on familial
relationships. By delving into the emotional complexities experienced by the characters, the novel offers
valuable insights into the challenges faced by families grappling with grief, interpersonal conflicts, and
societal expectations. This examination contributes to our understanding of the human experience and
highlights the need for empathy, communication, and resilience in navigating family problems.
REFERENCES:
1. Oates J.C. ―Night. Sleep. Death. The stars‖ HarperCollins Publishers Inc. 195 Broadway, New
York, USA. 2019 P.93
2. The New York Times, ―Joyce Carol Oates Takes On Racism and Grief in Her New Novel‖, Bret
Anthony Johnston, June 9, 2020
3. The Guardian, ―Night. Sleep. Death. The Stars» by Joyce Carol Oates review – a portrait of a
family and a nation in crisis‖, Hepzibah Anderson, June 15, 2020.
4. Lonesome reader, ―Night. Sleep. Death. The Stars» by Joyce Carol Oates‖ Eric Karl Anderson,
June 7, 2020.
5. Toshnazarovna E. M. (2022). Elements of the Gothic Tradition in the Work of Joyce Carol Oats.
Central Asian Journal of Medical and Natural Science, 3(3), 308-311.
https://cajmns.centralasianstudies.org/index.php/CAJMNS/article/view/785.
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UDK 1751
Abstraсt. This article reveals a depiction of woman in the poems of Muhammad Yusuf, he was a great
Uzbek poet, in the English Language. The poet was prone to draw his love towards women by comparing
them to tulips and sometimes to mermaids as writing poems about women and their beauty by juxtaposing
flowers and angels in east poetry is common.
In this article there are given some extracts from his poems along with their English translations to
reveal his ability to use the art of word by following the east poetry traditions. However, Muhammad Yusuf
tries to be comprehensible by eschewing oversophisticated phrases to be unique in terms of giving credit to
the representatives of the opposite sex. This article can be used in Literature classes which are specialized in
the English Language as well.
Key words: poetry, the symbol of women, the art of word, flowers, angels, tradition, English
translation, deer, beauty, love
Annotatsiya. Ushbu maqolada buyuk o`zbek shoiri Muhammad Yusuf she‘rlaridagi ayol timsolining
inglizcha talqini tasvirlangan. Shoir ayollarni ba‘zan lolaga, ba‘zida esa suv parisiga o`xshatgan holda
e‘zozlaydi, zero, o‘zbek she‘riyatida ayollarni gullarga, farishta yohud malaklarga qiyoslash tez-tez uchrab
turadi.
Maqolada shoir she‘laridan parchalar hamda ularning ingliz tilidagi tarjimalari asosida shoirning
so`z san‘atidan naqadar mohirona foydalangani, sharq she‘riyati an‘analarini davom ettirib, ammo
soddalikka intilgan holda nozik xilqat bo`lmish ayol timsolini o`zgacha uslubda ifodalaganini ochib berishga
harakat qilingan. Maqoladan ingliz tiliga ixtisoslashgan adabiyot darslarida ham keng foydalanish mumkin.
Kalit so`zlar: she‘riyat, ayol timsoli, so`z san‘ati, gullar, farishtalar, an‘ana, inglizcha talqin, ohu,
go`zallik, sevgi
Introduction. Muhammad Yusuf, the beloved son of the Uzbek people, was born on April 1954, 26 in
the village of Qovunchi, Marhamat district, Andijan region. After graduating from high school in 1971, he
studied at the Republican Institute of Russian Language and Literature. His creative career began in 1980.
Muhammad Yusuf worked in various publishing houses and editorial offices, in various positions. From
1997 to the last days of his life, he served as Deputy Chairman of the Writers' Union of Uzbekistan for Youth
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Affairs. Muhammad Yusuf died on August 2001, 1 at the age of 47. His poetry involving all social topics
like love, friendship, life, motherland makes people think and cry every now and then.
Literature review.
One of the most loveable poems of his is ―Lolaqizg`aldoq‖ which can be translated into English like
―Tulip‖ (in memory of Shavkat Rahman). It is not actually a tulip but the poet is addressing to his sweetheart
by the name of beautiful flower. It is also worth to note that tulip‘s life span is one of the shortest among
other types of flowers which can be understood the symbol of people‘s void of longevity in life.
In these extracts the poet gives recommendations to his wife about being watchful if he dies one day.
He is worrying about the absence of many insincere people and they might be artificial to accomplish their
bad deeds to destroy her life as she is beautiful enough to attract them. It is not easy to live single, women
tend to be delicate as tulips and they need protection by strong representatives of the opposite sex. On top of
this, he doesn‘t use any sophisticated words or ideas to illustrate these insights, just straightforward but
fascinating poem.
I translated this poem into English according to the recommendations of O. Mo`minov who is the
author of book ―A guide to simultaneous translation‖. Indeed as he wrote: ―The identical semantic word
order is not relevant to Uzbek and English, you know‖ [3,45], so many changes occurred in the structure of
the poem in order to make it the same in meaning. For example, in English it begins with the subject of the
sentence following the word which means the action and object. But in Uzbek object follows to the subject
whereas verb comes in the end.
However, in poetry there are can be exceptions as inversion is the typical of poems. We can cement
this by these sentences of the abovementioned author: ―Each sentence has ―theme‖ which often takes the
syntactic formation of the subject and ―rheme‖ which gives information about what the theme does. Rheme
on the contrary takes the syntactic formation of secondary parts of the sentence, the transference and shift of
the theme and rheme is the case for the simultaneous translation.‖[3,45]
For example, here while translating some transformations occurred in terms of language structure:
Men ketsam, yomondan
Yiroq bo`l, ohu,- If I leave, eschew from the bad, deer
Here in Uzbek overall 6 words were used to express the meaning of 8 words in English. It is because
the meaning of the word ―if‖ can be expressed by a simple suffix in Uzbek (-sa), and there is not an existence
of the article case in Uzbek language.
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Apart from these changes, I expressed the meaning of the word ―ohu‖ in Uzbek by the word ―deer‖
without being much sure about the existence of such metaphor towards women in The English poetry.
Anyway, in simultaneous translation I hope it is not incorrect.
One another striking point is the zero translation of the suffix ―-jon‖ (lolajonim) in English. I could not
find any translated poem or literary work with the involvement of this suffix. So I skipped it.
This is another version of translation from the book titled ―A collection of poems by Muhammad
Yusuf‖ by an unknown author. Here they also skipped the suffix ―jon‖ as there is not any word in English to
illustrate this feeling. However, I liked the way it was translated; very brief, catchy and gripping, especially it
sounds nearly the same as the Uzbek version.
In his another poem titled ―Suvpari‖ (―Mermaid‖) he mentions even not knowing the name of his
sweetheart and without approaching her, he loves her more than others.
In this poem poet is void of any kind of sexual desires as he loves the beaty even without approaching
her, he demands nothing from her, but obsessed with her. It is a pure love of the protagonist who demands
nothing for his love and feelings from his beautiful soulmate.
If we analyze it in terms of translation, it is not also void of the changes as the first one I have
translated.
For example: ―Joningga jon bo`lmayman-u, sevaman‖ here the word ―jon‖ is a painstaking one to
express in English. There are many words like breath, heart, soul etc, but they couldn‘t express the same
meaning at 100 percent. So I chose soul which seems closer in meaning. There are one can find these kind of
words in the poem a lot like ―harir‖, ―dilbar‖ and ―ko`ngil‖.
In his another poem ―Tulip‖ this word was used as a suffix which means a sweetheart, lovely but here
having another meaning it is an independent word .
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In this translation it is translated as ―love‖: ―I don't love you I love you‖ and the word ―harir‖ as ―silk‖.
The word ―hur‖ is not translated here, however, it itself is written without being changed.
In the description of her appearance he mentions that, she is wearing a blue dress, the color of the sky,
as angels wear clothes in this hue. In the next line, she is described as the mermaid of blue pond which these
magic creatures are imagined as having unique beauty. She is so attractive that she inhabits the heart of the
protagonist. His imagery sweetheart has these kind of qualities and the poet uses a wide range of literary
devices to draw her picture:
In the description of her appearance he mentions that, she is wearing a blue dress, the color of the sky,
as angels wear clothes in this hue. In the next line, she is described as the mermaid of blue pond which these
magic creatures are imagined as having unique beauty. She is so attractive that she inhabits the heart of the
protagonist. His imagery sweetheart has these kind of qualities and the poet uses a wide range of literary
devices to draw her picture.
In this next poem titled ―Uzbek qizlari‖ (Uzbek girls‖) he intelligibly describes the overall appearance
of uzbek girls. He uses a lot of metaphors to give a brief description in terms of their outlook, habits and
manners:
Outstanding usages of metaphors and the translation of these lines is even more satisfying:
Uzbek version, it is not hard to find it‘s hidden presence. In the next lines of the poem the usage of
metaphors even strengthens:
Bu Momo Havodan ularga odat: Eve left heritage to them her habit:
Nozik belda qirqta kokili qavat, Long forty ―kokil‖ on slender waist
Silasa yomg`irlar silaydi faqat, That is touched upon only by rain,
Ko`rsa faqat osmon ko`rar ko`zlarin Seeing their eyes is only sky‘s gain
Kuyovga chiqmagan o`zbek qizlarin. They are Uzbek girls before the marriage.
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In this poem there are lots of sophisticated phrases are used metaphorically in Uzbek which gave me
some challenges while translating. For example, I couldn‘t find the equivalent of the word ―kokil‖ in English
and transferred it with no translation. Also in these lines I added the word ―gain‖ in order to provide an
effective translation and rhyme.
Jilmaysa nur yog`ar gul yanoqlardan, If smile, really shine flower cheeks,
Sir yashirar hatto qizg`aldoqlardan. Even tulips don‘t know secrets she keeps.
Oftob botgandan so`ng xilvat bog`lardan, From secluded gardens, after the sun sets,
Behuda izlamang sira izlarin Do not search them as it is nonsense
Kuyovga chiqmagan o`zbek qizlarin. They are Uzbek girls before the marriage.
In the beginning lines, the authors even exaggerates their beauty by saying their cheeks shine.
However, this description gives even richer and broader imagination of their appearance. They keep secrets
even from tulips and we can infer that they have a strong sense of security in terms of their feelings.
Ko`ngli daryoday keng, mehri ulug`vor, Kind hearted and affection is so wide
Dugonasi Hayo, dugonasi Or. Their friend is Shame, friend is Pride.
Ayting, farishtadan nima farqi bor, Do they any differ from the angels-
Kuyovga chiqmagan o`zbek qizlarin?.. Single Uzbek girls, tell me, who tells?..
In this part of the poem the poet uses personification professionally by making friends from feelings
like shame and pride. In Uzbek language words like ―or-nomus‖, ―hayo‖ are hard to translate into other
languages because of their cultural connotation. However, I tried to mean them with ―shame‖ and ―pride‖.
Bardoshi oldida tog`, oddiy tuproq, Mount is just soil comparing their patience
Ular etagidan jannat bir qadam. Jannah is a stone away from their hem
Beayb Parvardigor, degandek biroq, However, it is only God without guilty,
Yoq emas kichkina kamchiligi ham. They can sometimes have little faulty.
I must confess that there are some shortcomings in translation. For example, providing rhyme
seemed impossible in the firs two lines. Here the author gets his culmination point by directing the reader to
the final expressions. Having got to know about their fault, the readers even more become interested in about
them.
Sevadi, kuyadi, qiladi alam, They love, struggle, they have troubles,
Dorga osing, ammo aytmas birovga. Even if you hang them, they don‘t tell it.
Aytmay sevishini sevganiga ham, Not saying any word to their loves,
Tegib ketaverar boshqa kuyovga! To other bridegrooms they get married!
Very beautiful and touching poem, especially the ending point: they have a great deal of pride and
never let their sweethearts know about their affection for the first. It is simply because in most Asian
countries boys or men propose marriage to their lovers not girls or women. And of course Uzbek girls are not
exceptions.
Conclusion.
Muhammad Yusuf appreciates women as they are an integral part of his poetry. Even in his other
poems about social life and motherland you can find the symbol of women in metaphors and other literary
devices. They are good reading and gives the reader a nice description of the women. Women are our
mothers, sisters, wives and love, everybody should appreciate them and make sure life without them is not
pretty. The poet is so real in spite of his some metaphors and other comments on them and I think his poems
should be translated into all languages in order to make people cherish women during their whole life. As
Karimova F. writes:―…how powerful a tool his simple poetry, which is close to folk art, is.‖
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REFERENCES:
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UDK 82-14
DUNYO SONETCHILIGIGA NAZAR
Annotatsiya. Sonet janri o‗n to‗rt misradan iborat, o‗ziga xos band tizimiga, qofiyalanish tartibiga
ega janr bo‗lib, G‗arb lirikasiga mansub. Sonet janrining uch ko‗rinishi bo‗lib, dunyo she‘riyati bag‗rida
paydo bo‗lgan. Klassik, romantik, zamonaviy sonet turi G‗arb she‘riyatida keng tarqaldi, Sharq lirikasiga
ham o‗z ta‘sirini o‗tkaza oldi. Maqolada dunyo sonetchiligi, uning uch ko‗rinishi haqida fikr boradi.
Kalit so‘zlar: adabiyot, janr, she‘riyat, shoir, sonet, qofiya, misra, lirika, sonet turlari, mavzu,
mahorat, tarjima.
Abstract. The sonnet genre consists of fourteen lines, has a unique stanza system, rhyme scheme, and
belongs to Western lyric poetry. There are three forms of the sonnet genre, which appeared in the bosom of
world poetry. The classical, romantic, and modern type of sonnet spread widely in Western poetry, and was
able to influence Eastern lyricism as well. The article discusses world sonnets and its three forms.
Keywords: literature, genre, poetry, poet, sonnet, rhyme, verse, lyric, sonnet types, theme, skill,
translation.
Kirish. G‗arb lirikasining janri sifatida paydo bo‗lgan, taraqqiy topgan, dunyo xalqlarining aksariyati,
jumladan, o‗zbek she‘riyatida mavjud bo‗lgan o‗n to‗rt misrali she‘r sonetdir. ―Sonet‖ italyancha ―sonetto‖,
provanscha ―sonet‖, ya‘ni ―qo‗shiq‖ so‗zidan olingan. Sonetshunoslar sonetning vatani haqida turli
taxminlarni ilgari suradilar. Ba‘zi tadqiqotchilar sonet janri ilk bor XI-XIII asrlarda ritsarlik lirikasi tarkibida
Fransiya janubidagi qishloqlardan biri Provansda paydo bo‗lgan degan taxminni keltirishsa, boshqa birlari
sonet yaratilgan maskan Italiya ekanini aytishadi. Yana bir guruh olimlar fikricha, sonet qadimgi Gretsiyada
yaratilgan. Sonetning vatani Italiya, undan ham aniqroq qilib aytilganda Sitsiliya deb hisoblaydigan
tadqiqotchilar ko‗pchilikni tashkil etadi.
Qo‟llanilgan metodlar. Maqolada sonet janri tadqiqot obyekti sifatida olinib, jahon she‘riyatidagi
buyuk shoirlar tomonidan yaratilgan sonetlar qiyosiy metod asosida tahlil qilindi. Tadqiqotlarda qayd
etilishicha, birinchi sonetnavis shoir Jakopo da Lentini sanaladi. U Sitsiliya qiroli Fridrix II ning saroyida
notarius vazifasida ishlagan. Ayni damda ―Sitsiliya maktabi‖ shoiri bo‗lgan. Dastlabki italyan sonetlari
o‗zining vazni, kompozitsiyasi, qofiyalanish tartibi bilan xalq qo‗shiqlariga yaqin bo‗lgan. Shoirlar Gvido
Gvinitselli, Gvido Kavalkanti, Chino da Pistoyya va Toskana, demokratik shoirlar maktabining vakili
Chekko Аndjolyeri keyinchalik sonet shaklini «dolce stil nuovo» (―yangi xushtaʼb uslub‖) shakliga
o‗zgartirishdi. Ular ijodidan so‗ng trubadurlar sheʼriyatining mahbubaga ta‘rif beruvchi sonetlari vujudga
keldi. Shoirlarning «dolce stil nuovo» sonetlarida ayol ilohiylashtirildi, muhabbatdagi tabaqalash to‗siqlariga
qarshi turildi, insonning maʼnaviy olami ifoda etildi. Sonetning poetik tili o‗ziga xoslik kasb eta boshladi.
Аndjolyeri va uning izdoshlari quyi tabaqa hisoblangan insonlarga mansub sonetlarida mashaqqatli hayot va
undagi oddiy insoniy quvonchlarni kuyladilar.
Qatʼiy deb hisoblangan sonet yozish qoidalari 1332-yilda paduan adibi Аntonio da Temponing
―Summa artis rithimici vulgaris dictaminis‖ nomli sheʼrshunoslik traktatida ifodalangan [1,38].
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XIII asr boshlarida Italiyada Dante Aligyeri hamda Petrarka kabi mashhur shoirlar tomonidan sonet
yanada takomillashtirildi. Bu lirik janr ―Adabiyotshunoslik lug‗ati‖da [4,126] ikkita katren, ikkita tersetdan
tashkil topadi deb ko‗rsatiladi. Biz lug‗atda keltirilgan ma‘lumotga tayanib bu janrning turli adabiyotdagi
tuzilishi va qofiya tartibini jadvalga soldik. Ammo qofiya tartibini ikki variantda berdik:
Olingan natijalar va ularning tahlili. Sonetlar qofiyasini belgilashda ikki xillik chiqib qolganiga
ikki sabab bor.
1. Harflar lug‗atda ingliz alifbosiga tayanib belgilangan, biz lotin yozuvi asosidagi o‗zbek alifbosiga
tayandik.
2. Lug‗atda ikki katrenga bir xil harf olingan, ammo qofiya bir xil emas. Biz ikki katren alohida
qofiyalangani uchun har biriga alohida harf belgiladik. Shu sababdan qofiyalanishni harf bilan belgilashda
farqlar paydo bo‗ldi.
Dunyo sonetchiligida bu janrning uchta asosiy turi mavjud:
1. Klassik sonet: italyancha va fransuzcha sonet bo‗lib, 14 satrdan iborat, qat‘iy qoidalarga
asoslangan. Bu sonetlar to‗rt misrali ikki katren; uch misrali ikki tersetdan tashkil topadi. Qofiya tartibi
barqaror, misralar o‗n-o‗n bir bo‗g‗inli. Klassik sonetlar, odatda, muhabbat mavzusidagi lirik she‘rlar bo‗lib,
falsafiy mazmun kasb etadiganlari ham bor.
2. Romantik sonet: Shekspir asoslagan sonet turi hisoblanadi. O‗n to‗rt qatorli bunday sonetlar to‗rt
misrali uch band va ikki misrali bir banddan tashkil topadi.
Oxirgi band muallif xulosasidan iborat. Toʻrtliklarda qofiyalash, asosan, oʻzaro bogʻlangan. Lirik
mazmundagi bu sonetlar muhabbatni tarannum etuvchi, falsafiy fikrlarni qamrab oluvchi she‘rlar sanaladi.
3. Zamonaviy sonet: ruscha sonet bo‗lib, o‗n to‗rt misradan tashkil topishi, mavzusi an‘anaviylik kasb
etadi. Ammo klassik va romantik sonetning qat‘iy talablariga to‗liq buysunmagani bilan sonetning yangi
ko‗rinishi sifatida e‘tirof etiladi [11]. Bu qofiya tartibiga ko‗ra sonetning turlari haqidagi fikrlardir.
Italiyada lirikasida sonet janrining shakliy jihatlari, asosan, Petrarka tomonidan mukammallashtirilgan,
ya‘ni Petrarka sonetlarining o‗ziga xos tuzilishi va qofiya tartibi mavjud. Shu boisdan italyan sonetchiligi
―Petrarka soneti‖ nomi bilan ham yuritiladi. Petrarka sonetlari Laura ismli ayolga bag‗ishlangan. Shoir
sonetlarining oktavasi ikkita alohida to‗rtlik banddan iborat bo‗lib, odatda, a-b-b-a; d-e-e-d tarzida
qofiyalanadi:
Qo‗shiqqa jo etdim yoshlik zavq-shavqin, a
Og‗riqli oh-vohlar shovqini giryon, b
Ilk xato xun olgan shum damdan buyon b
His etmay yasharman o‗z umrim haqqin. a
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Ikki tarjimon ham mahoratli ekani, iqtidorli shoir ekani qo‗l kelgani bilingan. Ammo Yusuf
Shomansur bilvosita tarjima qilgani bilingan bo‗lishi mumkin. Ikki tarjimani solishtirish mumkin, ammo
baholamaslik zarur. Chunki asliyatdan qilingan tarjima bilan tarjimadan qilingan tarjima farq qilishi
tabiiydir.
Rus she‘riyatida sonet janri XVIII asrda paydo bo‗la boshladi. Rus tilidagi birinchi sonet 1735-yilda
yozilgan bo‗lib, u Trediakovskiy qalamiga mansub edi va bu sonet fransuz shoiri Jak de Barroning
sonetining tarjimasi edi. XVIII asrda rus adabiyotida klassisizm va fransuz sheʼriyati ko‗proq ta‘sir
ko‗rsatgani sabab Shekspir sonetlari rus ijodkorlariga yaxshi tanish bo‗lsa-da, o‗z ta‘sirini o‗tkaza olmagan.
Tadqiqotlarda qayd etilishicha, Rossiyada sonet janri oltin va kumush davrni boshidan kechirdi.
I.I.Dmitriyev, V.A.Jukovskiy, A.A.Delvig, Aleksandr Pushkin kabi shoirlar oltin davr sonetnavislari
sifatida mashhurlikka erishgan. Dmitreyev ―Sonet‖ (1796), V.A.Jukovskiy ―Nafis o‗pich uchun siz sonet
talab qilasiz ...‖ (1806), A.A.Delvig ―N.M.ga. Yazikov‖ (1822) nomli sonetlar yaratishgan. A.S.Pushkin bu
janrda ―Madonna‖, ―Shoirga‖, ―Sonet haqida sonet‖ nomli sonetlar yaratgan. Bu sonetlar uchtagina bo‗lsa
ham ko‗p muxlislar topdi va manzur keldi. Pushkinning ―Sonet‖ she‘ri alohida e‘tiborga loyiqdir.
Xulosa. XIX asrga kelib rus shoirlari Shekspir sonetlarini tarjima qilishni boshlashdi. XX asr
boshlarida taniqli rus sonetnavislari ko‗zga ko‗rina boshladi. Rus sonetlari mavzusi kengaydi, shakli
erkinlashdi va shu sabab dunyo sonetchiligida zamonaviy sonet turini asoslash ularga taqdir qildi. Dunyo
sonetchiligi sekin-asta rivojlanib, XX asrda Sharq, jumladan,o‗zbek she‘riyatiga ham ko‗chdi va lirikamiz
janrlari safidan joy ola bordi. Zero, sonet janri takrorlanmas janrlardan biri sifatida keng tarqaldi.
ADABIYOTLAR:
1. Hollander J. Sonnets: From Dante to the Present. Everyman‘s Library, 2001. – 121P.
2. Hojiahmedov A. Mumtoz badiiyat malohati. – Toshkent: Sharq NMK, 1999. – 240 b.
3. Jamol Kamol. Shayxurrais. Saylanma. Yettinchi jild. – Toshkent: Yangi asr avlodi, 2022. – 416 b.
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UO„K 82.14
Annotatsiya. Ma‘lumki, qo‗shiqlar motam marosimi tizimida ham ritual-ramziy ahamiyatga ega uzv
sifatida faol ishtirok etib keladi. Ushbu uzvlarning faol ishtirokida beixtiyor liboslarning o‗rni ayricha
ahamiyatga ega. Mazkur maqolada aza qo`shiqlarida motam kiyimlarining badiiy talqin xususiyatlari
haqida so`z yuritiladi. Aza kiyimlarining rangi va ularning ramziy-timsoliy xususiyatlari tahlilga tortiladi.
Kalit so`zlar: kafan, ―Oqkiydi‖, ―Qizilkiydi‖, ―Sallabandon‖, ―oxirat to`ni‖, oq surp, motam allasi,
yig`i-yo`qlovlar, marhum kiyimlari.
Аннотация. Известно, что песни активно участвовали в системе траурных обрядов, имея
ритуально-символическое значение. В активном участии этих органов особенно важна роль
непроизвольной одежды. В данной статье говорится об особенностях художественной
интерпретации траурной одежды в траурных песнях. Анализируется цвет одежды аза и еѐ
символические особенности.
Ключевые слова: фольклор, песня, обряд, траур, аза, саван, белый цвет, чѐрная одежда.
Abstract. It is known that songs have been actively participating in the system of funerals as a part of
ritual and symbolic importance. In the active participation of these members, the role of involuntary clothing
is especially significant. This article talks about the features of artistic interpretation of mourning clothes in
the songs of funerals. The color of mourning clothes and their symbolic features are analyzed.
Key words: folklore, song, ceremony, mourning, shroud, white color, black clothes.
Kirish. Zardushtiylik dinining muqaddas kitobi ―Avesto‖da oq rang, asosan, yorug`lik va ezgulik
timsoli sifatida ko`rsatilgan. Ammo qadimgi turkey xalqlarda oq rangning motamni, musibat va g`am-
anduhni, qurg`oqchilikni anglatib kelganligi haqida maʼlumotlar bor. Jumladan, Ozarbayjon olimi
M.Saidovning yozishicha, ―...Oltoyliklarda oq rang motam ramzidir. Manbalar Chinda yashagan turk tilli
solorlar uchun oq rangning boshqa maʼnolar bilan bir qatorda motam timsoli bo`lganligidan ham xabar
beradi. Nafaqat turkiylarda, boshqa ayrim xalqlarda ham ko`k va oq motam, qayg`u ramzi sanalgan‖.
Shuningdek, qadimda oq rangning salbiy maʼno anglatib kelgani haqida ko`p manbalarda qaydlar uchraydi.
Jumladan, ―Svetovedeniya‖da ―G`arb tomon – oq rang bilan belgilangan. G`arb esa o`lim va g`am – anduh
vatani. Shuning uchun Xitoy va Yaponiyada oq rang motam va o`lim rangi hisoblanadi‖, – deyilgan.
Jumladan, o`zbek xalq motam marosimida ham oq rang o`lim va yo`qlik olamining timsoli, azadorlik,
azadorlik belgisi sifatida talqin qilinganligi kuzatiladi.
Asosiy qism. Olima M.Yoqubbekova ―O`zbek xalq qo`shiqlarining lingvo poetik xususiyatlari‖
nomli doktorlik dissertatsiyasida oq rangning ijobiy emotsional xususiyatlarini ko`rsatsa-da, uning salbiy
emotsional xususiyatlariga eʼtibor bermaydi. U: ―Xalq qo`shiqlarida oq, qizil rang sifatlashlari ko`tarinki
kayfiyat, ijobiy emotsional-ekspressiv bo`yoqdorlik ifoda etsa, ko`k bilan qora o`rni bilan ijobiy, o`rni bilan
salbiy munosabat tug`diradi. Xalq qo`shiqlarida oq sifatlashi bilan ijobiy kayfiyat hosil qilinishiga juda ko`p
misollar mavjud‖, – deb yozadi. Holbuki, xalq qo`shiqlarida oq rang vositasidagi sifatlashlar ham qora rang
kabi o`rni bilan ijobiy, o`rni bilan salbiy munosabat tug`dirishi keng kuzatiladi:
Oqni solding boshimga,
Qorani solding oshimga.
Zarafshon vohasida yashovchi aholi o`rtasida marhumlarga oq kiyim kiyib aza ochish o`ziga xos
anʼana tusiga kirgan. Bu yerlarda oq, ko`k kiyish azadorlikning belgisi hisoblanadi. Demak, aslida
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arablarga xos bunday anʼanalar bizgacha yetib kelgan va motam marosimlarimizda o`z izini qoldirgan.
Zarafshon vohasi aholisi o`rtasida motamda, odatda, azador ayollar hamda azaga kelgan xotin-xalaj oq
bog`lashadi. Bu esa, oq rangning Sharq xalqlarida motamsarolik maʼnosida kelishining isbotidir. Lekin
Fargʼona vodiysida qora kiyim motam libosi hisoblanadi. Shuning uchun Farg`ona vodiysidan yozib olingan
qo`shiqlarda bunga urg`u kuchli:
Qora lasdan ko`ylagim,
Qonlarga to`ldi yuragim.
Yoki:
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Buxoro viloyatining Peshko`, Romitan, Shofirkon tumanlarida oila boshlig`i – ota vafot etsa, to`ng`ich
o`g`il boshiga, albatta, oq salla o`raydi. Bu bilan u ota merosini, ishlarini boshiga (zimmasiga) olganligini
ramziy ifoda etadi.
Xullas, motam bilan bog`liq ―aza kiyish‖ va ―aza yechish‖ rasm-rusumlarida ranglarning maʼnosiga
alohida eʼtibor qilinadi. ―Aza kiyish‖ rasmi kabi ―aza yechish‖ rusumi ham maxsus tashkil qilinadi. Bu rasm-
rusumlar, odatda, motamga aloqador ―Qirq‖ va ―Yil‖ marosimlari ichida bajariladi. ―Aza yechish‖da ayollar
oq, ko`k, qora rangdagi liboslarini va ro`mollarini yechib tashlab, motam tutishni to`xtatganliklarini maʼlum
qilishadi. Aza kiyimlari yechilgach, o`rniga xursandchilikni, tinchlik va xotirjamlikni ifoda etadigan qizil
yoki oq rangdagi liboslar kiyiladi hamda shu rangdagi ro`molar o`raladi. Shu boisdan bu ritual ramziy xatti-
harakatlar xalq orasida ―Qizil kiydi‖ yoki ―Oq kiydi‖ (―Oq solar‖) deb nomlanadi.
Epik anʼanada, shu jumladan, motam marosimi va unga aloqador folklor aytimlarida oq rang, asosan,
marhumlar rangi, o`lim va yo`qlik olamining timsoli sifatida qayd etiladi. Jahannam va jon oluvchi farishta
Azroil esa qora tusda tasavvur qilinadi:
Qora otli, qora to`nli,
Meni ko`rmakka keldingmi, alla-yo alla.
Ochilgan lolazorimni,
Xazon etmoqqa keldingmi, alla-yo alla.
Marhumlar dunyosi, o`liklar saltanati baʼzida qora rangda ham tasavvur qilingan.
Folklorshunos D.Oʼrayevaning maʼlumot berishicha, Buxoroda haqiqiy ayollik, onalik ramzini
ifodalovchi «Sallabandon» marosimi ota-onasi, yoru birodarlari, qarindosh-urug`lari, tanish-bilishlari qalbiga
chuqur armon solib bevaqt vafot etgan, orzu-umidlari bilan birga so`lgan qizlar uchun ham bu dunyodan
bearmon ketsin, ruhi bezovta bo`lmasin, bizdan rozi bo`lsin degan maʼnoda o`tkazilgan. Chunki xalq
hamisha ruhning o`lmasligiga, abadiyligiga ishonadi.
«Sallabandon» marosimi bilan bog`liq rasm-rusumlarni ular mazmuniga muvofiq keladigan qo`shiqlar
orqali maxsus go`yanda (motam marosimi qo`shiqlarining professional ijrochisi) aytib-aytib bajarib boradi.
«Sallabandon» marosimida avval qizning sochlari yoyilib, boshiga kultapo`shak kiydiriladi.
Kultapo`shak ayol kishining sochini peshonadan to yelkagacha yopib, begona ko`zdan yashirib saqlaydi.
Kultapo`shak bir-biriga ulab tikilgan ikki qismdan iborat bo`lib, uning boshga kiyiladigan yuqori qismi
aylana shaklidagi do`ppi misoli-yu soch kiydirib qo`yiladigan pastki qismi tor, kalta yeng shaklidadir.
Kultapo`shakning avval sochga kiydiriladigan qismi, so`ngra bosh qismi kiyiladi. Kultapo`shakning
ustidan bir yarim metr uzunlikdagi dokadan salla o`raladi.
Motam marosimi o`tkaziladigan «Sallabandon»da ham yor-yorlar aytiladi va ularda, asosan, salla
bog`lab, onalik gashtini surish, farzand o`stirish kabi qiz bola uchun eng muhim bo`lgan holatning yuz
bermaganligidan achinish, kuyunish motivlari yetakchilik qiladi:
Salla-sallaboshniki, voy bolam-ey, yor-yor
Ko`rmay ketdi, boshingni, jonbolam-ey, yor-yor.
Tosh emaskan boshginang, erta ketding, yor-yor,
Sallaginang bog`lanmay xazon bo`lding, yor-yor.
Go`yanda marhuma qizga to salla o`ragunicha bu yor-yor matnini qizning onasi yoxud amma-xolalari
ham takrorlab turadilar. «Sallabandon» qilish marosimi tugagach, qizning ustiga uning kelinligi uchun atab
yig`ilgan sepidan ro`molar va matolar olib tashlab ko`yiladi va quyidagi yor-yor aytiladi:
Yiqqanlarim poya bo`ldi-ya, yor-yor,
Mehnatlarim zoya bo`ldi-ya, yor-yor.
Bunday marosimlarning kelib chiqishiga ibtidoiy insonlarning o`liklar mulki, ruhlar olami, o`limdan
so`ng qayta tug`ilish, ruhning boqiyligi haqidagi mifologik tasavvurlari asos bo`lgan.
Xalq orasida uylanmay, chimildiq ko`rmay vafot etgan yigitlarga u dunyoga armonsiz ketsin degan
niyatda motam yor-yori kuylanishi o`ziga xos odat tusini olgan. Bu marosim Buxoroda ―Jar‖ deb yuritiladi.
Unda marhum yigitning oshna-og`aynilari, yosh erkak qarindoshlaridan biri uning kiyimini kiyib, belbog`ini
bo`yniga tashlab, o`rtada sadr tushadi. Shundan so`ng marhum yigitga ―To`n kiydirish‖ (―Joma po`shon‖)
bo`lib o`tadi. Unda marhum yigitga keksa chol yangi do`ppi va yangi chopon (to`n) kiydiradi. (Chopon
ko`pincha marhumga kiygizilmasdan, ustiga tashlab qo`yiladi). Shu yo`l bilan to`y ko`rrmay, kuyovlik
choponini kiymay, yor bilan visol oqshomiga erishmay, otalik gashtini surolmay armon bilan u dunyoga
ketayotgan yigitning ruhi tinchlanishiga ishoniladi.
Marhumlarning abadiy kiyimi – ―kafan‖ deb ataladi. Uni ―oxirat to`ni‖ deb ham aytadilar. Kafanlash
marosimini murdasho`y va yuvg`ichlar o`tkazishadi. Kafanni tayyorlash uchun 18-24 metr oq pishiq surp
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ishlatiladi. Murdashoʼy uni to`ppadan-to`g`ri murda ustida keti tugilmagan ip bilan tikadi. Shuning uchun
tiriklar ustida kiyim tikish yomon irim qilinadi.
Kafan kiyilmaydi, balki o`raladi. Chunki uning yengi, yoqasi bo`lmaydi. Shu boisdan tirik
insonlarning o`z kiyimini kiymay ustiga yopib, yenglarini osiltirib yurishi ta‘qiqlanadi. Keksalar bunday
holni ko`rishsa, «barakang uchadi» deb tanbeh berishadi. Qolaversa, o`lik beharakat bo`lgani uchun unga
ko`ylak kiydirish qiyin. Shuning uchun murda tanasi kafanga o`rab qo`yiladi va uning maxsus qismlari
yog`och igna bilan bir qat ip yordamida tikib, o`zaro birlashtiriladi. Murda kafanlanilayotganida, unga
qarata: «Oxirat to`ningiz muborak boʼlsin!» deyiladi. Shuni inobatga olib, motam qo`shiqlarida shunday
kuylanadi:
Sizga bir to`n bichgaylar,
Uni yaksona tikkaylar.
Uni turib kiyay desangiz,
Yoqasi, yenglari yo`qdir.
Bu qo`shiqda kafanning bichilishi, tikilishi va tuzilishi haqida aniq tasavvur uyg`otilmoqda.
Kafan ikki chorsi choyshabdan iborat mato ko`rinishida bo`lib, marhumning chap yelkasidan o`ng
biqiniga tortib o`raladi. Ammo uning baʼzi qismlari alohida nomga ega. Kafanning eng ko`p qismini
«ko`ylak» – «kurta» tashkil etadi va u tanani belgacha o`rab turadi. Shundan so`ng o`raladigan to`g`ri
burchakli mato bo`lagi ishton o`rnidagi «lungi»dir. Marhumning bosh qismiga o`raglan kafanlik qismi
erkaklar uchun «salla», ayollar uchun «roʼmol» deb nomlanadi. Marhumning yuzi mato bilan yopiladi.
Marhum qo`llariga qo`lqop, oyog`iga ishkor kiydiriladi. Bu holat motam qo`shiqlarida alohida ta`kidlanadi:
Oyog`imga ishkor kiydirdilar, alla,
Ishkorim tayrilib qoldi, alla.
Marhumalarga peshonaband, ko`krak qismiga sinaband, bo`ynini yopib turishga mo`ljallangan
«lachchak» ham kiydiriladi. Xullas, kafan marhum tanasini boshdan-oyoq o`rabturadi.
Baʼzi xalqlarda, jumladan, xristianlarda marhum ritual yuvintirilgach, unga boshdan-oyoq yangi,
ohorli liboslar, oyoq kiyimi kiydiriladi. Uni bayram yoki to`ydagidek yasantiradilar.
Yevropa mamlakatlarida hatto maxsus marhumlar kiyimlarini sotadigan do`konlar borligi maʼlum.
Ularda sotiladigan kiyimlar bir marta ishlatishga mo`ljallangan bo`lib, tikilish dizayniga ko`ra tananing faqat
old, yuz qismini qoplab turadi, xolos. Orqa qismi bo`lmaydi. Chunki ular marhumning tobutga
yotqiziladigan holatini hisobga olgan holda tikilgan bo`ladi.
Xulosa. Umuman aytganda, ibtidoiy insonlarning o‗limdan so‗nggi hayot mavjudligi haqidagi
mifologik tasavvur-tushunchalari marhumlarni ritual kiyintirish odatining kelib chiqishiga, azadorlik
liboslarini kiyib yurishga asos bo‗lgan. Aza kiyimlari esa marhumning yaqin kishilarini boshqalardan tez
ajratib olishga yodam beradi. Shunga qarab azadorlar oldiga borib, ta‘ziya izhor qilinadi.
Kiyim-kechaklarning marosimiy funksiya kasb etishi hozirgi to‗y va aza marosimlari orqali
tasdiqlanadi. Motam marosimida ayollar oq, ko‗k yoki qora rangdagi matolardan tikilgan kiyimlar kiyib, o‗z
azadorligini ramziy ifoda etishadi. Bunda aza kiyimlarining rangi orqali motamsarolik, qayg‗u-musibat holati
aks ettiriladi. Xususan, yig‗i va yo‗qlovlarda bu yorqin kuzatiladi. Motam bilan bog‗liq ―aza kiyish‖ va ―aza
yechish‖ rasm-rusumlarida kiyim ranglariga alohida e‘tibor qilinadi.
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UO„K 81.112.82
Abstract. This article describes the genesis of the tradition of depicting the image of a servant, in
which Uzbek folklore talks about Alpomish and his servant, who became like a family member. In addition,
the image of cheap "servants" who were involved in the difficulties of cotton picking during the Soviet period
is vividly reflected in our national literature. Servants are always portrayed as secondary characters in the
works. It is depicted that they stand alongside the main characters of the work and take a special place in the
plot of the work.
Key words: Servants, Soviet period, Uzbek literature, secondary person, Alpomish, slave, rich family,
class (level), spiritual teacher, slave of God, Hajib
Kirish. Xizmatkor obrazi – ―uchinchi odam‖ timsoli sifatida aksariyat romanlarda alohida oʼrin tutadi
va asar syujeti voqealarining rivojlanishida muhim rol oʼynaydi. Shuni eʼtiborga olib, badiiy adabiyotda
xizmatkor obrazi talqiniga xos xususiyatlarni alohida oʼrganishga toʼgʼri keladi. Chunki bu obraz jahon
romanchiligi anʼanalarida ham ayricha eʼtiborni tortadi va zamon voqeligini real aks ettirishda qoʼl keladigan
xronotop shakllaridan biri sifatida boʼy koʼrsatadi. Shunday boʼlsa-da, xizmatkor obrazining asar syujetidagi
oʼrni va badiiy vazifalari adabiyotshunoslikda alohida oʼrganilmagan. Bu haqda ayrim manbalarda yoʼl-
yoʼlakay munosabatlar kuzatiladi, xolos. Аyniqsa, M.Baxtin ―Romanda zamon va xronotop shakllari‖ nomli
ilmiy asarida bu xususda bildirib oʼtgan fikr-mulohazalari ayricha eʼtiborni tortadi.
Asosiy qism. Xizmatkor obrazini tasvirlash anʼanasining genezisi folklordan boshlangan, desak
mubolagʼa boʼlmaydi. Oʼzbek folklorida Аlpomish oʼz otasiday koʼrgan qul-xizmatkor Qultoy,
Goʼroʼgʼlining sayisi Soqibulbul, goʼzal malika qizlarning kaniz-xizmatkorlari Suqsuroy, Oqqiz va boshqalar
obrazi bunga yorqin misol boʼla oladi. Folklor asarlarida xizmatkor obrazi, asosan, bosh qahramonning
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tarbiyachisi, sodiq yordamchisi va maslahatgoʼyi qiyofasida aks ettiriladi. Shu tasvir usuli yozma
adabiyotimizda Аbdulla Qodiriyning ―Oʼtkan kunlar‖ romanidagi bosh qahramon Otabekning mehrini
qozongan qadrdoni, maʼnaviy padari, keksa xizmatkor Hasanali qiyofasida davom ettirilgani kuzatiladi.
Shoʼro davri hayoti aks ettirilgan asarlarda garchi xizmatkor obrazi alohida uchramasa-da, unga xos
xususiyat va vazifalar mustabid tuzum zulmi ostida ezilayotgan xalqlar siymosida umumlashtirilganini sezish
qiyin emas. Masalan, paxta terimining qiyinchiliklariga jalb etilgan arzon ―xizmatkorlar‖ obrazi shoʼro
davridagi milliy adabiyotimizda yorqin aks etadi. Koʼrinadiki, xizmatkor obrazidan har bir davrda zamon
voqeligini real aks ettirishda xronotop shakli sifatida oʼziga xos usul va koʼrinishlarda foydalanib kelingan.
