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ХОРАЗМ МАЪМУН
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АХБОРОТНОМАСИ
2024-2/4
Вестник Хорезмской академии Маъмуна
Издается с 2006 года
Хива-2024
2 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Бош муҳаррир:
Абдуллаев Икрам Искандарович, б.ф.д., проф.
Бош муҳаррир ўринбосари:
Ҳасанов Шодлик Бекпўлатович, к.ф.н., к.и.х.
Таҳрир ҳайати:
Абдуллаев Икрам Искандарович, б.ф.д., проф. Раззақова Сурайё Раззоқовна, к.ф.ф.д., доц.
Абдуллаева Муборак Махмусовна, б.ф.д., проф. Раматов Бакмат Зарипович, қ/х.ф.н., доц.
Абдуҳалимов Баҳром Абдурахимович, т.ф.д.,проф. Рахимов Рахим Атажанович, т.ф.д., проф.
Агзамова Гулчехра Азизовна, т.ф.д.,проф. Рахимов Матназар Шомуротович, б.ф.д., проф.
Аимбетов Нагмет Каллиевич, и.ф.д., акад. Рахимова Гўзал Юлдашовна, ф.ф.ф.д., доц.
Аметов Якуб Идрисович, д.б.н., проф. Рўзметов Бахтияр, и.ф.д., проф.
Бабаджанов Хушнут, ф.ф.н., проф. Рўзметов Дилшод Рўзимбоевич, г.ф.н., к.и.х.
Бобожонова Сайёра Хушнудовна, б.ф.н., доц. Садуллаев Азимбой, ф-м.ф.д., акад.
Бекчанов Даврон Жуманазарович, к.ф.д. Салаев Санъатбек Комилович, и.ф.д., проф.
Буриев Хасан Чутбаевич, б.ф.д., проф. Сапарбаева Гуландам Машариповна, ф.ф.ф.д.
Ганджаева Лола Атаназаровна, б.ф.д., к.и.х. Сапаров Каландар Абдуллаевич, б.ф.д., проф.
Давлетов Санжар Ражабович, тар.ф.д. Сафаров Алишер Каримджанович, б.ф.д., доц.
Дурдиева Гавҳар Салаевна, арх.ф.д. Сирожов Ойбек Очилович, с.ф.д., проф.
Ибрагимов Бахтиёр Тўлаганович, к.ф.д., акад. Собитов Ўлмасбой Тожахмедович, б.ф.ф.д., к.и.х.
Исмаилов Исҳақжон Отабаевич, ф.ф.н., доц. Сотипов Гойипназар, қ/х.ф.д., проф.
Жуманиёзов Зохид Отабоевич, ф.ф.н., доц. Тожибаев Комилжон Шаробитдинович, б.ф.д.,
Жуманов Мурат Арепбаевич, д.б.н., проф. акад.
Кадирова Шахноза Абдухалиловна, к.ф.д., проф. Холлиев Аскар Эргашевич, б.ф.д., проф.
Қаландаров Назимхон Назирович, б.ф.ф.д., к.и.х. Холматов Бахтиёр Рустамович, б.ф.д.
Каримов Улуғбек Темирбаевич, DSc Чўпонов Отаназар Отожонович, ф.ф.д., доц.
Курбанбаев Илҳом Жуманазарович, б.ф.д., проф. Шакарбоев Эркин Бердикулович, б.ф.д., проф.
Курбанова Саида Бекчановна, ф.ф.н., доц. Эрматова Жамила Исмаиловна, ф.ф.н., доц.
Қутлиев Учқун Отобоевич, ф-м.ф.д. Эшчанов Рузумбой Абдуллаевич, б.ф.д., проф.
Ламерс Жон, қ/х.ф.д., проф. Ўразбоев Ғайрат Ўразалиевич, ф-м.ф.д.
Майкл С. Энжел, б.ф.д., проф. Ўрозбоев Абдулла Дурдиевич, ф.ф.д.
Махмудов Рауфжон Баходирович, ф.ф.д., к.и.х. Ҳажиева Мақсуда Султоновна, фал.ф.д.
Мирзаев Сирожиддин Зайниевич, ф-м.ф.д., проф. Ҳасанов Шодлик Бекпўлатович, к.ф.н., к.и.х.
Мирзаева Гулнара Саидарифовна, б.ф.д. Худайберганова Дурдона Сидиқовна, ф.ф.д.
Пазилов Абдуваеит, б.ф.д., проф. Худойберганов Ойбек Икромович, PhD, к.и.х.
ISSN 2091-573 X
Муассис: Ўзбекистон Республикаси Фанлар академияси минтақавий бўлими – Хоразм
Маъмун академияси
МУНДАРИЖА
ФИЛОЛОГИЯ ФАНЛАРИ
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intercompatibility 6
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tahlilining ba’zi masalalari 23
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masalasi 26
Bahromov J. O’zbek va ingliz tillari frazeologik birliklarining etimologik va madaniy
xususiyatlari 28
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its еquivаlеnts in uzbеk 32
Boltaqulova G.F. Phraseological units representing time in english and uzbek languages