Hozirgi paytda esa tadbirkorlik qilib, toʼq turmushga erishgan ayrim xonadonlar uy-roʼzgʼor ishlarini
bajarishga vaqt topolmaganini roʼkach qilib, yana xizmatkor yollashmoqdaki, bu real voqelik hayot oynasi
boʼlmish adabiyotda ham, qolaversa, maishiy xarakterdagi milliy kinostsenariylarimizda ham aksini
topmoqda. Lekin hozirgi xizmatkor obrazi yangi zamonga mos, fan va texnika yutuqlari orqali yaratilgan
predmetlardan foydalana oladigan, yangicha fikrlaydigan, oʼz haq-huquqini tanigan, madaniyatli, oriyatli tip
qiyofasida namoyon boʼlmoqda.
Shu kungacha jahon va milliy adabiyotimizda xizmatkorning vazifa jihatidan turli tiplari tasvirlangan.
Ular orasida otboqarlar, itboqarlar, oshpazlar, yollanma dehqonlar bor.
Аsarlarda xizmatkorlar hamisha ikkinchi darajali shaxslar sifatida tasvirlanadi. Ular asar bosh
qahramonlari bilan bir qatorda turib, asar syujetida alohida oʼrin tutishadi. Аsarning badiiy mazmunini
toʼldirishga, boyitishga turtki berishadi. Ularning obrazi vositasida bosh qahramonlarning xususiy
turmushiga xos ikir-chikirlar yanada real, chuqur ochiladi.
Oʼzbek tilining izohli lugʼatida ―xizmatkor‖ soʼzi 1-tomda 16 marta, 2-jildida 20 misolda, 3-jildida 17
oʼrinda, 4-tomda 22 marta, 27 oʼrinda ishlatilgan va turli maʼnolarni anglatgan. Lugʼatda tanlangan
misollarning koʼpchiligi oʼzbek adabiyotining yorqin dargʼalaridan biri Oybekning tanlangan asarlaridan
olingan va barcha misollarda xizmatkorning jamiyatdagi oʼrni past ekanligi, boy yoki xoʼjayiniga
boʼysunishi zarurligini koʼrsatuvchi ishoratlar mavjud. Masalan, Xizmatkor, malay qanday boʼlsa ?! U
tanini, jonini xoʼjayinlardan ayamasa, ninaday narsaga xiyonat qilmasa, oʼl desa – oʼlsa, tiril desa – tirilsa. (
Oybek, Tanlangan asarlar.) Xizmatkor – qul emas. (Oybek, Tanlangan asarlar.) Xizmatkor chol darhol
dasturxon yozib, dahlizdan yasogʼliq barkash olib kirdi. (M. Osim, Utror.) Mardikorni, xizmatkorni, kosibni
odam oʼrnida koʼrishmaydi bu zamonda. (Oybek, Tanlangan asarlar.) Vaʼda… Him. Nodon. Xoʼjayin degan
xizmatkorni qiziqtirish uchun vaʼda qilaveradi-da.. (Oybek, Tanlangan asarlar.) Xizmatkorlar har kuni
davlatimga davlat qoʼshadi. (Oybek, Tanlangan asarlar.)
―Xizmatkor‖ soʼzining taʼrifi izohli lugʼatda quyidagicha keltirilgan: Xizmatkor - xizmat qiluvchi.
1.Birovlarning shaxsiy xizmatini, uy ishini qiluvchi kishi. Bu asar bir pardalik fojia boʼlib, unda bir
zolim boyning yigirma yillik moʼysafid bir xizmatkoriga soʼng vaqtda qilgan jabr va zulmi tasvir qilingandir.
(Hamza, Tanlangan asarlar.)
2. Xalq yoki jamiyat manfaati uchun xizmat qiluvchi. - Yoʼlingga koʼz tikar, tikar albatta. Ulgʼaysang,
oʼqib, boʼl elga xizmatkor! (M. Аlaviya)
Xizmatkorlik - Xizmatkor boʼlishlik. Xizmatkorlikka Yoʼlchiboyni soʼramoqchiman. U sinalgan
odam, san nima deysan? (Oybek, Tanlangan asarlar) .
Xizmatkorning oʼzbek jamiyatida turlicha vazifalariga koʼra nomlanishi mavjud boʼlib, bu atamalar
oʼzbek adabiyoti namunalarida yozuvchilar tomonidan qoʼllanilgan va oʼzbek oʼquvchilari ularning boy
xonadonidagi bajarish vazifalarini xizmatkorning nomlanishi orqali aniqlay olishgan. Xizmatkorning
gumashta (vakolatli xizmatkor), dastyor (yollanma xizmatkor bola), dastorband (podshox yoki xonning
sallasini oʼrab qoʼyuvchi xizmatkor), dahmarda (qoʼy-mol boquvchi xizmatkor), hojib (eshik qorovuli),
gʼulom (koʼpligi gʼilmon) (xizmatkor yigit), farrosh (koʼcha-koʼy, hovli va bogʼlarga suv sepib, supurib-
sidirib yuruvchi xizmatkor; qorovul), xammollik (yuk tashuvchilik), choʼri (oqsoch, qul xotin, tutqinlikdagi
xotin) kabi turlari mavjud.
Oʼzbek adabiyotida xizmatkor obrazi faqatgina qul, boy xonadonning yumushlarini bajaruvchi past
tabaqadagi inson sifatida emas, balki oila aʼzosi, maʼnaviy ustoz sifatida qabul qilingan, oʼqimishli inson
sifatida tasvirlangan: Qaygʼurma, begim! Hasanali otang bu toʼgʼrida ham seni yodidan chiqarmaydi. (А.
Qodiriy, Oʼtgan kunlar.) Eski vaqtda yer-suv egalarining xizmatkorlari xonlar zamonidagi rasm-rusmni qilib,
oʼz xoʼjayinlarini «begim», «xonim», «oyim» deb hurmatlar edilar. (M. Muhammadjonov, Turmush
urinishlari.)
Gumashta soʼzi XX asr boshlariga qadar Turkistonda katta savdogar boylarning joylarda savdo
ishlarini olib boruvchi ishonchli kishisi, vakiliga nisbatan ishlatilgan. Baʼzi boylar uzoq yurtlarga oʼz
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gumashtalarini yuborib, oʼzlari kayf-safo bilan mashgʼul boʼlar edi. (M. Muhammadjonov, Turmush
urinishlari.)
Dastyor - qoʼldan kelgan ishni bajarib, oilada kattalarning ogʼirini yengil qiluvchi, yordamchi.
Birovning yengil-yelpi ishlarini bajarish uchun yollangan xizmatkor bola. Men oʼn bir yoshlarga kirganimda,
ota-onamga yaxshi dastyor boʼlib qoldim. (S.Аyniy, Esdaliklar.) Esi kirib, dastyor boʼlib qolgan Elmurod
ukasining ingichka oyoqlariga qarab qoldi. (P.Tursun, Oʼqituvchi.) Fargʼona kanal boʼyidagi soʼriga oʼtirib,
dastyor bolaga koʼk choy buyurdik. (S.Аhmad, Oydin kechalar.) Ravshan paltosi bilan qalpogʼini yechib,
peshtaxta ortidagi dastyorga uzatdi. (―Sharq yulduzi‖)
Xizmatkorlarning yuqori lavozimlaridagilari ham mavjud boʼlib, ular mansab jihatidan ancha ustun,
hurmatlangan ishchilar edi. Oʼrta Osiyo xonliklarida eshik ogʼa (yoki ogʼasi) kabi kasb mavjud boʼlib, xon
saroyidagi bosh xizmatkor hisoblanardi, u oliy hukmdorning turli qabul marosimlarini oʼtkazish ishlariga
mutasaddi boʼlgan shaxs edi. Eshik ogʼa kirib, arkoni davlatning hozir boʼlganini bildirgach, Husayn
Boyqaro kirishga ijozat berdi. (Oybek, Navoiy.)
Hojib – xizmatkorning yana bir turi boʼlib, darvozabon, eshik qorovuli, xon eshigidagi xodim,
mahram maʼnolarini bildirgan. Hojiblar tan soqchi vazifasini ham oʼtashgan, shuning uchun ham ularga xos
hojib, yaʼni xos, tanlab olingan, ishonchli vakil sifatida xon yoki boyning joni ishonilgan. Oʼzbek
adabiyotida ishlatilgan xizmatkorning yana bir turi - qalinchi boʼlib, u xoʼjayin tomonidan toʼlangan qalinni
qoplash uchun ishlab turgan xizmatkor, qarolni bildiradi. Masalan, Boshiga qozoqi tumoq kiygan podachi
yigit hammadan ayrilib, chetga chiqdi-da, yoshgina xotinini ergashtirib keta boshladi. Bu Аllonbiyning
qalinchilaridan biri edi. (А.Muxtor, Qoraqalpoq qissasi.) Bir xizmatkorning qiziga uylanishi, qiz qancha
chiroyli boʼlmasin, oʼz obroʼsi uchun katta nuqson deb bilgan edi. (Oybek, Tanlangan asarlar.)
Salbiy maʼnoviy boʼyoqdorlikka ega boʼlgan ―xizmatkor‖ soʼzining sinonimlari ―qul‖, ―qarol‖,
―yugurdak‖, ―choʼri‖ kabi soʼzlar ham mavjud boʼlib, qul soʼzi dastlab eksplatatorlik jamiyatining ilk
davrlarida xususiy mulk, mol qatori olib-sotilgan, butunlay xoʼjayinga qaram boʼlgan, hech qanday haq-
huquq va mol-u mulkka ega boʼlmagan xizmatkor maʼnosini bildirgan. Masalan, ....Xafa boʼlmang, biz haq
olmasdan ham ishlaymiz. Аxir biz qulmiz-ku, haq talab qilishga haddimiz bormi?! (Mirmuhsin, Meʼmor.)
Bundan tashqari, qulning sinfiy jamiyatda eksplatatsiya hamda siyosiy-iqtisodiy qaramlik asoratida
har qanday huquqidan mahrum boʼlgan, eziluvchi kishi va salbiy maʼnoda kimsaga koʼr-koʼrona xizmat
qiluvchi, boʼysunuvchi, itoatgoʼy, malay, xizmatkor maʼnolari ham mavjud. Qizlar bunda choʼri, tul edi,
Yigitlar xoʼr, gado, qul edi. (E. Rahim.) -Mayli, – dedi Fazliddin, – lekin shunday yaxshi qulni ular bizga
berishmas, deyman. (Oybek, Tanlangan asarlar.)
―Аllohning quli, banda‖ degan maʼnoviy ishoralar ham bu dunyoda jami jonzotlarning itoat etib, amri
vojiblarni soʼzsiz bajarishi kerakligiga ishora ekanligini baʼzi adabiyotlarda uchratish mumkin. Xudo xabar
olsin jami qulidan.. -Hasanxon. Yo xudo, bu gunohkor oʼgʼilga oʼzing tavfiq ber va men qulingni kechir.
(Oybek, Nur qidirib.)
Qul soʼzining sinonimi hisoblangan qarol yerlari boyga oʼtib ketgan kambagʼal dehqonlar batrak,
xizmatkor sifatida ishlashini nazarda tutadi. Ularninig koʼpchiligi shu boyning eshigida qarol boʼlib
qolaverar ekanlar. Qarol, kelishuvga binoan, xoʼjalikda mollarga qarash, yuk tashish, dalaga oʼgʼit chiqarish,
suv keltirish, oʼtin tayyorlash, qor kurash kabi bir qator yumushlarni bajargan. (―Fan va turmush‖)
Xulosa. Hozirgi kunda bu soʼz ham ijobiy, ham salbiy maʼnoda ishlatiladi. Ijobiy maʼnosi yosh
farzandlarning oila aʼzolariga beminnat yordamlarini anglatib, ularning xizmatlarini bepul qilishlarini
bildirsa, salbiy maʼnosida birovning (xususan, boshliqlarning) buyrugʼini yoki topshirigʼini xushomadgoʼylik
bilan bajaruvchi; laganbardor, malay maʼnosida keladi. Mana, oyim, sizga yana bir dastyor – yugurdak topib
keldim. (Oydin, Hazil emish.) Аmaldorlarning yugurdaklari koʼcha-koʼylarda odam oʼldirishga kirishdilar.
(S. Аyniy, Jallodlar.)
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УДК 821.161.1
Abstract. Our article is devoted to the study of the image of Amir Temur in Russian-language
literature. We analyzed various works of fiction, historical chronicles and scientific articles to determine
how Amir Timur is represented in Russian-language literature. As a result of our analysis, we have revealed
that the image of Amir Timur has many aspects that are related to historical, cultural and literary contexts.
The image of Amir Timur in Russian-language literature is an important element of the cultural heritage of
Central Asia, the Middle East and Russia. Our analysis also showed that the use of various methods and
sources in the study of the image of Amir Timur is important for obtaining a complete picture of his role in
the cultural heritage of the region. We hope that our results will be useful for researchers, students and
anyone interested in the history and culture of Central Asia, the Middle East and Russia.
Keywords: Amir Timur, Russian-language literature, image, history, culture, typological analysis,
works of art, historical chronicles, cultural heritage, Central Asia, Middle East, Russia.
Annotatsiya. Bizning maqolamiz rus tilidagi adabiyotda Amir Temur obrazini o'rganishga
bag'ishlangan. Biz Amir Temurning rus tilidagi adabiyotda qanday namoyon bo'lishini aniqlash uchun turli
xil badiiy asarlar, tarixiy xronikalar va ilmiy maqolalarni tahlil qildik. Tahlilimiz natijasida Amir Temur
obrazining tarixiy, madaniy va adabiy kontekstlar bilan bog'liq ko'plab jihatlari borligini aniqladik. Rus
tilidagi adabiyotlarda Amir Temur obrazi Markaziy Osiyo, yaqin Sharq va Rossiya madaniy merosining
muhim elementidir. Bizning tahlilimiz shuni ko'rsatdiki, Amir Temur obrazini o'rganishda turli usullar va
manbalardan foydalanish uning mintaqaning madaniy merosidagi roli haqida to'liq tasavvurga ega bo'lish
uchun muhimdir. Umid qilamizki, bizning topilmalarimiz tadqiqotchilar, talabalar va Markaziy Osiyo, yaqin
Sharq va Rossiya tarixi va madaniyatiga qiziqqan har bir kishi uchun foydali bo'ladi.
Kalit so'zlar: Amir Temur, rus tilidagi adabiyot, obraz, tarix, madaniyat, tipologik tahlil, badiiy
asarlar, tarixiy xronikalar, madaniy meros, Markaziy Osiyo, yaqin Sharq, Rossiya.
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литературными контекстами. Наш анализ также показал, что использование различных методов
анализа и исследования различных источников является важным для получения полной картины
образа Амира Тимура и его роли в культурном наследии региона.
В результате нашего анализа мы выявили несколько общих черт в произведениях, связанных с
образом Амира Темура и его временем. Во-первых, во всех произведениях Тимур описывается как
могущественный правитель, который завоевал множество территорий и совершил множество
военных подвигов. Во-вторых, образ Тимура часто ассоциируется с силой, энергией и
бескомпромиссностью, что отражает его реальный характер.
В-третьих, в произведениях наблюдается яркая культурная и историческая атмосфера, которая
характерна для времени Амира Темура. Это отражается в описаниях одежды, обычаев, религии и
национальных традиций. В-четвертых, в произведениях часто присутствует элемент фантазии и
мифологии, что позволяет создать более яркий и запоминающийся образ.
Таким образом, наш анализ показал, что образ Амира Темура и его время в произведениях
художественной литературы на русском языке имеют общие черты, но также имеют и отличия,
которые связаны с индивидуальным восприятием авторов.
Заключение.
В заключение нашей статьи мы можем подвести итоги нашего исследования образа Амира
Тимура в русскоязычной литературе. Наш анализ показал, что образ Амира Тимура имеет множество
аспектов, которые связаны с историческими, культурными и литературными контекстами. Мы
использовали различные источники, такие как художественные произведения, исторические хроники
и научные статьи, чтобы провести комплексный анализ упоминаний о личности Амира Тимура в
русскоязычной литературе.
Мы выявили, что образ Амира Тимура в русскоязычной литературе является важным
элементом культурного наследия Центральной Азии, Ближнего Востока и России. Он отражает как
исторические события, так и культурные представления о Востоке и Западе. Образ Амира Тимура в
русскоязычной литературе также может помочь нам лучше понять взаимосвязь между культурами и
историческими процессами в регионе.
Наш анализ также показал, что использование различных методов и источников при
исследовании образа Амира Тимура является важным для получения полной картины его роли в
культурном наследии региона. Кроме того, наши результаты могут быть полезными для дальнейших
исследований и обсуждений образа Амира Тимура в русскоязычной литературе и его роли в
культурном наследии региона.
В целом, наше исследование позволяет лучше понять образ Амира Тимура в русскоязычной
литературе и его роль в культурном наследии региона. Надеемся, что наши результаты будут
полезными для исследователей, студентов и всех, кто интересуется историей и культурой
Центральной Азии, Ближнего Востока и России.
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UDK: 801.82
Abstract. The article deals with the image of a horse in Uzbek literature and its genesis. It is known
that the genesis of this image, first of all, goes back to folklore samples, in addition, the horse was
interpreted as a totem in the system of ancient mythological views. The work is devoted to the study of the
foundations of the formation of this creature in folklore. Along with this, work in the field of zootechnics is
also partially covered. The examples revealed that in folklore and classical literature, horses are described
on the basis of the romantic style of depiction, and in modern literature - on the basis of a realistic method.
It has been scientifically proven that, among other animal images, the image of a horse is one of the
most actively used symbols in poetry. By analyzing some of the poems that are part of the New Uzbek
literature, the features of the image of a horse are highlighted. The specificity of the image of a horse created
in modern poetry is discussed.
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Key words: literature, art, image, modern poetry, equestrian image, "Kuntugmish", "Alpomysh",
Muhammad Yusuf, "Zebidzhan", Usman Azim, rider.
Кириш. Адабиѐт – санъатнинг ўзига хос бир тури. Уни бошқа санъатлардан ажратиб турувчи
асосий хусусияти – образлилик. Китобхонни сўз жозибаси билан мафтун қилиб, унга маънавий озуқа
бериш – бадиий адабиѐтнинг вазифаси. Ижодкорнинг мақсади эса ҳаѐтнинг гўзаллиги, яшашнинг
улуғворлигини ҳис қилдириш, қалбда меҳр-муҳаббат куртакларини уйғотишдир. Демак, бадиий сўз
воситасида бадиий асарнинг ўқ илдизи ҳисобланмиш образ ва образлилик юзага чиқади. Яъни
ижодкор ҳаѐтни кузатади. Кўрган-кечирганларини тафаккур қилади. Уларни қайта ишлаб, яна жонли
ҳаѐт шаклида яратади. Ҳаѐт воқеа-ҳодисаларини қайта яратишда баъзан инсон образи билан ѐнма-ѐн
ҳайвон образлари ҳам иштирок этади. Уларнинг айрим ўринлардаги иштироки асарни янада жонли
бир бичимда бўлишини таъминлайди.
Тадқиқот объекти. Мазкур тадқиқот учун асосий объект от образи мавжуд бўлган айрим
замонавий шеърият намуналаридир.
Қўлланилган методлар. Ушбу мақолада таҳлиллар қиѐсий-типологик, тарихий-қиѐсий,
герменевтик методлар асосида амалга оширилган.
Асосий қисм. Адабиѐтшуносликда шеър назарияси, лирикада рамз ва унинг кўринишлари,
ҳайвонот ва наботот оламининг рамзлаштирилиши, унинг келиб чиқиш асослари, шу мавзудаги
шеърлар поэтикасига хос жиҳатларни очиб бериш доимий эътиборни тортиб келмоқда. Жумладан,
рамзнинг кўринишлари, шеъриятда рамзлаштириш етакчилик қилиши, ҳайвон образларининг
тимсоллаштирилиши, анималистиканинг ўзига хос хусусиятларини ѐритиб бериш муҳим аҳамият
касб этади.
Реалистик ва рамзий моҳият ташувчи от образи жаҳон адабиѐтида ҳам муҳим ўринга эга.
Ўзбек адабиѐтшунослигида от образи, унинг фольклорда шаклланиш асослари текширилган,
шу билан биргаликда, анималистика йўналишидаги ишларда ҳам тадқиқ қилинган. Булар қаторида
фольклордаги от образи генезиси A.Mусақулов [1], M.Жўраев [2], T.Ҳайдаров [3] ишларида ўз аксини
топган. Ўзбек адабиѐтшунослиги ва тилшунослигида бу мавзу билан боғлиқ Ш.Ашурова [4],
А.Тилавов [5], С.Жумаева [6] ларнинг тадқиқотлари юксак эътиборга молик.
Шеъриятда бошқа ҳайвон тасвирлари қаторида от образи энг фаол қўлланган
тимсоллардандир. Тадқиқотлардан кўринадики, бу образ генезиси, аввало, халқ оғзаки ижоди
намуналарига бориб тақалади. Бундан ташқари, қадимги мифологик қарашлар тизимида отга тотем
сифатида ѐндашилгани маълум. Зеро, ота-боболаримизнинг от, ит, ҳўкиз, бўри, илон каби
ҳайвонларга топингани сир эмас. Шу билан бирга, бу эътиқодий қарашлар барча турдаги жанрларга
ҳам таъсир ўтказган ва от бу каби асарларда инсоннинг энг яқин дўсти, ҳам ташқи, ҳам ички
гўзалликка эга образ, эрк ва куч-қудрат рамзи сифатида қарала бошланган.
От образи инсоният ҳаѐтининг узоқ тарихи билан боғлиқ ҳолда юзага келган бўлиб, фольклор
ва ѐзма адабиѐтда ўзига хос тадрижий йўлни босиб ўтди. Халқ оғзаки ижоди ва мумтоз адабиѐтда от
қатор мўъжизавий хусусиятлари билан ажралиб туради. Бунга бир қанча халқ достонларини ўрнак
сифатида келтиришимиз мумкин:
Фалакнинг дастидан келдим омон-а,
Дунѐда тирик айрилган ѐмона,
От ҳоритиб узоқ йўлдан келаман,
Оч дарвозангни, дарвозабон-а ... [7, 12]
Ушбу шеърий парча бахши Эргаш Жуманбулбул ўғли тарафидан куйланган ―Кунтуғмиш‖
достонидан олинган. Унга кўра, Нўғай подшоси Авлиѐйи Қорахоннинг ўғли Кунтуғмиш тўра шаҳри
Заргардаки Шоир вазирнинг қизи Холбекани тушида кўриб ошиқ бўлади. Уларни тушда
бирлаштириб кўриштирган чилтонлар эди. Уйғонгач, Кунтуғмиш кўрсаки, Холбека ѐнида йўқ,
ҳаммаси уйқусида содир бўлган. Шундан сўнг, тўра қизни қўмсаб, ишқ туфайли касал бўлиб қолади.
Отасининг рухсати билан қаллиғи Холбекани излаб йўлга тушади. Табиийки, бундай пайтда, энг
тезчопар ва ишончли улов – от унга ҳамроҳлик қилади.
Йилқичинда ўзи келган синлидир,
Тўбишқон туѐқли, марол беллидир,
Аросат кунинда ажаб ҳоллидир,
Қиммат баҳо экан ўзбакнинг оти.
Минганларнинг ҳақдин етар мақсади,
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алоҳида ажралиб туради. Мусобақада муваффақият қозониш кўп жиҳатдан унга боғлиқ. Чунки
улоқчининг устуворлигини бақувват ва ҳушѐр от таъминлайди.
Чавандоз улоқдан қайтди пиѐда,
– Рангларингиз бир ол, айтинг, не бўлди?
– Онаси, дардимни қилма зиѐда,
Онаси, отгинам... отгинам ўлди [10, 21].
Шоир Усмон Азимнинг ―Чавандоз улоқдан қайтди пиѐда... ‖ деб бошланувчи шеъри чавандоз
ва унинг оти ҳақида ҳикоя қилади. Кўпкари маҳали тўсатдан қоқилиб кетган от вафот этади. Бундан
чуқур қайғуга тушган йигит уйга қайтади ва уни бу каби тушкун бир ҳолатда кутиб олган хотининига
отининг нохос ўлиб қолганини сўзлайди.
Бу ўринда от образи ѐрдамида лирик қаҳрамоннинг ички кечинмалари отининг ўлгандан
кейинги руҳий манзаралар орқали реалистик услубда очиб берилган. От ҳамиша инсон билан ѐнма-ѐн
юрадиган, унинг яхши ва ѐмон кунларидаги содиқ ҳамроҳига айланган жонзотдир. Шеърда туркий
халқларга хос бўлган хусусият, яъни йигитларнинг доимий йўлдоши, ҳамроҳи от эканлигига урғу
берилган. Миллатнинг мардлари отсиз юрмаган, усиз ҳаѐтини тасаввур этолмаган. Бу ҳолат авлоддан
авлодга ўтгани сайин табиий бир жараѐн тусини олган.
Чавандоз хўрсинар... тонг отар эди,
Энг сўнгги юлдузлар борарди ботиб,
Хотини шивирлар: ―Ҳеч хафа бўлманг,
Сизга от оламиз уй-жойни сотиб... ‖ [10, 21].
Дарҳақиқат, шеърнинг бу каби таъсирли сатрлар билан тугаши китобхонни беихтиѐр
тўлқинлантириб юборади. Шарқ аѐлларига хос донолик билан чиқарилган ҳукм шуни кўрсатадики,
демак, қадимдан эркакларнинг жон ҳамроҳи отлар бўлиб келган. Ушбу жониворга эга бўлмаганларга
гўѐ нуқсонли йигит сифатида қараганлар.
Хулоса. Ҳайвонлар орасида от, шубҳасиз, адабиѐтда ҳам, санъатда ҳам энг кўп учрайдиган
жониворлар сирасига киради. Мутахассисларнинг таъкидлашича, табиатда ташқи кўриниши
жиҳатидан энг гўзал жонзот отдир. Балки шу сабабдандир инсоният биринчилардан бўлиб уларни
қўлга ўргатган. Адабиѐтда ҳам, санъатда ҳам кўкларга кўтарилган, уларга атаб шеърлар, қўшиқлар
бағишланган. Мазкур образни асотирлар, афсоналар, халқ қўшиқлари, эртаклар, достонлардан
ташқари мумтоз ва замонави шеъриятда ҳам етарлича учратиш мумкин.
Дунѐ адабиѐти нуқтаи назаридан от образи генезисига назар солиш, ўзбек фольклори ва мумтоз
адабиѐтида яратилган ушбу образнинг тадрижи, миллий жиҳатларини ѐритиш, замонавий шеъриятда
кўп учрайдиган от тимсоли талқинига хос умуминсоний хусусиятларни, рамзий-тимсолий
маъноларини очиб бериш, устувор поэтик аломатлар, образли структуралар ва типиклаштириш
қонуниятларини аниқлаш, муҳим илмий-назарий хулосалар чиқариш бугунги кун адабиѐтшунослиги
учун долзарб аҳамият касб этади.
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UO„K:82-1/9(575.1)
Annotatsiya. Keyingi yillar o‗zbek she‘riyatida shoirlarimiz tomonidan qator individual badiiy
shakllarda ijod qilinmoqda. Istiqlol davri o‗zbek she‘riyatida shoirlarning ijodiy-individual izlanishlari
natijasida fikr-kechinmani badiiy ifodalashning yana bir qator yangi ko‗rinishlari yuzaga keldi. Jumladan,
beshlik (R.Parfi), beshnavo (A.Nabi), shashqator, zarbulg‗azal (I.Subhon), oltilik (G‗.Mirzo) kabilar bu
qatorni to‗ldirib turadi. Bularning har biri spetsifik jihatlarga ega. Ushbu maqolada ana shunday
individual badiiy shakllar tahlil qilingan, nazariy jihatdan o‗rganilgan.
Kalit so‘zlar: individual badiiy shakl, qayirma, shashqator, zarbulg‗azal, oltilik, beshlik, beshnavo,
ijodiy jarayon, band, turkum, turoq.
Аннотация. В последние годы наши поэты создают в узбекской поэзии ряд отдельных
художественных форм. В узбекской поэзии периода независимости в результате творческих и
индивидуальных исследований поэтов появился ряд новых форм художественного выражения мысли
и опыта. В частности, эту линию заполняют Р. Парфи, А. Наби, шашкатор, зарбулгазал И. Субхан,
Г. Мирза. Каждый из них имеет определѐнные аспекты. В данной статье анализируются и
теоретически изучаются такие отдельные художественные формы.
Ключевые слова: индивидуальная художественная форма, кайирма, шашкатор, зарбулгазал,
шестерка, пятѐрка, бешнаво, творческий процесс, ансамбль, серия, турок.
Abstract. In recent years, our poets have been creating a number of individual artistic forms in Uzbek
poetry. In the Uzbek poetry of the independence period, as a result of the creative and individual researches
of the poets, a number of new forms of artistic expression of thought and experience appeared. In particular,
five-line poem (R. Parfi), beshnava (A. Nabi), a poetic poem "shashkator", zarbulgazel (I. Subhan), six-line
poem (G. Mirza) fill this line. Each of these has specific aspects. In this article, such individual artistic forms
are analyzed and theoretically studied.
Key words: individual artistic form, khairma, shashkator, zarbulgazel, six-line and five-line poems,
creative process, band, series, four-syllable poem (turoq).
Kirish. Otaxon adabiyotshunos I.Sultonning aytganiday: ―Ijodiy jarayon aslida haqqoniy, ya‘ni
salmoqdor mazmunni yorqin ifoda etishga qodir shaklni axtarishdan iborat‖ [1, 144]. Darhaqiqat, istiqlol
davri o‗zbek she‘riyatida shoirlarning ijodiy-individual izlanishlari natijasida fikr-kechinmani badiiy
ifodalashning yana bir qator yangi ko‗rinishlari yuzaga keldi. Jumladan, beshlik (R.Parfi), beshnavo
(A.Nabi), shashqator, zarbulg‗azal (I.Subhon), oltilik (G‗.Mirzo) kabilar bu qatorni to‗ldirib turadi.
Bularning har biri spetsifik jihatlarga ega.
Мustaqil g‗oyaviy mazmun kasb etgan besh misradan iborat she‘rlar turkumining paydo bo‗lishi
keyingi yillar o‗zbek she‘riyatida kuzatilayotgan badiiy shakl izlanishlaridan biri sifatida e‘tiborli jihatdir.
Qolaversa, shoirlar ijodida kuzatilayotgan beshliklar bir-biriga o‗xshmaydi, bir-birini takrorlamaydi. Rauf
Parfining ―Saylanma‖sida ―Beshliklar‖ nomi ostida berilgan she‘rlari, Abdu Nabining beshnavolari badiiy
shaklning o‗ziga xos ko‗rinishlaridir.
Asosiy qism. Rauf Parfi beshliklari tugalligi, falsafiy mazmunga boyligi bilan ajralib turadi:
Yolg‗on so‗zlaringni
Bir chuqur fan kabi o‗rganib,
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Tegmagan
Gaplargayam
Tesha
Tekkizdik [3, 143].
―Tesha tegmagan‖ iborasi, odatda, hech qachon tilga olinmagan, gapirilmagan ma‘nosida qo‗llanadi.
Yuqoridagi she‘rda jadallik bilan rivojlanayotgan zamonamizda biz suhbatlashmagan, biz gapirmagan, biz
aralashmagan mavzu qolmadi ma‘nosida ―tesha tegmagan‖ iborasini qo‗llaydi.
O‗zimdanam
Oldin
Onam
Bildi,
Og‗riqlarimni [3, 143].
Оna farzandi uchun har narsaga tayyor jafokash inson ekanligi, u har qanday vaziyatda farzandining
ko‗ngil kechinmalarini ilg‗ashi, farzandining dard-u hasratlarini qalban his etishi, og‗riqlarini farzandidan
oldinroq anglashi haqidagi ayni haqiqat she‘r misralarida muxtasar qilib ifodalangan
So‗nggi yillar o‗zbek she‘riyatidagi yangilanishlardan yana biri – shashqator badiiy shaklida
asarlarning yozilishidir. Bu jihatdan Isroil Subhoniy individual-ijodiy izlanishlari natijasi sifatida reallik kasb
etgan shashqatorlar e‘tiborga loyiq. Darhaqiqat, nomlashda ham Buxoro adabiy harakatchiligiga xos ko‗p
asrlik zullisonaynlik an‘analari aks etgan. Yа‘ni shashqator fors-tojik tilidagi ―shash‖ – olti, arabcha ―qator‖
so‗zi bilan birikib, ―olti qator she‘r‖ ―oltilik‖ to‗rt voqeaband misra va o‗zaro qofiyalangan bir xulosa
baytdan iborat she‘riy shakl hisoblanadi. Ularda yaxshilik va yomonlik, muhabbat va nafrat, ma‘naviy
yuksaklik va tubanlik kabi umumbashariy muammolar bilan bir qatorda shoir ko‗nglidan o‗tgan kechinmalar,
uning o‗y-fikrlari ham o‗zining badiiy ifodasini topgan. Shoirning o‗zi ta‘kidlaganidek, uning
shashqatorlarida yoshligidan sevib o‗qigan, yodlab olishga tirishgan fors-tojik mumtoz adabiyotining
vakillari: Rudakiy, Firdavsiy, Umar Xayyom, Sa‘diy, Rumiy, Hofiz, Bedil g‗azal, ruboiylaridan ta‘sirlanish,
ularning baytlariga hamohanglik sezilib turadi. Shu bilan birgalikda Isroil Subhoniy o‗zining falsafiy
qarashlari, teran mushohadalari, qalb tug‗yonlarini ham misralarida badiiy ifodalagan:
Shash qatorim mening, oh, nomam mening!
―Shashqator‖im mening –―Ohnoma‖m mening!
Shash ―maqom‖im mening, shoh nomam mening,
―Shashmaqom‖im mening, ―Shohnoma‖m mening!
―Ming bir kecha‖ to‗kdim – ming bir tomchi yosh,
Derlarki, qatrada aks etar quyosh [9, 6].
Yuqorida keltirilgan shashqator shoir kitobiga debocha tarzida yozilgan. Mumtoz adabiyotda
debochalarda shoirning she‘riyatga bo‗lgan qarashlari, ijodining asosiy yo‗nalishlari haqida yoziladi. Shoir
o‗zining debochasi bilan ma‘lum ma‘noda kitobxonni she‘rlarini o‗qishga, uning ma‘no-mohiyatini
tushunishga ruhan tayyorlaydi. Isroil Subhoniy she‘rida ham shashqatorlarini ko‗nglidan chiqqan ohlariga
o‗xshatadi. Shoir uchun o‗zining she‘rlari ―Ohnoma‖, ―Shohnoma‖, ―Ming bir kecha‖, ―Shashmaqom‖ kabi
buyuk va nodir asarlar qatorida turadi. Chunki unda shoir qalbidagi barcha tug‗yon-kechinmalar, orzu-
umidlar, armonlar aks etgan. Misralarda ham tajnis orqali shoir fikrlari badiiy ifodalangan: shash qator –
―Shashqator‖, oh, noma –―Ohnoma‖, shash ―maqom‖ – ―Shashmaqom‖, shoh noma –―Shohnoma‖ kabi.
So‗nggi bayt shashqatorning xulosasi sifatida keltirilgan.
―Shashqator‖ so‗zining lug‗aviy ma‘nosi uzluksiz, shoda-shoda to‗kilayotgan ko‗z yoshi ma‘nosida
ham keladi. Shoir iyhom san‘ati vositasida ―shashqator‖ so‗zi orqali ham oltilikdan iborat she‘rlarni, ham
yuragidan to‗kilayotgan ko‗z yoshlarini misralarga jo qilgan. Tomchida quyosh aks etganidek, shoir
shashqatorlarida ham yuqorida nomi sanab o‗tilgan buyuk asarlardagi fikrlardan qatralar ifoda etilgan.
Xulosaviy baytda biz fors-tojik adabiyotining buyuk vakili Mirzo Abdulqodir Bedil g‗azallaridan
ta‘sirlanishni sezamiz:
Mohiyat, mohiyat, teran mohiyat...
Bir kuy chertmoq uchun sozlangan rubob.
Kitoblar har yoqqa sudraydi, faqat
Qalbim-dunyodagi eng dilbar kitob!
Olamning oftobi bitta bo‗ladi,
Odamning ―kitobi‖ bitta bo‗ladi [9, 7].
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Inson bu dunyoga kelar ekan, butun hayoti davomida yashashidan, hayot kechirishidan maqsadini,
umrining mazmun-mohiyatini topishga intiladi. Mohiyat haqiqat, tabiatning, har narsaning asli demakdir [4,
322]. Insonning qanday yashashi kerakligi haqida juda ko‗p allomalar, faylasuflar, buyuk mutafakkirlar
o‗zlarining fikrlarini bildirganlar. Bu fikrlar qanchadan-qancha kitoblarning bosh g‗oyasi bo‗lgan. Biroq
shoirning fikricha, inson umri mazmunini, mohiyatni kitoblardan emas, balki qalbiga quloq solib o‗zidan
axtarishi lozim. Shoir tashbeh san‘ati orqali ko‗ngilni dunyodagi eng dilbar kitobga mengzaydi. Mana shu
yakka-yu yagona kitobda inson o‗zligini, mohiyatini topadi. Buyuk mutafakkir Alisher Navoiy ham ―Lison
ut-tayr‖ dostonida: ―O‗z vujudingg‗a tafakkur aylag‗il, Har ne istarsan, o‗zingdan istagil‖ [5, 301], – deya
mana shu fikrga mos baytni keltirgan. Olamda quyosh bitta bo‗lganidek, insonda ham ko‗ngil yagona
bo‗ladi.
Bor-yo‗g‗i havasdan iborat dunyo,
Zamiriga boqsang yana bulhavas.
Barchasi ostida aslida ro‗yo,
Biz o‗ylagan kabi haqiqat emas.
Ko‗zgudagi ―quyosh‖ – qalbaki, tuzoq:
Haqiqiy quyoshdan onqadar uzoq [9,8].
Ushbu shashqatorda shoir bu dunyoning o‗tkinchiligi, hayotning abadiy emasligi haqida fikr yuritadi.
Olamning mohiyati ham ro‗yo kabidir. Biz intilgan dunyoning ostida aslida kutganimiz narsa yo‗q.
Dunyoning bevafoligi, o‗tkinchiligi haqida juda ko‗plab shoirlar asarlarida, she‘rlarida yozganlar. Isroil
Subhoniy ham bu misralar orqali insonlarni dunyoga, boylikka aldanib qolmaslikka chaqiradi va bunga
hayotiy misol qilib ko‗zgudagi quyoshni keltiradi. Ko‗zgudagi quyosh aslida quyoshning o‗zi emas,
faqatgina aksi, xolos. Haqiqiy quyosh esa bizdan qanchalar uzoq masofada ekanligini tasavvurga ham
sig‗dira olmaymiz. So‗nggi baytda irsoli masal san‘atining yorqin namunasini ko‗ramiz. Shoir bu qadim
masala haqida o‗zining qarashlarini ohoriy shaklda bera olgan. Bu shashqator badiiy jihatdan ham, tarbiyaviy
jihatdan ham yetuk asardir.
Yuqorida tahlil etganimiz shashqator poetik shakli keyingi yillar o‗zbek she‘riyatidagi shakliy-uslubiy
izlanishlar mahsuli sifatida ahamiyatlidir. Isroil Subhoniy bu badiiy shakl orqali o‗zbek she‘riyatida mumtoz
ohang va mazmunni olib kirdi. Aytish mumkinki, shashqator mazmuni, unda ko‗tarilgan g‗oyalar nuqtai
nazaridan ruboiy janrini yodga soladi. Bu esa shoirning Sharq mumtoz va zamonaviy o‗zbek she‘riyati
yutuqlarini uyg‗unlashtirgan holda yangi badiiy shaklga asos solganligini ko‗rsatadi.
Taniqli ijodkor, O‗zbekiston Respublikasida xizmat ko‗rsatgan taniqli jurnalist G‗ulom Mirzo ham 6
misrali she‘rlarning yangicha ko‗rinishida ijod qildi. Uning olti misradan iborat she‘rlari ham mustaqil
she‘rlar hisoblanib, turli xil mavzularda yozilgan.
Hayot – may,
durdasi qoldi.
Hayot – non,
burdasi qoldi.
Bugundan-da qisqa
ertasi qoldi [7, 76].
Bu she‘rda shoir hayotni mayga qiyoslar ekan, u yetkazgan sitamlardan qalbida qolgan alam; hayotni
nonga qiyoslar ekan, nafsimiz qanchalik ulkan bo‗lmasin, nonning bir bo‗lakchasi – burdasi qolgani haqida
gapirib, bizga berilgan bu qisqa hayotda bu hoy-u havaslarga berilmaslikka chaqiradi.
Soy ichra soylanib oqar suv,
Gohida loylanib oqar suv.
Tinimoqlik uchun tinmasdan
Aylanib-aylanib oqar suv.
Shu suvdek umrimga joylanib,
Kemadek boylanib oqar suv [7, 80].
Shoir G‗ulom Mirzoning bu she‘ri I.Subhoniyning shashqatorlariga o‗xshab ketadi. Bu yerda suv
metaforik ahamiyat kasb etib, inson umriga qiyoslangan. Ya‘ni inson bu hayotda o‗zini, o‗zligini topish
uchun yashashi, haqiqiy baxtga erishish ilinjida umrguzaronlik qilishiga ishora bor aslida.
Saharda tur –
dunyoni ko‗r.
Olam – keng yer,
rizqingni ter.
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Sahar rizqdir,
saharda tur [7, 83].
Bu misralar hikmatomuz ahamiyat kasb etib, kishilarni sahar turmoqlikka chaqiradi; qancha ko‗p erta
uyg‗onsa, shuncha serrizq bo‗lishiga, saharda turib qilingan ish barakali bo‗lishiga da‘vat etadi.
Aytilgan so‗z
gunohidan
bil –
aytilmagan
so‗zning
savoblari mo‗l [7, 93].
Yuqoridagi olti misrada bor-yog‗i 8 ta so‗z qo‗llangan bo‗lib, uning ma‘nosi olamlarga teng aslida.
Gunoh va savob so‗zlari bir-biriga qarshilantirilib, ba‘zan o‗ylamay aytib, birovning ko‗ngliga og‗ir botgan
so‗zning gunohidan ko‗ra sukut saqlab aytilmagan shunday so‗zlarning savobi mo‗lligi shoirona tarzda
chiroyli ifodalangan.
Shoir G‗ulom Mirzoning 2019-yil nashrdan chiqqan ―Otamning bog‗i‖ nomli she‘riy to‗plamida
turkum 6 misrali she‘rlari ―masalnamo‖ nomi ostida chop etilgan. E‘tiborli jihati, shoir bu masalnamo
bitilgan 6 misrali she‘rlariga sarlavhalar tanlaydi. Bu turkumdagi she‘rlar ijtimoiy-falsafiy ahamiyat kasb
etib, pandnoma-didaktik mavzuda yozilganligi bilan boshqa 6 misrali she‘rlardan farq qiladi. She‘rlar
garchand 6 misrali bo‗lsa-da qofiyalanishi, turoqlanishi bilan bir-biridan farq qiladi.
riyokorlik
qaychi
og‗ushini
qancha
keng ochar –
demak kesmoqligi
shuncha muqarrar [7, 119].
Har misrada bir yoki ikki so‗z kelgan olti misrali she‘rlar ham, ma‘lum qofiya va turoqlanish shakliga
ega she‘rlar ham mavjud.
yetakchilik yuki
Turnalar olisga uchgan chog‗
yurtlardan yurtlarga ko‗chgan chog‗
solishadi ko‗kda arg‗imchoq –
kuch-quvvatin tejarkan shundoq.
Ammo, eng ko‗p qanot qoqarmish
parvoz payti to‗daboshi qush [7, 124].
―Yetakchilik yuki‖ deb nomlangan she‘rini shoir 9 lik turkumda yozgan bo‗lib, uchgan-ko‗chgan,
arg‗imchoq-shundoq, qoqarmish-qush kabi qofiyalarni qo‗llaydi. Dastlabki 2 misra 3+3+3 bo‗g‗in
ko‗rinishida turoqlangan bo‗lsa, keyingi misralar 4+5 shaklida turoqlangan. Bu she‘rda ulkan maqsadlar sari
yo‗lga chiqqan to‗daning yetakchisiga yuklatilgan ulkan mas‘uliyat haqida so‗z borgan.
Ma‘lumki, Muhammadsharif Gulxaniy o‗zining ―Zarbulmasal‖ asari bilan mashhur. ―Zarbulmasal‖
Umarxonning amri, istagi bilan yozilgan bo‗lib, u xalq orasida keng tarqalgan masallarni – xalq maqollarini
yig‗ib, kitob holiga keltiradi. ―Zarbulmasal‖ so‗zi ―zarb‖ va ―masal‖ so‗zlarining qo‗shilmasidan iborat
bo‗lib, adabiy atama sifatida masal, maqol, matal keltirib so‗zlamoqlikni anglatadi. Isroil Subhon o‗zining
zarbulg‗azallari haqida shunday deydi: ―Zarbulg‗azal‖ – arabcha ―g‗azalnamo lof urish‖ ma‘nosida – barmoq
vaznidagi ―g‗azal‖ turi bo‗lib, a-b-a-b shaklida qofiyalangan 3 band va v-v shaklida qofiyalangan bir baytdan
iborat. Aruz vaznidagi g‗azalchilik an‘analari, jumladan xotima baytdagi taxallusni zikr etish qoidasi saqlab
qolinadi‖ [6, 2]. Demak, shoir bu shaklni yaratishda g‗azalchilik an‘analariga ergashgan. Shu bilan birga
zamonaviy she‘r yutuqlariga ham tayangan.
Lab ustiga qo‗ndirilgan xolingdan, o‗zim!
Bu xol desam, shu xoling ham ushragan ekan:
Ishqingda qon bo‗lib ketgan jigari so‗zim
Uchqun kabi labing uzra sachragan ekan [4, 2].
Bu misralarda mumtoz g‗azaliyotdagi kabi ma‘shuqaning qoshi, ko‗z, yuzi, xolini ta‘riflash orqali yor
go‗zalligini ta‘riflash ruhi yetakchi. Yuqoridagi satrlarda xol tasvir etilgan. U ―lab ustiga qo‗ndirilgan‖
tarzida berilgan. A.Qodiriyning ―O‗tkan kunlar‖ romanidagi Kumush portretida shunga yaqin ifoda bor: ―...
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latif burnining o‗ng tomonida tabi‘atning nihoyatda usta qo‗li bilan qo‗ndirilgan qora xoli...‖ [8, 28]. Demak,
shu orqali yorni go‗zal qilib turgan xol haqida so‗zlaydi. Oshiq ishqdan ozorlangan – ―jigari qon bo‗lib
ketgan‖. Bu tasvirdagi yana bir ohorli jihat – lab uzra joylashgan xol jigardan sachragan uchqunga
qiyoslangan.
Shu bir qatra qonimni sen atasang ―xol‖ deb,
Men ham o‗sha atab turgan tilingdan o‗pay!
Yashirinib olsang agar – ―xol‖ingdan tanib
Ming bir suluv orasidan qidirib topay [4, 15].
Bu misralarda ham xol ta‘rifi davom etgan. Lirik qahramon – oshiq sevgilisini ming bir suluv ichidan
topishga tayyor. Bunga ham uni boshqalardan o‗sha lab ustiga qo‗ndirilgan xoli ajratib turadi.
Qaro xoling tasviriga ming bir Hofiz kam,
Baxsh etsa ham bira to‗la beshta qit‘ani.
Jamolingni chizar ekan Xoliqi akram
Labing uzra qo‗ygan ekan so‗nggi nuqtani [4, 15].
Yuqoridagi misralar Hofiz Sheroziyning :
Agar ko‗nglimni shod etsa, o‗shal Sherozi jononi,
Qaro xoliga baxsh etgum Samarqand-u Buxoroni [10], – degan satrlariga hamohang jaranglaydi.
Dastlabki satrdayoq shu g‗azalga ishora qilinadi va talmeh yaratiladi. Shoir mubolag‗a qiladi: u kuylayotgan
go‗zalning xoli ming bir Hofiz madh etgan xoldan ham chiroyli. U tabiatning, Yaratganning ma‘shuqani
go‗zal qilish uchun qo‗ygan so‗nggi nuqtasi. Mumtoz g‗azaliyotda nuqtaning xolga o‗xshatilishi ko‗p asrlik
an‘ana. I.Subhon ham shu an‘anaga ijodiy yondashgan.
Faqir esa shul ―nuqta‖dan boshlaydi ―ijod‖,
Avval nuqta, so‗ng harf ila chiqadi savod [4, 15].
Lirik qahramon – shoir uchun o‗sha ―nuqta‖ – xol ilhom manbai. Keyingi misrada iyhom qilingan:
nuqta, avvalo, xolni, keyin esa bir vaqtning o‗zida tinish belgini ifodalab keladi.
―Zarbulg‗azal turkumida esa muqaddima band va taxallus zikr qilingan xotima band ilova qilinadi‖ [6,
2].
Tangri seni, gulim, oh-oh, qandoq yaratmish!
O‗zi qandoq tanho bo‗lsa – andoq yaratmish!
Qiyosing yo‗q desam: ―Undoq-bundoq yaratmish‖,
O‗zing qandoq bo‗lsang xuddi shundoq yaratmish.
Bu misralar zarbulg‗azal turkumiga kirish band bo‗lib, muqaddima vazifasini bajargan. Bu kirish band
bilan shoir yorga murojaat qiladi va turkum unga atalganiga ishora qiladi.
Bu ulkan ishq dunyosida shunchaki havas,
Men ham sevdim o‗z holimcha – haqir, pinhoniy.
Sen Shomiram, Bibixonim, Ruxshona emas
Va men ham o‗z nomi bilan – Faqir Subhoniy! [4, 19]
Yuqoridagi to‗rtlik zarbulg‗azallar turkumini xotimalovchi band hisoblanadi. Shoir ma‘shuqani hech
kim (Shomira, Bibixonim, Ruxshona)ga o`xshatmaganidek, o`zini ham oshiqlar ichida tanho sanaydi.
Isroil Subhon o‗z zarbulg‗azallarini Faqir taxallusi ostida yozadi. Shoir ―zarbulg‗azal‖ turkumida 7 ta
zarbulg‗azal keltiradi va ularning barchasida yorning, ya‘ni ma‘shuqaning ko‗zi, labi, xoli, kulgichi, qoshi,
zulfi, sochini madh etadi va ular oshiqni ne ko‗ylarga solganini poetik ifodalaydi.
Xulosa. R.Parfi beshliklari erkin she‘r va oq she‘rda bitilgan. Ular tugalligi, falsafiy mazmunga
boyligi bilan ajralib turadi. Abdu Nabining besh misrada bittadan beshta so‗z qo‗llagan she‘rlarini
―beshnavolar‖ nomi ostida berilgan. Isroil Subhoniy individual-ijodiy izlanishlari natijasi sifatida reallik kasb
etgan shashqatorlarni nomlashda ham Buxoro adabiy harakatchiligiga xos ko‗p asrlik zullisonaynlik
an‘analari aks etgan. Shashqator to‗rt voqeaband misra va o‗zaro qofiyalangan bir xulosaviy baytdan iborat
yangi she‘riy shakl hisoblanadi. G‗ulom Mirzoning olti misradan iborat she‘rlari ham mustaqil she‘rlar
hisoblanib, turli xil mavzularda yozilgan. Zarbulg‗azalda esa I.Subhon shoir g‗azalchilik an‘analariga
ergashgan va zamonaviy she‘r yutuqlariga ham tayangan. R.Parfi, Abdu Nabi, I.Subhon, Mirzo G`ulomlarni
keyingi yillar o`zbek adabiyotida yangicha badiiy shakl kashfiyotchilari sifatida ko`rsatish mumkin.
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ADABIYOTLAR:
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УЎК 82-31-342(09)
Annotatsiya. Adabiyotda keng tarqalgan yirik janr sifatida roman turli shakllarda yaritilib, taraqqiy
topib bordi. Tarbiya romanlari ham Yevropada paydo bo‗lib, asta-sekin boshqa adabiyotlarga ham kirib
keldi. Ularning bari yosh qahramonlarning sarguzashtlari bayoni orqali jamiyatni real aks ettirishi hamda
shaxsning ma‘nan va aqlan o‗sib borishini yoritib berishi bilan mushtaraklik kasb etadi. Ushbu maqolada
mazkur janrning yuzaga chiqishi va jahon adabiyotdagi ahamiyati haqida so‗z boradi.
Kalit so‘zlar: roman, janr, tarbiya romani, qahramon, uslub, hikoyanavislik, badiiy adabiyot
Abstract. As a major genre widely spread in literature, the novel was created and developed in
various forms. Educational novels also appeared in Europe and gradually entered other literature. All of
them have in common the fact that they realistically reflect the society through the narration of the
adventures of young heroes and illuminate the spiritual and intellectual growth of the individual. This article
talks about the emergence of this genre and its importance in world literature.
Key words: novel, genre, educational novels, hero, style, narration, fiction.
Kirish. Аytish mumkinki, maʼrifatchilik davri adabiyotida maʼrifat orqali tarbiyalash mavzusi va
g‗oyasiga murojaat qilish yetakchi o‗ringa ko‗tarildi. Shuning uchun ingliz maʼrifatchilik adabiyotida ham
bu borada maxsus ―tarbiya roman‖lari silsilasi vujudga keldi. Maʼlumki, yetim, o‗gay bolalarning ilm olishi
uchun sharoiti hamisha ham yetarli emas edi. Shu sababli, yaratilgan asarlarda yetim, o‗gay bolalar taqdiri,
ilmsizlik fojiasi alohida mavzu sifatida yoritila boshlandi.
Аmerika va Germaniyada bu davrda ―Tarbiya roman‖lari paydo bo‗la boshlaganini ko‗rish mumkin.
Jumladan, Germaniyada Kristof Martin Vilandning ―Аgaton tarixi‖ (1766-1767) (―The History of Agathon‖)
hamda Iogann Volfgang Gyotening ―Vilgelm Meysterning o‗qish yillari‖ (1795-1796) (―Wilhelm Meisters
Apprenticeship‖) romanlari yozilgan bo‗lsa, Аmerikada Mark Tvenning ―Geklberri Finning boshidan
kechirganlari‖ (1884) (―The adventures of Huckleberry Finn‖) va Jerom Selinjerning ―Javdarzordagi
xaloskor‖ (1951) (―The Catcher in the Rye‖) kabi romanlari ushbu janrda yaratilgan ilk muvaffaqiyatli
asarlardan hisoblanadi. [1,22]
O‗zbek adabiyotshunos olimlari roman janriga xos belgilarni tadqiq etish borasida ancha izlanishlar
olib borishdi. Аgar dastlabki tadqiqotlarda hajmning kattaligi va mavzu janrning asosiy belgilari sifatida
qaralgan bo‗lsa, keyinchalik romanning mohiyati o‗zga unsurlardan ham qidirilganini ko‗rish mumkin.
Аdabiyotshunos olim Dilmurod Quronov aytganidek, ―... jamiyatning joriy holatini badiiy idrok etish, u
haqdagi hukmini badiiy konseptsiya tarzida shakllantirish va ifodalash maqsadini ko‗zlagan ijodkor roman
shaklini tanlaydi‖. Darhaqiqat, mana shu tanlov asosida romanlar turli shakl va mavzularda yozila boshlandi
hamda mavzu yo‗nalishiga qarab, tarixiy, siyosiy, maishiy, sarguzasht, fantastik, detektiv, avantyur, utopik va
hokazo kabi alohida turlarga ajraldi. Bundan tashqari, romanning oila romanlari, ayollar romanlari va tarbiya
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romanlari singari turlari ham mashhur bo‗lib bordi. Аyniqsa, XVIII-XIX asrlarda Yevropa adabiyotida
tarbiya romanlarining ahamiyati katta bo‗ldi.
Asosiy qism. Аlbatta, badiiy asarlarning hammasi ham qaysidir maʼnoda tarbiyaviy ahamiyatga ega,
ammo ―Tarbiya roman‖larida bu – bosh qahramonning kitobxon ko‗z oldida ruhan va maʼnan ulg‗ayishi va
komillikka yetishishi orqali yaqqol gavdalantiriladi. Shu ulg‗ayish ortida ota-onalar va farzandlar, kattalar va
bolalar, jamiyat va inson o‗rtasidagi munosabatlar, ular orasidagi muammo va bo‗shliqlarning sabablari,
yoshlar taqdiri, to‗g‗ri va noto‗g‗ri amallarning oqibatlari, xatolardan saboq olish kabi masalalar keng yoritib
beriladi. Shu jihati bilan ular boshqa romanlardan ajralib turadi. Taʼkidlash o‗rinliki, tarbiya romanlari
kitobxonga to‗g‗ridan-to‗g‗ri pand-nasihat qiluvchi asar (pandnoma) emas. Ularni bir-biri bilan aralashtirib
yuborish katta xatodir. Romanning bu turida bevosita qahramonning shakllanishi, oʼzgarib hayotni anglab
borishi, tarbiyalanishini yoritish nazarda tutiladi. Shuningdek, yozuvchi qahramon hayoti kitobxon uchun
dars bo‗lishini maqsad qiladi. Tadqiqotchi N.A.Mahmudova ―Bildungsroman‖ (nem.) va ―Роман
воспитания‖ (rus.) atamalarining o‗zbekcha ekvivalenti sifatida ―Tarbiya romanlari‖ atamasini ishlatgan.
Rus tadqiqotchilari ham o‗z izlanishlarida ―Роман воспитания‖ terminini juda ko‗p ishlatishadi. [2, 18]
Marianna Hirsh 1979-yilda yozgan maqolasida ―Bildungsroman‖ atamasini ―the novel of formation‖ –
―shakllanish romani‖ deb tarjima qiladi va nemis romanlari hamda fransuz va ingliz romanlari o‗rtasida
shakliy, mavzuiy o‗xshashliklarni qidirishga urinadi. U ingliz romanlari tashqi dunyo, ayniqsa, siyosiy-
ijtimoiy tanqidga eʼtibor qaratgan bir paytda, nemis romanlari faqatgina ichki o‗zlikni tasvirlagan, degan
fikrni asossiz deb hisoblaydi. Shu bilan birga, tarbiya romanlari bitta markaziy qahramonning hikoyasi
ekanligini, didaktik roman sifatida kitobxonni protogonist tasviri orqali tarbiyalashini taʼkidlab o‗tadi.[2,204]
Аslida, bu janr elementlarini turli davrlardagi badiiy asarlarda uchratish mumkin, biroq u alohida janr
sifatida hali shakllanmagan edi. Аdabiyotshunoslikda ―Bildungsroman‖ – ―Tarbiya romani‖ janri bosh
qahramonning bolalikdan voyaga yetgunga qadar jismonan, ruhan, maʼnan va aqlan o‗sishi hamda shaxsiyati
shakllanishining badiiy realistik tasviriga qaratilgan adabiy janr bo‗lib, unda xarakter o‗zgarishi juda
muhimdir. Unga ilk bor rasman 1910 - yilda ―Britannika‖ qomusiy nashrida quyidagicha taʼrif keltiriladi:
―Tarbiya romani – o‗sib ulgʼayish jarayoni tasviri bilan bog‗liq holda qahramonning ham axloqiy, ham
ruhiy rivojlanish omillarini va sabablarini tasvirlaydigan janr sanaladi‖.[2,18]
Kanadaning Monreal universiteti tadqiqotchisi Аleksandra Griner shunday yozadi: ―This genre
―describes the processes by which maturity is achieved through the various ups and downs of life. It is
definitely associated with the development of education and self realization, which are concepts highly
popular following the Enlightenment age‖. [3,8] Mazkur taʼrifda ham tarbiya romani qahramonning turli
qiyinchiliklardan o‗tib, ulg‗ayishini tasvirlashi hamda taʼlim olishi, o‗zligini anglashi bilan bog‗liqligi
izohlanayapti.
Nemis olimi Todd Kertis Kontye ―In The German Bildungsroman: History of a National Genre‖
asarida ―Bildungsroman‖ning yuksalishiga sabab bo‗lgan uchta omilni sanab o‗tadi: ―the changing reception
of the old literature, the production of the new, and the effort to situate the new literature in the context of the
growing literary tradition‖ [3,48] – ―eski adabiyotdagi o‗zgarishning qabul qilinishi, yangisini ishlab chiqish
va yangi adabiyotni o‗sib borayotgan adabiy anʼanalar asosida joriylantirishga intilish.‖ (Tarjima
o‗zimizniki – Z.S.) Bu omillarning barchasi romantizm davrida yuzaga keladi: romanchilik romantizm uchun
zarur hisoblangan shakl va mazmundan voz kechdi; u yangi shakl va mazmunni qamrab oldi va nihoyat,
yagona rivojlanayotgan shaxsga qaratilgan yangi subyektivlik paydo bo‗ldi. Аsar uchun bosh qahramon o‗rta
va kambag‗al sinf vakillari orasidan tanlana boshlandi, barcha voqealar shu qahramon hayoti va shaxs
sifatida shakllanishini yoritishga xizmat qildi. Аniqroq qilib aytganda, qahramon kitobxon uchun yaqinroq
va haqqoniy bo‗lib qoldi.
Shu o‗rinda taʼkidlab o‗tish joizki, Iogann Volfgang Gyotening ―Vilgelm Meysterning o‗qish yillari‖
(1795-1796) asari baxt topish va o‗zini anglash maqsadida sayohatga otlangan yosh yigit haqidagi asar
bo‗lib, ko‗pchilik adabiyotshunoslar uni birinchi tarbiya romani deb hisoblashadi. Boshqa tomondan, Kristof
Martin Vilandning ―Аgaton tarixi‖ (―The history of Agathon‖, 1767) asarini tarbiya romanlari janrining ilk
namunasi deb hisoblaydigan qarashlar ham mavjud. [8,2] Mashhur romannavis Tomas Mann bu janrni
―typically German, legitimately national‖ [9,199]– ―nemislarga xos, qonunan milliy‖ deb taʼriflaydi.
―Vilgelm Meysterning o‗qish yillari‖ romani asar qahramoni Vilgelm ruhiyatidagi tushkunlik, inqiroz
davri bilan boshlanadi. Аsarda hayotning qisqaligini tan olib, uni yaxshi shaklda o‗tkazish g‗oyasi ilgari
suriladi. Shu bilan birga yozuvchi, sinfiy jamiyat va inson ziddiyatlarini, ota-ona va o‗g‗il o‗rtasidagi fikrlar
nomutanosibligini ko‗rsatib beradi.
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Nemis adabiyotining yana bir vakili Kristof Martin Viland qalamiga mansub ―Аgaton tarixi‖ (―The
history of Agathon‖) asari ham ilk tarbiya romani namunasi sifatida o‗rganiladi. Shuningdek, bu roman
―novel of psychological development‖ [16], yaʼni ―ruhiy rivojlanish romani‖ deb ham yuritiladi.
Аsar boshida kitobxon Gyote romanidagidek, bosh qahramonning tushkun holati bilan tanishtiriladi.
Hayotni ideal tasavvur qilgan sodda qahramonning real hayoti butunlay boshqacha ekanligi bilan
yuzlashishi, ishongan kishilaridan ko‗ngli qolishi va qalbidagi savollarga javob qidirib sayohatga chiqishi
asar syujetining mag‗zini tashkil qiladi. Ko‗rinib turibdiki, nemis adabiyotining har ikkala asarida ham
hayotning turli sinovlarini yengib o‗tgan qahramon, oxir-oqibat o‗z yo‗lini topib oladi. Mualliflar mana shu
sargardonlik vositasida qahramonning maʼnan o‗sib borishini yoritib berishadi. Eng muhimi, asar boshida
uyidan chiqib ketgan qahramon asar so‗ngida ―yangi oila‖, ―yangi uy‖da qo‗nim topadi.
Manbalarda keltirilishicha [2, 19], ―Bildung‖ atamasi birinchi marta filolog Karl Morgenshteyn
tomonidan 1819-yilda Dorpat universitetidagi maʼruzalari vaqtida aynan Gyotening ―Vilgelm Meysterning
o‗qish yillari‖ asariga taʼrif berishda ishlatilgan. Keyinchalik, psixolog va faylasuf Vilgelm Diltey o‗zining
―Leben Schleiermachers‖ (1867-1870) (―Life of Schleiermacher‖ – ―Shleyermaxer hayoti‖) asarida bu
atamani qayta tilga oladi va uning keng omma uchun mashhur bo‗lishiga sabab bo‗ladi. [17] Garchi bu
atamadan birinchilardan bo‗lib foydalanmagan bo‗lsa-da, Vilgelm Diltey uni tanqidiy adabiyotga olib
kirishda hammadan ko‗p hissa qo‗shdi. Tarbiya romanlarida nemis anʼanasini tadqiq qilar ekan, u
birinchilardan bo‗lib, bu janrga tarixiy sharoit mahsuli sifatida qaradi. Uning fikricha, ―Bildungsroman‖
o‗zligini va hayotdagi o‗rnini topish uchun kurashadigan yosh kishilarni tasvirlovchi janrdir. [8,16]
―Experience and Poetry‖ (―Tajriba va she‘riyat‖, 1906) asarida esa V.Diltey quyidagi ta‘rifni keltiradi:
―Bildungsromans all portray a young man of their time: how he enters life in a happy state of naiveté
seeking kindred souls, finds friendship and love, how he comes into conflict with the hard realities of the
world, how he grows to maturity through diverse life-experiences, finds himself, and attains certainty about
his purpose in the world‖.[10, 22] Taʼrifda keltirilishicha, tarbiya romanlarining barchasi o‗z davri yosh
kishisini: uning qanday qilib soddadillik bilan qadrdon qalblarni qidirgancha hayotga kirib kelishi, do‗stlik
va muhabbatni topishi, hayotning achchiq haqiqatlari bilan qay tarzda to‗qnash kelishi, og‗ir hayotiy
tajribalar orqali ulg‗ayishi, o‗zligini topishi va albatta, hayotidagi maqsadning aniqligiga yetib kelishini
tasvirlaydi.
Fransua Jost esa ―Bildungsroman is concerned with a protagonist who confronts his environment and
is shaped and nurtured by the outside world till a point when he is ready to live his life in his own way‖ [10,
201] – ―Tarbiya romani – tashqi muhitga qarshi tura oladigan, to o‗z yo‗li bilan yashay olishga tayyor
bo‗lguniga qadar tashqi dunyo taʼsirida tarbiyalanadigan va shakllanadigan qahramon haqida‖, – deb
hisoblaydi. Аnglashilyaptiki, keltirilgan taʼriflarning barchasi yosh qahramonning qaysidir jihatdan o‗sishi
bilan aloqadorlikni ko‗rsatadi. Bu o‗rinda, adabiyotshunos D.Bakli tarbiya romanlarini tadqiq qilar ekan,
unga har tomonlama rivojlanish yoki o‗z-o‗zini takomillashtirish romani deb tavsif beradi. Bakli xulosasiga
ko‗ra, bunday romanlar qahramonning shaxsiy tajribasiga tayanib, o‗z imkoniyatlarini umumlashtirishga
ongli ravishda qiladigan harakatlari inʼikosidir.[11,13]
Tarbiya romanlari tadrijida M.M.Baxtinning 1936-1938-yillarda nashr qilingan ―Tarbiya romani va
uning realizm tarixida ahamiyati‖ (―Роман воспитания и его значение в истории реализма‖) nomli kitobi
alohida eʼtiborga molik. Muallif tarbiya romanlarini sarguzasht va biografik romanlar taʼsiri ostida
shakllangan deb hisoblaydi. Uning fikricha, ―dominantlik qilgan bu turlar bilan bir qatorda, shakllanib
kelayotgan shaxs qiyofasini beruvchi yana bir tur mavjud. Turgʼun birlikdan farqli o‗laroq, bu yerda faol
birlik bor. Qahramonning o‗zi va uning xarakteri bu roman formulasida o‗zgaruvchan bo‗ladi. Uning
o‗zgarishi asar syujetini tashkil qiladi, shu sababli syujet qayta quriladi. Romanning bu turini umumiy qilib,
―insonning shakllanish romani‖ deb aytish mumkin‖.[12, 200]
А.V.Dialektova tarbiya romanlarining nazariy asoslarini yoritib, unga quyidagicha taʼrif beradi:
―Tarbiya romani atamasi, eng avvalo, syujet tuzilmasida qahramonni tarbiyalash jarayoni hukmron bo‗lgan
asarni nazarda tutadi. Qahramonning hayoti sarguzasht romanlarida bo‗lgani kabi kurash maydoniga emas,
maktabga aylanadi‖.[13,36] Bu o‗rinda qahramon asosiy taʼlim-tarbiyani maktabdangina emas, balki
hayotdan olishi anglashiladi. Chunki, qahramonda maktab borishga har doim ham imkon bo‗lavermaydi yoki
maktabda sifatli taʼlim olish uchun sharoit bo‗lmaydi.
N.B.Osipova esa Ch.Dikkens, U.Tekkerey va T.Gardilar ijodini tahlil qilib, shunday xulosani ilgari
suradi: ―Tarbiya romani ijtimoiy olamga kirib, unda o‗z o‗rnini topgan shaxsning dinamik qiyofasini o‗zida
mujassam etgan romandir‖.[14,13] Ushbu taʼrifda qahramonning shakllanishida jamiyat hamda ijtimoiy
muhitning ahamiyati katta ekanligi taʼkidlanyapti.
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LITERARY CRITICISM
Tomas L.Jeffers ―Apprenticeships: The Bildungsroman from Goethe to Santayana‖ (2005) asarida
janrning tarixiy ildizlari borasida fikr yuritadi va uning Gyote romani taʼsirida yuzaga kelib, Viktoriya asri
hamda zamonaviy davr adabiyotiga o‗tganligini taʼkidlaydi. [3,14] Viktoriya asri yozuvchilaridan, ayniqsa,
Ch.Dikkens tarbiya va shaxsni rivojlantirish muammolariga kuchli qiziqish bildiradi va deyarli barcha
romanlarida buni aks ettiradi. Аmmo yuqoridagi qarashlarga teskari fikrlar ham mavjud. Аleksandra
Grinerning tadqiqotida keltirilishicha [3,49], bir guruh tanqidchilar yangi roman janri elementlari ingliz
adabiyotida Gyote asari inglizchaga tarjima qilinmasidan oldin ham mavjud bo‗lganligiga ishonishadi va
uning rivojida nemis adabiyoti taʼsirini rad qilishadi. Ularning taʼkidlashicha, ―Bildungsroman‖
romanchilikda ilgari mavjud bo‗lmagan ―taʼlim olish‖ va ―o‗ziga nisbatan qatʼiyatlilik‖ tushunchalarini
birlashtirar ekan, bunday motivlardan XVIII asrda ijod qilgan ingliz romannavislari Daniel Defo va Jonatan
Sviftlar o‗z asarlarida allaqachon foydalanishgan. Ularning prototiplari allegorik yo‗l bilan hayotdan saboq
olishgan bo‗lsa, ―Bildungsroman‖da bu ancha sodda yo‗l bilan, yaʼni qahramonning taʼlim olish va dunyoni
o‗rganish uchun otlangan sayohatlari orqali ochib berilgan. Buni, ayniqsa, 1749-yilda yozilgan ―Topildiq
Tom Jons tarixi‖ asarida ko‗rish mumkin. Rus olimi M.M.Baxtin o‗zining ―Tarbiya romani va uning realizm
tarixidagi ahamiyati‖ asarida Fildingning ―Topildiq Tom Jons tarixi‖ romanini nafaqat tarbiya romani deb
ta`riflaydi, balki unda nemis yozuvchisi Viland qalamiga mansub ―Аgaton tarixi‖ romani bilan bog‗liqlik
mavjudligini ham taʼkidlab o‗tadi.[15,51]
Biroq Аmerika adabiyotshunosi Gisela Аrgayl ingliz romanlaridan ―Bildungsroman‖ janri
elementlarini ―Vilgelm Meysterning o‗qish yillari‖ asari tarjimasidan keyingina qidirish kerakligini
taʼkidlaydi.[15,48] Ko‗pgina olimlar singari u ham ingliz adabiyotida tarbiya romaniga 1824-yildan oldin
(Gyote asari tarjima qilingan yil) misol topish mumkin emas, degan qarashni ilgari suradi.
Xulosa. Xulosa qilib aytganda, tarbiya romanlari dastlab qayerda yaratilganligi xususida turli
qarashlar mavjud bo‗lishiga qaramay, bu roman – sodda va yosh qahramonning hayot borasidagi savollarga
javob qidirib, sayohatga otlanishi, hayotda o‗z o‗rnini topishga urinishi va oxir-oqibat dunyo haqida boy
tajriba orttirishi orqali o‗sib-ulg‗ayishini, balog‗atga yetishishini aks ettiruvchi asardir.
Bu janr o‗z taqdirini izlab yo‗lga chiqadigan qahramon tasvirlangan xalq ertaklaridan kelib chiqqan.
Maʼlumki, turli millat ertaklarida baxtini qidirib darbadar kezish motivi mavjud. Ularning bari bosh
qahramonning saodatga erishishi bilan yakunlanadi. Tarbiya romanlari mushtarak syujet chiziqlari asosida
rivojlanib boradi hamda qahramon hayotining davom etgan ma‘lum muddatini aks ettiradi. Bunday asarlar
ommabopligi va yosh avlodning tarbiyasiga ta‘sir ko‗lami jihatidan adabiyotda muhim ahamiyatga ega bo‗lib
hisoblanadi.
ADABIYOTLAR:
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LITERARY CRITICISM
8. Sarah Graham. A history of the Bildungsroman. – United Kingdom: Cambridge University Press,
2019. – 352 p.
9. Аbhisek Upadhyay. The Name and Nature of the Bildungsroman. International Journal of English
and Studies (IJOES) An International Peer-Reviewed Journal; Volume-3, Issue-1, 2021 www.ijoes.in ISSN:
2581-8333; Impact Factor: 5.421(SJIF). – P. 199.
10. Anniken Telnes Iversen. Change and Continuity: The Bildungsroman in English: A dissertation
for the degree of Philosophiae Doctor University of Tromco. September, 2009. – 396 p.
11. Buckley, Jerome Hamilton. Season of Youth: The Bildungsroman from Dickens to Golding.
Cambridge, Mass.: Harvard University Press, 1974. – 352 p.
12. Бахтин М.М. Роман воспитания и его значение в истории реализма – М.: Искусство, 1979.
– 511 c.
13. Диалектова А.В. Воспитательный роман в немецкой литературе эпохи Просвещения. –
Саранск: Изд-во СГПИ, 1972. – С. 36.
14. Осипова Н.В. Роман воспитания в творчестве Ч. Диккенса, У. Теккерея, Т. Гарди: учебное
пособие для студентов филологических специальностей / Н. В. Осипова; Балашовский филиал
Саратовского гос. ун-та им. Н. Г. Чернышевского. – Балашов: Николаев, 2006. – С. 13.
15. Сарана Н.В. Традиция английского романа воспитания в русской прозе 1840-1860-х годов:
Диссертация на соискание ученой степени кандидата филологических наук. – Москва, 2018. – 218 c.
16. https://www.britannica.com/topic/The-History-of-Agathon.
17. https://www.masterclass.com/articles/what-is-a-bildungsroman-definition-and-examples-of-
bildungsroman-in-literature.
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UDK: 808.5
Annotatsiya. Maqolada Avaz Oʻtar oʻgʻlining siyosiy mavzudagi ―Yoʻq boʻling...‖ nomli gʻazali tahlil
qilingan. Ittifoq davrida shoir ijodi yuzasidan olib borilgan tadqiqotlarda mazkur gʻazal ham hukmron
mafkura talabi doirasida, oʻz mazmun-mohiyatiga zid talqin qilingan. Avaz Oʻtarning shu va aksariyat
boshqa g‘azallari milliylik va bugungi davr nuqtai nazari bilan tadqiq qilinishiga ehtiyoj bor. Mazkur
tadqiqot ana shu ehtiyoj natijasida yuzaga keldi.
Kalit soʻzlar: davrlashtirish, siyosiy lirika, talqin, jadidlar, sinfiylik, yosh xivaliklar, bolsheviklar,
inqilob, muxtoriyat, millatparvarlik.
Abstract. The article analyzes the ghazal of Avaz Oʻtar ʼs son "Be gone" on a political theme. In the
studies conducted on the poetʼs work during the union period, this ghazal was interpreted contrary to its
essence within the requirements of the ruling ideology. There is a need for these and many other ghazals of
Avaz Oʻtar to be researched from the point of view of nationality and todayʼs era. This study was born out of
this need.
Key words: periodization, political lyrics, interpretation, Jadids, classism, young Khiva people,
Bolsheviks, revolution, autonomy, nationalism.
Kirish. XIX asr oxiri - XX asr boshlari Xiva adabiy muhitining zabardast vakillaridan biri
maʼrifatparvar, millatparvar shoir Avaz Oʻtardir. Xiva adabiy muhitida oʻziga xos iz qoldirgan Avaz Oʻtar
ijodi shoʻro davrida, hattoki istiqlol yillarida ham kam oʻrganilgan boʻlib, olib borilgan tadqiqotlarda ham
koʻp hollarda shoir lirik merosi yuzaki va notoʻgʻri talqin qilingan. Natijada, shoir badiiy niyati asl mazmun-
mohiyatidan uzoqlashtirildi. Shu boisdan, shoir lirik merosiga bugungi koʻz bilan qaramogʻimiz, bugungi aql
bilan baholamogʻimiz lozim.
Adabiyotlar tahlili va metodologiya. Avaz Oʻtar ijodi yuzasidan oʻtgan asrda va istiqlol yillarida
qilingan tadqiqotlar va adabiyotlardan namunalar olindi. Shu bilan birga XIX asr oxiri - XX asr boshlari va
istiqlol yillarida yaratilgan sheʼriy asarlardan ham foydalanildi.
Tadqiqot mavzusini yoritishda lingvistik, psixologik, sotsiologik, qiyosiy-tarixiy tahlil usullaridan
foydalanildi.
Muhokama va natijalar. Ta‘kidlash lozimki, garchi koʻp hollarda sinfiy yondashishga eʼtibor
qaratilgan boʻlsa-da, Sho‘ro davrida ham adabiyotimiz tarixini oʻrganish, tadqiq qilish va bu merosni
bugungi avlodga yetib kelishida ulkan ishlar amalga oshirildi.
Xususan, Xiva adabiy muhitida yetishgan Avaz Oʻtar ijodi ustida ham katta-kichik tadqiqotlar yuzaga
keldi. Uning ijodi boʻyicha oʻtgan asrda olib borilgan tadqiqotlardan birida shoirning bosib oʻtgan yoʻlini
uch davrga ajratib o‘rganish lozimlgi ta‘kidlangan. Jumladan, uchinchi davrda Avaz Oʻtar demokrat shoir
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sifatida yana ham mustahkam va izchil pozitsiyada turib, oʻz ijodida maʼrifatparvarlik va ozodlik motivlarini
ilgari surgani ta‘kidlangan (5).
"Siyosiy ruhda bitilgan ―Yoʻq boʻling...‖ gʻazali ham shoirning ma‘rifatparvarlik yo‘nalishidagi
asarlaridan biridir.
Birinchi navbatda, ―Yoʻq boʻling...‖ sheʼri Avaz Oʻtarning milliy burjuaziya vakillari – jadidlarga,
Xorazm sharoitida esa yosh xivaliklarga boʻlgan munosabatini koʻrsatish jihatidan muhimdir. Sheʼr 1917-yil
fevral revolyutsiyasidan soʻng yozilgan. Besh baytdan iborat gʻazal shaklidagi bu sheʼrni Avaz Oʻtar ―erk‖,
―hurriyat‖ deb shovqin koʻtaruvchi, lekin oʻzlari ―savdo-sotiq bozorida javlon‖ uruvchi milliy burjuaziya
namoyondalarini fosh etishga bagʻishlaydi:
Yoʻq boʻling tezdan koʻzimdan xalqaro sharmandalar,
Xalq gʻamidin oʻzni narroq tutguchi begonalar.
―Hurriyat erk‖ debonki, yolgʻon alfozlar ila,
Oqibat mazlumlara yutdirdingiz xunobalar.
Qaysingizni koʻrdi el kapcha bilan yop qozgʻonin,
Boringiz savdo-sotiq bozorida javlonalar " (5).
Yuqoridagi talqinda gʻazalning ikkinchi bayti va maqtaʼsi tushirib qoldirilgan. Buning sababi esa
tahlilimiz davomida oydinlashadi. Shoirning 1984-yil nashr etilgan ―Saylanma‖sida bu gʻazal quyidagicha
tahlil qilingan: ―Bu sheʼr ―Yosh xivaliklar‖ nomidagi jadid tashkiloti vakillariga qarata yozilgandir. Bundan
avtorning jadidlarga nisbatan qanday pozitsiyada turganini yaqqol sezib olish mumkin‖ (2).
Istiqlolning dastlabki yillarida Avaz Oʻtar ijodi yuzasidan yoqlangan nomzodlik dissertatsiyasida esa:
―Avaz Oʻtar oʻgʻli ozod hayot, baxtli kelajak va feodal xonlik tuzumining agʻdarilishi muqarrarligi haqida
chuqur fikr yuritibgina qolmaydi, balki u Xivada mahalliy savdogar va boylardan iborat ziyolilarning
mehnatkash xalqning erk-huquqiga xiyonat qilib, ularning oʻz erk-huquqlariga yetish yoʻlida ozodlik uchun
olib borayotgan kurashiga toʻsqinlik qilayotganligini ―Yoʻq boʻling...‖ degan sheʼrida qattiq tanqid
qiladi‖(8).
Aynan Avaz Oʻtar yashab ijod qilgan davr – Milliy uygʻonish davri oʻzbek adabiyotini oʻrganilishi
haqida adabiyotshunos olim Begali Qosimov oʻzining ―Milliy uygʻonish davri oʻzbek adabiyotini
oʻrganishning dolzarb masalalari‖ nomli maqolasida quyidagi fikrlarni keltirib oʻtgandi: ―Istiqlol tarixga
ham, adabiyotga ham tamomila boshqacha yondashishni shart qilib qoʻydi. Bir soʻz bilan aytganda, u sinfiy
yondashishni rad etib, milliy yondashishni kun tartibiga qoʻydi‖(11). Biz ham ushbu maqolamizda sinfiy
yondashishni rad etib, milliy yondashishga harakat qildik.
Avaz Oʻtar besh baytli gʻazali orqali ―fosh etishga‖ uringani kimlar yoki qanday guruhlar edi?
Gʻazalning matlaʼsida keltirilgan ―xalqaro‖ va ―begona‖ soʻzlari biz izlayotgan kimsalarning kim ekanligini
biroz boʻlsa-da oydinlashtiradi. 1917-yil oktyabrda Rusiyada Bolsheviklar tomonidan davlat toʻntarishi
amalga oshirilgan edi. Petrograd (Rossiyaninag oʻsha paytdagi poytaxti)da boʻlgani kabi Toshkentda ham
hokimiyat shoʻrolar (sovetlar) qoʻliga oʻtdi. Ular hokimiyat tepasiga juda katta vaʼdalar, mehnatkash
ommaga yoqadigan chaqiriqlar bilan kelgan edilar. Jadidlar ham bu vaʼdalarga katta umid bogʻlagan edilar.
Xususan, ―...Kamiy Fevral inqilobidan keyin:
Tuluʼ aylab bu kun boʻrk sharqdin oftoboso,
Munavvar ayladi olam, boʻlay qurboni hurriyat –
desa, Oktabr ―inqilob‖iga butunlay salbiy munosabatda boʻladi. Shoirning ―Shikoyatnomai Kamiy az
inqilobi zamona va ahli zamona‖ manzumasida oʻqiymiz:
Yetti de: ham zamon, zamon ahlidin,
Anga koʻb ranju zulm birla malol.
Chunki bu ishi zamona, ham xalqi
Munqalib, inqilobi hol - behol.
Inqilobi zamona ermasmu,
Qildi oliyni pastlar pomol" (4).
Fitrat Bolsheviklarning hokimiyat tepasiga kelishi haqida ―Hurriyat‖ gazetasining 1917-yil 7-noyabr
sonida: ―Rusiyada yangi bir balo bosh koʻtardi: bolshevik balosi!" - deb yozdi (7).
Bolsheviklarning vaʼdalariga ishonib 1917-yil 27-noyabrda oʻlkaning yurtparvar va taraqqiyparvar
kuchlari tomonidan Turkiston Muxtoriyati tashkil etilgandi. ―Turkiston Muxtoriyatini tashkil etish haqidagi
qarorda shunday deyiladi: ―Turkistonda yashab turgan turli millatga mansub aholi Rossiya inqilobi daʼvat
etgan xalqlarning oʻz huquqlarini oʻzlari belgilash xususidagi irodasini namoyon etib, Turkistonni Federativ
Rossiya respublikasi tarkibida hududiy jihatdan muxtor deb eʼlon qiladi..."(10).
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Bu voqeani Fitrat: ―1917-yilgi Turkiston muxtoriyatini soʻngsiz mehr bilan qarshi oldi. U eʼlon
qilingan 27-noyabr tunini ―milliy laylatul – qadrimiz‖, deb atadi (6).
Bolsheviklar oʻz yurtiga yanada koʻproq qaygʻular olib kelishini oldindan bashorat qilgan Fitratning
oʻylagani, qoʻrqqani sodir boʻldi. Shoʻro hukumatining yolgʻon vaʼdalariga ishonib 1917-yilning 27-
noyabrida tuzilgan Turkiston Muxtoriyati qonuniy hukumatini mahv etdilar. 1918-yil fevralida Turkiston
Muxtoriyati hukumati va Fargʻona vodiysinining oʻn minglab fuqarosi qonga botirilgandi. Bu haqda
Karimbek Kamiy ―Afsusnoma‖ (Hoʻqand fojiasina) muxammasida yozib qoldirgan edi:
Voy, yuz voyki, Fargʻona xarob oʻldi, darigʻ,
Zulm oʻqi birla bu kun gardi turob oʻldi, darigʻ,
Bu musibatdin ulus chashmi purob oʻldi, darigʻ,
Ham bari katta - kichik bagʻri kabob oʻldi, darigʻ,
Shahr obod erdi chun dashti sarob oʻldi, darigʻ.
Toʻsatdan ranjiysiz:
―Suratmi shu ham?
Eplab chizolmagan qulogʻu burnin.
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xonzodalar, beklarga achchiq kinoya, kesatiqlar bilan yozilgan shoir siyosiy lirikasining gultoji boʻlgan ijod
namunasidir.
ADABIYOTLAR:
1. Абдурауф Фитрат. Танланган асарлар. 5 жилдлик. 1-жилд. - Т.: Маьнавият, 2000. - Б. 36.
2. Аваз Утар. Сайланма. - Т.: Ғафур Ғулом номидаги Адабиѐт ва саньат нашриѐти, 1984. - Б.
20, 325.
3. Алишер Назар. Ўзингиздан уяласизми?//Ёшлик журнали, 2012. 3-сон. - Б. 3.
4. Каримбек Камий. Дилни обод айлангиз. - Т.: Маьнавият, 1998. - Б. 7, 91.
5. Каримов, Г. Ўзбек адабиѐти тарихи. 3-китоб. - Т.: Ўқитувчи, 1975. - Б. 255, 266.
6. Қосимов, Б. ва бошқалар. Миллий уйғониш даври ўзбек адабиѐти. - Т.: Маьнавият, 2004. 359,
361-362.
7. Olim S. va boshqalar. Adabiyot. 1-qism. - T.: Gʻafur Gʻulom nomidagi NMIU, 2014. - B. 161.
8. Расулова Ф. Аваз Ўтар ўғлининг маьрифий-педагогик карашлари. Пед. фан. ном.
диссертацияси. - Тошкент, 1993. - Б. 21, 29, 30.
9. Rustam Musurmon. Bir juft soʻz.- T.: Adabiyot, 2022. - B. 196.
10. Usmonov Q., Sodiqov M. Oʻzbekiston tarixi. Darslik. - Toshkent, 2018. - B. 18, 21, 22.
11. https://kh-davron.uz/kutubxona/jadidlar-kutubxona/begali-qosimov-milliy-uygonish-davri-ozbek-
adabiyotini-organishning-dolzarb-masalalari.html.
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Аннотация. Ушбу мақолада форс адабиѐтининг Ғарб адабиѐтига таъсири, Европа тилларига,
айниқса, немис тилига қилинган турли таржималарини қиѐслаш, назмий, насрий таржималарни
ўрганиш ва таржимонлар хизматларига ойдинлик киритишга қаратилган. Шу билан бирга Шарқ
адабиѐти таржималар орқали Ғарб ҳудудига кириб бориши тарихига назар солинган бўлиб, мазкур
мақолада дидактик образ консепти, Шарқ олимлари ижодининг ўзига хослиги, лирикасидаги
дидактик талқини билан бирга Ғарб тилига қилинган ўгирмалари ҳам таҳлил қилинган.
Калит сўзлар: ғарб таржимонлари, шарқ адабиѐти, Жозеф фон Ҳаммер-Пуршталл,
Бартелеми, Тесаурус Лингуарум Ориенталиум, Розен, Анна Марие, Отто Ҳўшле.
Abstract. This article focuses on the influence of Persian literature on Western literature, comparing
different translations of European languages especially into German, studying poetic and prose translations
and clarifying the services of translators. The history of the penetration of Eastern literature into the
Western territory through translations is reviewed, and the concept of didactic image, the originality of the
work of Eastern scholars, didactic interpretation in the lyrics and the artistic skill of the writer, as well as
the translations into the Western language, are analyzed in this article.
Keywords: Western translators, Oriental literature, Joseph von Hammer-Purstall, Barthelemy,
Tesaurus Linguarum Orientalium, Rosen, Anna Marie, Otto Höshle.
Кириш. Адабий алоқалар умумбашарият маданияти тарихида ўзига хос ўрин ва салоҳиятни
эгаллаганлиги ҳеч кимга сир эмас. Бирор бир адабиѐт ўз ўзидан ривожланган эмас. Чунки ҳар бир
замонда инсонлар бир-биридан ўрганиб, бир-бирига ўргатиб, ҳаѐт ривожига ҳисса қўшадилар.
Шунингдек, бир адабиѐнинг бошқа бир адабиѐтга таъсири ниҳоятда каттадир. Улар бир-бирларини
тўлдириб, ривожлантириб, ютуқларидан кенг фойдаланганлари айни ҳақиқат. Юнон адабиѐти
бошқаларга, Шарқ адабиѐти Ғарбга баъзан буни акси ҳам бўлган десак бўлади. Биламизки, кейинги
асрларда қиѐсий адабиѐтшунослик Шарқда ҳам Ғарбда ҳам бир йўналиш сифатида ривожланиб
борди. Бунинг асосий сабаби ва негизи эса адабий ва илмий асарларнинг турли тилларга таржима
бўлганидир.
Асосий қисм. Форс адабиѐтининг немисзабон мамлакатларда қабул қилиниши адабиѐт учун
катта аҳамиятга эга. Бу форс шоирларининг дунѐқараши, шунингдек, уларнинг шеърий тартиб-
қоидаларини билишга тегишли.
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қилинганлигидир. Ушбу тадқиқот Европада ислом даври форс адабиѐтидан илк таржималардан
биридир. Шарқ адабий матнлари ҳар доим ҳам манба тилидан немис тилига бевосита таржима
қилинмаган, масалан Фридрих Охсенбах (1606-1658) Раернинг юқорида тилга олинган асарини
«Кöniglicher Rosengarten‖, яъни «Шохона атиргул боғи» деб ўгирган.
Икки асрдан кейин 1644 йил Голландия шарқшунослигининг марказига айланган протестант
Лaйден университетида Левинус Уорнер, шарқ тилларини ўрганган немис шарқшуноси Левинус
Варнер (Levinus Warner, Levino Warnero 1619-1665) 1644 йилда Саъдийнинг "Гулистон" асарининг
баъзи қисмлари Провербиорумда нашр этилган.
Саъдийнинг лирик асари ―Бўстон‖ 1644 йилда Левинус Уорнер (1619–1665) томонидан лотин
тилидаги нашри қисман ва тўлиқ нашр сифатидаги таржимаси 1651 йилда Жорж Гентиус томонидан
нашр этилган.
1688-йилда Даниел Ҳаварт томонидан Голландиялик насрий таржима қилинган. Голландиялик
насрий версия асосида яратилган немис тилидаги биринчи версиянинг номи ―Форс боғи дарахти:
кўплаб ҳикоялар, ғалати ҳодисалар, ибратли тарихлар ва ғалати гаплардан иборат нафис нақшлар‖
дан иборат бўлган.
XVIII асрга келиб, форс-тожик асарларининг таржима тарихини Турандот асари ѐрдамида
намунали тарзда тасвирлаш мумкин. Низомийнинг ҳикояси рус маликасининг сешанба куни
марснинг қизил гумбазида айтганлари, унинг "Ҳафт пайкар" ("Етти гўзал", 1197) шеърида тўртинчи
оқшом 1960- йилда Рудолф Гелпке томонидан тасдиқланган энг қадимги форс версияси деб
ҳисобланган. Бироқ Низомий форсча Турандот номини тилга олмайди ва ҳикоя русча
мослаштирилган.
1710-1712 йилларда француз шарқшуноси Француа Петис де ла Круа (François Pétis de la Croix)
Мари-Аделаиде де Савои (Marie-Adélaïde de Savoie) номидан Антуан Галленднинг (Antoine Gallands)
(1704) ―Минг бир кеча‖ асарининг французча мослашуви натижасида беш жилддан иборат "Минг бир
кун" ҳикоялар тўпламини нашр этдади ва бу ―Форс эртаклари‖ деб эълон қилинган. ―Минг бир
кун‖нинг умумий аранжировкаси ―Минг бир кеча‖дан фарқли ўлароқ, истаксиз малика характерига
эътибор қаратади, унинг ҳамшираси эркакларга маъқулроқ бўлиши учун эркаклар ҳақида ѐқимли
ҳикоялар айтиб беради. ―Турандот‖ ҳикояси де ла Круа томонидан ―Шаҳзода Халаф ва Хитой
маликаси ҳикояси‖ деб номланган. Карло Гоззи оʻзининг ―Турандот‖ (1762) трагикомедиясининг
ҳикоявий асосини шу ердан чизган, унинг насрий версияси Фридрих Шиллерга берилган эди. 1801
йилда ўзининг худди шу номдаги пьесаси устида ишлашга киришади. Гоззи ―Турандот‖ни инжиқ ва
ўжар деб таърифлаган бўлса-да, Шиллер шаҳзодани уни ўзига жалб қилишдан қайтаришга
уринишади, бу эса олижаноб мақсадларни кўрсатади. Теодор Корнер Шиллер ижодига опера жанри
нуқтаи назаридан изоҳ берди. Дарҳақиқат, Турандот операси Ла Принcеса Чине (1729) Гозсининг
Жан-Клод Гиллиер ва Ален-Рене Лесаж пьесасидан ўттиз йил олдин премьераси бўлган. 1809 йилда
Карл Мария фон Вебер Шиллер спектакли учун тасодифий мусиқа ѐзади ва Турандот асари
кейинчалик опера саҳнасида янада кўпроқ қўйилади, машҳур итальян композитери Жакомо Пуччини
(Giacomo Puccinis) "Турандот" саҳнасига 1926 йилда янада ўзгача кўриниш бера олди.
Тахминан XVIII асрнинг ўрталарида маърифатга насроний динининг таъсири анча пасайиш
сезилди, Француз энциклопедиясининг (1751–1780) таъсири немис тилида сўзлашувчи
мамлакатларда диний бағрикенгликка эътибор кучайди, эстетикага қизиқиш кучайди ва ўсди.
Масалан, Саъдийга бўлган қизиқиш, унинг ижодига бўлган муҳаббатда кўриш мумкин. Айни шу
даврда Мария Терезанинг жанубий-шарқдаги сайл-ҳаракатлари ўсиб борди, шундан сўнг 1754 йилда
Вена шаҳрида Шарқ тиллари бўйича император-қироллик академияси ташкил этилди.
ХХ асрнинг ўрталаридан бошлаб форс адабиѐти намуналари немис тилида сўзлашувчи
мамлакатларда яшовчи ва нашр этувчи она тилиси форс-тожик бўлган муаллифлар томонидан ҳам
бевосита қабул қилинган. Мазкур асрнинг иккинчи ярмидаги адабиѐтшуносликда, Навид
Кермонийнинг фикрича, ―Ўз тарихини қураѐтган Европа‖ форс ва араб адабиѐти мисолида истисно
механизмини кўрсатиш мумкин. Каноник Ауербах (Мимесис, 1946) ва Эрнст Роберт Куртиус
(Европа адабиѐти ва лотин ўрта асрлари, 1948) бўлган Эричнинг иккита тадқиқоти, эксклюзив Ғарб
адабиѐти тарихи мавжудлиги ҳақидаги парадигма бугунги кунда ҳамон таъсир кўрсатмоқда.
Керманийнинг таъкидлашича, Европадан ташқари таъсирлар деярли мавжуд бўлмаган.
Ҳаммер-Пургсталлнинг Ҳофизнинг немис тилига таржимаси 200 йил ичида биринчи марта
2007 йилда нашр этилган. ―Биз қарийб икки юз йиллик таржимани ўқиѐтганимиз ўз-ўзидан камдан-
кам учрайдиган ҳолат‖, деб Стефан Вайднер фикр билдирган.
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Немис тилида сўзлашадиган мамлакатларда форс адабиѐтини асл нусхада ўқий оладиган
муаллифлар ҳам тобора кўпроқ қабул қилмоқдалар.
Ғарб тадқиқотчилари Шарқда вужудга келган машҳур асарларни ўз она тилларига таржима
қилиб, халқини қуѐш чиқар урф-одати, адабиѐти, буюк асарларда ифодасини топган тимсоллар
орқали таништирмоқда. Хусусан, Жалолиддин Румийнинг асарлари ва ―Маснавий маънавий‖
манзумаси билан олмонларни яқиндан ошно қилиш учун Розен, Анна Марие, Ҳўшле ва
бошқаларнинг хизматлари бениҳоя катта бўлган. Шу жумладан, ―Масанавий маънавий‖ ва унинг боб
ва ҳикоятларидан парчаларнинг назмий ва насрий таржималари ҳам асарни немис китобхонига
таништиришда муҳим аҳамият касб этмоқда. Немис-швецариялик таржимон жаҳон адабиѐтининг
дурдона асари Мавлоно Жалолиддин Румийнинг ―Маснавий‖ асарининг немис тилига биринчи
тўлиқ таржимасини кўп йиллик муфассал ишлардан сўнг шеър шаклида яратиб, 1-3 қисмини (дафтар)
2020 йилда, 4-6 дафтарлари 2021 йил ―Chalice‖ нашриѐтида чоп этилди ва немис китобхонларига
тақдим этилди.
Хулоса. Ғарб мутаржимлари, тадқиқотчилари XVII асрдан бери Шарқда вужудга келган
машҳур асарларни ўз она тилларига таржима қилиб, халқини қуѐш чиқар урф-одати, адабиѐти, буюк
асарларда ифодасини топган тимсоллар орқали таништирмоқда. Хусусан, Жалолиддин Румийнинг
асарлари ва ―Маснавий маънавий‖ манзумаси билан олмонларни яқиндан ошно қилиш учун Розен,
Анна Марие Ҳўшле ва бошқаларнинг хизматлари каттадир. ―Масанавий маънавий‖ ва унинг боб ва
ҳикоятларидан парчаларнинг назмий ва насрий таржималари ҳам асарни немис китобхонига
таништиришда муҳим аҳамият касб этмоқда. Таржима мураккаб жараѐн бўлиб, асл нусханинг
мазмунини аниқ ва тўғри бера олиш учун фақатгина сўзларнинг мосини топиш кифоя қилмай, уларга
алоқадор грамматик шакл ва бирликларни ҳам тўғри ифодалаш зарурдир. Шу жиҳатдан, таркибида
кўплаб исломий-тасаввуфий тушунчаларни ифодалайдиган сўзлар, оят ва ҳадислардан парчалар ҳам
мавжуд бўлган Шарқ адабиѐти намуналарини немис тилига маҳорат билан тушунарли ва оҳангдор
тарзда ўгириш таржимондан бу борада етарли диний билим, дунѐқараш, бадиий-эстетик тажрибани
талаб қилади. Таржимасида бундай сўзлар икки йўл билан ўқувчига етказилганлиги тадқиқотимиз
давомида аниқладик. Бунда биринчидан, диний-тасаввуфий истилоҳларнинг айнан ўзи сақланган;
иккинчидан, мазкур сўзларнинг немис тилидаги муқобили ѐки маънодоши ишлатилганига гувоҳ
бўлдик.
ADABIYOTLAR:
1. Kambiz Djalali: Das Fremde ist dem Eigenen zu Eigen. Die klassische persische Dichtung im
deutsch-französischen Raum des 19. Jahrhunderts. Königshausen & Neumann, Würzburg 2014, ISBN 978-3-
8260-5159-3, S. 468.
2. Abdikarimovich B. O. The views of Jalaliddin Rumi //Middle European Scientific Bulletin. – 2021.
– Т. 12. – С. 319-322.
3. Babayev O. (2023). The first encounter between jaloliddin rumi and shams tabrizi. Центр
научных публикаций (buxdu.Uz), 27(27). извлечено от
https://journal.buxdu.uz/index.php/journals_buxdu/article/view/8605
4. Qaxorovna, Sanoyeva Dildora. "Mavlono rumiy va asketizm." o'zbekistonda fanlararo
innovatsiyalar va ilmiy tadqiqotlar jurnali 1.9 (2022): 40-43.
5. Hаlimovnа K. D. (2023). Vаriаbility and Invаriаbility in Uzbek Trаnslаtions of Brоthеrs Grimm‘s
Fаiry Tаlеs. International journal of language learning and applied linguistics, 2(3), 83–88. Retrieved from
http://inter-publishing.com/index.php/IJLLAL/article/view/1240
6. Abdikarimovich, Mr B. O. "The True Values of the Mavlono Jaloliddin Muhammad Rumiy's
Philosophy in Russian Translations." International Journal on Orange Technologies, vol. 2, no. 12, 31 Dec.
2020, pp. 68-71, doi:10.31149/ijot.v2i12.1091.
7. Babayev, O. (2023). Жалолиддин Румийнинг «Маснавийи маънавий» асарининг жаҳон
адабиѐтида ўрганилиши. Центр научных публикаций (buxdu.Uz), 29(29). извлечено от
https://journal.buxdu.uz/index.php/journals_buxdu/article/view/9016
8. Bozorova R. Tarjima qilishda ba‘zi yondashuvlar //Центр научных публикаций (buxdu. uz). –
2022. – Т. 12. – №. 12.
9. Hayotova D. Konsept va tushuncha munosabati //Центр научных публикаций (buxdu. uz). – 2023.
– Т. 30. – №. 30.
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LITERARY CRITICISM
10. Halimovna K. D. The Influence of Language and Principles of Translation on the Origin of
Variation and Invariance in Translation //Web of Scholars: Multidimensional Research Journal. – 2022. – Т.
1. – №. 4. – С. 137-140.
11. Persisches Lesebuch. Fārsī, Darī, Toǰikī. Originaltexte aus zehn Jahrhunderten mit Kommentar
und Glossar, herausgegeben von Mehr Ali Newid und Peter-Arnold Mumm. Reichert, Wiesbaden 2007, ISBN
978-3-89500-575-6.
12. Bozorova, R. (2023). Tarjima san‘ati va uning muammolari. Центр научных публикаций
(buxdu.Uz), 29(29). извлечено от https://journal.buxdu.uz/index.php/journals_buxdu/article/view/9052
13. Xamidovna, M. (2023). Толкования о близости радуги во французской и узбекской
литературе. Центр научных публикаций (buxdu.Uz), 29(29). извлечено от
https://journal.buxdu.uz/index.php/journals_buxdu/article/view/8900
14. Rahmatov, A. (2021). Трудности (проблемы) обучения немецкому языку "решения,
стратегии, технологии успеха". Центр научных публикаций (buxdu.Uz), 3(3). извлечено от
https://journal.buxdu.uz/index.php/journals_buxdu/article/view/1552
15. Abdulxayrov, D. (2022). Nemis tili so‗z boyligining oshishida sharq tillarining o‗rni. Центр
научных публикаций (buxdu.Uz), 13(13). извлечено от
https://journal.buxdu.uz/index.php/journals_buxdu/article/view/6667
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LITERARY CRITICISM
UO„K 82.0
Аnnоtаtsiyа. Ushbu mаqоlаdа bаdiiy аsаrdа роrtrеt tаsvirlоvchi lisоniy birliklаrni bаdiiy tаrjimаdа
qаytа ifоdаlаsh mаsаlаlаri bеvоsitа роrtrеt tаsvirining millаt bаdiiy аdаbiyоtining о‗zigа хоsligi, роrtrеt
tаsvirini аnglаtuvchi lisоniy birliklаrdа milliy-mаdаniy хususiyаtni аks еtishi ―О‗tkаn kunlаr‖rоmаnining
ingliz tiligа tаrjimаlаri аsоsidа kо‗rib chiqilаdi. Bаdiiy tаrjimаdа роrtrеt tаsvirining milliy-mаdаniy
хususiyаtlаrini аniqlаsh vа ulаr sаbаb yuzаgа kеlаdigаn tаrjimа muаmmоlаrigа yеchim tорish kabi
masalalar оchib bеrilаdi.
Kаlit sо ‘zlаr: milliy, mаdаniy, роrtrеt, lingvistik, еkstrаlingistik, bаdiiy, tаrjimа, trаnsfоrmаtsiyа,
gеnеrilizаtsiyа.
Аbstrаct. In this аrticlе, thе issuеs оf rе-рrеsеntаtiоn оf linguistic units dерicting роrtrаits in аrtistic
trаnslаtiоn in аrtistic trаnslаtiоn аrе dirеctly cоnsidеrеd оn thе bаsis оf thе оriginаlity оf thе роrtrаit imаgе
оf thе nаtiоn's fictiоn, thе rеflеctiоn оf thе nаtiоnаl-culturаl fеаturе in thе linguistic units rерrеsеnting thе
роrtrаit imаgе, bаsеd оn thе Еnglish trаnslаtiоns оf thе nоvеl "Bygоnе Dаys". In аrtistic trаnslаtiоn, thе
mеthоds оf idеntifying thе fеаturеs оf thе nаtiоnаl-culturаl influеncе оf thе роrtrаit imаgе аnd finding
sоlutiоns tо thе trаnslаtiоn рrоblеms cаusеd by thеm, аnd thе mеthоds оf trаnslаtiоn оf nаtiоnаl-culturаl
sреcific linguistic units аrе rеvеаlеd.
Kеy wоrds: nаtiоnаl, culturаl, роrtrаit, linguistic, ехtrаlinguistic, аrt, trаnslаtiоn, trаnsfоrmаtiоn,
gеnеrаlizаtiоn.
Kirish. ―Badiiy tarjimada milliy xususiyatlar va leksik stilistik vositalarni qayta yaratish masalasini
ilmiy tahlildan o‘tkazish va tarjima jarayonining o‘ziga xos jihatlarini o‘rganish‖ bugungi kunda dolzarb
ahamiyatga ega. Hаr bir til о‗zining fоnеtik, lеksik, grаmmаtik, stilistik vа bоshqа shu kаbi хususiyаtlаridаn
kеlib chiqib hаqiqаtdа mаvjud bо‗lgаn yоki bо‗lmаgаn mа‘lumоtni (mа‘nоni) ifоdаlаb, о‗zining lisоniy
mаnzаrаsini yаrаtаdi.
Tаrjimаshunоslikning rivоjlаnish dаvridа аmаliyоtchi vа nаzаriyоtchi tаrjimоn оlimlаr tо‗lаqоnli
tаrjimа jаrаyоnini аmаlgа оshirish uchun еkstrаlingvistik mа‘lumоt zаrur dеgаn fikrgа kеlishgаn.
Еkstrаlingvistik mа‘lumоt tаrjimаgа tоrtilgаn mаtn mаdаniyаtidаn bilimgа еgа bо‗lishni, sоtsiоmаdаniy vа
mulоqоt vаziyаtlаrini chuqur bilishni tаqоzо еtаdi.
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Аdаbiyоtlаr tаhlili. Tilshunоs V.I.Хаyrulinning yоzishichа, ―... Tаrjimоn uchun fаqаtginа аsliyаt tili
vа tаrjimа tilini mukаmmаl bilishning о‗zi kifоyа еmаs. U yаnа ushbu tildа sо‗zlаshаdigаn хаlqlаr
mаdаniyаtini hаm bilishi zаrur‖[1]. Yuqоridа аytilgаn fikr nutqning еkstrаlingvistik оmillаri, uning shаklidаn
qаt‘iy nаzаr, u yоzmа bо‗lаdimi yоki оg‗zаki nutq bо‗lаdimi jаrаyоnining аjrаlmаs qismi hisоblаnаdi.
Tаrjimоn hаm bеshinchi fаоliyаt hisоblаngаn tаrjimаdа mulоqоt ishtirоkchisi sifаtidа еkstrаlingvistik
mа‘lumоtdаn хаbаrdоr bо‗lishi lоzim. Аks hоldа tаrjimа оrqаli qilingаn mulоqоt охirigа, mаqsаdigа
yеtmаydi, tаrjimаning sifаti раst, tushunаrsiz vа qаndаydir g‗аliz fikrlаr раydо bо‗lishigа sаbаb bо‗lаdi. Bir
tildаn ikkinchi tilgа tаrjimа trаnsfоrmаtsiyаlаri оrqаli о‗tаyоtgаn vа ikki til о‗rtаsidа vоsitаchilik qilаyоtgаn
tаrjimоn mulоqоt рrеdmеti vа vаziyаtini tushunmаsligi tаrjimа mаzmunigа рutur yеtkаzаdi.
Tаrjimоn tаrjimа qilаyоtgаn mаtnining lingvistik jihаtlаridаn tаshqаri u hаqidа vа u yоritаyоtgаn sоhа
hаqidа muаyyаn bilimgа еgа bо‗lishi lоzim. Ilmiy-tехnik vа bаdiiy mаtnlаr bir-biridan dоim kо‗р jihаtdаn
fаrq qilgаni bоis qiyоslаnаdi. Ilmiy-tехnik tаrjimаdа tаrjimоn ikki tilni bilishi bilаn bir qаtоrdа sоhа hаqidа
mа‘lumоtgа (sоhа nimа bilаn shug‗ullаnishi, ilmiy арраrаt (undа qо‗llаnаdigаn tеrminlаr tizimi) hаqidа
mа‘lumоtgа еgа bо‗lishi kеrаk bо‗lsа, bаdiiy mаtnlаr tаrjimаsidа uning uslubi, jаnridаn tаshqаri,bаdiiy
mаtnning milliy хususiyаtlаri, аn‘аnаlаri, shе‘riy mаtn bо‗lsа, uning vаzni, qоfiyаlаnishdаn tаshqаri, оbrаzlаr
yаrаtishdа qо‗llаnаdigаn stilistik vоsitаlаrni yuzаgа kеltirаdigаn hоlаtlаr, rаmzlаr, хаlqning dunyоqаrаshi,
еstеtik didi vа shu kаbilаr hаqidа аtrоflichа bilimgа еgа bо‗lishi nаzаrdа tutilаdi.
Еkstrаlingvistik mа‘lumоt yuqоridа sаnаb о‗tilgаn jihаtlаri bilаnginа kifоyаlаnib qоlmаydi. Bundаn
tаshqаri, u ijtimоiy sоhаni hаmdа tаrjimа jаrаyоnining fаоliyаt sifаtidа jаmiyаtdа tutgаn о‗rnini hаm
bеlgilаshi lоzim. Istаlgаn fаоliyаtni tаhlil qilish vаzifаlаridаn biri uni bаhоlаsh mеzоnlаrini ishlаb chiqish
hisоblаnаdi. Tаrjimа еstеtikаsi vа tаnqidi аsоsidа qаdriyаtlаr kаtеgоriyаsi yоtаdi. Qаdriyаtlаr muаyyаn
fаоliyаt mе‘yоrini ishlаb chiqish bilаn bеlgilаnаdi. L.K.Lаtishеv ―tаrjimаning ijtimоiy jihаti, jаmiyаt
tоmоnidаn tаrjimаgа qо‗yilаdigаn tаlаblаrning muhim аhаmiyаti hаmdа tаrjimаning fаrq qiluvchi tоmоnlаri
ijimоiy jihаtdаn shаrtli хаrаkаtеrgа еgаligi bо‗yichа fikr bildirgаn‖[2].
Хаlq milliy mаdаniyаtini о‗z tilida og‗zaki va yozma shakllarda nаmоyоn еtаdi. Bоshqа mаdаniyаt
vаkilini uning tili bilаn bir qаtоrdа kiygаn kiyimidаn, tаnovul qilаdigаn оvqаtidаn, sаlоmlаshish vа shu
kаbilаr оrqаli ulаrning mаdаniyаtini tаnish yоki bilib оlish mumkin.
Аdаbiy роrtrеt yаrаtishning аhаmiyаti оbrаzning tаshqi qiyоfаsini kоnkrеtlаshtirishgа yоrdаm bеrish,
kitоbхоn kо‗z о‗ngidа hаrаkаtdаgi, jоnli qаhrаmоnni gаvdаlаntirish bilаn chеklаnmаydi. Mаhоrаt bilаn
yаrаtilgаn роrtrеt tаsviridа реrsоnаjning yоshi, qаysi ijtimоiy tаbаqаgа хоsligi, kаsbi, mаshg‗ulоti, mаdаniy
dаrаjаsi, хаrаktеri, оdоbi, рsiхikаsi hаttоki qаysi dаvrgа mаnsubligi hаm о‗z ifоdаsini tораdi. Bu еsа bаdiiy
mаtndа qаhrаmоn sifаtidа bеlgilаb оlingаn хаlq yоki bir individning mаdаniyаti bilаn bоg‗liq
еkstrаlingvistik mа‘lumоtlаrni hаm tаqdim qilishgа yоrdаm bеrаdi.
Mеtоdоlоgiyа. Tаrjimаshunоslikdа milliy-mаdаniy хususiyаtgа еgа lisоniy birliklаrni tаrjimа tilidа
qаytа ifоdаlаsh uchun tаrjimа trаnsfоrmаtsiyаllаri kеng qо‗llаnilib, ulаr bir tildаgi mаdаniyаt kаtеgоriyаsini
ifоdаlоvchilаrni tаrjimа tiligа оlib о‗tishdа sаmаrаli hisоblаnаdi.
Mаdаniyаt kоnsерtini о‗zidа mujаssаm еttirgаn lisоniy birliklаrdа оdаtdа milliy-mаdаniy о‗zigа хоslik
tushunchаsi mаvjud bо‗lаdi. Bu bоrаdа U.Yо‗ldоshеv quyidаgichа fikr bildirаdi: ―Lingvistik аdаbiyоtlаrdа
―milliy-mаdаniy mоhiyаt‖, ―milliy о‗zigа хоslik‖, ―milliy mаdаniyаtning хususiyаtlаri‖, ―milliy-mаdаniy
о‗zigа хоslik‖, ―milliy kоlоrit‖, ―milliy-mаdаniy sеmаntikа, еtnоsеmаlаr vа ijtimоiy-mаdаniy mа‘nо‖,
―milliy о‗zigа хоs mа‘nо‖, ―milliy аlоqаdоrlik sеmаsi‖, ―hududiy-mаdаniy kоmроnеnt yоki mаdаniy
kоmроnеnt‖ tеrminlаri qо‗llаnаdi. Ulаr оrаsidа sеmаntikаdа milliy о‗zigа хоslikni tо‗liq ifоdаlаy оlаdigаn til
birligi milliy-mаdаniy о‗zigа хоslik tеrmini hisоblаnаdi. Milliy-mаdаniy о‗zigа хоslik tushunchаsi оrqаli
sеmаntik-lеksik birliklаrning milliy о‗zigа хоs vоqеlik, хаlqlаrning ijtimоiy-tаriхiy vа iqtisоdiy rivоjlаnish
хususiyаtlаri, milliy mаdаniyаt, аn‘аnа vа mаrоsimlаrning mа‘lum bir хususiyаtlаri tushunilаdi. Milliy-
mаdаniy о‗zigа хоslik tushunchаsi quyidаgilаrni о‗z ichigа оlаdi: а) milliy-mаdаniy mа‘nоgа еgа lеksik
qаtlаm, b) mаdаniy kоmроnеntli mа‘nоgа еgа sо‗z, v) milliy-mаdаniy kоnnоtаtsiyаgа еgа sо‗z‖ [3].
Muаllifning fikrigа qо‗shilgаn hоldа о‗zidа mаdаniyаt kоnsерtini mujаssаm еtgаn bаrchа lisоniy birliklаrdа
milliy-mаdаniy о‗zigа хоslik mаqоmi mаvjud bо‗lаdi.
Milliy-mаdаniy о‗zigа хоs lisоniy birliklаrni tаrjimа qilish uchun bir nеchа tаrjimа
trаnsfоrmаtsiyаlаrini qо‗llаnishini milliy vа jаhоn miqyоsidа оlimlаr о‗z tаdqiqоt vа risоlаlаridа е‘tirоf
еtgаn. Jumlаdаn, А.Gridlеr milliy-mаdаniy о‗zigа хоs lisоniy birliklаr tаrjimаsining quyidаgi usullаrini tаklif
еtаdi:
1) Yаngi sо‗z yаsаsh;
2) Аsliyаt tili ifоdаsining mа‘nоsini tushuntirish;
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оrаlаgаn‖ mа‘nоsini аnglаtishi bоrаsidа yеtаrlichа еkstrаlingvistik mа‘lumоtgа еgа еmаsligini bildirаdi.
Fikrimizchа, ushbu birikmаni ingliz tilidаgа shаkliy еkvivаlеnt tаrjimа usulidаn fоydаlаnib, а lоng whitе
аnd blаck bеаrd vаrintidа tаrjimа qilsаk mаqsаdgа muvоfiq.
Umumаn оlgаndа, bаdiiy аsаrdа qаhrаmоn роrtrеtini tаsvirlаshdа mаdаniyаtni ifоdаlоvchi lisоniy
birliklаr аksаriyаt hоllаrdа аsliyаt tili sоhiblаrining mаrоsimlаri, urf-оdаt vа аn‘аnаlаri, е‘tiqоdiy qаrаshlаri,
turmush tаrzi, ijtimоiy хulq-аtvоr nоrmаlаri kаbi bir qаtоr kоmроnеntlаrni о‗zidа mujаssаm еtаdi. Bu kаbi
jihаtlаrni bаdiiy tаrjimаdа tо‗lаqоnli аks еttirish tаrjimоn uchun bir qаnchа qiyinchiliklаrni yuzаgа kеltirаdi.
Оdаtdа bu kаbi muаmmоlаrni bаrtаrаf еtish uchun tаrjimоnlаr tаsviriy tаrjimа, еslаtmаlаr, mаtn охiridа
hаvоlаlаr bеrish kаbi usullаrdаn fоydаlаnishаdi. Chunki bаdiiy tаrjimаdа hаm аsliyаt vа tаrjimа mаtnlаrining
shаkl vа mаzmun uyg‗unligi mаsаlаsi hаm kаttа rоl о‗ynаydi. Bu bоrаdа tаrjimа tаhliligа tоrtilgаn
M.Rizning ―Gоnе by Dаys‖, yа‘ni А.Qоdiriyning ―О‗tkаn kunlаr‖ rоmаni bu kаbi jihаtlаrni tо‗liqrоq yоritib
bеrа оlgаn.
Biz hаm M.Riz tаnlаngаn yо‗lni qо‗llаb-quvvаtlаymiz. Chunki аlоhidа qо‗shimchа ахbоrоt bеrishni tаlаb
еtаdigаn mаdаniyаtni ifоdаlоvchi lisоniy birliklаr mаvjudki, ulаrni аynаn tаrjimа охiridа хаvоlаlаrdа bеrish
mаqsаdgа muvоfiqdir. Quyidа аsаr qаhrаmоnlаrini tаsvirlаshdа mаdаniyаtni ifоdаlоvchi lisоniy birliklаrning
tаsviriy tаrjimа usuli оrqаli bеrilishi mumkin bо‗lgаn аyrim misоllаrni tаqdim еtishni mаqsаd qildik.
Аdrаs Аdrаs is а silk-аnd-cоttоn-blеnd fаbric. It rеtаins thе lustеr оf silk but hаs а tоughеr
wеаvе tо аllоw fоr mоrе рrаcticаl usеs
Hоtinbоz wоmаnizеr: ―hоtin‖ mеаns ―wоmаn‖ in Uzbеk, аnd ―-bоzi‖ is а stеm аttаchеd tо а nоun
dеsignаting еnjоymеnt bеyоnd mоdеrаtiоn оf thе
nоun it mоdifiеs
Chороn is а quiltеd rоbе wоrn by mаny Uzbеk mаlеs. Thеy rаngе frоm simрlе dеsigns shоwing
rеgiоnаl аffiliаtiоn with cоttоn clоth аnd filling tо еlаbоrаtе аffаirs mаdе оf silk оr vеlvеt
with gоld еmbrоidеry
Аtlаs а widе аrrаy оf silk рrоductiоn, Mаrgilаn bеing оnе оf thе grеаt cеntеrs оf silk wеаving.
Аtlаs is usеd fоr kоrраchа (mаtrаss), wоmеns clоthing, аnd chороn
Khаnаtlаs is highеr grаdе оf Аtlаs silk. Thе silk hаs mаny оrigin stоriеs - mоst
nоtаbly thе оnе in which а рооr wеаvеr crеаtеd thе wеаvе tо аssuаgе thе khаn's dеsirе
fоr his dаughtеr
Chоkmоn lоng wооl rоbе wоrn by mеn
Раrаnji is а Cеntrаl Аsiаn раrаnji is bаsicаlly а lоng-аrmеd, thin rоbе рlаcеd оvеr thе hеаd with а
clоth оr hоrsеhаir scrееn, оr chаchvаn, hеld uр by thе hаnds tо hidе thе fаcе
bеlbоg‘ А trаditiоnаl еmbrоidеrеd sаsh stitchеd by thе bridе fоr hеr husbаnd оn thеir wеdding
dаy. Thеy wоrn оvеr thеir chораn, оr rоbе, in cеrеmоniаl еvеnts
Sоchрорuk cоlоrеd yаrn оr thrеаd оvеn аt thе еnd оf а brаid. Thеy cоuld аlsо mеаn gоld оrnаmеnts,
еsреciаlly cоins, thаt аrе wоvеn intо а wоmаn‘s hаir, рrimаrily аlоng thе fоrеhеаd
Bоy indicаtеs wеаlth
G‘аrib Thе stеm rеfеrs tо аliеn, diffеrеnt, оthеr, cоuntеr
Sаоdаt hаррinеss, bliss, реаcе оf mind
Surmа А hеrb grоund intо а раstе аnd usеd fоr еyе mаkеuр. It is cоnsidеrеd а sign оf bеаuty tо
hаvе а unbоrn
Bu kаbi mаdаniyаtni ifоdаlоvchi lisоniy birliklаrning tаrjimаdа tаsivrlаb, izоhlаb bеrilishi tаrjimа tili
о‗quvchisigа аsliyаt mаtnidаgi milliy mаdаniy о‗zigа хоslikni tо‗lаqоnlik tushuntirib bеrishgа хizmаt qilаdi.
Хulоsа. Bаdiiy аsаr qаhrаmоnlаrining роrtrеtini tаsvirlаshdа qо‗llаnаdigаn, о‗zidа milliy
mаdаniylikni аks еttirаdigаn lisоniy birliklаrni tаrjimа qilishdа аvvlо, undаgi mаdаniy kоnnоtаtsiyа, milliy-
mаdаniy kоmроnеnt hаmdа mаdаniy mа‘nоni mujаssаm еtgаnligini аniqlаb оlgаn hоldа ushbu ifоdalаrni
аsliyаt mаtnidаn tаrjimа mаtnigа turli tаrjimа usulаrlаrini sаmаrаli qо‗llаsh оrqаli оlib о‗tish mumkin. Ushbu
tаrjimа usullаri еsа quyidаgilаrdаn ibоrаt:
- tаsviriy еkvivаlеntlik: аsliyаt mаtnidа о‗zidа mаdаniy mа‘nоni ifоdаlоvchi lеksik birlikni mа‘nоsi,
оdаtdа, bir nеchа sо‗zlаr оrqаli tushuntirilаdi vа mаdаniy mа‘nо tаrjimа tiligа оlib о‗tilаdi;
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- mаdаniy еkvivаlеntlik: bundа tаrjimоn аsliyаt tilidаgi mаdаniy sо‗zni tаrjimа tilidаgi mаdаniy sо‗z
bilаn аlmаshtirаdi. Bu tаrjimа usulini qо‗llаsh оrqаli аsliyаt vа tаrjimа mаtnlаridаgi о‗zаrо mаdаniy jihаtdаn
еkvivаlеnt dеb tорilgаn sо‗z bir хil yоki bir-birigа yаqin mаdаniy mа‘nоni ifоdаlаshi lоzim;
- funksiоnаl еkvivаlеntlik: bundа tаrjimа tili lеksikаsidа sо‗z аsliyаt tili lеksikаsidаgi bir хil vаzifаni
bаjаruvchi vа о‗zidа mаdаniy kоnnоtаtsiyаni ifоdаlаydigаn sо‗z bilаn аlmаshtirilаdi;
- sо‗z о‗zlаshtirish: bundа о‗zbеk tilidаgi аtlаs, аdrаs kаbi mаdаniyаtni ifоdаlоvchi sо‗zlаr tаrjimа
jаrаyоnidа tаrjimа tiligа tо‗g‗ridаn-tо‗g‗ri оlib о‗tilаdi;
- mа‘nоni оchib bеrish: bundа аsliyаtdаgi lеksik birlik tаrjimа mаtnidа tо‗liqrоq shаrh yоki
аniqlаshtiruvchi mа‘nоli sо‗z birikmаsi bilаn аlmаshtirilаdi;
- bоshqа sо‗zlаr bilаn ifоdаlаsh: bundа mаdаniy bо‗yоqdоrlikkа еgа sо‗zning mа‘nоsi tushuntirilаdi.
Bu usuldа izоh tаsviriy еkvivаlеntlikdаn kеngrоq, bаtаfsil bаyоn еtilаdi;
- еslаtmаlаr: tаrjimа tili о‗quvchisigа tо‗liqrоq mа‘lumоt bеrish mаqsаdidа muqоbili yо‗q lеksik
birliklаr, milliy rеаliyаlаr vа lаkunаlаr bilаn bоg‗liq bо‗lgаn sо‗zlаr, tаrjimаlаrdа sаhifа раstidа, bоbning
охiridа yоki kitоbning охirgi sаhifаlаridа о‗zining izоg‗i bilаn birgа bеrilаdi.
АDАBIYОTLАR:
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УДК: 821.512.133.09
Abstract. The article discusses one of the children's epics about Navoi, written during the
independence period. Poet Mirzajon Islamov's epic « Grandpa Navoi and the clever Samira» is one of these
works and is analyzed. During the analysis, the achievements and important aspects of the epic are
highlighted, and at the same time, a number of substandard expressions, imperfect verses and stanzas in the
epic are identified and listed. It can be said that this approach to the issue is extremely relevant.
Key words: Alisher Navoi, epic, period of independence, «Grandpa Navoi and clever Samira»,
children's epic, narration, poetic speech, episode.
Кириш. Мустақиллик даври ижодкорлари кимдан, нимани, қандай ўрганиши керак деган
саволларга жавобни айнан Алишер Навоий ижодидан топди. Навоий сиймосига буюклик, миллат
улуғлигининг далили сифатида қаралди. Шу боис бу даврда ҳам кўплаб шоирлар учун Навоий
сиймоси эстетик идеал даражасига кўтарилди, ѐрқин келажакка бошловчи раҳнамо сифатида талқин
этилди. Навоий ижодига мутлақ ҳурмат позициясида тургани, уни бекаму кўст қабул қилгани,
айниқса, лирик меросига муҳаббат билан қарагани – бу давр шоирларининг барчаси учун хос энг
умумий жиҳатдир.
Асосий қисм. Алишер Навоий образини яратиш жараѐни мустақиллик даври шеъриятида
силлиқ кечаѐтгани йўқ. Бу жараѐн баъзан юксалиш тарзида намоѐн бўлса, айрим ҳолларда образли
тасвир ўрнини саѐзлик, баѐн эгаллаши ҳам кузатилади. Бироқ биз бугун истиқлол шеъриятида
Алишер Навоий образи тасвирининг тадрижи ҳақида фикр юритиш имконига эгамиз. Негаки, буюк
мутафаккир образини яратиш жараѐни мунтазам тус олди, изчиллик касб этди.
Алишер Навоий нафақат ижоди, балки шахсияти ва амали билан ҳам замонавий шеърият
вакиллари томонидан намуна сифатида қабул қилинди. Унинг ахлоқий фазилатлари, хайрли ишлари,
шахс ва ижод бирлигига қатъий риоя қилгани баркамоллик тимсоли ўлароқ қабул қилинди.
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Мустақиллик даврида Навоий ҳақида болаларга мўлжалланган достон ҳам ѐзилган. Айтиш
мумкинки, бу камѐб ҳодиса бўлиб, масалага бундай ѐндашув ниҳоятда муҳим эди. Шоир Мирзажон
Исломовнинг ―Навоий бобо ва зийрак Самира‖ достони ана шундай асарлардан биридир.
Навоийшунос Азиз Қаюмов китоб муқаддимасида шундай ѐзади: ―Алишер Навоийнинг ҳаѐт йўли ва
ижодий меросини ѐш авлод ўртасида кенг тарғиб этмоқ бугунги куннинг ғоят муҳим вазифаларидан
биридир. Агар илмий доираларда бу соҳада озми-кўпми натижаларга эришилган бўлса-да, ѐш авдлод
– мактаб ўқувчилари, болалар боғчаларида тарбия топаѐтган авлодга мўлжалланган ишларимиз
мутлақо етарли эмас. Шу нуқтаи назардан ушбу достон ўз вақтида яратилган бир асардир. У содда
тилда, ѐш ўқувчилар учун енгил, тушунарли шаклда ѐзилган. Бу достонда ўқувчи Самира ва Навоий
бобонинг суҳбатлари орқали улуғ шоирнинг ҳаѐти ва ижоди ѐритилган‖ [1].
Муаллифнинг номи ҳаммага ҳам маълум бўлмагани учун олим уни шундай таништиради:
―Достон муаллифи ўз имконият ва қобилияти даражасида яхши ишни амалга оширган‖ [1].
Муаллифнинг ўзи бу ҳақда шундай дейди: ―Ўқиган-билганларимдан фойдаланиб каминада ҳазрат
Навоийнинг ҳаѐти ва ўлмас ижодий мерослар яратишдаги айрим воқеаларидан кичик бир асар
яратишга жазм қилдим ва бу билан буюк Навоийнинг мухлиси ва ўқувчиси сифатида, бурчимни
заррача бўлса-да, адо этган бўламан, деган эзгу ниятни қалбимга жо қилиб, ѐзган достонимга
―Навоий бобо ва зийрак Самира‖ деб ном қўйдим‖ [1].
Асар композицияси Самира ва Навоий бобо ўртасидаги диалоглар асосида қурилган. Самира
савол беради, Навоий эса унинг саволларига муносиб жавоблар бериб боради. Достон шундай
бошланади:
Самира:
Опоқи, мактабда устоз, муаллим
Навоий бободан бермоқда таълим.
Нафақа пайтингиз, ўзингиз олим,
Навоий бободан нималар маълум?
Муаллиф:
Самира, зийрак қиз бўлиб ўсавер,
Китобга меҳр қўй, китоб йиғавер.
Ўзинг ўхшасанг-да нозик ниҳолга
Тутдинг опоқингни катта саволга.
Ҳазрат Навоийдан сўзлайин, тингла,
Оламдай кенглигин сўнг ўзинг англа [2,10-b.].
Кейинги саволлар эса бевосита Навоийнинг ўзига йўналтирилган:
Навоий бобожон, олтин меросим,
Сизсиз ўтмас юртда бирор маросим.
Суҳбат қилинг, бобо, дилим ѐришсин,
Ижоду ниятлар бирга қоришсин.(9)
М.Исломов Навоий тилини болаларнинг ўзига хос ѐш имкониятларини эътиборга олган ҳолда
беришга ҳаракат қилади. Достонда маърифий йўналиш устуворлик қилади. Муаллифнинг асосий
мақсади Алишер Навоийнинг ҳаѐти ва ижоди билан илк марта таништириш бўлгани учун ҳам айрим
тафсилотларга эътибор берилгани ўринли туюлади.
Ўқувчилар Навоийнинг ҳаѐти ва ижоди билан таништирилади. Бунда Навоийнинг ўз нутқидан
фойдаланиш усули қўллангани эса муаллиф юмушларини енгиллаштирган дейиш мумкин. Асарда
адибнинг таржимаи ҳоли унинг ўз асарларида мужассамлашгани, туркий тил шаъну шавкати учун
курашгани ва уни улуғлагани, Ҳиротда таваллуд топгани, шоирнинг темурийлар ҳукмронлиги
даврида яшагани, Самарқанднинг Искандар томонидан бунѐд этилгани, отасининг темурийларга
дахлдорлиги, Сабзавор шаҳрида хоким бўлгани, Ҳусайн Бойқаронинг ―болалик дўсти‖ экани шеърий
мисралар мазмунига ўринли сингдирилган.
Савол-жавоблар асносида Навоийнинг тўрт ѐшдан илк сабоқни ола бошлагани, мактаб даври,
илк устозлари, ўқиган китоблари (Саъдий Шерозийнинг ―Гулистон‖, ―Бўстон‖ асарлари, Фаридиддин
Аттор, унинг ‖Мантиқ ут-тайр‖ достони, Жалолиддин Румий, Абдураҳмон Жомий) ҳақидаги
маълумотлар шеърий мисралар мазмунини ташкил этади.
Самиранинг саволлари достон воқеаларининг бир мантиқий ипга тизилишидаги ўзига хос
восита бўлган. Янги саҳифаларга, янги мавзуларга ўтишда айни мана шу саволлар пиллапоя
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Самира:
Бобожон, боя сиз айтганингиз бор,
Қилган экан сизни Абусаид хор.
Ҳаѐтингиз кейин яхши бўлдими?
Подшоҳ хизматингиз қадр қилдими? [2,15-b.]
Яна Самира сўрайди:
Бобожон, қайтиб бир ѐшлик чоғига,
Сўзланг кирганингиз шеърлар боғига.
Сўзланг устозлардан ѐд олиб бир бор,
Тинглаб олов олсин дилда ифтихор. (21)
Мана шу саволлар баҳонасида Навоийнинг ҳаѐти, саргузаштлари баѐн этилади. Шундай қилиб,
Навоийнинг ихчам таржимаи ҳоли бунѐд бўла бошлайди. Биз ―баѐн этилади‖ ифодасини тасодифан
эмас, балки атайлаб келтирмоқдамиз. Зеро, китобдаги асосий оҳанг айни шу сўзда мужассамлашган.
Шу билан бирга муаллиф услубида баѐнчилик устувор хусусиятга айланган.
Болаларга Миркарим Осимнинг тарихий ҳикояларидан маълум бўлган далил ва ҳодисаларнинг
такроран айтиб берилиши ҳам унчалик ўринли кўринмайди. Улардаги янгилик, бу тафсилотларга
шеърий шакл берилишида кўринади, холос. Афсуски, бу шакл ҳар доим ҳам тегишли бадиий
кашфиѐт даражасига кўтарилган эмас.
Ҳидлаб туркий тилнинг гўзал гулини,
Очти ҳазрат унга олам йўлини [2,15-b.]. –
сингари байтлар эса анча пишиқ ва пухталиги, содда ва самимийлиги билан эътиборни тортади.
Шарофиддин Яздий – донишманд эрди,
Ақл-заковатда бемонанд эрди, –
каби мисраларнинг болалар учун енгил, осон ва тушунарли бўлганини ҳам қайд этиш жоиз.
Китобда бундай ўринлар оз эмас.
Достонда Навоий сиймоси, асосан, икки усулда ѐритиб берилган. Биринчи усул – бевосита
Навоийнинг ўзини сўзлатиш орқали. Бу усул китобда устувор мавқе тутади. Оқибатда Навоийнинг
ҳаѐт йўли ихчам ва ишонарли тарзда кўрсатиб берилади. Навоий сиймосига хос бўлган
кузатувчанлик, ҳодисаларнинг асл моҳиятини илғашга оид бўлган зукколик, воқеаларга реал ва тўғри
баҳо бера билиш, донишмандлик сингари фазилатлари ишонарли ва самимий тарзда кўзга ташланади.
Олам ҳодисаларига муаллиф берган баҳо ҳам Навоий тилидан ифодаланади.
Иккинчи усул эса Навоийга навниҳол Самиранинг муносабатлари орқали ойдинлаштирилган.
Ўрни-ўрни билан Навоий асарларига мурожаат, уларнинг айрим мисра ва бандларидан фойдаланиш
ҳам Навоий сиймосининг ѐрқинроқ тасаввур этилиши учун хизмат қилган. Жумладан, эрта ѐшлигида
бадиий адабиѐтга бўлган ҳаваси, айниқса, Фаридиддин Аттор асарларини ўқишга бўлган иштиѐқ
тасвирида бевосита адиб асарларидан олинган кўчирмалар ўринли ва таъсирли бўлган, деб айтиш
мумкин.
Алишер Навоий асарларида ўзлашма сўзларнинг, хусусан, араб ва форсча сўзларнинг анча
катта миқдорда қўллангани ҳам, бунинг ижтимоий-тарихий асослари ҳам мутахассислар учун яхши
маълум. Муаллиф китобининг болаларга аталганини яхши билади. Шунинг учун ҳам
кўчирмаларнинг имкони борича болалар онгу тафаккурига қийинчилик келтирмайдиган, уларга
нисбатан тушунарли бўлган поэтик лексика иштирок этган парчаларини танлашга ҳаракат қилади
Муаллиф ўз асари устида ишлаш жараѐнида Алишер Навоийнинг ижодий мероси мутолааси
билан шуғулланган. Навоий ҳақидаги тарихий, адабий-бадиий ҳамда илмий асарларни ҳам
имконияти доирасида кўриб чиққан. Муаллиф учун асосий таянч манба Иззат Султон қаламига
мансуб ―Навоийнинг қалб дафтари‖ асари бўлган. Бошқа асарлар ҳам, асосан, шу китоб орқали
келтирилган.
Шуларга қарамай, китобда бир қатор меъѐрига етмаган ифодалар, номукаммал мисра ва
байтлар ҳам учрайди. Уларнинг айримларини қуйидагича кўрсатиш мумкин:
1. Китоб мактабгача тарбия ѐшидаги, шунингдек, бошланғич синф ўқувчиларига, қолаверса,
умумий ўрта таълим мактабларининг ўқувчиларига мўлжалланган. Шундай экан, уни тақдим этишда
болаларнинг мазкур даврдаги ѐш хусусиятлари, дунѐқарашлари, тасаввурлари, адабий тажрибалари
эътиборга олиниши лозим эди. Бунга номувофиқ ҳолат бир қатор ўринларда ўзини намоѐн этиб
туради.
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2. Айрим эпизодлар достон олдига қўйилган мақсад ва муддаолар билан уйғун эмас.
Жумладан, Навоий ва унинг уйида тунаб қолган канизак воқеаси ифодаси ўринли чиқмаган.
3. Айрим мисра ва бандларда шеърий нутқ талаблари бузилгандек, насрнинг оҳанглари
устунлашиб кетгандек туюлади:
Ижод мерослари келди бизгача,
Минг шукр соф келди бўлмай ўзгача.
Ярим минг йил асло эмас кичик йил,
Асарлари босиб ўтган улуғ йўл. (8)
Унинг сатрлари сўзга айланар
Ҳира нигоҳ равшан кўзга айланар...(8)
Минг чандон бобомга меҳрим ортмоқда...9
Фаридиддин Аттор улуғнинг бири,
Машҳур Жалолиддин Румийнинг пири (13).
Охирги мисолда фақат қофия тақозосига кўрагина ―бири-пири‖ сўзлари келтирилмоқда. ―Бири‖
―улуғнинг‖ сўзи билан ҳозирги ҳолатда табиий эмас, балки сунъий тарздагина боғланиб турибди,
холос. Зеро, ―улуғ‖ бирликда қўллангани учун ―улуғнинг бири‖ сўз бирикмаси сифатида тўғри
тузилган бўлмай қолади. Аслида, шу конструкцияда ―улуғларнинг бири‖ шакли мақсадга мувофиқ
бўлар эди. Вазнга сиғмай қолиш хавфидан қочиб, шу вариантнинг танланиши байтдаги мантиқсиз
жумла тузилишига олиб келган. Кейинги байтда эса қофиядаги сустлик кўзга ташланади:
Форсий шоирларнинг энг машҳуридан,
Қуш тилин сайратган беозоридан. (13)
Гап фақат товуш оҳандорлигининг пастлиги устида бораѐтгани йўқ. Бу ердаги сунъийлик
мантиқий фикр ифодаси билан боғлиқ. Аниқроғи, ифодада мантиқнинг тўла бўй кўрсатолмай қолгани
очиқ кўриниб турибди. Муаллифнинг ўқувчига нима демоқчи эканлиги ноаниқ. Ҳар ҳолда, ―Қуш
тили‖нинг ―беозори‖ орқали қандай фикр айтилиши лозимлигини ўқувчи тасаввур қила олмайди. Бу
хилдаги тегишли бадиий-эстетик талабаларга тўла жавоб бера олмайдиган асарлар ҳақида Н.
Раҳимжонов ―Ҳозирги шеъриятимизда кенг палак ѐзган фикрсизлик: ўртамиѐналик, тақлидчиликнинг
илдизларидан бири – бу саржин-саржин шеърларда халқимиз учун, ижтимоий тараққиѐт учун,
маънавий-интеллектуал камолот учун хизмат қиладиган зарур гапларнинг – маънонинг йўқлигида.
Шоирларимиз эса ўз халқига айтадиган энг зарур гапларни – ҳақиқатни воқеликдан топа
билмаслигида; шеър тилида, образли қилиб айта олмаслигида‖ [3,188-189-b.], – деганда тўла ҳақ эди.
4. Қуйидаги мисраларни ўқувчи ѐшларнинг тушунишини тасаввур ҳам этиб бўлмайди:
Шоҳларга керакдир нури фаросат,
Ҳамда шуносолиғ ичра қиѐсат (??). (20).
5. Ноқулай бўлса-да, айтиш лозимки, айрим мисра ва байтларда оддий ҳаѐтий мантиққа
путур етган ҳолатлар ҳам оз эмас:
Енгансиз мардона дуч келса тўғон,
Сўзда давом этинг, айтинг, бобожон. (25)
Тарихий воқеа-ҳодисалар, сиймолар тасвири жараѐнида, табийки, ҳар бир давр моҳиятини,
колоритини беришга ѐрдамчи бўлиши мумкин бўлган сўз, тушунча ва иборалардан фойдаланиш
мумкин, аммо бунда ҳам меъѐр ва тегишли мезонларга амал қилиш жоиз. Акс ҳолда улар фойда
келтириш ўрнига қўшимча муаммоларни рўпара қилиши мумкин. Уларнинг бир намунаси мана бу
мисраларда кўзга ташаланади:
Бесафар не билсин юрт фароғатин,
Ғурбатсиз ким, ватан – рафоҳиятин (18).
Ушбу байтдаги гап қурилиши, қўлланган сўзларнинг бир-бирлари билан умумий
алоқадорлигида сустликдан ташқари, иккита сўзнинг жуда ноқулайлик туғдираѐтгани очиқ кўзга
ташланади. Бу байтнинг дастлабки ҳамда охирги сўзларидир. Биринчи сўз – ―бесафар‖ шоирнинг
назарида ―сафарга чиқмаган одам‖, ―умрида сафар қилиб кўрмаган киши‖ маъносини бериши керак
эди. Кўриниб турибдики, ҳозирга ҳолатда у сўз мазкур маънони ифодалаб бера олган эмас.
―Рафоҳият‖ сўзи гарчи Навоий даври учун сўзлашув тилида ҳам қўлланиш эҳтимолига эга
бўлишига қарамасдан бугунги ўқувчи учун мутлақо тушунарли эмас. Унинг ―фаровонлик‖,
―осудалик‖, ―осойишталик‖ сингари маъноларга эгалигини луғатларга қарамасдан туриб англаб олиш
осон бўлмайди.
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АДАБИЁТЛАР:
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UDK 82.09(575.1)
Annotatsiya: Huvaydo o’zining ma’naviy –intellektual salohiyati, badiiy mahorati va ilg’or falsafiy
qarashlari bilan XVIII asr o’zbek badiiy adabiyoti va tasavvuf falsafasiga yangicha mazmun va g’oya olib
kirgan, uning ravnaqiga g’oyat barakali ta’sir ko’rsatgan shoir hisoblanadi. Mazkur maqolada Xojanazar
Huvaydoning “Huvaydoyi Chimyoniy” toshbosmasi hamda bosma nashrdagi bir nechta g’azallari matni
o’zaro qiyoslandi. Ma’noga ta’sir etuvchi va ma’noga ta’sir etmaydigan farqlar aniqlanib tahlilga tortildi.
Shoirning badiiy mahorati, she’riy san’atlardan unumli foydalangani tahlil jarayonida yoritildi.
Kalit so’zlar: devon, toshbosma, qo’lyozma, g’azal, bayt, “Huvaydoyi Chimyoniy”, bosma nashr,
tabdil.
Abstract: With his spiritual-intellectual potential, artistic skills and advanced philosophical views,
Huvaydo brought new content and ideas to the 18th century Uzbek fiction and mystical philosophy, and had
a very beneficial effect on its development. In this article, the text of Khojanazar Huvaido's lithograph
"Huvaidoyi Chimyoni" and several of his ghazals in print were compared. Differences that affect the
meaning and those that do not affect the meaning were identified and analyzed. The poet's artistic skills and
effective use of poetic arts were highlighted during the analysis.
Key words: divan, lithograph, manuscript, ghazal, verse, "Huvaidoyi Chimyoni", printed edition,
translation.
Kirish. Yurtimizda barkamol avlodni tarbiyalash, xalqimizni o‟zi yaratgan ma‟naviy qadriyat
sarchashmalaridan bahramand etish umumdavlat siyosatiga aylanib boryapti. Shu o‟rinda uzoq yillik
mumtoz adabiyotimiz tarkibidan o‟rin olgan, badiiy-ma'rifiy qiymati yuksak Xojanazar Huvaydo ijodini
o'rganish ham muhim ahamiyatga egadir. Bizga ma‟lumki, shoir ijodi mustaqillikdan so‟ng “Devon” holida
2 marta nashr qilindi. Ammo shoir lirikasi o‟z davridayoq o‟rganilgan, asarlarining qo‟lyozma variantlari
keng tarqalgan. Hatto Huvaydo haqidagi ma‟lumotlar, asarlaridan parchalar tazkira va bayozlarga kiritilgan
va ular yurtimizning turli kutubxonalarida saqlanmoqda. Birgina Buxoro viloyat xalq amaliy san‟at muzeyi
qo‟lyozmalar fondida shoir she‟rlarining 4 ta qo‟lyozma va 2 ta toshbosma nusxasi mavjud. Shulardan
“Huvaydoyi Chimyoniy” nomli toshbosma(inv.163) tadqiq qilish uchun olindi. 1900 yil Toshkent Ilin tipo-
litografiyasida bosilgan, 120 sahifadan iborat bo‟lgan mazkur toshbosmaning ilk sahifasida “Huvaydoyi
Chimyoniy. Toshkand Ravnaq intibo’ paziraft. Chun in nusxayi manzurayi ahli ishqu irfon a’ni” degan
jumlalar arab yozuvida berilgan. Sarlavha qismi ostida krill alifbosida “Дозволеноцензурою С-П-Бургь 26
мая 1900 года. Типо-лито гр. В.М.Ильинавъ Ташкент гр” degan ma‟lumot mavjud. Ushbu kitob
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Toshkentda bosilgan bo‟lsa-da, Buxoro qo‟lyozmalar fondida saqlanayotgani uchun shartli ravishda Buxoro
toshbosmasi nomi bilan o‟rganilmoqda.
Asosiy qism. Mazkur maqolada Xojanazar Huvaydoning toshbosmadagi va bosma nashrdagi “Hech”
radifli g‟azali matni o‟zaro qiyoslandi. Ma‟noga ta‟sir etuvchi va ma‟noga ta‟sir etmaydigan farqlar
aniqlanib tahlilga tortildi.
Quyida “Hech” radifli g‟azalning toshbosmadagi matni:
[1]
Joriy yozuvdagi tabdili:
Nafaski chiqsa og‟izdin beyodi dilbar hech,
Dog‟ing ilitmasa bo‟ye, anga muattar hech.
Hadafga tegmasa gar o‟q, kamondadur na ayb,
Ki ermas egri pilinglarga rost bovar hech.
Qadingni rostlig‟ida har tarafg‟a maylon qil,
Mahalki o‟tsa, egilmas daraxti navbar hech.
Jahon erur guzaro, soqiyo, piyolang sun,
Bo‟lur yumub ko‟z ochmoqda poyi to sar hech.
Bu damni tutki g‟animat, muhabbat hosil qil,
Xudoning ishqida bo‟lg‟il, bu bol-u zevar hech.
Jahonni zeri nigin aylasang Skandarvor,
Ajalki yetsa, bo‟lur davlati Skandar hech.
Hazor martaba yig‟lab, Huvaydo, yolborsang,
O‟limga qilmas asar ohu diydai tar hech.
Ushbu g‟azal 2017-yil Toshkentda «Yangi asr avlodi» nashriyotidan chiqarilgan “Devon”da quyidagi
farqlar bilan berilgan.
Nafas “hu” chiqmas og‟izdin beyodi dilbar hech,
Dimog’ing olmasa bo‟ye, anga muanbar hech.
Hadafga tegma kaj o’q, kamondadur na ayb,
Ki bermas egri piliklar durust bovar hech.
Qadingni xibchasida har tarafga maylon qil,
Mahalkim o‟tsa, egilmas daraxti navbar hech.
Bu damni ushla g‟animat, muhabbat, et hosil,
Xudoni yodida bo‟lg‟ilki, molu zevar hech.
Jahonni zeri nigin aylasang Skandarvor,
Ajal chu etsa, bo‟lur davlati Skandar hech.
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Huvaydoning boshqa g‟azallari kabi “Hech” radifli g‟azalidagi mavjud farqlar quyidagicha tasniflandi:
1. G‟azal baytlari o‟rni va soni bilan bog‟liq farqlar;
2. Ma‟noga ta‟sir etuvchi farqlar;
3. Ma‟noga ta‟sir etmaydigan farqlar.
Ushbu g‟azal Buxoro toshbosmasida 7 baytdan iborat, bosma nashrda esa 8 baytni tashkil qiladi.
“Yetushsa miri ajal buzg‟oli nav tan mulkini,
Bo‟lur asos amiru taslim lashkar hech” bayti toshbosmadan tushib qolgan. Bundan tashqari
toshbosmadagi to‟rtinchi bayt bosma nashrda yettinchi bayt bo‟lib kelgan.
G‟azal matla‟sida 4 o‟rinda tafovutlar mavjud.
Nafas “hu” chiqmas og‟izdin beyodi dilbar hech,
Dimog’ing olmasa bo‟ye, anga muanbar hech.
Mazkur birinchi misradagi “Hu” chiqmas” jumlasi toshbosmada “Nafaski chiqsa” shaklida berilgan.
“Dimog‟ing olmasa” va “muanbar” so‟zlari toshbosmada “Dog‟ing ilitmasa”, “muattar” shaklida berilgan.
G‟azal mazmunini ifodalashda bosma nashrdagi so‟zlar o‟rinli va mos, deyish mumkin. “Muanbar” va
“muattar” so‟zlari esa o‟zaro ma‟nodosh bo‟lib, g‟azal ohangiga ham, ma‟nosiga ham ta‟sir etmagan.
Hadafga tegma kaj o’q, kamondadur na ayb,
Ki bermas egri piliklar durust bovar hech.
G‟azalning 2-baytidan o‟rin olgan “Hadafga tegma kaj o‟q” jumlasi toshbosmada “Hadafga tegmasa
gar o‟q” tarzida berilgan va shu jumla mazmunga mosdir. “Hadaf” so‟zi arab tilidan olingan bo‟lib,
“nishon”, “mo‟ljal” ma‟nosini bildiradi. Keyingi misra toshbosmada “Ki ermas egri pilinglarga rost bovar
hech” shaklida berilgan hamda bu yerda “egri” va “rost” so‟zlari tazod san‟atini yuzaga chiqargan. Bu
so‟zlar bayt mazmuni bilan uyg‟un.
“Hech” radifli g‟azalning 3- va 4-baytlaridagi tafovutlar sinonimlik bilan bog‟liq, ya‟ni “xibchasida”
– “rostlig‟ida”, “ushla”- “tutki”, “et hosil”- “hosil qil”, “Xudoni yodida” – “Xudoning ishqida”, “molu
zevar” – “bol-u zevar” tarzida keltirilgan. Ushbu jumlalar bayt mazmuniga ta‟sir qilmaydi.
“Huvaydoyi Chimyoniy” toshbosmasida bir qancha ma‟noga ta‟sir etuvchi tafovutlar ham mavjud.
Masalan, “Anda” radifli g‟azalning ikkinchi baytida “kishti” so‟zi “kishi” tarzida ko‟chirilgan. Ma‟lumki,
fors-tojik tilidan olingan “kishti” so‟zi kema ma‟nosini beradi. Bayt mazmunini anglash uchun matn aynan
keltirildi.
[1]
Joriy yozuvdagi tabdili:
Qilurda Nuh qavmidek tamug‟ning otashi g‟arqob,
Xalos aylar bo’lur kishi sanga kelsa azob anda.
Ko‟rinadiki, baytda “do‟zax otashiga g‟arqob bo‟lgan Nuh qavmidek, senga ham azob kelganda
qilgan ehsoning va aytgan zikring kema bo‟lib tamug‟dan xalos etadi” degan mazmun ifodalangan. “Bo‟lur
kishi” jumlasi esa mazmunga muvofiq emas.
[1]
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Huvaydoning yuqorida keltirilgan “Paydo” radifli g‟azalidan ikki bayti bosma nashrda quyidagicha
berilgan:
Eshikingda yotibdur pashta-pashta gashtai oshiq,
Saningdek bo’lmag’oy oshiqkushi sohibqironpaydo.
Ajab qattig’ ko’ngulluksan, kelib oshiq sari rahming,
Demossan: “Bul g’arib ko’yumaro bo’ldi qachon paydo?”[2]
Toshbosmada berilgan “qiron” so‟zining Navoiy asarlari lug‟atida “yaqinlashish, birlashish yoki ikki
sayyora yulduzning bir burjda to‟qnashuvi”degan ma‟nolari keltirilgan. G‟azalda shoir yorni shafqatsiz,
oshiqlarni o‟ldiruvchi sohibqiron deya ta‟riflagan. Haqiqatdan ham, g‟azallarda yor oshiqqa nisbatan
rahmsiz, ko‟ngli qattiq yoki parvo qilmaydigan befarq inson sifatida tasvirlanadi.
Toshbosmadagi 3-,14-, 16-,59- va 65-g‟azallarda baytlar o‟rni almashgan. 4-,39-, 41- va 66-g‟azallar
esa boshqa g‟azal matni bilan almashgan. Masalan, 39- va 41-g‟azallar bir xil “Bois” radifli bo‟lgani uchun
39-g‟azal matla‟sidan so‟ng 41-g‟azalning baytlari davom etgan, 41-g‟azalda esa matla‟dan so‟ng 39-g‟azal
baytlari berilgan.
“Huvaydoyi Chimyoniy” toshbosmasidagi 6 baytli 32-g‟azal bosma nashrlarda ma‟noga ta‟sir
etuvchiva ta‟sir etmaydigan bir qator farqlar bilan berilgan. Shu bois g‟azal matni to‟liq berildi.
[1]
Joriy yozuvdagi tabdili:
Qoshimdin o’tti sanam nozi oshiqona qilib,
Ko’ngilga o’tni solib, yoshni ravona qilib.
Bahor mavsumi yanglig’ ko’zimni qoni bilan,
Yaqomni dashtidaundi lolalar nishona qilib.
Hamisha qon yutaman, g’unchadek bo’lib xomush,
Kulurman elga base dardini bahona qilib.
Hazor martaba yig’lab kuyi sori bordim,
Qoshimg’a chiqmadilar uyquni bahona qilib.
Mani g’aribi sitamkash__o’rtamak uchun dilbar,
Ko’zimdin o’tti shitoban guli nishona qilib.
Sog’insa yor jamolini oshiqi miskin,
Borur ko’yiga aning o’t so’rab bahona qilib.
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Mazkur g‟azalda keltirilgan “yanglig‟” ko‟makchisi bosma nashrda uchramaydi, uning o‟rnida “undi”
fe‟li berilgan. Keyingi misrasida ifodalangan “yaqomni” so‟zi “bahor” degan so‟z bilan, ya‟ni “ Bahor
dashti uza lolalar nishona qilib” shaklida berilgan. Bosma nashrda “bahor” so‟zlari takror kelgan, “undi”
fe‟li esa o‟z o‟rnida qo‟llanmagan va bayt mazmunini yo‟qotgan. Fikrimizcha, g‟azalning 2-bayti
toshbosmada to‟g‟ri berilgan. Bosma nashrdagi ushbu bayt ma‟nosida g‟alizlik bor.
Toshbosmadagi “Kulurman elga base dardini bahona qilib” misrasi bosma nashrda “Kulorman elga
base dardini nihona qilib” tarzida berilgan. Mazkur misradagi “bahona ” so‟zi o‟rnida “nihona” so‟zini
keltirish mazmunga mos bo‟ladi. Chunki dardni bahona qilib kulmaydilar, aksincha uni yashirib, ichni dard
yemirsa-da yuzda kulib turadilar.
G‟azalning 5-baytida ham mazmunni o‟zgartiruvchi tafovutli o‟rinlar ko‟zga tashlanadi. “Mani g‟aribi
sitamkash__o’rtamak uchun dilbar, Ko‟zimdin o‟tti shitoban guli nishona qilib”, deb yozilgan matn bosma
nashrda quyidagicha berilgan:
Man g’aribi sitamkashni kuydurub dilbar,
Ko’zimdan o’tti bu dam kokilini shona qilib. [2](2005-yilgi nashr, 52-g’azal, 50-bet)
Yuqoridagi misrada keltirilgan “o‟rtamak” va “kuydurub” so‟zlari qisman ma‟nodosh bo‟lib, ma‟noga
ta‟sir qilmaydi. Shu o‟rinda tushum kelishigini belgisiz qo‟llash o‟rinli emas. Keyingi misra ma‟nosi ikki
kitobda 2 xilda ifodalangan: toshbosmada “Shoshilib, gulini nishona qilib ko‟zimdan o‟tti” tarzida, bosma
nashrda esa “Bu dam kokilini tarab ko‟zimdan o‟tti” mazmunida berilgan. G‟azal maqta‟sidagi “Huvaydoyi
miskin” jumlasi “Devon”da mavjud, ammo toshbosmada “oshiqi miskin” tarzida keltirilgan. Bu hol g‟azal
maqta‟sida shoir taxallusini keltirish an‟anasidan chekinganlikni ko‟rsatadi.
Yana bir g‟azalda “-ma” bo‟lishsizlik qo‟shimchasi bayt ma‟nosiga ta‟sir qilgan. “Qolmadi” bo‟lishsiz
fe‟li toshbosmada “qoldi” bo‟lishli fe‟l tarzida kelib, ma‟noga ta‟sir qilgan.
[1]
Joriy yozuvdagi tabdili:
O’ttilar bu dunyodin ko’b odami dilxohlar,
Qol_di dunyoda boqiy ham gado-u shohlar.(Buxoro toshbosmasi 56-g’azal)
Mazkur baytda “Bu dunyodan ko‟p yaxshi odamlar o‟tdilar, gado-yu shohlar ham boqiy qolmadi”
degan mazmun ifodalanishi kerak, ammo “gado-yu shohlar boqiy qoldi” tarzida berilgan. Bu esa mantiqan
to‟g‟ri kelmaydi, chunki bu dunyoda hech kim abadiy emas.
Xulosa. Huvaydo devoniga kirgan g„azallar tahlil qilinganda natija shuni ko„rsatadiki, u arab
va forsiy tilda bitilgan payg„ambarlar tarixini, islom dini tarixini, payg„ambar Muhammad
alayhissalom hayotini juda chuqur bilgan. Shuningdek, shoir tasavvufning O„rta Osiyoda keng
tarqalgan xojagon, yassaviya, naqshbandiya tariqatlaridan yaxshi xabardor bo„lgan. O„z asarlarida
islom tasavvufi buyuk shayxlarining ilg„or g„oyalarini uyg„unlashtirishga, zamondoshlari qalbida
ilohiy ishqni kuchaytirishga, buning uchun esa islom dinini turli bid‟at va yaramas odatlardan
tozalashga intilgan.[3]
“Huvaydoyi Chimyoniy” nomli Buxoro toshbosmasi hamda bosma nashrlar matni qiyosiy tahlil
qilinganda, toshbosmada ayrim g‟azal baytlari tushib qolgan. Shunga qaramay, Xojanazar Huvaydoning
“Huvaydoyi Chimyoniy” toshbosmasini joriy yozuvga o‟girish, bosma nashrlar bilan qiyosiy tahlil qilish
bugungi kun uchun muhim ahamiyatga egadir.
Huvaydo devonidan joy olgan she‟rlar barkamol avlod tarbiyasi uchun zarur hisoblanadi.
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TEXTOLOGY AND LITERARY SOURCE STUDY
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NAVOIY GULSHANI
Navoiy gulshani
АЛИШЕР НАВОИЙ ХАТЛАРИДА ШОИР ИЧКИ ОЛАМИНИНГ АКС ЭТИШИ
ҲАҚИДА БАЪЗИ МУЛОҲАЗАЛАР
Abstract. This article discusses the letters of the great thinker and writer Alisher Navoi included in the
work "Munshaot" and the poet's personality, his inner world, his attention to life, events in society, the lives
of his loved ones, and his philanthropy are clearly expressed in them.
Key words: letter, ruq'a, letter, noma, image of the poet, era, "Munshaot", outlook.
Буюк Алишер Навоийнинг «Муншаот» асарини ўқир эканмиз, ундаги хатлар улуғ шоирнинг
шахсияти, руҳий оламини, бошқача қилиб айтганда, маънавий-руҳий портретини ростгўйлик билан
ифодалаганлиги жиҳатидан муҳим адабий, ижтимоий аҳамиятга эгалигини кўрамиз. Ижодкорларнинг
муайян шахсларга қарата ѐзган хатлари ижтимоий, бадиий ва адабий қимматга эгадир. Бундай хатлар
адабий шаклининг пишиқлиги, тафаккурнинг содда ва аниқлиги билан жанр такомиллашуви ва
тараққиѐтига кучли таъсир кўрсатади. Шу сабабли ѐзувчининг бундай хатларини бадиий эпистоляр
(иншо санъати) адабиѐт намуналари деб юритишадики, улар ҳам мазмунига, йўналишига кўра бир
неча турларга бўлинади. Бу хил хатларда марказий қаҳрамон-ѐзувчининг ўзидир [Ахмедова, 2008:
46]. Мактуб ѐзаѐтган ижодкор ички руҳий олами, ҳис-туйғулари, фикр-қарашлари хатларда ўзининг
бадиий ифодасини топади «Сиз Эйнштейннинг шахсий мактубларини ўқиганмисиз? Табиийки, бу
буюк олимни вақт қадрини билмайдиганлар қаторига қўшиб бўлмайди. Лекин унинг шогирдларига,
қизларига, оиласига, танишларига ѐзган шу қадар қувноқ, битмас-туганмас ҳазил-мутойибали, доно
ва узундан узоқ мактублари борки, уни фақат шу билан шуғулланган экан, деб ўйлашингиз мумкин»
[Асқад Мухтор,1980:59]. Ҳақиқатан ҳам буюк шахсларнинг ҳаѐти ва ижодига назар ташласангиз,
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NAVOIY GULSHANI
уларнинг хатга катта эътибор билан қараганларини кўрамиз. Фикримизни буюк шоир ва адиб
Алишер Навоийнинг руқъаларидан иборат “Муншаот” орқали асослашга ҳаракат қиламиз.
«Бировга хат ѐзиш ботиний, руҳий эҳтиѐждан туғилади, дедик. Бу жудаям ўзига хос дил
изҳоридир. Мактубнавислик ўзи бир санъат. Иншо, муншаот ҳам ижод. Абдураҳмон Жомий ҳамда
Алишер Навоийларнинг бир-бирларига ва бошқа азиз инсонларга ѐзган мактублари ниҳоятда нозик
ва зариф, нуктадонлик ва меҳрибонлик туйғулари билан суғорилган. Биз бу сингари инсонлардан
улар ѐзиб қолдирган бениҳоя гўзал бадиий асарлари учунгина эмас, балки бир-бирларига ѐзган
номаъи аъмол ҳамда хатлари, буларни жамлаб борганлари ва махсус мажмуа ҳолига келтириб, биз
авлодларга туҳфа этиб қолдирганлари учун тоабад миннатдор бўлишимиз даркор. Сабаби, юксак
бадиий ижод соҳиблари хатда ѐзиб бўладиган қалб сирларини бошқа бирон восита билан айта олмас
эдилар. Ҳолбуки, ижод қанчалик ижод бўлса, ижоднинг сирлари, ижодхона мўъжизалари, иқрор ва
инкор, тасдиқ ва раддия, муҳаббат ва нафрат.. булар барии, аксарият, шу хатларнинг қатига битилган
бўлади. Зеро, зоти пок инсонлар, мутафаккирлар, ѐзувчи ва шоирларни биз қанчалик чуқур
ўрганмайлик, барибир, уларни ҳеч ким уларнинг ўзларичалик билмайди, билолмайди»[Ғайбулла ас-
Салом,1997:104]. Шунинг учун бу хил хатларда марказий қаҳрамон-муаллифнинг ўзидир. Чунки, энг
аввало, унда муаллифнинг руҳий олами, ҳис-туйғулари, ҳаѐтга, адабиѐтга, адресатга муносабати,
фикр-қарашлари ифодаланди.
Алишер Навоийнинг хатларида ҳам буюк шоирнинг шахсияти, руҳий олами, ғам ва
ташвишлари, хурсандчилиги, ижодий муваффақияти, халқ тақдирига оид ўй-орзулари, дўстларига
муносабати бевосита ѐрқин акс этган. Масалан, “Султон кўп қистагандан сўнг рози бўлиб...
Астрободга жўнади»[ И.Султон, 1978:349]. Мактубда Навоийнинг Астрободга жўнаган вақтига аниқ
ишора бор. Навоий ѐзади: «Бу учурда юқоридин бу фақир хизматиға рақаме тортилди ва убудиятира
қаламе сурулдиким, жавоби тасдиқдин ва хитоби сидқдин ўга билилмади... Хосил шаввол ойининг
йигирми олтисида душанба кун ижозат бўлуб, Марвдан Астрободга азимат иттифоқи тушди». Демак,
шоҳдан ҳукм бўлгандан кейин, Навоий мактубда кўрсатишича, Шаввол ойининг 26-сида, душанба
куни (Мирхонд «Равзатус-сафо»да ва Хондамир «Макоримул-ахлоқ»да воқеа тарихини 892 йил деб
берадилар), яъни 16 октябрь (душанба) 1487 йилда Астрободга жўнайди.
Яна мактубдан Навоий Астрободга ҳоким қилиб тайинланиши ҳақидаги хабарни анча
маъюслик билан қарши олганлиги ойдинлашади. Қуйидаги мактубда келтирилган сўзлар
Навоийнинг ўша пайтдаги тушкун кайфияти ва дил аламидан далолат беради: «...Бу фақири
хоксор ва бу хокиваши беэтиборким, бу давлатлиғ эшик остонасига туфроғдек тушуб эрдим,
хаѐлимда бу эрдиким, магар ажал сарсари туфрогимни бўсағадин совурғай ва улум сайли
хошокимни бу эшикдин сургай ва лекин хаѐл ботил экандур ва муддао отил».
«Олижаноб ҳислар ва ўйлар билан тўла бу хатлар Навоийнинг инсоний қиѐфаси, айниқса,
унинг кишиларга меҳри ва дўстларга садоқати ҳақида ѐрқин тасаввур беради»[И.Султон, 1978:186].
Мазкур хатларда Навоий ватандан йироқда яшаб турган кезларда дўстлар билан дийдорлашувга
муштоқ, она юрт ва элга соғинч ҳисси билан тўлган фарзанд қиѐфасида гавдаланади.
«Муншоот»даги мактубларнинг ифода услуби ҳам турлича. Баъзи мактублар қисқа, содда ва
равон услубда ѐзилган бўлиб, мазмуни тушунарли, айрим мактублар эса, муаллифнинг мақсади аниқ
бўлса ҳам, ғоятда бадиий сержило ва жимжимадор услубда ѐзилган. Кўркам сўз ҳам иборалар билан
зийнатланганки, бу шоирнинг буюк санъаткорлигидан далолат беради.
“Руқъаеким, сафҳаси баѐзи мажруҳ кўнгул жароҳатига кофурий марҳам еткургай ва номаки,
саводи нуқтасидин оқорғон кўзга мардуми бийно кетургайким, бу ҳижрон дарди бечорасин ва фироқ
дашти оворасин анинг била мукаррам қилиб эрдингиз - етти.
Рубоия:
Мазмуни била кўнглум ўти кам бўлди,
Алфози била замир хуррам бўлди [Навоий. 1998: 197].
«Бир мактубки, саҳифасининг оқлиги ярали кўнгил жароҳатига малҳам бўлгиси ва бир номаки,
қора ѐзувининг нуқтасидан оқарган кўзга равшанлик берувчи қорачиғ бўлгусидирким, бу ҳижрон
дарди бечорасини айрилиқ дашти оворасини Ушбу хат билан мукаррам қилган экансиз-келиб тегди»[
Навоий, 2001: 64]. Шу мисолнинг ўзиѐқ Алишер Навоийнинг хатга қанчалик эътибор берганлигини
яққол кўрсатади, шу билан бирга унда Навоийнинг шахси - диди юксак, нафис, инсонга катта эътибор
билан қарайдиган гениал қалб эгаси, ижодкор сифатидаги қиѐфаси ѐрқин кўринади.
Алишер Навоий руқъалари ўзининг бадиияти юксаклиги билан ҳам ажралиб туради. Вазнли
наср билан мусажжаъ насрнинг биргаликда қўлланилиши мактубларда шоир ҳис-туйғуларининг
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NAVOIY GULSHANI
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NAVOIY GULSHANI
берганлари Алишер Навоий ҳазратларининг «Муншаот» деб аталмиш асарлари - фикримиз далили.
Китобга жамлангаи бир юз етти мактуб шунчаки хабарлар баѐни эмас, балки нафис адабиѐтнинг
юксак намунасидир. Бу мактубларда гўзал табиатнипг латиф тасвири ҳам, ижтимоий-сиѐсий
масалалар ҳам, тарих, ҳам, назм муаммолари ҳам ўз аксини топган. Уларни ўрганиш орқали яна
шундай хулосага келамиз: буюк шоир мактублари дўстни дўстга, ҳамкасбга, биродарига, умуман,
инсонни инсонга самимий, чуқур ҳурмат, эҳтиромда бўлишга ўргатади. Хат ѐзувчининг меҳрга тўла
қалбидаги ҳароратни хатни олувчига улашади, унинг юрагини ҳам илитиб, саховатга тўлдиради,
десак, муболаға қилмаган бўламиз. Алишер Навоий буни шоирона муболаға билан қуйидагича
кўрсатади:
Нома ѐзғон чоғда бўлмиш эрди хунафшон кўзум,
Оқ варақ гулранг бўлди токи сочти қон кўзум.
Ёки
Ул руқъаки, сочиб эди кофур уза анбар,
Ҳар нуқтаси мушк эрди-ю ҳар нуқтаси гавҳар-
етишди. Нуқтаси мушкини кўзум мардуми устида қўйдум ва лафзлари гавҳарини жон
риштасиға чектим, кўз уйи андин мунаввар бўлди ва жон кулбаси мундин зеру зевар топти
[Навоий,1998:208].
Хулоса қилиб шуни айтиш лозимки, биргина “Муншаот”ни мутоала қилиш Алишер
Навоийнинг ижоди, ҳаѐти ҳар жиҳатдан ибрат эканлигини, наинки ибрат, балки буюк ўрнак
эканлигини кўрсатади. Улуғ мутафаккирнинг ҳаѐти ватандошларини, миллатини бахтли,
мамлакатини обод қилиш йўлида беминнат заҳмат чекишдан иборат бўлди. Бундай фидойилик
бугунги кунда ҳам барча қалби уйғоқ инсонлар, айниқса, ѐшларга ўрнак бўлиши учун Навоийнинг
эзгу ғояларини халқимиз қалбига теран сингдириб боришни давом эттириш зарур.
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PHILOSOPHY, LAW AND POLITICAL SCIENCES
УДК 321
Abstract: The article deals with the security issues of the regions of Central and South Asia, through
the prism of non-regional actors. The geopolitical aspects of cooperation between Central and South Asia
are considered, as well as the emergence of new regional challenges and security threats that require
effective approaches from the countries. Difficulties in the formation of a transregional model system are
analyzed in connection with individual interests of non-regional countries. At the same time, possible
cooperation between the countries of Central and South Asia within the framework of the SCO is proposed.
The essence of the constructivist approach in the formation of transregional security, as well as the model of
A. Tikner and A. Mason, are considered separately.
Key words: transregional security model, geopolitics, international relations, threats, challenges,
SCO, extra-regional actors, geoeconomic interests.
Введение. Глобальное значение регионов Центральной и Южной Азии часто игнорируется или
рассматривается не должным образом. Однако, данные динамично развивающиеся регионы в силу
своего геополитического расположения имеют большой экономический потенциал. На современном
этапе развития имеется перспектива устойчивого развития этих регионов посредством
формирования трансрегиональной коннективности, целью которой выступает открытие путей к
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PHILOSOPHY, LAW AND POLITICAL SCIENCES
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PHILOSOPHY, LAW AND POLITICAL SCIENCES
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PHILOSOPHY, LAW AND POLITICAL SCIENCES
внутренние проблемы: Афганистан, Пакистан и Иран. Наряду с этим, отсутствие прямого выхода к
международным водам, отстраняет Центрально-Азиатские государства от многих мировых
экономических процессов. В связи с этим, государствам Центральной Азии необходимо участие в
различных экономических проектах, продвигаемыми внерегиональными акторами.
Продвижение различных экономических проектов со стороны сильных держав в Центральной
Азии имеют противоречивый характер. В частности, конкуренция США, КНР и РФ в установлении
своего влияния в регионе противоречат и понижают эффективность каждой из них. Ярким примером
может выступить, проект ТАПИ реализуемый интересами США против РФ и КНР. Для более ясного
понимания интересов каждой из стран, необходимо рассмотреть их стратегии и цели в реализации
свой политики в регионах Центральной и Южной Азии.
Концептуальные подходы США основываются на положениях, обозначенных в Стратегиях
Национальной Безопасности и Обращения глав государств к Конгрессу. Данные подходы включают в
себя политику построения «нового мирового порядка», а также политику «сдерживания» и
поддержания выгодного США баланса сил в интересующих регионах. Однако с развитием
глобализации, данные положения поменяло вектор своего развития, в котором США не могут
допустить появления в Евразии государства либо коалиции с участием РФ и КНР, способных
ослабить влияние США в интересующих регионах. Противоречивость во взаимоотношениях США-
РФ-КНР проявляется в установлении своего влияния в регионах, в частности Центральной и Южной
Азии, которые рассматриваются в рамках более широких геополитических конструкций,
представленных в таких стратегических концепциях, как Большой Ближний Восток, Большая
Центральная Азия и другие.
Стратегические подходы США в проведении политики в Центральной Азии условно можно
разделить на три этапа. Первому этапу (1991-2001 гг.) характерны предложения и подходы США в
активизации военно-политических отношений для борьбы с радикальными режимами в соседних
исламских государствах, а также расширение экономических связей. Интересы США заключались в
установлении своего влияния на Каспии и блокирование России и Ирана сохранить Каспий в
качестве водоѐма приморских стран. Второй этап (2001-2005 гг.) начался после событий 11 сентября
2001 года и включает в себя развитие международной антитеррористической коалиции НАТО и
введение войск в Афганистан. В этот период США рассматривали Центральную Азию в
геополитической составляющей расположения военных баз. Так, были открыты военные базы в
Кыргызстане и Узбекистане. Военное присутствие в Центральной Азии позволяло США решать
такие геополитические задачи как влияние на крупнейшее в мире нефтегазовое месторождение
Большого Каспия, а также на Синьцзян-Уйгурский автономный округ Китая, изоляцию Ирана,
усиление контроля над Афганистаном и над ядерным противостоянием в Индостане. В 2004 году
США выдвинули стратегию создания «Большого Ближнего Востока», включающего и Центральную
Азию. Третий этап (2005 г.) обусловлен реализуемой экономической поддержки со стороны США
странам Центральной Азии. В частности, для сохранения и упрочнения своих позиций в регионе и
ослабления воздействия РФ и КНР, США реализовали различные экономические проекты в
Казахстане в вопросах нефтегазового сотрудничества. Вместе с этим, влияние США оказывалось и на
Туркменистан, путем строительства Транскаспийского трубопровода, способствующего ослаблению
туркмено-российских взаимоотношений в газовой сфере. Наряду с этим, особое место в продвижении
американских интересов в регионе Центральной Азии стала занимать программа USAID,
реализующая экономические проекты, включающих добычу и транспортировку углеводородов.
Следует отметить, что на современном этапе военно-стратегическое взаимодействие США в регионе
Центральной Азии, сопровождающее выводом войск из Афганистана, значительно ослабло.
Говоря об интересах КНР в Центральной и Южной Азии, следует отметить экономическое
направление и стремление Китая расширению сотрудничества в области энергоресурсов и
энергетической безопасности. На современном этапе кооперация государств проявляется в
текстильной, лѐгкой и пищевой промышленности, сельскохозяйственном машиностроении. В целях
ограничить масштабы и формы военного сотрудничества государств региона с США китайские
власти стремятся установить постоянные контакты с политической элитой центрально-азиатских
государств. Этим в определенной степени объясняется активное участие в создании региональной
системы безопасности в рамках ШОС. Китай также выступает за то, чтобы вопросы безопасности в
регионе, в том числе связанные с Афганистаном, решались в рамках Шанхайской организации
сотрудничества без участия США и государств-членов НАТО.
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УДК 327
Annotatsiya. Maqolada o‗zgaruvchan zamonaviy jahon siyosatida siyosiy yetakchi va uning siyosiy
irodasining namoyon bo‗lish shart-sharoitlari, inqirozli vaziyatlarda qaror qabul qilishdagi o‗ziga xos
xususiyatlari ilmiy tahlil qilingan. Siyosiy iroda va xarizm o‗rtasidagi munosabatni oydinlashtirishga,
shuningdek, jahon siyosatida siyosiy iroda va xarizmаning amaliy jihatlarini aniqlashga harakat qilingan.
Ijobiy siyosiy irodaning siyosiy etakchilarga bo'lgan jamoatchilik ishonchiga erishish tezisi asoslab
berilgan.
Kalit so‘zlar: xarizmа, siyosiy iroda, jahon siyosati, siyosiy yetakchi, siyosiy qaror, siyosiy ustunlik,
pragmatizm, ochiq tashqi siyosat.
Abstract. The article scientifically analyzes the conditions for the manifestation of a political leader
and his political will in the changing modern world politics, as well as the features of decision-making in
crisis situations. An attempt is being made to clarify the relationship between political will and charisma, to
identify applied aspects of political will and charisma in world politics. The thesis is substantiated,
according to which the presence of positive political will is a solution to the problem of achieving public
confidence in its leaders.
Keywords: charisma, political will, world politics, political leader, political decision, political
superiority, pragmatism, open foreign policy.
Введение. Харизма – это, как известно, качество, которое делает лидера привлекательным и
убедительным для других людей. Она является важной составляющей в процессе формирования
имиджа политика и образа, закрепляемого в сознании масс[1].
Харизматические лидеры имеют способность убеждать, вдохновлять и мотивировать других,
что помогает им достигать целей и лидировать в своей области. Харизма может проявляться в
различных формах, например, в энергичности, уверенности, убедительности и эмоциональной
интеллектуальности[2].
Возникновение харизматичной личности ситуативно обусловлено политическим или
социокультурным кризисом, необходимостью слома традиционной устаревшей системы[3].
Основная часть. Харизма лидеров крупнейших стран и международных организаций чаще
всего проявляется в экстремальных условиях, когда формируется соответствующая общественно-
политическая и социально-психологическая потребность[2]. Харизму лучше всего понимать как
интерсубъективное явление, несводимое к индивидуальной психологии[1].
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1. Чикиндин М.А. Харизма как элемент конструирования имиджа // Ученые записки УО ВГУ
им. П.М. Машерова. – 2022. – Т.35. – С.102-106.
2. Школьный В.А. Харизматичность лидера - феномен или обыденность? // Вестник
Кыргызско-Российского Славянского университета. – 2023. – Т.23. – №2. – С.171-175.
3. Nathan Kravis. Charisma // The Psychoanalytic Quarterly. – 2021. – Vol. 90. – Issue 4.
4. Ивлева М.Г. Влияние харизмы на принятие управленческих решений // В сборнике:
Актуальные проблемы современной науки. Сборник статей II Международной научно-практической
конференции. – Пенза, 2022. – С. 57-59.
5. Моисеенко М.С. Харизма в морфологии лидерства: концептуализация идеи // Векторы
благополучия: экономика и социум. – 2021. – №4(43). – С.100-106.
6. Кондраль Д.П., Ильясов В.Х., Флоря В.М. Политическая воля и целенаправленные
управленческие решения как основа технологического развития Севера России // Общество:
политика, экономика, право. – 2022. – №6(107). – С.13-17.
7. Defining Political Will // Politics & Policy. – 2010. – Issue 38. – No. 4. – PP.653–676. Статья
«Определение политической воли» была опубликована в журнале «Politics & Policy » еще в 2010 году
Лори Энн Пост из Йельского университета вместе с Эмбер Рейл и Эриком Рейлом из Университета
штата Северная Дакота.
8. What is ―political will,‖ anyway? Scholars take a whack at defining it. Dec 24, 2017. // Vox
Media – www.vox.com.
9. What is "political will," anyway? Scholars take a whack at defining it. Dec 24, 2017. // Vox
Media – www.vox.com.
10. Широв А.А. Долгосрочность планирования - производная от ресурсов и политической воли
// Социодиггер. – 2021. – Т.2. – №9(14). – С.132-135.
11. John Ugoani. Political Will and Good Governance in Developing Democracies - Nigeria's
Quagmire // Rhema University journal of management and social sciences. – 2016. – Vol.3. – No.1. – РР.
93-109.
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Abstract. The article focuses on the manifestation of legal culture in relations between society and
public authorities, on the factors serving the socio-political, legal activity and cultural growth of citizens.
Also, critically evaluating the current level of legal culture, theoretically substantiating the fact that
law and order and development cannot be achieved only by teaching laws and the threat of responsibility,
the issues of effective use of innovative methods and effective means of raising legal awareness are
considered. and the culture of the population were analyzed.
Keywords: Political and legal reality, political and legal system, legal culture, legal consciousness,
society, state, power, social, political, law, rule of law.
Kirish. Yangi O‗zbekiston siyosiy tizimini modernizatsiya qilish va yangilash sharoitida jamiyat
barcha qatlamlarining huquqiy madaniyatini oshirish muammolari yanada ahamiyatlidir. Huquqiy madaniyat
fenomeni ijtimoiy va tarixiy ahamiyatga ega bo‗lib, uning ―rivojlanish qonuniyatlari doimiy tarzda ma‘lum
tarixiy davrning indikatori bo‗lgan‖ [1]. Jamiyatda huquqiy ong va madaniyatni shakllantirish hamda
yuksaltirish bilan bog‗liq islohotlar yangi O‗zbekiston siyosiy-huquqiy tizimini yanada mustahkamlanib
borayotganidan, respublikamizda demokratik, huquqiy, dunyoviy davlat qurish jarayoni jadal
rivojlanayotganidan dalolat beradi. O‗zbekiston Respublikasi Prezidentining ―Jamiyatda huquqiy ong va
huquqiy madaniyatni yuksaltirish tizimini tubdan takomillashtirish to‗g‗risida‖gi 2019-yil 9-yanvardagi PF-
5618-sonli Farmonining qabul qilinishi O‗zbekistonda bu boradagi muammolarning nechog‗lik dolzarbligini
ko‗rsatadi.
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Huquq ijtimoiy hodisadir. U boshqa ijtimoiy hodisalar kabi jamiyatdan muayyan munosabatlarni talab
qiladi. Huquq ijtimoiy hodisa sifatida fuqarolarning qonunga nisabatan ijobiy yoki salbiy munosabatlarida
namoyon bo‗ladi. Huquqga nisbatan bunday erkin munosabat sivilizatsiyalashgan, jamiyat hayotida
demokratik munosabatlar qaror topgan mamlakatlarda mavjud bo‗ladi. Aksincha, huquqning ijtimoiy
mohiyati jamiyatda qonun ustuvorligi amalda davlat tomonidan to‗la kafolatlanmagan yoki inson huquq va
erkinliklarini buzuvchi antidemokratik huquqiy tizimga ega mamlakatlarda kuzatiladi. Shu jihatdan huquqiy
madaniyatning ijtimoiy mohiyati jamiyatda qonun ustuvorligining ta‘minlanish, inson huquq va
erkinliklarining huquqiy kafolati holatiga qarab, bir tomondan, ijtimoiy munosabatlardagi g‗oyalar va
tasavvurlarda, ikkinchi tomondan, jamiyatdagi hissiyotlar, ya‘ni, kayfiyat, odatlar va his-tuyg‗ularda
ifodalanadi.
Aksariyat tadqiqotlarda huquqiy madaniyat elementlari sifatida huquq, huquqiy munosabatlar, davlat
organlari, huquqni himoya qiluvchi va amalga oshiruvchi tashkilotlar, huquqiy ong va huquqiy xulq-atvor
alohida ajratilgan. Rossiyalik tadqiqotchilar V.I. Kaminskaya va A.R. Ratinov huquqiy madaniyat kishilar
ongi va xulq-atvorida aks etishi bilan bog‗liq ideal elementlar tizimi ekanligini ko‗rsatdi [6]. Yana bir rus
olimi V.P.Salnikov qarashlariga ko‗ra huquqiy madaniyatning tarkibiy elementlari xulq-atvor standartlari
bo‗lgan: qonun, huquqiy ong, huquqiy munosabatlar, huquq-tartibot, subyektlarning qonuniy faoliyatlarini
tashkil qiladi [7;С.36-38]. Muallif yana bir o‗rinda ―huquqiy madaniyatning mazmun-mohiyatini uning
mantiqiy tuzilishini yoritib bermasdan turib, to‗liq ifodalab bo‗lmaydi‖, [7;С.55] deb ta‘kidlaydi. Biroq
tadqiqotchi N.M.Keyzerovning fikricha, huquqiy madaniyatning mohiyatini aniqlash uchun bu elementlar
yetarli emas, ularga huquq va huquqiy xulq-atvorga siyosiy baho berish mezonlarini qo‗shish zarur [8].
Tadqiqotchi A.Ye.Skobelyevga ko‗ra jamiyat huquqiy madaniyatining eng muhim elementi huquqiy
hujjatlarning butun tizimining rivojlanish darajasidir [9]. Bularga qo‗shimcha sifatida qozog‗istonlik
tadqiqotchi A.S.Ibraneva ―huquqiy madaniyat tarkibiga huquqiy mentalitet ham kiritilishi kerak‖ligini
ta‘kidlagan [10;С.69]. Darhaqiqat, milliy-ma‘naviy qadriyatlarga asoslangan siyosiy-huquqiy mentalitet
jamiyatda siyosiy-huquqiy madaniyatning yuksalishiga xizmat qiladi.
Huquqiy madaniyat muammolari tahliliga bag‗ishlangan ilmiy manbalardagi qarashlarni
umumlashtirib uning quyidagi tuzilmalari: 1) huquqiy ong; 2) qonun; 3) huquqiy munosabatlar; 4) huquq-
tartibot; 5) subyektlarning qonuniy faoliyati; 6) davlat-huquqiy institutlar; 7) huquqshunoslik; 8) huquqiy
hujjatlar ajratilib ko‗rsatish mumkin.
Huquqiy madaniyat shakllanishining yuqorida ta‘kidlangan parametrlarni inkor qilmagan holda shuni
ta‘kidlash lozimki, eng avvvalo, davlat va huquq munosabatlarini tartibga solib olish kerak. Prezident
farmonida ta‘kidlanganidek, ―jamiyatda qonunlarga hurmat ruhini qaror toptirish ‒ demokratik huquqiy
davlat qurishning garovidir!‖ [10;С.69] degan hayotiy g‗oyani mustahkamlash amaliy ishga aylanishi kerak.
Ya‘ni, siyosiy-huquqiy munosabatlarda davlat va uning tegishli vakolatli organlari faoliyatida huquqiy
nigilizmni bartaraf etish kerak. Ya‘ni, mansabdor shaxslar faoliyatining qonuniyligi, ayniqsa, huquqni
muhofaza qiluvchi organlar mas‘ullarining huquq normalarini mensimasligi, ularga nisbatan hurmatsizlik
munosabati, ba‘zi holatlarda rahbar kadrlarning so‗zi qonunga aylanib, amaldagi huquqiy normalarning inkor
qilinishi holati juda ko‗p uchraydi. Qonunchilikda o‗z aksini topgan masalalar qanchalik mantiqiy va real
hayotimizga asosli bo‗lmasin, ko‗pincha amalda ishlamasligi, aksariyat hollarda jamiyat a‘zolari tomonidan
huquqga ishonmaslik yoki davlat hokimiyati organlari faoliyatidagi «huquqiy munosabatlarni» qabul qila
olmaslik tuyg‗ularini shakllantiradi. O‗z navbatida tegishli vakolatli organlar bilan jamiyat o‗rtasidagi
munosabatlarda huquqiy bo‗shliqning paydo bo‗lishiga olib keladi. Tan olish kerakki, faqatgina qonunlarni
o‗rgatish va javobgarlik bilan qo‗rqitish orqali qonun ustuvorligi va demokratik taraqqiyotga erisha
olmasligimiz inkor qilib bo‗lmas haqiqatga aylanib ulgurdi. Shu ma‘noda, jamiyatda huquqiy madaniyatning
shakllanishi real hayotda huquqni qanday bo‗lsa shunday ishlashiga bog‗liq bo‗lib qolmoqda.
Buning uchun esa nazarimizda milliy huquqiy madaniyat tizimi shakllanishiga birinchidan, huquqiy
normalarning jamiyatga ta‘sirini kuchaytirish va hamma joyda bir xilda ishlamayatganligi bilan bog‗liq
holatlarning tub ildizlarini o‗rganish; ikkinchidan, qonunning kishilar xulq-atvoriga ta‘sir etish usullarini
bilish, ijtimoiy, iqtisodiy, madaniy, psixologik va boshqa omillar bilan bog‗liq bo‗lgan usullarni ishlab
chiqish; uchinchidan, davlat ijroiya organlari faoliyatining huquqga mosligining ta‘minlash; to‘rtinchidan,
mansabdor shaxslarning, davlat apparati va jamoat tashkilotlarining hamjihatlikda huquqiy madaniyatni
yuksaltirishga harakat qilish zarur.
Buning uchun davlat va jamiyat boshqaruvida huquqiy madaniyatning barcha unsurlaridan
foydalangan holda, tegishli organlarning huquqiy maqomi bilan bir qatorda boshqaruv jarayonini ham
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tartibga solishi hamda ular faoliyatining barqaror va maqbul rejimini yaratishi zarur. ―Qonun talablarini
bajarmaslik bilan bog‗liq har bir holat yuzasidan aniq huquqiy ta‘sir choralarini ko‗rish kerak‖ [11; B.161].
Ijro organlari tizimida asossiz qarorlar takrorlanmasligi kerak. Bu masalalar boshqaruv kadrlarining
huquqiy tayyorgarligi bilan chambarchas bog‗liq bo‗lib, professional vazifalaridan tashqari huquq asoslarini
ham juda chuqur o‗zlashtirishga erishishi lozim. Chunki amaldagi qonunlarni to‗g‗ri qo‗llash ana shu
bilimga bog‗liq. Bunday holda, noto‗g‗ri qarorlar qabul qilinishiga yo‗l qo‗yilmaydi. ―Odamlar hamma
narsaga chidashi mumkin, lekin adolatsizlikka chiday olmaydi‖ [11; B.193].
Xulosa. Jamiyatni modernizatsiya qilish va yangilash sharoitida huquqiy madaniyat shakllanishiga
ta‘sir qiluvchi ijtimoiy-siyosiy omillar tahlili yuzasidan quyidagi nazariy xulosaga kelishi mumkin:
Birinchidan, fuqarolarda huquqiy bilimlar, ong va madaniyatning yanada yuksak darajada bo‗lishi
nafaqat ularning o‗ziga, balki ijtimoiy, siyosiy munosabatlar tizimida ro‗y berayotgan o‗zgarishlarga ham
bog‗liq.
Ikkinchidan, huquqiy madaniyat yuksalishi uchun davlat va jamiyat boshqaruv tizimini, jumladan ijro
va huquq-tartibot organlari faoliyatining legitimligini oshirish, milliy taraqqiyotimizga to‗siq bo‗layotgan
turli me‘yorlarni ham tartibga solish lozim.
Uchinchidan, har bir fuqaroga huquqiy madaniyat amaldagi qonunlarda belgilangan javobgarlikdan
qo‗rqib emas, balki, uni himoya qilish uchun, o‗z imkoniyatlarini ro‗yobga chiqarish uchun, konstitutsiyaviy
majburiyatlarini sidqidildan bajarish uchun ham kerak bo‗ladi.
To‗rtinchidan, yangilanayotgan O‗zbekiston siyosiy-huquqiy tizimida amalga oshirilayotgan islohotlar
«yuksak huquqiy madaniyat – mamlakat taraqqiyoti kafolati» degan konseptual g‗oya asosida «shaxs ‒ oila ‒
mahalla ‒ ta‘lim muassasasi ‒ tashkilot ‒ jamiyat» prinsipi bo‗yicha tizimli tashkil etilishiga erishish kerak.
Xulosa qilib aytganda, jamiyat huquqiy madaniyatning shakllanishi tizimli jarayon bo‗lib,
muammoning ijtimoiy-siyosiy omillari nafaqat fuqarolarning huquqga munosabati balki ijro va huquq-
tartibot sohalari legitimligi bilan uzviy bog‗liqdir.
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Abstract: In the formation of the system consisting of three independent branches of power in the
countries we are considering, the introduction of truly democratic norms and rules, which exclude attacks of
authoritarianism and totalitarianism, plays an important role. Authoritarianism, one of the heads of state
said, is "a road that leads nowhere", and totalitarianism is "a negative phenomenon of the country", which
should be fought against together. Because here we are talking about a two-way process: also, the absence
of separation of powers serves to prevent attacks of authoritarianism and totalitarianism. In addition,
according to the head of Uzbekistan, one of the components that creates these negative events is chauvinism.
Key words: authoritarianism, totalitarianism, objective civil control, historian, economist, politician,
sociologist and anthropologist.
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PHILOSOPHY, LAW AND POLITICAL SCIENCES
(ҳали давлат томонидан бутунлай ютиб юборилмаган) ва ҳатто ―қисмларга бўлинган ўзгача фикрлар‖
сақланиб қолади.
С.Хантингтон авторитаризмни таҳлил қилиш усули ҳарбий-фуқаролик муносабатлар нуқтаи
назарида қарор топган деб таъкидлайди. ―Авторитар тузум‖ номи остида, деб таъкидлайди у,
бошқарувнинг бир-бирига умуман ўхшамайдиган шакллари яшириниб ѐтади. Айрим ҳолларда
ислоҳотчилар ҳокимиятга авторитар тузум доирасида келган ва шундан сўнг демократик қайта
ўзгаришларни амалга ошира бошлаган. Баъзи мамлакатларда авторитар тузум ағдарилган ѐки ўзи
қулаган. Амалда барча авторитар тузумлар, уларнинг туридан қатъий назар, битта умумий жиҳатга
эга, айнан: уларнинг фуқаровий ва ҳарбий соҳалари ўртасидаги муносабатлар кўнгилдагидек эмас.
―Объектив фуқаролик назорати‖ деб таърифлаш мумкин бўлган ривожланган демократик
давлатлардаги сингари муносабатларнинг бу каби тури ҳеч қаерда кузатилмайди[10, 9-16].
Демократиянинг ҳар хил турлари шаклланишининг муҳим омиллари олдинги авторитар тузум
хусусиятлари билан боғлиқ бўлмайди, деб ҳисоблайди Г.О`Доннелл (1936-2011 йй.). Гарчи кўплаб
давлатларда собиқ авторитар тузум томонидан мерос қолдирилган чуқур ижтимоий-иқтисодий
инқироз мавжуд бўлса-да, янги демократиялар авторитар бошқарув сари юз тутиши ѐки заиф ва
ноаниқ ҳолатда қолиб кетиши мумкин. Бу каби ҳолат узоқ вақт сақланиши ва демократиянинг
институционал шаклларига элтувчи йўлларни беркитиб қўйиши мумкин.
Ижтимоий фанлар саноатлашувнинг ―енгил‖ шаклидан ―оғир‖ шаклига ўтиш шароитида
давлат ижтимоий харажатларни камайтириш ва демократик ташкилотларни тийиб қўйиш заруратини
асослаб берган Г.О‘Доннеллдан «бюрократик авторитаризм» назарияси учун қарздор. Зеро,
ижтимоий-иқтисодий ривожланиш ҳеч қачон демократлаштиришга олиб келмайди[13]. Бундан
ташқари, унинг фикрича, демократиянинг айрим субтиплари (масалан, демократура) мавжуд[14].
Авторитаризм ва демократия ўртасидаги боғлиқлик иқтисодий атамаларда намоѐн бўлмайди,
деб таъкидлайди Ф.Фукуяма. Ҳақиқатдан ҳам, кўплаб давлатлар, айниқса Осиѐ мамлакатлари,
―авторитар‖ йўллар орқали демократияга муваффақиятли ўтиб олган, аммо Шарқий Европадаги
собиқ коммунистик тузумларга иқтисодиѐт соҳасида бозор ислоҳотлари жорий этилгунга қадар
демократик қайта ўзгаришларни тўхтатиб туришни таклиф қилиш бемаънилик бўлар эди[4. 90-103.].
Авторитаризмнинг юмшоқ ва қатъий шакллари, авторитар ва ярим авторитар тузумлар,
атворитаризмнинг ўнг ва сўл тарафдорлари мавжуд. Тоталитаризм ўзи мансуб бўлган жамиятларнинг
таркибан хилма-хиллигини назарда тутмайди. Авторитар бошқарув охир-оқибат ўз вазифасини
бажаролмасдан, жамиятнинг ишончини йўқотади.
ХХ асрнинг 70-йилларида Испанияда авторитаризмдан демократияга муваффақиятли ўтиш кўп
жиҳатдан бошқарувнинг парламент тизими туфайли амалга оширилди, деб ҳисоблайди америкалик
социолог, Йельсем университетининг сиѐсат фанлари профессори, тоталитар ва авторитар тузумлар
назарияси, демократияга ўтишнинг турли шакллари бўйича классик асарлар муаллифи Хуан Линц
(1926 йилда туғилган). Жиддий ижтимоий ва иқтисодий муаммолар, авторитар тузумнинг оғир
мероси билан боғлиқ қийинчиликлар мавжуд мамлакатларга демократиянинг америкача модели
тўғри келиши гумон. Х.Линц кўплаб замонавий автократияда базавий тоталитар хусусиятлар
йўқилигини биринчилардан бўлиб қайд этган. Авторитаризмни у демократиядан, тоталитаризм,
посттоталитаризм, султанизмдан фарқ қиладиган алоҳида турдаги режим сифатида кўриб
чиққан[11,12]. У тоталитар террорга хос бўлган қатор хусусиятларни ажратиб кўрсатди, булар:
тизимлилик, мафкуравийлик, мисли кўрилмаган тақиқ ва тазйиқнинг аниқ кўлами ва ҳуқуқий
асосининг мавжуд эмаслиги.
З.Бжезинскийнинг ѐзишича, демократия, агар жамиятда илдиз отиб кетмаган ҳамда
конституциявийлик анъаналари билан мустаҳкамланмаган бўлса, плебисцитлар тизимига айланиши,
экстремизм ва авторитаризмга қонунийлик хусусиятларини ато этиши мумкин [1].
Бир қатор тадқиқотчилар авторитаризм ва коллективизмнинг индивидуализмга мухолиф
эканини таъкидлаган ҳолда, уларнинг ўртасида алоқа мавжудлигини уқтиради [3, 63–84.].
Коллективизм на гуманистик, на либерал ѐндашувга ўрин қолдирмайди, аммо фақат тоталитар
партикуляризмга йўл очади, деб ѐзади Ф.Хайек. Коллективизм деганда, Ф.Хайек асосий ягона мақсад
йўлида бутун жамиятни уюштиришга интиладиган ҳамда индивид автономиясининг қонун билан
ҳимоя қилинган соҳасини тан олишдан бош тортадиган ҳар қандай назарий тизимни тушунади.
Калифорния университетининг сиѐсатшунослик факультети доценти Барбара Геддес кенг
эътироф этилган авторитар тузумларни персоналистик, ҳарбий ва бир партияли таснифлашни таклиф
этди. У сиѐсат намояндаларининг турли манфаатларини авторитаризм турига қараб асослайди ва бу
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сиѐсий ўзгариш суръатига таъсир кўрсатади. Масалан, ҳарбий режимда бошқарув мантиғи кўпроқ энг
яхши намояндаларни ажратишга мойил, бир партияли ва персоналистик режим эса улар ўртасидаги
курашни барвақт бартараф этишга ва ҳукмрон гуруҳлар яхлитлигини сақлашга қодир [5,121-123].
(Шуни тан олиш керакки, Б.Геддес ва унинг тадқиқотчилари режимларнинг аралаш шаклларини
(амальгам) ҳам ажратади)[6].
Б.Геддес авторитаризм шароитида фуқаролик жамияти ролининг боғлиқлигини таҳлил қилган.
Масалан, қатор мамлакатларда (мисол учун Уругвай ва Бразилияда) жамоатчилик ҳақиқатдан ҳам
демократик жараѐнлар ѐрдамида хусусийлаштиришни тўхтатиш ва давлат харажатларини
камайтиришга эришди.
Б.Геддес, шунингдек, авторитаризм шароитида ўзаро тийиб туриш ва мувозанат тизимини ҳам
талил қилган. Жумладан, Греция, Уругвай ва Бразилияда тўлов миқдорини чеклаш, бошқаларда эса
камайтириш чоралари асосан ижро ҳокимиятидан чиққан ва қонун чиқарувчи томонидан
маъқулланмаган. Ижро ҳокимияти вакиллари ташаббускори бўлган либерализация жараѐни ҳукмрон
партиянинг сиѐсий ресурслар борасида давлатга таянишга ўрганиб қолган фракциялари томонидан
тўсиб қўйилиши мумкин ва улар халқ ҳаракатини сафарбар этиш учун мухолифат партиялар билан
бирлашишга тайѐр.
Б.Геддеснинг фикрича, 11 мамлакатни тадқиқ этиш давомида яратилган кашфиѐтлардан бири
ислоҳотларнинг катта қисми илгари иқтисодиѐтга давлат аралашуви натижасида имкониятлардан
фойдаланган партия, фракция ѐки гуруҳдан у ѐки бу сабабларга кўра қарздор бўлмаган ижро
ҳокимияти вакиллари ташаббуси эканидан далолат беради. Б.Геддес ислоҳотлар муваффақиятининг
эҳтимоллиги ижро ҳокимияти вакиллари 1) иқтисодиѐтни давлат томонидан бошқариш самарасида
олинган даромадни тақсимлаш қўйилмаган партиялар ѐки фракциялар томонидан кўрсатилган ва 2)
кўпчилик қонун чиқарувчилар ѐки уюшган партиялар томонидан қўллаб–қувватланган ҳолларда
ошишини қайд этади.
Австралиялик сиѐсатчи, авторитаризмдан кейинги ўзгаришлар ва демократлаштиришни
қиѐсий тадқиқ этиш соҳаси мутахассиси, электорал аваторитаризм назарияси асосчиси Андреас
Шедлер (1964 йилда туғилган) ва беллашув авторитаризми назарияси асосчилари – Гарвард
университетининг давлатшунослик ва ижтимоий фанлар профессори Стивен Левитски ҳамда
Торонто университети сиѐсат фанлари профессори Люциан Вейнинг фикрича, авторитаризмнинг
қайд этилган шакллари доирасида ижро этувчи ва қонунчилик ҳокимиятига сайлов мунтазам асосда
ўтказилади, аммо бевосита диктатурани яширадиган парда эмас. Энг яхши намояндаларни
алмаштириш бўйича демократик механизмни эслатувчи мухолифатнинг иштироки учун ҳам қарши,
ҳам очиқ бўлсада, улар авторитар ҳукмдорларнинг ҳокимият позицияларини қонунийлаштириш ва
сақлаб қолиш воситачилари ҳисобланади. Бу ерда сайловлар ҳалол, аммо адолатсиз ўтказилади,
мухолифатлар очиқ, лекин тенг хусусиятга эга эмас.
Джоржтаун университетининг давлатшунослик бўйича профессори Марк Говард ва асли
Вьетнамлик бўлган германиялик сиѐсатчи, ГФР вице– канцлери Филипп Рѐслернинг фикрича, -
электорал авторитар режим икки тур: гегемонистик ва баҳслашувга бўлинади. Гегемонистик турда
мухолифат сайловга қўйилмайди ва улар мутлақо рақобатлашиш хусусиятига эга эмас. Иккинчи
турда эса мухолифат кенг эркинликка эга, аммо сайлов тўсиқлари жуда паст. Баҳслашув
авторитаризмнинг барқарорлик даражаси кўп жиҳатдан мухолифатлар хатти–ҳаракатига боғлиқ:
биринчидан, мухолифатнинг сайлов жараѐнига бойкот эълон қилиши эмас, балки унда иштирок
этиши муҳим. Иккинчидан, мухолифатларни бирлаштириш ва ягона номзодни кўрсатиш зарур[9].
Агар биз эркинлик маданиятини ҳимоя қилиш усулини топа олмасак, у оғир аҳволга тушиб,
эркин жамият авторитар коллективизм ва трайбализм сиқуви остида қолади. Миллатчилик ва диний
фанатизмнинг янги ниқобларини кийган ҳолда, ушбу кучлар демократиянинг энг кескин душманига
айланиб, коммунизмнинг ўрнини эгаллайди, деб ҳисоблайди 2010 йилда адабиѐт бўйича Нобель
мукофоти лауреати, Перу ва испаниялик ѐзувчи, драматург, публицист, сиѐсий арбоб Марио Варгас
Льоса (1936 й.да туғилган).
Тоталитаризмда ҳокимиятнинг жипслашуви содир бўлади ва ҳокимиятнинг бўлиниши
тугалланади, фуқаролик жамияти ва давлатнинг бўлиниши йўқолади, фуқаролик жамияти ҳокимиятга
тез сингиб, охир-оқибат йўқ бўлиб кетади. Инсон ҳаѐт фаолиятининг барча жиҳатлари (хўжалик,
ижтимоий, оила ва шахсий) давлат назорати остида туради.
Ижтимоий фанлар бўйича мутахассислар орасида энг кенг тарқалган ѐндашув бу
тоталитаризм усули бўлиб, у 1956 йилда Гарвард университети профессори Карл Фридрих (1904-
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1974 йй.) ва З.Бжезинский томонидан таклиф қилинган. Бу усул Сталин давридаги СССР, Германия
миллатчилари ва Италия фашистларининг айрим умумийлик жиҳатларига асосланади. Улар
хрестоматиячи сифатида тоталитаризмнинг олти белгисини таклиф этди: мафкура, оммавий партия,
террористик тизим, ОАВдаги монополия, қуролли кучлар монополияси ва иқтисодиѐтни
марказлаштирилган ҳолда назорат қилиш.
Тоталитаризм назарияси миллатчилар Германияси ва СССР сиѐсий тизимининг салбий
жиҳатларини ѐритиб берди ва турли партияларнинг коммунистик ва фашизмга хос ҳукмронлиги
ўртасидаги ўхшашлигини таъкидлаб кўрсатди. Немис файласуфи ва социологи, Франкфурт мактаби
вакилларидан бири Юрген Хабермас (1929 йилда туғилган) ана шундай фикрда бўлган[7,30-56].
Ю.Хабермас ѐндашувининг аҳамияти ―демократик жараѐннинг‖ ва қарорни ―демократик‖ деб
ҳисоблааш учун зарур шароитларнинг аниқлигидан иборат, деб ѐзади Альборт шаҳри
Университетининг ривожланиш ва режалаштириш бўлими профессори (Дания) Бент Фливберг.
Ю.Хабермас схемасини қонунчилик, институтларни ривожлантириш, жараѐнларни режалаштириш
намунаси сифатида қўллаш мумкин. Бироқ Хабермас – демократиянинг ривожланишини
таъминлайдиган ҳокимият, стратегия ва тактика фаолиятини етарлича тушунмайдиган идеалист эди.
Қарорни чиқариш, конституцияни ѐзиш ва институтларни ривожлантириш осон, муайян
конституцион ва институцион ўзгаришлар эса мутлақо бошқа масаладир.
Австрия ва британиялик файласуф, социолог Карл Поппер (1902-1994 йй.) тоталитаризмнинг
негизини ташкил этадиган идеал давлат бошқаруви аслида мавжуд эмас – унга либерал демократия,
нозик сиѐсий тизим, очиқ плюрализм жамияти қаршилик қилади, деб таъкидлайди[18].
Тоталитаризмнинг йирик тадқиқотчиларидан бири, француз файласуфи, саноатлашув ва
саноатлашувдан кейинги жамиятлар назариясининг муаллифларидан бири Реимон Арон (1905-1983
йй.) ҳокимиятнинг мустақил тармоқларга бўлинишининг қуйидаги мақбул тизимини келтиради:
―Қайсидир маънода бу тўғри. Ижро ҳокимиятининг эгаси – Президент қонунчилик ҳокимиятининг
эгаси – Вакиллар палатаси ва Сенатга нисбатан бошқача йўл билан сайланади. Аммо тузумнинг
фаолият юритиши Президент ва Конгресснинг ўзаро биргаликда ҳаракат қилишини тақозо этади‖.
―Ҳокимият бўлинган: у энди бир тўда одамларнинг қўлида жамланмаган ҳамда бизни қизиқтирадиган
тузумларда амалда қарорларни ким қабул қилиши ҳар доим ҳам яққол кўринавермайди. Амалда
ҳамма ҳам ҳокимиятнинг бу каби бўлинишини қабул қилавермайди, шу сабабли ҳақиқий қудратга эга
бўлган ―салбий гуруҳ‖ ҳақидаги афсоналар кўпайиб бораверади, унинг очиқ намоѐн бўлишини излаш
мутлақ бемаъниликдир‖. Ғарбий Европа ва АҚШнинг барча конституциявий-плюралистик
тузумларидаги иқтисодий ва сиѐсий ҳокимиятнинг бўлиниши аксарият маънода мақбул ҳисобланади.
Тоталитар ҳокимият, қачонки уни кўп маротаба қўллаш керак бўлмаган ҳолдагина кучли
бўлади, деб ҳисоблайди немис жамиятшуноси ва сиѐсатчиси Карл Дойч (1912-1992 йй.). ―Агар
тоталитар ҳокимиятдан ҳар доим у ердаги аҳолига қарши фойдаланилса, у узоқ вақтгача ўз кучини
базўр сақлаб туради. Тоталитар тузумлар ўз фуқароларини бошқариш учун бошқарувнинг бошқа
шаклига қараганда янада кўпроқ ҳокимият талаб қилгани сабабли бундай тузумларда одамларни кенг
ва ишончли бўйсундириш талаб қилинади; бунинг устига, улар зарурат юзага келганида, ҳеч
бўлмаганда аҳолининг салмоқли қисми томонидан фаол қўллаб-қувватланиши зарур бўлади‖[2].
Тоталитар диктатуралар ўзлари бошқарадиган аҳоли ва жамиятга боғлиқдир, - дейди
америкалик жамоат арбоби, ―рангли инқилоблар‖нинг асосий технологларидан бири, Альберт
Эйнштейн номидаги ижтимоий институтининг катта илмий ходими Жин Шарп (1928 йилда
туғилган). ―Марказий ҳукумат демократик бўлиб қоладиган бўлса, унинг доирасида қонунчилик,
ижро ва суд соҳалари ўртасидаги ҳокимият аниқ равишда бўлиниши керак. Полиция, жосуслик
хизмати ва қуролли кучлар фаолиятини уларнинг сиѐсатга ҳар қандай аралашувига чек қўйган ҳолда
кескин чеклаш керак‖, деб хулоса қилади Ж.Шарп.
Машҳур америкалик ѐзувчи Эрик Хоффер (1902-1983 йй.) тоталитар тузумлар ―инсон
психологиясининг жиннихоналари‖ эди; улар ўз мухолифларини – декадентлик сингари маишатни
жуда севадиган ва ниҳоятда худбин, юмшоқ табиатли одамлари кўп бўлган, олий мақсад учун ўзини
қурбон қилишга қодир бўлмаган ғарбий демократияларни таърифлашда қўлланади, деб
таъкидлайди[8].
Тоталитаризм иродаси кучли одамларга тоқат қила олмайди, чунки бундай одамларнинг юксак
мақсадлари уларни зулмкорликка қарши туришга ундайди. Юқорида тилга олинган англиялик
тарихчи ва сиѐсатчи Д.Грин шундай деб ҳисоблайди.
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PHILOSOPHY, LAW AND POLITICAL SCIENCES
Тоталитаризмга қарши туриш учун, деб ҳисоблайди Ф.Хайек, бундай тузумдаги мавжуд
хатарлар тўғрисида огоҳлантириш билан чекланиш кифоя қилмайди – классик либерализм ижобий
дастурининг яшовчанлигини ҳимоя қилиш, амалда эркин жамият идеалларини амалга оширишнинг
ҳуқуқий ва сиѐсий имкониятини кўрсатиш зарур.
Ижтимоий муносабатлар ижтимоий-фалсафий таҳлилнинг мавзуси ҳисобланади.
Тарихчи, иқтисодчи, сиѐсатчи, жамиятшунос ва антрополог Уильям Грэм Самнер (1840-1910
йй.) (―этноцентризм‖ атамасининг муаллифи) фикрига кўра, ижтимоий муносабатларни қайта
ўрнатиш битта аниқ ижтимоий гуруҳ манфаатларига мувофиқ ҳолда ҳамда бошқа манфаатларнинг
―иккинчи ўринга‖ ўтиши орқали амалга оширилади.
Биз кўриб чиқаѐтган ҳодиса таҳлилида сиѐсий иқтисодиѐт принципларига риоя қилиш керак.
―Бошқа барча органик ҳаѐтдаги бўлгани каби ижтимоий муносабатларда ҳам рақобат эволюциянинг
энг кучли омили ҳисобланади‖. Франциялик сиѐсий арбоб ва тарихчи Ив Гийо (1843-1928 йй.) ана
шундай фикрда.
Немис тарихчи ва иқтисодчи олими Макс Вебер (1864-1920 йй.) Ғарбий Европа ва Шимолий
Африкада ижтимоий муносабатларнинг шаклланишида протестантлик руҳи муҳим роль ўйнаганини
асослаб беради. Бу жараѐн иқтисодиѐтга маданиятнинг таъсир қилишини кўрсатадиган далил деб
баҳоланади олим томонидан. М.Вебер ҳокимиятнинг бўлиниши ва кенгаш, ваколатхоналарнинг
оқилона шакллари туфайли инсон устидан инсоннинг бевосита ҳукмронлик қилиш шаклларини
имкон қадар камайтиришга даъват этган. Турли гуруҳлар ва сиѐсий етакчилар ўртасида давлат,
ҳокимиятни бўлиш сиѐсати, М.Веберга кўра, ушбу ҳокимиятни эгаллаб турган кишилар томонидан
амалга оширилади.
Америкалик социолог ва маданиятшунос олим Питирим Сорокиннинг (1889-1968 йй.)
фикрича, иқтисодий, маданий ва ижтимоий ҳодисалар – ижтимоий муносабатларнинг бир қисмидир;
санаб ўтилган барча воқеликлар жамият фаолияти ва эволюциясини бир томонлама кучайтирмайди
ва ўзаро тенг ҳуқуқли муносабатда бўлади .
П.Сорокин давлат ва фуқаролик жамиятининг бўлиниши нисбий бўлиб, бу бўлиниш ижтимоий
муносабатлар фаолиятига доир механизмларни илмий тушуниш учун зарур, деб ҳисоблайди. Бунда
давлат ―иккинчи даражали‖ ноҳукумат ташкилотларни ўзига бўйсундирадиган мутлақ ғоя сифатида
намоѐн бўлмайди. Давлат ва фуқаролик жамияти ўртасидаги муносабатларнинг учта тури мавжуд:
фуқаролик жамиятининг давлатга бўйсуниши (―Октябрь тўнтаришидан сўнг аҳоли устидан давлат
васийлиги ҳажми мисли кўрилмаган миқѐсга етди... Фуқароларнинг бутун ҳаѐти давлатнинг ҳушѐр
назари остига олинди‖); ҳокимиятнинг тенг тақсимланишининг мувозанатга келтирилган
муносабатлари; фуқаролик жамияти гегемониясининг босқичма-босқич ривожланиши ана шулар
жумласидандир.
П.Сорокин давлат фуқароларнинг шахсий ҳаѐтига аралашмаслиги керак, деб ҳисоблайди. Агар
уларга тўла эркинлик берилса, уларнинг ўзлари энг яхши тузумни ўрнатади. Тоталитар давлат
ҳокимияти тузуми жамиятни бошқаришга қодир эмас.
Бугунги кундаги ижтимоий назарияларнинг аксариятида фуқаролик жамиятини тушуниш учун
ҳеч қандай захиралар йўқ, деб ѐзади Халқаро социология ассоциацияси президенти (1988-1990 йй.),
Уорвик университетининг социология кафедраси профессори (Буюк Британия) Маргарет Арчер
(1943 йилда туғилган).
Расмиятчилик ―университет тоифаси‖га кириб борди, ғоявий ришталар, давлат аппарати билан
алоқалар, лойиҳаларни молиялаштиришни экспертиза қилишда давлатга қарам бўлиш унга қўшимча
бўлди, деб ѐзади англиялик машҳур жамиятшунос ва файласуф, танқидий реализмга яқин бўлган
аналитик дуализм мактаби вакили Маргарет Арчер. Олимларнинг обрўси кескин тушиб кетди.
Ижтимоий фанларнинг ижтимоий ўзгаришлар ва одамлар фаровонлигининг ўсишига кўмаклашиши
борасидаги амалий роли энг яхши келажак режаларини тарғиб қилиш билан белгиланмайди, деб
ҳисоблайди М.Арчер. Маънавий қадриятлар ва одоб-ахлоқ меъѐрларини заррача ҳам инкор қилмаган
ҳолда, жамиятшунос (оддий ишчи сингари) тизимли ва тизимдан ташқари жамоавий агентлар билан
ақлий мулоқот қилиш орқали ўзининг амалий роли ва маърифатпарварлик қадриятларини амалга
оширади. Кўрсатмаларнинг ўрнига тенг ҳуқуқли суҳбатдошларнинг мулоқоти зарур, деб ѐзади
М.Арчер.
АДАБИЁТЛАР:
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PHILOSOPHY, LAW AND POLITICAL SCIENCES
1. Brzezinski Z. The Wrong Way to Sell Democracy to the Arab World // The Washington Post. –
2004. – March 08.
2. Deutsch K. Cracks in the Monolith: Possibilities and Patterns of Disintegration in Totalitarian
Systems. - New York: Free Press, 1963. – рр. 313-314.
3. Duckitt J. Authoritarianism and Group Identification: A New View of an Old Construct // Political
Psychology. – 1989. – Vol.10. – No.1. – pp.63–84.
4. Geddes B. Challenging the Conventional Wisdom //Journal of Democracy.–1994. –Vol.5. -No.4.–
pp. 104-118; Pei М. The Puzzle of East Asian Exceptionalism // Journal of Democracy. – 1994. – Vol.5. -
No.4. – pp. 90-103.
5. Geddes B. What do we know about democratization after twenty years? // Annual review in
political science. -1999. –Vol.2. – Р.121-123.
6. Geddes B., Wright J., Frantz E. New Data on Autocratic Regimes. Manuscript. 2012 // Autocratic
Regimes - dictators.la.psu.edu.
7. Habermas J. Die Kulturkritik der Neokonservativen in den USA und in der Bundesrepublik //
Habermas J. Die Neue Unubersichtlichkeit. - Frankfurt am Main: Suhrkamp Verlag 1985. - S.30,56.
8. Hoffer E. The True Believer: Thoughts on the Nature of Mass Movements. - New York: Harper
Perennial Modern Classics, 2002.
9. Howard M., Roessler Ph. Liberalizing Electoral Outcomes in Competitive Authoritarian Regimes //
American Journal of Political Science. - 2006. - Vol.50. - №2. – Р.367-369.
10. Huntington S. Reforming Civil-Military Relations // Journal of Democracy. - Vol. 6. – No.4. - pp.
9–16.
11. Linz J. An Authoritarian Regime: the Case of Spain. Mass Politics: Studies in Political Sociology. –
N.Y.: Free Press, 1970.
12. Linz, H., Stepan A. Problems of Democratic Transition and Consolidation. Southern Europe, South
America and Post-Communist Europe. – Baltimore and London: Johns Hopkins University Press, 1996.
13. O‘Donnell G. Modernization and Bureaucratic Authoritarianism. Studies in South American
Politics. - Berkeley: University of California Press, 1979.
14. O‘Donnell G., Schmitter Ph. Transitions from Authoritarian Rule: Tentative Conclusions about
Uncertain Democracies. - Baltimore: Johns Hopkins University Press, 1986.
15. Stoner-Weiss K. Russia: authoritarism without authority // Journal of democracy. - Baltimore,
2006. - Vol. 17. - № 1. - P.104-118.
16. Vargas Llosa M. Global Fortune: The Stumble and Rise of World Capitalism. - Washington: Cato
Institute, 2000. - pp. 6.
17. Арон Р. Демократия и тоталитаризм / Пер. с фр. Г.И.Семенова. - Москва: Текст 1993.
Оригинал: Aron R. Dеmocratie et totalitarisme. – Paris: Ed. Gallimard, 1965.
18. Поппер К. Открытое общество и его враги / Пер. с англ. под ред. В. Н. Садовского. — М.:
Феникс, Международный фонд «Культурная инициатива», 1992. — В 2-х т.
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PEDAGOGICS
UDC 37.01
Introduction. One of the most crucial tasks facing the teaching staff in secondary schools is instilling
a sense of military and patriotism in the students. The education of patriotism and military patriotism in the
process of teaching various subjects plays an exceptional role in the development and formation of students
as people with a healthy spirit and common sense. Based on the demands of modernity, military-patriotic
education was introduced in secondary educational institutions in its ultimate form. These qualities, instilled
in students, are aimed at developing their military knowledge and skills. The forms of military-patriotic
education that create conditions for their proper service in the ranks of the Azerbaijani army, educating
them as spiritual citizens who love their Homeland and are mentally connected with it, are extremely
important and of great importance. In the modern era, the Azerbaijani state plays one of the main roles in
the development and formation of its Armed Forces.
Research methods. The article discusses the exceptional importance of patriotism, the importance of
the correct use of new methods in teaching children. The method of analysis of methods that have replaced
the old and classical methods is used. The conducted study of the problems of patriotic education is based on
observational, comparative, and especially research and statistical methods.
Results and Discussions. These forms of education, which have played an important role in the
development of military-patriotic education of students in all secondary schools of Azerbaijan, which have
already become a tradition, prepare the student for the future, educating him under the modern military
patriotic feelings of his time, whether in the process of lessons, extracurricular activities, on training
grounds, in military classrooms.
Conclusion. Thus, the ideal conditions are created for the education of patriotic citizens, who will
emerge strong, healthy, and self-assured if the aforementioned military-patriotic education techniques are
used to kids continually and concurrently and their futures are taken into consideration. The use of these
military-patriotic education techniques will produce students who not only receive a patriotic education but
also belong to a generation that is intelligent and capable of greatness. These processes, which start as soon
as a child enrolls in school, lead to the formation of patriotic learners, who periodically take on their
ultimate form both throughout the instructional process and during extracurricular and recreational
activities.
Keywords: military, patriotic, educational, School, Azerbaijani Army.
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PEDAGOGICS
the old and classical methods is used. The conducted study of the problems of patriotic education is based on
observational, comparative, and especially research and statistical methods.
Results and Discussions. There are various forms of military-patriotic education of students in
schools :
– Conducting lectures, reports, talks, theoretical conferences about combat and labor traditions ,
about war and peace , about military specialties ;
– Excursions to places of revolutionary , military and labor glory ;
– Creation of the H. Aliyev corner, exhibitions, revolutionary, war and labor glory museums in the
school;
– The life of heroes, including the person after whom the school is named, and the education of
students on the example of the heroic chronicle :
– Organization of excursions of schoolchildren to the park “War trophies” captured in the 44-day
Patriotic War.
– Making trips to areas and cities liberated from occupation.
– Holding interesting meetings with participants of the war, labor leaders, servicemen of the
Azerbaijani Army ;
– Caring for students with disabilities, war veterans, families of fallen soldiers.
– Contests for the best essay, story, drawing, photo on the theme of military patriotism;
– Holding military sports games “Braves”, ”Falcon" ;
– Creation of circles and clubs for the study of military affairs and military equipment, military-
patriotic associations of students ;
– Involvement of students in military-applied sports for better preparation of students for military
service in the Armed Forces of Azerbaijan ;
– Participation of adults in the education of competitions for the best organization of military-
patriotic work held on a regional, city, republican scale;
– Protection of monuments;
– Communication with military units
– Participation of adults in the upbringing of babies
– Participation in celebrations dedicated to significant historical days, etc.
If we open the forms of military-patriotic education organized in schools in the form of fundamental
scientific knowledge, theoretical knowledge and practical training, then the following principle will be
formed: teacher-student, parent-student, soldier-student.
At conferences dedicated to the combat traditions, the historical merits of the Azerbaijani army, the
military merits of the Azerbaijani state achieved by its Armed Forces from time to time, and the war veterans
who participated in these battles, the transformation of national heroes into real heroes, are reflected in the
fact that they become the most important, the most fundamental source of today. The wise policy of Shah
Ismail, who lived back in the VIII - IX centuries and fought for his lands, like Javanshir, Babek, who dealt
the enemy a great crushing blow, who at the beginning of the XVI century made a furor for the whole world
with his courage, his heroism, which has come down to our days, contributed to mastering the military-
patriotic education of students in schools.
Also at the beginning of the twentieth century, Samad bay Mehmandarov, Alagha Shikhlinsky, Habib
bay Salimov and others, who had historical services in the establishment of the Azerbaijani Army at the
beginning of the 20th century, participated in the creation of the Azerbaijani army, as well as 42 Heroes of
the Soviet Union in the Second World War, and thousands of our soldiers and officers, are the military
patriotism education of a new school for the next generation. they played an important role in the foundation
of the school.
In the military history of Azerbaijan, the path of war and military service of the never-to-be-forgotten
generals and national heroes who made a name for themselves in the ranks of our Armed Forces and
rendered exemplary service in the First Karabakh battles is an example for every schoolchild.
The heroes of the April battles, who did not tolerate the fact that our lands were under occupation for
almost 30 years in modern times, took these lands at the cost of their lives and blood, the combat traditions
of General major Polad Hashimov and Colonel Ilgar Mirzayev during the counter-offensive operation, which
went down in our history as the Tovuz battles in July 2020. The fact that thousands of our veteran brothers
are fighting on the battlefield is an example of how much they have a military patriotic education. The new
and younger generation growing up in the face of these, should be instilled and taught the claim to constantly
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PEDAGOGICS
inflict a crushing blow on the enemy, armed in the spirit of military patriotic education. It is very important
to highlight the path of courage, heroism and battle of the historical heroes of Azerbaijan, which we have
listed above and consider as a form of development of military patriotic education of schoolchildren.
- Speaking about the topic of military patriotic education of students, it should be emphasized that the
Azerbaijani people, being a peace-loving people, are always on the side of maintaining good relations and
friendship with neighboring states. But if necessary, if they violate this friendship and enter territorial
disputes, then we must declare that we are the people of a state capable of defending the Motherland with
arms in hand.
- With the organization of schoolchildren's trips to the places of war and labor glory, along with
visiting the Alley of Martyrs, the busts and graves of historical commanders, it should be explained and
enlightened about what they died for, when, why, and for what they sacrificed their lives. On this occasion, it
has become customary to visit the Alley of 20 January Martyrs, whose memory is cherished in the city and
regions of Nakhchivan, and visit the graves of heroes who died during the events of Bloody January, the
Khojaly Genocide, and the First Karabakh Battle. At the same time, by visiting the graves of Mubariz
Ibrahimov, Genral Polad Hashimov, the National Heroes of our time, and more than three thousand martyrs
during the Patriotic War, it is possible to achieve the development of military knowledge, skills and their
military patriotic education by emphasizing how our martyrs gave their lives for the Motherland, the nation .
- The establishment of the corner and Museum of the national leader Heydar Aliyev, which has
already become a tradition in schools, has been of great importance for the military patriotic education of the
new and young generation in schools by giving examples of his speeches. The corner and Museum reflects
the creation of our independent state along with the ideas and sayings of the great commander in the
direction of patriotism, at the cost of which the Armed Forces and army were built.
Great leader Heydar Aliyev at a meeting with school cadets said: "When we laid the first stones in the
foundation of the Jamshid Nakhchivan Military Lyceum, it was not a theory for us, it was a look at a great
future, the future of Azerbaijan, as well as the future of our patriotic schoolchildren. These were the first
successful steps in training the national officer cadres of Azerbaijan. By taking these steps, we thought that
the time would come when the Azerbaijani people would gain their national freedom, gain their state
independence, an independent Azerbaijani state would arise, and the patriotic upbringing of an Azerbaijani
schoolboy would cause an uproar all over the world. And so it happened. It is thanks to our independence
today that I created, preserved, and educated this school. You know, I sincerely tell you that Nakhchivan
Lyceum is a child for me. I look at him as my own child, and the longer I live, the more I will look at him
that way.”[4. s 224]
They not only educate us, but also bolster our sense of patriotism, improve our military prowess, and
provide pupils the tools they need to emulate great leaders and become historical commanders like them.
Additionally, they amplify his words and gestures in their presentations, reinforcing the patriotism they were
raised with.
- The Azerbaijani army captured and took military weapons, ammunition, and equipment of the
Armenian Armed Forces as trophies during the 44-day Patriotic War, demonstrated true patriotism, and the
ability to use the captured enemy military equipment against itself again during the excursion of students to
the military booty park, to cities, districts, and villages liberated from occupation. pupils are raised and
taught both in the military patriotic spirit of pupils as well as in an intensified sense of hatred for the
adversary during the excursions organized in schools. Children will always remember the structures that the
dreaded enemy destroyed and turned into the abode of wild animals, demonstrating once more how horrible
Armenians are for these regions and for this people.
- Education created on the basis of the implementation of joint meetings of schoolchildren with
military units is one of the important cases, both on the basis of the organization of meetings with military
personnel who participated in the first Karabakh and second Karabakh battles. At the same time, it is
important to illuminate such paths as conducting a conversation with exemplary soldiers who have just
arrived from military service. During meetings with veterans and Heroes of the war, the reasons for the
beginning of the war, its continuation and triumphant end lead to the interest of schoolchildren in military
patriotic education. As a result of the conversations, it is proved how malaic the feelings of military
patriotism were in the formation of feelings of sadness, joy, and Gaza in the faces of schoolchildren.
- The state constantly monitors and regulates how military sports competitions like "braves" and
"Falcons" are organized and played in general education schools. These organized schoolyard military sports
competitions help students in the Armed Forces of Azerbaijan serve their country with distinction, use
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modern weapons with dexterity, develop a love of country and a hatred of the enemy, and develop a spirit of
military patriotism.
The overall organizing concepts used for this effort and the way that the relevant ministries, numerous
frugal organizations, and GRU, which are directly in charge of this sector, are overseeing its execution are
commendable. The actual measures made by the Ministry of Defense and the Ministry of Education of the
Republic of Azerbaijan in teaching young people in the spirit of patriotism and military patriotism are of
immeasurable value. These ministries' judgments, suggestions, and directives are of great value in
establishing high standards of work in secondary educational institutions. The whole school personnel should
participate in the preparatory phase for both military sports events. Prior to creating the environment for the
students' voluntary engagement in this task, it is required to look for pupils who wish to participate in these
games. instructors in general education classes and instructors of specific subjects play a major part in this.
Students should be encouraged to actively engage in these games by providing them with detailed
information about the nature and goals of the game as well as by making advantage of any chances that may
be available.
The structure, techniques, and concepts of military-patriotic education are therefore crucial for the
development of students' military-patriotic education in secondary schools, as are the ways in which it is
taught and instilled.
As the President of the Republic of Azerbaijan, Supreme Commander-in-Chief of the Armed Forces
Mr. Ilham Aliyev noted, using such expressions as “we are educating a new generation”, “we are forming a
new generation”, the new and younger generation has armed the citizens of Azerbaijan in this area.[7. s 11]
Conclusion. This entails establishing the right circumstances for the education of patriotic citizens,
who will emerge strong, healthy, and self-assured provided the aforementioned military-patriotic education
methods are continuously and concurrently used to students and their futures are considered. The
implementation of these military-patriotic education methods will result in the development of pupils who
will not only get a patriotic education but also a generation that is clever and capable of excellence. These
procedures, which begin when a kid enters school, result in the development of patriotic students, who
occasionally take on their final shape both throughout the instructional process and during recreational and
extracurricular activities.
REFERENCES:
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UDC 37
Abstract. The effectiveness of incorporating proverbs in education is contingent upon the ethno-
pedagogical training received by teachers. Teachers who is training in ethno-pedagogy possess the
necessary knowledge and skills to effectively utilize proverbs in their teaching practices. This training
enables teachers to understand the cultural significance of proverbs, promote cultural relevance in the
classroom, and foster inclusive and meaningful learning experiences for students. By integrating proverbs
into their teaching methods, trained teachers can enhance the educational impact and facilitate the
transmission of cultural wisdom and values. Embracing the principles of ethno-pedagogy and leveraging the
wisdom encapsulated in proverbs can empower teachers to nurture students' holistic development, foster
critical thinking skills, and instill a sense of cultural identity. By embracing the rich cultural heritage
contained within proverbs, education becomes a gateway to not only academic success but also the
preservation and celebration of national values.
Key words: ethno-pedagogy, effectiveness, using proverbs, education, ethno-pedagogical training,
teachers.
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Introduction. Children, who are one of the most important phenomena for the future of a country, act
as the main force of progress and development. The science of pedagogy was created to analyse and manage
the moral, physical, and emotional conditions of children, which are of such importance for the future of the
country and society. In the second half of XX century, Ethno pedagogy emerged as a new discipline in
pedagogy with the application of the results obtained from scientifically designed research on child rearing in
the modern educational environment.
Before the concept of ethno-pedagogy emerged as a discipline, many studies investigating folk
education were carried out. Most of the research conducted belongs to the field of children's education. Thus,
in these studies, child education was studied more with a folkloric and ethnographic approach. Ethno
pedagogy has become a field that aims to comprehensively investigate the national culture and the values of
the people from the point of view of education.
The term ethno-pedagogy as a disciplinary concept was first used in 1974 by Genadij Nikandrovich
Volkov [5, p.4]. In his work entitled "Ethno-pedagogy", he analysed this concept in its entirety as the history,
daily and informal life, extracurricular and traditional education of the people. Therefore, ethno-pedagogy
has become a field of science that examines the education of the people, its pedagogical approach, daily life
form, family pedagogy, past, and the culture of the nations living in this society.
The topics that are the source of Ethno pedagogy can be listed as follows:
1. Basic categories of folk pedagogy (education, self-education, re-education, teaching, learning,
habits, etc.)
2. Age characteristics of children and young people as a subject of child upbringing
3. Educational processes (moral formation, intelligence development, general development,
preparation for work, aesthetic education, etc.)
4. Educational factors (environment, game, society, socialization, speech/language, work, religion)
5. Methods of upbringing (folk beliefs, example, habit formation, punishment, rewards, prohibitions,
confirmation, etc.)
6. Means of upbringing (proverbs, riddles, similes, stories, epics, tales, myths, poems, etc.)
7. Vocational training (preparation of children and young people for working life)
Methodology. In the article, a comprehensive analysis of existing literature on topics such as
Ethno pedagogy, teacher training, and the possibilities of using proverbs in educational work was
carried out. Basic concepts, theories, and empirical research were conducted to understand the role
of ethno-pedagogical education in the formation of cultural competence and inclusive practices
among teachers.
Theoretical frameworks and concepts related to ethno-pedagogy, including its interdisciplinary
structure and integration of historical-ethnological, linguistic, cultural, and educational knowledge, are
analyzed and synthesized. The orientation of knowledge about proverbs to both past and future education,
their content, characteristics, and importance adapted to modernity and dynamics were investigated.
The work of collecting data according to the topic of the article was carried out. However, empirical
studies were included and appropriate data collection methods such as questionnaires, interviews or
observations were used to gather relevant information about the current experiences of teachers with ethno-
pedagogical training.
The results obtained regarding the importance of ethno-pedagogical education in the formation of
cultural competence, inclusive practices, and effective communication in the classroom are reflected in the
article. The impact of ethno-pedagogical education programs of teachers on education policy and future
research directions was discussed.
Discussions and results. The article emphasizes the educational importance of Ethno pedagogy and
its connection with proverbs. It is noted here that ethno-pedagogy, which emerged as a field of science in the
second half of XX century, aims to comprehensively examine the national culture and values of a society
from an educational point of view. The article discussed various topics of ethno-pedagogy, including the
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main categories of folk pedagogy, age characteristics of children, educational processes, factors, methods,
tools, and professional training.
One of the main points mentioned in the article is the importance of the transfer of ethno-pedagogical
knowledge to teachers in the effective implementation of education in modern times. This importance proves
that the integration of ethno-pedagogical approaches and materials can increase the academic success of
young students and create a healthy foundation for their future learning. This premise is confirmed by
scientific studies that reveal the relationship between Ethno pedagogy and education.
The article focuses on the fact that the importance of the use of proverbs as a means of education
increases. Proverbs are considered expressions that give advice, give direction, and encourage critical
thinking. They are considered valuable elements of folk culture that can transmit cultural values, wisdom,
and life lessons. Proverbs are described as concise and memorable phrases that can be used to inculcate
national values, develop language skills, develop critical thinking, and influence character education.
Considering ethno-pedagogy, as such a strong and healthy source of information is very important for
a more effective implementation of educational work in modern times. In this sense, there are many
scientific studies that reveal the relationship between Ethno pedagogy and education and emphasize the
importance of Ethno pedagogy in the field of education [1, p.113].
We can describe the importance of ethno-pedagogical knowledge of teachers in the educational
process through the following table [4, p.120]:
Raising children aware of national values is important for the future of the
country
Having an important function for the realization of the national ideology
Protection of national values of the people
Importance for the country Protection and improvement of public education
Getting to know people of different nationalities and learning their
national values
Revival of national education
Importance of quality in education
Being one of the important conditions for the development of the
personality of teacher candidates
Importance in terms of In terms of ethnopedology, having teacher candidates master their duties
training of professional In terms of ethnopedology, to ensure that teacher candidates acquire the
teachers necessary skills to perform their duties
Creating conditions for teachers to become familiar with the methods of
ethnopedology
To allow teachers to recognize students who are representatives of the
national minority and to develop the skills of teachers to communicate
with these students
Ethno-pedagogical knowledge of the teacher during teaching with proverbs is of special importance
for several reasons:
1. Ethno-pedagogical knowledge helps teachers to understand the cultural origin and context to which
proverbs belong. This understanding allows teachers to choose proverbs that are relevant and meaningful to
students' personalities and experiences. Teachers can attract students' attention to the lesson and increase
their interest in the material by assigning age-appropriate proverbs.
2. Proverbs often have deep cultural meanings. Ethno-pedagogical knowledge allows teachers to
determine the correct form of interpretation and explanation of proverbs that resonates with students' cultural
worldviews. Teachers can provide examples that help them understand cultural concepts, historical context,
and the intended message and value system of proverbs.
3. Ethno-pedagogical knowledge encourages teachers to value and respect cultural diversity. This
helps teachers to avoid unnecessary judgments and stereotypical thinking when choosing and interpreting
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proverbs. By embracing cultural diversity, teachers can create an inclusive learning environment where
students feel heard and valued, even if they have unique backgrounds.
4. Ethno-pedagogical knowledge allows teachers to create a bridge between students' lived experience
and educational content. Teachers can create a deeper connection with their students by including proverbs
that reflect their cultural values and social realities. This connection ensures that students understand the
teaching material better, and increases their motivation and activity in class.
5. Ethno-pedagogical knowledge equips teachers with a broader understanding of different cultures,
traditions, and perspectives. This awareness helps teachers avoid misunderstandings and misinterpretations
when using proverbs from different cultures. It promotes cultural sensitivity and encourages respectful
dialogue and appreciation for different cultures.
The effectiveness of using proverbs in education can indeed be influenced by the ethno-pedagogical
training of teachers. Ethno-pedagogy means the understanding and inclusion of cultural elements, including
proverbs, in the teaching process. How ethno-pedagogy teacher training can enhance the use of proverbs in
education
Cultural competence: Ethno-pedagogical training helps teachers develop cultural competence,
allowing them to understand the cultural context in which proverbs belong. This includes knowledge of
cultural values, traditions and beliefs related to specific proverbs. Culturally competent teachers can
effectively select and use proverbs appropriate to the age and comprehension level of students.
Proverbs selection: Ethno-pedagogical training develops the ability of teachers to choose proverbs that
are suitable for educational goals and the cultural diversity of their students. They have the ability to choose
meaningful proverbs that reflect the moral and social values of the students' cultural background.
Interpretation and explanation: Ethno-pedagogy training helps teachers understand the meanings of
proverbs in different cultural contexts. Teachers can effectively interpret and explain proverbs to students,
ensuring the correct delivery of the intended moral or educational message. In order for students to
understand proverbs more deeply, teachers can provide examples and create an environment suitable for
various discussions.
Relevance and Application: Ethno-pedagogy training allows teachers to make connections between
proverbs and real-life situations relevant to their students. They can help students understand how the
wisdom contained in proverbs can be applied in their daily lives, helping them to apply moral values and
cultural knowledge in practice.
Inclusion and appreciation: Ethno-pedagogically trained teachers promote inclusivity by valuing and
appreciating the diverse cultural perspectives found in proverbs. They create an inclusive classroom
environment where students feel respected and represented, contributing to a positive and engaging learning
experience.
Teaching strategies: Ethno-pedagogical training equips teachers with teaching strategies that
effectively incorporate proverbs. They can design activities, discussions, and assignments that encourage
critical thinking, cultural awareness, and moral development, encouraging students to explore and engage
with proverbs.
Teacher-Student Relationships: Ethno-pedagogy training helps teachers build strong relationships with
their students, fostering a supportive and inclusive learning environment. By incorporating proverbs that
resonate with students' cultural backgrounds, teachers can create connections and strengthen communication,
creating a positive classroom environment.
In summary, teachers who study ethno-pedagogy make better use of the educational potential of
proverbs. Their cultural competence, choice of proverbs, interpretation skills, relevance and inclusive
teaching strategies contribute to the effective use of proverbs in education. Ultimately, it enhances students'
understanding of cultural values, moral development, and the practical application of wisdom in their lives
Table 2. Problems experienced by teachers in the teaching process when working with ethno
pedagogical tools
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By using proverbs as a discipline tool, teachers can instill important values, strengthen self-discipline,
and promote a positive learning environment that supports student growth and development.
While discussing ethnopedagogical education, it is essential to explain the concept of
ethnopedagogical knowledge. When discussing the characteristics of ethnopedagogical knowledge, two
types are often mentioned: theoretical and factual knowledge. Ethno pedagogy encompasses various factual
information types [3, p. 45].
Alimbekov argues that while ethnopedagogical information is included in teacher education programs,
it should be presented in a systematic and organized manner. To achieve this, it is important to examine the
content of this information and explain its features. In this regard, the definition and characteristics of
ethnopedagogical knowledge have been explored. According to Alimbekov, ethnopedagogy is an
interdisciplinary field that synthesizes historical-ethnological, linguistic, cultural, and educational
information within the boundaries of history, ethnology, folklore, and education in the humanities.
Although ethno-pedagogical knowledge shares characteristics with the humanities, it also possesses
distinct features. Alimbekov argues that ethno-pedagogical knowledge not only focuses on the past of
education but also considers its future, demonstrating foresight and being dynamic as it adapts to evolving
educational contexts. It carries the characteristic of an axiom, serving as a fundamental proposition.
The presentation and teaching of ethno-pedagogical knowledge to teachers are crucial considerations.
This raises questions about effective delivery and what should be done in teacher education programs
regarding ethno-pedagogy. One proposed approach is to cultivate the ethno-pedagogical culture of teacher
candidates through the integration of ethno-pedagogy into the education-teaching process, referred to as
"ethno-pedagogization" within these programs.
The concept of association is frequently employed in this context. By associating the content of
teacher education programs with ethno-pedagogy, it is believed that teacher candidates will develop a
holistic understanding, perceiving public education and scientific pedagogy as interconnected.
Alimbekov explores four models for the association of teacher education programs with Ethno
pedagogy: the interdisciplinary model, modular model, mono-disciplinary model, and complementary model.
These models are visually represented in the figure below [3, p. 48].
On the basis of these models, various principles to be considered when associating teacher education
programs with Ethno pedagogy have also been put forward. These principles are; representativeness,
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historical and socio-cultural context, scientificity, professional orientation, and the potential to create an ideal
model [2].
Conclusion. In conclusion, let us note that ethno-pedagogy is emerging as a science of special
importance in the field of pedagogy, It pays attention to the comprehensive study of national cultures and
values in education, and it offers valuable ideas about the education of individuals, which includes historical,
social and cultural dimensions. By incorporating Ethno pedagogy into educational practices, teachers can
create a more effective and cultural learning environment.
By summarizing the characteristics given above to the proverbs that reflect the moral principles and
historical truths of Azerbaijani culture, its definition can be formulated. From these definitions and
explanations, it can be concluded that proverbs act as stereotyped verbal expressions that reflect different
experiences of humanity. Although proverbs take many forms, they primarily represent wisdom, and cultural
values developed for educational purposes with the aim of transmitting past experience.
Education is a multifaceted process influenced by various factors, including heredity, environment,
upbringing, social interactions, and cultural influences. Understanding these factors and their interplay is
important for holistic personality development. Ethno pedagogy recognizes the importance of these factors
and strives to create an optimal learning environment that meets the diverse needs of students.
Teachers play an important role in the promotion of ethno-pedagogical practices as the main figures of
the educational process. Ethno-pedagogical training for teachers is critical for developing cultural
competence, promoting intercultural communication, and creating inclusive classrooms. By incorporating
proverbs, folklore, and cultural elements into their teaching practices, teachers can increase student
engagement, build national pride, and promote fairness and equality.
Suggestions. Taking into account the broad scope and modern importance of the topic of the
article in the context of modern teaching methodologies, the following recommendations can be
offered regarding the direction and purpose of the research:
1. In order to increase teachers' understanding of proverbs and their effective use in education,
professional development programs specifically aimed at Ethno pedagogy should be provided in schools and
educational institutions. These programs may include seminars and training conducted by experts in this
field. Teachers can gain valuable insights into the cultural significance of proverbs, learn how to select
appropriate proverbs for educational purposes and discover strategies for integrating proverbs into their
teaching practices.
2. Develop comprehensive and culturally diverse resources that support the integration of proverbs
into education. This may include creating a database of proverbs from different cultures, and explaining their
usage and meanings. In addition, teaching guides and lesson plans can be developed that provide practical
examples of how to integrate proverbs across different subjects and grade levels. These resources will
empower teachers to confidently apply proverbs in their classrooms.
3. Cooperation between teachers and cultural experts can be formed to ensure that proverbs are
correctly interpreted and understood in the appropriate context. Schools can partner with local cultural
organizations, universities, or individuals who can provide guidance and insights into the origins and
significance of proverbs. This collaboration will help teachers to create possible cultural awareness and form
an authentic cultural exchange in the classroom.
4. Proverbs can be integrated into various subjects not related to linguistics. Ways to incorporate
proverbs into different lessons can be explored by encouraging teachers from different specialties to
collaborate. For example, proverbs can be used to explore cultural values and traditions in the social
sciences, to develop critical thinking and problem-solving skills in science, and to teach reasoning and
patterns in mathematics. This interdisciplinary approach will enrich students' learning experiences and
increase the relevance of proverbs.
5. Interesting and interactive activities can be designed that engage students in researching and
analyzing proverbs. These activities may include group discussions, role plays, creative writing assignments,
and art projects based on proverbs. By actively engaging with proverbs, critical thinking skills, cultural
awareness, and proverbial wisdom can be more quickly imparted to students.
6. Assessment strategies that meaningfully measure students' understanding and application of
proverbs should be developed. An example of this could be the creation of rubrics that assess students' ability
to explain the meaning of proverbs, analyze their relevance to real-life situations, and demonstrate how they
can apply the concepts and values in proverb lessons in their own lives. Teachers can assess both students'
language skills and understanding of cultural values when assessing proverbs.
SCIENTIFIC REPORTS OF BUKHARA STATE UNIVERSITY 2023/7 (101) 256
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7. Parents should be encouraged to promote the use of proverbs in education. Workshops or sessions
can be organized for parents to teach them the benefits of using proverbs in their child's upbringing. People
who know about proverbs can participate in class activities. This collaboration will foster cultural pride and
create a supportive learning environment that goes beyond the classroom.
8. Research and collaboration opportunities for teachers in the field of ethno-pedagogy can be
encouraged. Teachers can be involved in research projects or collaborative research that examines the impact
of using proverbs in education. By sharing research findings and experiences, teachers can contribute to the
existing literature and inspire others to adopt innovative practices for using proverbs as educational tools.
REFERENCES:
1. Aliyev I., The effect of using ethnopedagogical materials to improve the quality of teaching and
learning in secondary schools, Institute of Educational Problems of the Republic of Azerbaijan, 2002.
2. Aliyeva S. A. (2016). Basics of ethnopedagogy. Baku: ADPU Pub.
http://web2.anl.az:81/read/page.php?bibid=vtls000524543 (22.9.2020).
3. Alimbekov A. (2008). The historical situation of the theory and practice of the ethnopedagogical
education of the prospective teacher. Manas Journal of Social Research, 10(19), 157-174.
4. Burger H. (1968). Ethno-pedagogy: a manual in cultural sensitivity, with techniques for improving
cross-cultural teaching by fitting ethnic patterns. (2. Baskı). Albuquerque, New Mexico: Southwestern
Cooperative Educational Laboratory.
5.Volkov G. N. (2000). Volkov G. N. Ethnopedagogy. (Ethnopedagogy), Moscow: Academy Pub.
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UDC 792
Abstract. The article is dedicated to the landscape genre in the creation of the People's Artist Jalil
Huseynov. The landscapes created by Jalil Huseynov, which combines national, avant-garde and modernist
traditions, are distinguished by their features. It is clear that those works, where a special rhythm and fluidity
are achieved in the landscape works of the artist dedicated to the celebration of space, and in which shades
compatible with each other are found in color relationships, have a high artistic value. A regular rhythm and
unity are shown in the shades of each of his works. "Old garden house", "Dubandi", "Absheron", "Evening",
"Spring", "I wish it were that garden again...", "Horizon" from the "Absheron motifs" series of the artist who
glorifies the nature of different regions of Azerbaijan. "Lokbatan", "Old hamam", "Black roofs", "Sunny
landscape", "Oriental motif", "Sunset", "Heat of the sun", "Memory about Absheron", "Sandy beach" and other
works were analyzed.
Key words: modernism, composition, harmony, coloring, space, glorification
Annotatsiya. Maqola xalq rassomi Jalil Huseynov ijodidagi manzara janriga bag„ishlangan. Jalil
Huseynov yaratgan milliy, avangard va modernistik an‟analarni o„zida mujassam etgan manzaralar o„ziga xos
xususiyatlari bilan ajralib turadi. Rassomning koinot bayramiga bag„ishlangan manzarali asarlarida o„ziga xos
marom va ravonlikka erishilgan, rang munosabatlarida bir-biriga uyg„un bo„yoqlar uchragan asarlar yuksak
badiiy qimmatga ega bo„lishi aniq. Uning har bir asarining soyasida muntazam ritm va birlik namoyon bo'ladi.
Ulug„vor ijodkorning “Absheron naqshlari” turkumidan “Ko„hna bog„ uyi”, “Dubandi”, “Absheron”,
“Oqshom”, “Bahor”, “Yana o„sha bog„ bo„lsa...”, “Ufq”. Ozarbayjonning turli mintaqalarining tabiati bilan
bog‟liq asarlar, hamda “Lokbatan”, “Eski hammom”, “Qora tomlar”, “Quyoshli manzara”, “Sharq naqshi”,
“Quyosh botishi”, “Quyosh isishi”, “Absheron haqida xotira”, “Qumli sohil” kabi asarlari tahlil qilindi.
Kalit so'zlar: modernizm, kompozitsiya, garmoniya, rang berish, makon, ulug'lash
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Introduction. The landscapes created by Jalil Huseynov, which combines national, avant-garde and
modernist traditions, are distinguished by their features. Taking realist painting as a reference point, Jalil
Huseynov enriches it in a very subtle way with the characteristic features of the Azerbaijani fine art tradition,
coinciding with the Tabriz miniatures of the Middle Ages, and also applies the discoveries of the initial stage of
European modernism from the end of XIX century to the beginning of XX century [4, p. 6].
Jalil Huseynov's creativity is characterized by the application of modern artistic ideas that reflect the
trends and rhythms of the modern era in the realization of artistic thoughts, as well as traditional trends. This can
be attributed to almost all of the artist's works. The prominence of national uniqueness in his landscapes
reflecting the spatial environment arouses great interest in the audience [1,p.150].
In this sense, "Old garden house", "Dubandi", "Absheron", "Evening", "I wish it were that garden
again...", "Horizon", "Lokbatan" from the "Absheron motifs" series of the artist who is well acquainted with the
nature of Azerbaijan. "Old hamam", "Black Roofs", "Eastern Motif", "Sunset", "Memory of Absheron", "Sandy
Shore" and other works have a unique aura due to their interesting compositional structure and richness of
colors.
Art critic Afat Aslanova notes about the artist's paintings that glorify nature that... "Jalil Huseynov's
paintings from the Absheron range are more interesting and effective over the years, his linework takes on a
more free and clearly individual character: wide strokes, variety of color shades, local spots and tones...
Absheron's landscapes are unique in their romantic sounding in an exuberant manner. When I look at them, it
seems to me that the artist was eager to learn the secret of Absheron and with great enthusiasm, he is trying to
reveal that secret in his paintings by means of the power of his talent of emotional style" [2, p. 15].
Results and discussion. It is clear that those works, where a special rhythm and fluidity are achieved in
the artist's landscape works dedicated to the celebration of space, and in which harmonious shades are found in
color relationships, have a high artistic value. In every work of the artist, an orderly rhythm and unity of shades
is shown. A high level of color sense, the completion of his works in a general harmony with contrasting colors
constantly amazes the audience. It takes great skill to convey the concept of unique beauty to the viewer with its
full meaning, thought out with fine taste. This mastery has proven itself many times in the work of J. Huseynov.
Among the art examples that provide a deep psychological presentation of the spatial environment, the
sensitive attitude of the artist to this topic can be seen in several paintings dedicated to the subject of Absheron in
different years. It is evident in the successful relationship of warm and cold shades, in the presentation of the
most emotional moments with delicate nuances in the works such as "Absheron", "Absheron Gardens",
"Absheron. Old Mosque", "Dubandi" with a different composition of the same name.
The subject of Absheron has always had a wide place in the works of modern artists as well as artists of
the older generation. For example, if we look back a bit, we can boldly claim that this theme was the primary
source of inspiration in the works of S. Bahlulzadeh, N. Gasimov, D. Kazimov, E. Rzaguliyev, T. Javadov, L.
Feyzullayev and many other prominent artists. Let's pay attention to the work "Sunny day" by the famous artist
Nadir Gasimov as a bright example of how the unique nature of the land of Absheron draws attention in the
work of each artist with an individual artist's approach. The "boiling" shades and bright tonal transitions of the
painting, which glorifies that the hot rays of the sun reflect the warm breath that gives life to the earth, express
the individual artistic solution of the work. In his work, which presents the scene of the Caspian Sea merging
with the horizon, it shows the sensitive attitude of the artist to the subject.
In 1995, the artist painted with oil on canvas, dedicated to the landscape of "Dubandi", we can see the
expression of the natural motifs in the form of a realistic representation, sensitively meeting the shades
characteristic of that place. Here, the blue color, which expresses lyricism, is the majority in the whole painting,
and by observing the light brown tones of the ancient buildings along the coast, it interests the audience with the
presentation of a different and very emotional art example.
Here, the artist's attempt to reveal not the daily lifestyle or any moment of nature, but its general character
is evident. He was able to achieve this attempt through the successful use of color harmony. The light tones of
blue, green, brown colors spread throughout the entire work without weighing down the painting and reveal the
essence of the work by adding breath to it. Here the artist also created a vivid and at the same time calm image of
nature. The ancient low, small buildings exceed the frame of the composition and present their longing
impression to the audience with lyrical tones. In the work, the artist has revived not the hot atmosphere of
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Dubendi, but the quiet, romantic, individual nature with special sensitivity. Giving all this purposefully and
appropriately in the work conveys its purpose more prominently.
In the work, the space of the same tone that connects air and sea creates interest with its wider, limitless
sensibility. The chanting of the coast, expressed with harsh strokes of color, creates a sharp contrast with the
blue tone. Despite the fact that the work is based on contrasting colors, those shades are not only decorative, but
also a psychological factor and have become the main means of influencing the mood. Tones create the
atmosphere and breath of life in the work and arouse interest. However, we must note that the appropriate use of
color tones in the artistic solution of decoration is noteworthy. For example, bold colors in the glorification of
the coast corresponding to the shades of the sea and the sky, as well as the reflection of the pale shades of the
brown tone on the blue tone, representing the shades of the land, are the means of artistic description that
sufficiently confirm the above.
Such a characteristic image of the place can be found in the painting "Absheron" created by the artist in
1997. Here, too, the artist, trying to express the lyricism of nature, its relationship with people or, on the
contrary, its self-absorbed character, mainly preferred light colors in this scene. With this kind of color solution,
we face with the attempt of the artist trying to revive the romantic-lyrical atmosphere of Absheron, conveying
the general atmosphere and character of the place to his audience.
Blocking the calm, undisturbed blue waters of the Caspian Sea, the white stone building, reminiscent of
the ancient Absheron architecture, looks like it is standing in front of the sandy beach and looking at the sea. The
golden and shiny sandy beach, which forms a barrier between the ancient building and the sea, creates a
boundary and tries to prove the sensitivity of this relationship as a meeting of history and nature created by man.
With this, the artist was able to reveal his feelings and emotions, leaving the manner of simply depicting a
landscape. The gentle brightness of two small white clouds on the blue sky, slightly reddened by the rays of the
setting sun, adds a special color to this whole background. The placement of this small detail in the tableau
emphasizes its importance in revealing the nature of the landscape and brings it to our attention. On one side of
the painting, a single tree with a delicate trunk and a ball-shaped head is depicted with a slight bend, which is the
same goal of the artist. At the same time, among the light blue, brown, and white tones, the dark green color of
the tree adds color to the slightly sad atmosphere of the work and presents its romanticism.
Here, the artist correctly directed the brightness of the light in giving the same color of the sea and the sky
in a different tone, more precisely, according to the character of the space, in other words, he gave a skillful
solution of the light on the work. Although the rays spreading around in the brightness of the sun on the right
side of the sky are expressed linearly in darker tones on the horizon, on the upper edges of the tree, on the strip
of the coast that intersects with the sea, this banal image invites the viewer to follow a vivid impression aimed at
the celebration of reality without attracting deep attention.
For example, in the work "Old country house" created in 1994, the artist implemented these effects more
closely, both in terms of color and image, with natural motifs. In the work, the depiction of an ancient village
house with a white surface, the sky and the sea combined with light blue, and the background of the sandy
beach, which is slightly pale yellow, attracts attention.
However, there are works where the artist tries to express his goal with darker, contrasting colors. For
example, in the painting "Evening" from 1998, the attempt to illuminate the entire space with the image of the
bright moon in the sky in the stillness of the night draws attention rather than the purpose of expressing this
darkness. The view of the houses sheltered from each other from the vacant front stage to the back created the
lyricism in the work.
Another example is the work "Horizon" created in 2006 from the series of Absheron motifs. The creative
impression of the lyricism of nature, the moment when the last glow of the sun begins to hide behind the horizon
line, which connects the entire space with the horizon, even if it stretches towards the sky with special light
spots, is expressed with high artistry.
In the painting "Sandy coast" included in the series of Absheron motifs, the artist has realized the
sandyness not in the usual golden and brown brightness, but rather in the resolution of red, white, and blue tones
with dynamic flow. Due to the clearer expression of this brightness, the sea in the background has a brownish
tone, and the sky is a darker background in the solution of dark blue spots. The artist, who skilfully used the
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influences of the expressionism trend, revived the small village houses as if by mixing them with the motifs of
nature.
Another such work is called "Lokbatan". The artist achieved his goal by depicting the shores of Lokbatan
from a distance, behind the rocks. Despite the use of more pastel tones here, the dynamism of the ages has
removed it in the manner of a lifeless image.
In the work "Oriental motif" from the series of Absheron motifs, the artist tries to show their role in the
whole environment by gathering them as if in the center in the scene that characterizes the architectural style.
The ancient buildings on the white sand under the spots of light thrown in the delicate pink sky characterize the
ancient architecture of the gardens of Absheron, created in the Eastern style.
Although the above-mentioned decorative painting style is also clearly manifested in the artist's 2021
work "Memoir about Absheron", here too we witness that expressive effects are more pronounced. J. Huseynov
tried to glorify the dangers left behind in the images that began to stretch from behind the space given in front.
Conclusion. In the artist's praise of nature motifs, the lyrical solution of places with different landscapes
of Nakhchivan, Shamakhi, Shusha, Lachin, Guba, etc., along with Absheron motifs series of paintings, is
prominent. Art critic Z. Aliyev also notes that... "In the paintings of Jalil Huseynov, who continued the tradition
of the genius Sattar Bahlulzade, who brought the "philosophical landscape" to Azerbaijani painting in his time,
an artistic-philosophical approach can be heard to the visible, which has a single meaning. Their blue, green,
emerald and gold the enchanting aesthetics of colors in their artistic capacities tamed by white shades is
amazing." [3, p. 152].
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ART
UDC 792
Abstract. The article is mainly devoted to the history of Azerbaijani painting of the traditions of realism
that developed in the 20th century. The traditions of realism, which emerged with the gradual weakening of the
miniature style, which was considered the main artistic tool in the national descriptive and decorative-applied
art in the Middle Ages, began to act as a means of expressing the current social and political situation by
spreading widely in the new century. In this matter, the creation of an art school in Baku and the teaching of
realism played a big role. However, it should be noted that realism, which was present in Azerbaijani painting in
many cases, was not a "dry-cold" means of expression, as in many countries, and its "aesthetic map" was
sufficiently expanded with the continuous efforts of individual artists. Bahruz bey Kangarli, Ali bey Huseynzade,
Sattar Bahlulzade, Mikayil Abdullayev, Togrul Narimanbeyov, Mirjavad Mirjavadov, Yuran Mammadov, Javid
Ismayilov and others‟ works with different themes and genres are a clear proof of this.
Key words: realism, painting, tradition, experiment, miniature, development, household.
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Introduction. "Although the ancient artistic traditions of Azerbaijani painting have been enriched with
new means of expression over time, the miniature style that played a dominant role in its development in the
Middle Ages had to give way to the artistic principle of realism at the end of the 19th century." [3, p. 36] In other
words, long a certain dullness began to be felt in the application of the miniature style, the existence of which did
not cause concern to anyone for centuries. One of the main reasons for this was the strengthening of economic
and cultural relations between Azerbaijan and neighboring Russia and distant European countries during the rule
of the Gajar dynasty. The realism traditions brought from the North and the West gradually merged with the
local miniature style, and the manifestation of the name "Qajar style" was the result of these relations.
Indeed, the new style of expression resulting from the synthesis of the Russian-Western artistic principle,
with its conventionality and decorativeness, and the eye-catching miniature style, was very attractive as it was
new in the local area. Therefore, the new style, which was also appreciated by official circles, was soon applied
in all fields of visual and decorative-applied art and began to spread widely. In our opinion, the activity of
individual artists created in XVIII-XIX centuries, as well as their wall paintings decorating the interiors of Sheki
Khan palace, Baku khans' house, Sardar palace, Shekikhanov's house and civilian buildings in Shusha confirm
what we said. The unique artistic expressions observed in the works of Mirza Gadim Iravani, Usta Gambar
Karabakhi and Mir Mohsen Nawab were also a new style of expression that arose from the unity of Western and
Eastern color aesthetics. But the life of this innovation was not more than a miniature. This was determined by
the occupation of Azerbaijan by the Communist-Bolshevik army in 1920.
In other words, with the opening of several art schools in the Transcaucasia, only desirability of the
teaching and application of miniature and "Qajar style" did not occur. Thus, the new economic-political structure
turned the artistic principle of "socialist realism" into a leading artistic tool, which will also serve to spread its
ideology. If we pay attention to the Azerbaijani painting school before this political change, it is possible to see
the artistic manifestation of realism in the works of Khurshidbanu Natavan, Bahruz bey Kangarli, Keysar
Kashiyeva-Seyidbeyli, Abbas Huseyn, Najaf Rasim, Azim Azimzadeh and others.
Results and discussion. The painting school, which started operating in Baku in 1920, played an
exceptional role in the wide spread of realism traditions in Azerbaijani painting. However, if we look at the
history of the activity of this school in the 1920s and 1930s, then it can be seen that the teachers teaching here
have different attitudes towards painting. In other words, there was a confrontation between the "leftist"
approaches transferred from Moscow to Baku and the fanatics of realist art. However, with the efforts of
Yevgeni Samorodov, who was the first director of the school, and his friend Azim Azimzade, the interference of
Western artistic tendencies in the educational process at the school was prevented. In other words, young artists
continued to express their emotions in the style of realism they desired. Therefore, the attempt of the first
graduates of the school to return to the ancient artistic traditions was indirectly met with rebuffs by the official
circles. Thus, in 1934, at the exhibition organized on the occasion of the 1000th anniversary of the birth of the
poet Ferdowsi in Baku, young artists demonstrated that they were faithful to the classical miniature traditions. At
that time, on the eve of serious and merciless repressions that would begin in the USSR, their appeals to national
traditions were considered desirable, and young creators were accused of promoting the West. Therefore, with
the exception of Alakbar Rzaguliyev, the rest were forced to change their artistic attitude. But the graduates of
the school were gradually exhibiting a unique artistic approach to the principles of realism taught to them. Even
looking at what is happening in the development of painting in Azerbaijan, it is possible to see that those who
are active in this space managed to expand the "aesthetic map" of realism.
By the way, let's say that the events took place not only thanks to the creativity of those who were taught
at the local educational institution, but also thanks to the creativity of young artists who returned after receiving
higher education in various large cities of the USSR after the World War II.
"If we have to scroll through the history of national painting, then it is possible to see that creators who
have acquired knowledge and skills based on those traditions of realism have gradually achieved a line that has
become their "mark of recognition". Bahruz Bey Kangarli, Sattar Bahlulade, Mikayil Abdullayev, Tahir Salahov,
Togrul Narimanbeyov, Mirjavad Mirjavadov, Yuran Mammadov, Tofig Javadov and others’ works with
individual artistic and technical merits are proof of this." [1, p. 25].
Sometimes they reminded them that they were moving away from the artistic principle of "socialist
realism", which prevailed in the painting space, and sometimes they even expressed their serious remarks. At
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that time, the Kremlin and local ideologues focused on Sattar Bahlulzade and said, "What you draw is not
realism!" when he remarked, he calmly replied, "I paint my own realism!" he answered.
Let's admit that during the period of Soviet ideology, the deep-rooted attitude towards realist works, which
always displeased the audience with their "coldness and dryness", changed mainly with Tahir Salahov's arrival in
art. To be more precise, his 1957 diploma thesis titled "Returners from the duty" satisfied everyone in every
sense, and most importantly those who consider "socialist realism" to be eternal. The wide spread of this style,
which will soon be known as the "hard style" throughout the USSR, was a manifestation of both the acceptance
of the existing traditions of realism and its enrichment with new shades. It should be considered attractive and
memorable due to the time when the use of compact colors and painting became the leading means in the artistic
expression of reality. In 1964, the young artist was awarded the USSR State Prize, which was once again a high
level of appreciation.
Sattar Bahlulzade, who created his first paintings in the forties of the last century and very soon confirmed
himself by switching from the historical subject to the landscape genre, was a memorable artistic event.
In our opinion, the name of the landscape creator, who was not always considered a pioneer in fine art,
was placed among the first, primarily due to the fact that what he created in this field was new and unique. Sattar
Bahlulzadeh, who entered the history of Azerbaijani painting as the artist who changed his signature the most,
strangely enough, every new style of artistic expression was recognizable and unique. As a result of this renewal,
a more diverse glorification of the nature of Azerbaijan has become wonderful and enviable. The desire to
enrich the well-known aesthetics of realism with new artistic shades can be heard in his saying "I paint not to
know Azerbaijan, but to introduce it". In other words, the artist who worships logical exaggeration and "artistic
lie" in the creation of his works, often paints what he sees not as it is, but as he wishes, and his paintings are
perceived as an image of Azerbaijani nature.
Mikayil Abdullayev, who managed to give emotional moments to the aesthetics of realism with the lyrical
painting "Evening" (1947), which he created in his student years, ensured that each of his works became a carrier
of different artistic merit in his creativity, which will continue until the end of the next century. His use of
miniature style in the works of various genres that he created after his creative trip to India was very logical. In
general, the vividness of color and artistic decorativeness, originating from the miniature aesthetics observed in
his works, should be considered as a new contribution to the traditions of realism. This in itself can be
considered an image of the artist connecting the artistic principles of realism with national spiritual resources and
achieving a successful unity of tradition and modernity.
Togrul Narimanbeyov, who created his diploma thesis "Baltic Fishermen" in a realistic style while
studying in Vilnius, continued the artistic and technical skills he acquired as a student in a few works after
returning to Baku, but soon by realizing his worldview with an unexpected perspective and color palette he
showed that he found miniature aesthetics in his artistic pursuits. Combining miniature aesthetics with
expressive qualities in the paintings "For the sake of a happy future" (1959), "Happiness" (1961) and "Mugam"
(1965) with various themes, the artist achieved a perceptible dynamism of the meaning-content capacity of the
works. In the following years, he achieved the attractiveness of the color layer, which is characterized by bright
colors, and his works became known. In fact, since the artistic merits of the miniature style are at the root of such
color aesthetics, it was not difficult for the artist to apply it on the wall as well. We can say that the artist
expanded the expression framework of the traditions of realism in his magnificent murals that decorate the
puppet theater in Baku, the library in Ganja and the interior of the Milli Majlis of the Republic of Azerbaijan.
"Researchers unequivocally value the fifties as the enrichment of realism traditions in Azerbaijani painting
with interesting searches." [2, p. 18]. This is primarily related to the creativity of "Absheron School"
representatives and Ashraf Muradoglu. At that time, everyone hoped that he would successfully continue the
classical traditions with his diploma work "M.Y. Lermontov next to M.F. Akhundzade", which was done in the
style of realism in St. Petersburg. A. Muradoğlu, in response to the unexpected mental and psychological events
he faced in life, began to express his view of the world with color aesthetics that had not been encountered
before. Thus, the artistic interpretation of various themes in the artist's work in the seventies was thought-
provoking, as the decorativeness of color and expression became the guarantor of the integrity of the works, as
well as its artistic capacity. These works, which quickly became the artist's "sign of recognition" and were noted
for their conventional-decorative monumentality due to their artistic capacity, were expressed with an approach
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to people and various events that had not been seen before. It is possible to be sure in the example of his works
such as "Mugham" (1973), "Don't Vote" (1975), "Lenin's Smolny" (1975), "Stalingrad" (1975), "Sports Girl"
(1976), "N. Krupskaya" (1976), " Tehran conference" (1977), "October anniversary" (1977), "Napoleon" (1976),
"Cosmonaut V. Tereshkova" (1970s), etc. In a situation dominated by "socialist realism", although the artist
associated such a different artistic interpretation of the topics addressed by many with realism, it was obvious to
the naked eye that what was seen was quite far from those classical traditions.
In other words, despite the presentation of most of the characters on a black background, the "iceberg" of
its "light" was undeniable. In our opinion, this apparently black color actually had an artistic message suggestive
of the true content of the presented themes associated with it. It is interesting that the "mercilessness" towards
the images observed in the work of A. Muradoglu is found in the artistic pursuits of Mirjavad Mirjavadov at the
same time. But unlike A. Muradoglu, he did all this by giving up higher education at the Academy, despite living
in St. Petersburg for several years, and by studying progressive artists of the world at the Hermitage. The artist,
who for some time gathered his friends of faith in the town of Buzovna and carried out artistic experiments that
had nothing to do with "socialist realism", soon, by depicting what he observed in rural life without decoration,
as it was, showed unexpected climate. The author, who expertly felt the lyrical-poetic moments in rural
concerns, which seem ordinary to many, had a great influence on the formation of the world views of the young
people around him with a different aesthetic capacity.
In this sense, it is possible to name the artist's younger brother Tofig Javadov, as well as Farhad Khalilov,
Kamal Ahmadov, Alovsat Aliyev, Rafael Muradov, Nazim Rahmanov and others. Let's add that the works
created by these artists, who would later be known as "Absheronists", actually showed a desire to expand the
"aesthetic map" of realism traditions. Just by looking at the names of M. Mirjavadov's creations, it can be
assumed why the local art scene is worried about those works. "The Victim" (1971), "The Man Walking in the
Earring" (1971), "Fire" (1974), "The Man Under the Tram" (1975), "Light of Hope" (1976), "Mafias" (1977),
"The Gift" (1977), "The Devil" (1978) and "Havva" (1980) can be mentioned among these tableaux. . Although
there was nothing alarming about the titles of these works, their subterfuge was clear as day to art officials.
Let us add to what has been said that at that time the ideologues of the art field wanted to create more
pathetic works than them, and they praised the poetics of rural life. But soon, unlike them, Mirjavad himself
began to show a non-conformist position.
In fact, the characters of mobsters, devils, giants and other strange creatures included in his paintings were
not the author's unaddressed fantasy, but were directly thought of as a protest against the ugliness they saw in the
Soviet reality they were surrounded by. Since the local ideologues did not have the strength to prove this to the
artist, they considered their work finished by not letting such works into the exhibition halls.
But in XX century, which was left behind and is remembered for its wealth of artistic events, there were
not a few artists who significantly enriched the traditions of realism by working on the topics demanded by
ideologues. Beyukagha Mirzazade, Nadir Abdurrahmanov, Vajiha Samadova, Nadir Gasimov, Abdulkhalig
Rzaguliyev, Gafar Seyfullayev, Baba Aliyev, Ayyub Huseynov, Ayyub Mammadov, Agali Ibrahimov, etc., who
are distinguished by their artistic pursuits in the field of painting, managed to give a unique artistic interpretation
to traditional themes in the works of various genres and themes they created.
The creative artistic attitude to the traditions of realism did not only take place in the environment of
Baku, individual approaches to this eternal style also took place in the creativity of painters operating in the
regions. This can be observed in the works by Yuran Mammadov, Mirjalil Seyidov, Mammadali Alakbarov and
Javid Ismayilov in Nakhchivan, Faig Abdullayev and Fazil Aliyev in Ganja, Adil Asadli in Lankaran, Vagif
Nazirov and Intigam Aghayev in Sumgait, and Farman Huseynov in Shamkir.
Conclusion. In the end, it should be said that the issue of creativity, which we briefly explained, has been
a topic of discussion in the field of visual arts for many years. Although many are of the opinion that the
aesthetics of realism is exhausted, the remaining years confirm that different generations of creators have
achieved interesting results by expressing an individual-creative attitude to this eternal style.
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ECONOMICS
УДК 339.16
Annotatsiya. Elektron tijorat O‘zbekistonda tez rivojlanayotgan soha bo‘lib, u odamlarning xarid
qilish uslubini tubdan o‘zgartirish imkoniyatiga ega. Mamlakatda texnik jihatdan yaxshi qurollangan o‘rta
yosh aholi va yuqori daromadga ega bo'lgan o'rta sinf o'sib bormoqda. Bu, o‘z navbatida, elektron
tijoratning rivojlanishi uchun qulay shart-sharoitlarni kafolatlaydi.
Ushbu maqolada O‘zbekistondagi elektron tijorat bozori haqida umumiy ma’lumot berilgan va uning
o‘sishiga turtki bo‘lgan omillar muhokama qilingan. Shuningdek, maqolada sohaning kelajakdagi
muammolari va imkoniyatlari ko'rib chiqilgan.
Kalit so'zlar: elektron tijorat, O'zbekiston, chakana savdo, raqamli iqtisodiyot, o'sish, muammolar,
imkoniyatlar, elektron tijorat, o'rnatish, logistika, aqlli tartibga solish, mulk huquqi, raqamli iqtisodiyot,
chegaralarni kengaytirish, bozorga kirish.
Abstract. E-commerce is a rapidly growing industry in Uzbekistan that has the potential to
revolutionise the way people shop. The country has a young, tech-savvy population and a growing middle
class with disposable income. This, in turn, ensures a favourable environment for e-commerce to flourish.
This article provides an overview of the e-commerce market in Uzbekistan and examines its growth
drivers. It also looks at the challenges and opportunities for the industry going forward.
Keywords: e-commerce, Uzbekistan, retail, digital economy, growth, challenges, opportunities, e-
commerce, installation, logistics, intellectual regulation, property rights, digital economy, border expansion,
market access.
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ECONOMICS
выхода на розничный рынок, такие как высокие первоначальные затраты и ограниченный охват,
разрушаются. Малые предприятия теперь могут задействовать более широкую клиентскую базу и
более эффективно конкурировать с уже зарекомендовавшими себя игроками. Рост электронной
коммерции также создал рабочие места как непосредственно в онлайн-секторе, так и косвенно во
вспомогательных отраслях, таких как логистика и обслуживание клиентов.
Однако электронная коммерция в Узбекистане также сталкивается с проблемами. К ним
относятся логистические препятствия, обеспечение безопасности онлайн-транзакций и установление
доверия со стороны потребителей. Правительство предпринимает шаги для решения этих проблем,
инвестируя в развитие цифровой инфраструктуры и внедряя правила для обеспечения безопасного и
надѐжного онлайн-рынка.
Таким образом, электронная коммерция трансформирует розничную торговлю в Узбекистане
по нескольким направлениям. Она предоставляет потребителям больше удобства и выбора,
открывает новые возможности для малого бизнеса и создаѐт рабочие места. Правительство
предпринимает шаги для решения проблем электронной коммерции, и ожидается, что отрасль
продолжит расти в ближайшие годы.
Обзор рынка электронной коммерции в Узбекистане.
Рынок электронной коммерции в Узбекистане переживает стремительный рост и меняет
структуру розничной торговли в стране. Поскольку правительство стремится модернизировать
экономику и улучшить цифровую инфраструктуру, онлайн-покупки приобрели значительную
популярность среди потребителей. В этом обзоре рассматриваются различные аспекты рынка
электронной коммерции в Узбекистане, включая его текущее состояние, движущие факторы,
проблемы и перспективы.
В последние годы сектор электронной коммерции в Узбекистане значительно расширился.
Усилия по цифровизации и более широкое проникновение Интернета сыграли решающую роль в
доступе людей к платформам и мобильным приложениям для покупок. В результате потребители
теперь имеют удобство и гибкость для просмотра и покупки продуктов или услуг, не выходя из дома.
Одним из ключевых движущих факторов роста электронной коммерции в Узбекистане
является рост среднего класса и увеличение его располагаемых доходов. С более высокой
покупательной способностью потребители ищут более широкий ассортимент товаров и более
разнообразный опыт покупок. Интернет-рынки вмешались, чтобы удовлетворить эти требования,
предлагая широкий спектр продуктов и услуг, начиная от электроники и моды и заканчивая
доставкой еды и бронированием путешествий.
Кроме того, молодое поколение выбрало электронную коммерцию как предпочтительный
способ совершения покупок. Как цифровые аборигены, они привыкли использовать технологии и
мобильные устройства, что делает онлайн-покупки естественным выбором. Удобство, предлагаемое
электронной коммерцией, включая доставку «от двери до двери» и доступ 24/7, согласуется с их
стремительным образом жизни и плотным графиком.
Хотя возможности электронной коммерции открываются как для потребителей, так и для
бизнеса, в Узбекистане она также сталкивается с проблемами. Логистика и управление цепочками
поставок могут быть сложными, особенно когда речь идѐт об эффективной доставке продукции по
всему миру. Установление доверия и обеспечение безопасности онлайн-транзакций также остается
приоритетом для платформ электронной коммерции, поскольку потребители нуждаются в
уверенности в том, что их личная и финансовая информация защищена.
Несмотря на эти проблемы, Узбекистан признаѐт потенциал электронной коммерции и активно
принимает меры для стимулирования еѐ роста. Осуществляются инвестиции в цифровую
инфраструктуру, включая улучшение подключения к Интернету и платѐжных систем. Кроме того,
вводятся нормативные акты, защищающие права потребителей и поощряющие честную конкуренцию
между предприятиями. Забегая вперѐд, можно сказать, что будущее электронной коммерции в
Узбекистане представляется многообещающим. Рынок, вероятно, будет продолжать расширяться,
поскольку все больше потребителей выбирают онлайн-покупки, а предприниматели используют
возможность установить свое присутствие в цифровой сфере. Благодаря дальнейшему
совершенствованию цифровой инфраструктуры и повышению доверия потребителей рынок
электронной коммерции в Узбекистане готов к дальнейшему росту и трансформации, открывая
новые возможности и улучшая общий опыт розничной торговли для потребителей.
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Факторы роста.
Растущая доступность высокоскоростного интернета: В последние годы в Узбекистане
значительно увеличилась доступность высокоскоростного интернета. Это позволило большему
количеству людей совершать покупки в Интернете, а компаниям стало проще продавать свои товары
и услуги в Интернете.
Рост популярности смартфонов. Смартфоны становятся все более популярными в
Узбекистане. Это облегчает людям возможность совершать покупки в Интернете, поскольку теперь
они могут заходить в интернет-магазины и совершать покупки со своих смартфонов.
Развитие методов онлайн-платежей. В Узбекистане доступно несколько способов онлайн-
платежей, таких как кредитные карты, дебетовые карты и онлайн-кошельки. Это позволяет людям
легко оплачивать свои онлайн-покупки и способствует росту электронной коммерции в стране.
Государственная поддержка развития цифровой экономики: Правительство Узбекистана
привержено развитию цифровой экономики. Это включает в себя поддержку роста электронной
коммерции. Правительство предоставило предприятиям несколько стимулов для продажи своих
товаров и услуг в Интернете, таких как налоговые льготы и субсидии. Правительство предоставило
предприятиям несколько стимулов для продажи своих товаров и услуг в Интернете, таких как
налоговые льготы и субсидии. Эта поддержка со стороны правительства помогла создать
благоприятную среду для роста электронной коммерции в Узбекистане.
Это лишь некоторые из факторов, которые способствуют росту электронной коммерции в
Узбекистане. Ожидается, что рынок продолжит расти в ближайшие годы, поскольку население
страны становится более технически подкованным, а правительство продолжает поддерживать
развитие цифровой экономики.
Растущая доступность высокоскоростного Интернета: это основной фактор,
стимулирующий рост электронной коммерции в Узбекистане. Поскольку все больше людей имеют
доступ к высокоскоростному Интернету, они с большей вероятностью будут делать покупки в
Интернете. Это связано с тем, что онлайн-покупки предлагают несколько удобств, которые
недоступны в обычных магазинах, например, возможность делать покупки из дома и возможность
сравнивать цены у разных розничных продавцов.
Рост способов онлайн-платежей. Способы онлайн-платежей упростили для людей процесс
совершения покупок в Интернете. В прошлом люди не решались делать покупки в Интернете, потому
что беспокоились о безопасности своей личной информации. Однако появление способов онлайн-
платежей решило эти проблемы. Теперь люди могут делать покупки в Интернете с уверенностью,
зная, что их личная информация в безопасности.
Улучшение цифровой инфраструктуры. Развитие цифровой инфраструктуры, в том числе
увеличение проникновения Интернета и возможностей подключения, стало важным фактором роста
электронной коммерции в Узбекистане. По мере того, как все больше людей получают доступ к
Интернету, расширяется потенциальная клиентская база для онлайн-покупок, что стимулирует спрос
на платформы электронной коммерции.
Рост среднего класса и располагаемых доходов. Рост среднего класса в Узбекистане в
сочетании с ростом располагаемых доходов способствовал росту электронной коммерции. У
потребителей теперь больше покупательной способности, что позволяет им исследовать более
широкий спектр продуктов и услуг, помимо того, что доступно в традиционных розничных
магазинах.
Эволюция потребительских предпочтений. Потребительские предпочтения меняются в
сторону удобства, разнообразия и беспрепятственного совершения покупок. Платформы электронной
коммерции обеспечивают потребителям удобство совершения покупок из любого места в любое
время, а также доступ к разнообразному ассортименту товаров, которые могут быть недоступны в
обычных магазинах.
Предпринимательские возможности: электронная коммерция открыла новые возможности для
местных предпринимателей и малого бизнеса. Низкие входные барьеры и снижение затрат,
связанных с созданием интернет-магазина, позволяют малым предприятиям охватить большую
клиентскую базу, расширить свой охват рынка и конкурировать с устоявшимися игроками.
Анализы:
Рост электронной коммерции в Узбекистане можно объяснить сочетанием факторов, каждый из
которых играет жизненно важную роль в ее расширении. Развитие цифровой инфраструктуры имеет
решающее значение для обеспечения бесперебойных онлайн-транзакций и обеспечения надежного
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подключения к Интернету, что делает электронную коммерцию доступной для большего числа
людей.
Растущий средний класс с более высокими располагаемыми доходами представляет собой
обширную потребительскую базу, которая ищет больше возможностей для покупок и более широкий
ассортимент товаров. Платформы электронной коммерции удовлетворяют эти потребности,
предлагая разнообразный выбор и удобные способы совершения покупок, удовлетворяя меняющиеся
предпочтения потребителей.
Быстрое распространение мобильных устройств также изменило правила игры. С
распространением смартфонов потребители могут легко получить доступ к платформам электронной
коммерции, размещая заказы на ходу и стимулируя рост электронной коммерции. Этот переход к
мобильным покупкам согласуется с ориентированным на мобильные устройства образом жизни
молодого поколения, которое хорошо разбирается в технологиях и стремится к удобству в
повседневной деятельности.
Кроме того, электронная коммерция предоставляет возможности для предпринимательства,
особенно для малого бизнеса. Низкая стоимость входа и более широкий охват, предлагаемые онлайн-
платформами, позволяют малым предприятиям преодолевать традиционные барьеры и
конкурировать с признанными игроками розничной торговли. Это способствует инновациям и
предпринимательскому духу, стимулируя экономический рост и создание рабочих мест.
Поддержка и инициативы правительства сыграли решающую роль, создав благоприятную
среду для роста электронной коммерции. Инвестиции в цифровую инфраструктуру и правила,
направленные на защиту прав потребителей и обеспечение безопасных транзакций, вселяют
уверенность среди потребителей и предприятий, способствуя росту экосистемы.
В целом, факторы, стимулирующие рост электронной коммерции в Узбекистане,
демонстрируют синергию между усилиями по модернизации, меняющимися потребительскими
предпочтениями, технологическими достижениями и государственной политикой поддержки.
Принимая во внимание эти факторы, Узбекистан позиционирует себя как процветающий рынок
электронной коммерции со значительным потенциалом для будущего расширения и экономического
развития.
Проблемы, стоящие перед отраслью.
Логистические препятствия: обширная географическая территория Узбекистана создает
логистические проблемы для платформ электронной коммерции. Эффективная доставка продукции
по всей стране, особенно в отдаленные и сельские районы, может быть сложной и дорогостоящей.
Эффективные решения по доставке «последней мили» необходимы для обеспечения своевременной и
надежной доставки в соответствии с ожиданиями клиентов.
Доверие и клиентский опыт. Установление доверия потребителей имеет решающее значение
для успеха платформ электронной коммерции. Многие потребители по-прежнему не решаются
совершать онлайн-покупки из-за опасений по поводу безопасности своей личной и финансовой
информации. Обеспечение бесперебойного и безопасного обслуживания клиентов, включая
защищенные онлайн-транзакции и надежную поддержку клиентов, жизненно важно для укрепления
доверия и поощрения повторных онлайн-покупок.
Ограниченные варианты цифровых платежей. Несмотря на прогресс в цифровизации,
доступность различных вариантов цифровых платежей в Узбекистане остается ограниченной. Это
создает проблему для платформ электронной коммерции, поскольку они должны учитывать
предпочтения в оплате, которые варьируются от оплаты наличными при доставке до различных
способов онлайн-платежей. Расширение доступности и возможностей цифровых платежей
необходимо для повышения простоты и удобства покупок в Интернете.
Кибербезопасность и защита данных. Защита конфиденциальных данных клиентов является
важнейшей задачей, стоящей перед индустрией электронной коммерции в Узбекистане. Рост
киберугроз и утечек данных требует, чтобы платформы электронной коммерции инвестировали в
надежные меры кибербезопасности для защиты информации о клиентах. Внедрение правил защиты
данных и нормативных требований может помочь свести к минимуму риск утечки данных и
повысить доверие потребителей.
Конкуренция с неформальными рынками. Неформальные рынки, такие как уличные торговцы и
небольшие местные магазины, продолжают составлять конкуренцию платформам электронной
коммерции. Эти неформальные рынки обеспечивают потребителям немедленный доступ к продавцам
и личное общение с ними. Платформы электронной коммерции должны отличаться друг от друга,
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предлагая уникальные ценностные предложения, удобство и более широкий выбор продуктов, чтобы
захватить большую долю рынка.
Осведомленность и принятие потребителями. Несмотря на то, что электронная коммерция
набирает популярность, по-прежнему существует потребность в повышении осведомленности и
внедрении среди потребителей. Многие люди, особенно в сельской местности, могут быть незнакомы
с онлайн-покупками или иметь ограниченный доступ к Интернету. Информирование потребителей о
преимуществах электронной коммерции и повышение цифровой грамотности необходимо для
расширения внедрения и расширения клиентской базы.
Анализ:
Проблемы, стоящие перед индустрией электронной коммерции в Узбекистане, отражают
уникальные характеристики рынка и развивающийся цифровой ландшафт. Логистика и обеспечение
эффективной доставки продукции остаются серьезной проблемой из-за огромных размеров страны и
разнообразного географического положения. Для преодоления этих препятствий требуются
инновации в решениях доставки последней мили и инвестиции в инфраструктуру.
Укрепление доверия между людьми имеет первостепенное значение, поскольку у многих все
еще есть опасения по поводу безопасности и общего качества обслуживания клиентов. Решение этих
проблем с помощью надежных мер кибербезопасности, надежных платежных систем и оперативной
поддержки имеет жизненно важное значение для повышения уверенности в совершении покупок в
Интернете.
Ограниченная доступность вариантов цифровых платежей создает препятствия для
беспроблемных онлайн-транзакций. Расширение спектра электронных способов оплаты повысит
удобство и доступность платформ электронной коммерции, сделав их более привлекательными для
более широкой клиентской базы.
Конкуренция с неформальными рынками, которые обеспечивают немедленный доступ и
личное взаимодействие, требует от платформ электронной коммерции дифференцировать себя за
счет уникальных предложений и дополнений. широкий ассортимент качественной продукции,
надежное обслуживание клиентов и быстрая доставка могут помочь клиентам отдать предпочтение
покупкам в Интернете.
Внедрению электронной коммерции может помешать ограниченная осведомленность
потребителей и цифровая грамотность, особенно в сельской местности. Повышение осведомленности
о преимуществах онлайн-покупок и инвестирование в программы повышения цифровой грамотности
могут помочь преодолеть этот разрыв и расширить клиентскую базу.
Для преодоления этих проблем требуется сотрудничество между платформами электронной
коммерции, правительством и различными заинтересованными сторонами. Инвестиции в цифровую
инфраструктуру, системы регулирования и соответствия, а также инициативы по обучению
потребителей являются важными шагами в создании процветающей экосистемы электронной
коммерции в Узбекистане. Решая эти задачи, они полностью раскрывают свой потенциал,
стимулируя экономический рост и трансформируя ландшафт розничной торговли.
Отсутствие доверия к интернет-магазинам: некоторые люди в Узбекистане все еще не
решаются делать покупки в Интернете, поскольку не уверены, можно ли доверять интернет-
магазинам. Это вызов, который индустрия электронной коммерции должна решить, чтобы
продолжать расти.
Недостаточная информированность потребителей об электронной коммерции: не все в
Узбекистане осведомлены об электронной коммерции. Это задача, которую индустрия электронной
коммерции должна будет решить, чтобы охватить более широкую аудиторию.
Слаборазвитая логистическая инфраструктура. Логистическая инфраструктура в Узбекистане
не так развита, как в некоторых других странах. Это может затруднить для предприятий
своевременную и эффективную доставку продуктов клиентам.
Конкуренция со стороны международных ритейлеров: рынок Узбекистана относительно
небольшой, и конкуренция со стороны международных ритейлеров высока. Это может затруднить
конкуренцию местных предприятий.
Это лишь некоторые из проблем, с которыми сталкивается индустрия электронной коммерции
в Узбекистане. Отрасли необходимо решить эти проблемы, чтобы продолжать расти и полностью
реализовать свой потенциал.
Вот анализ проблем, стоящих перед индустрией электронной коммерции в Узбекистане:
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ЛИТЕРАТУРА:
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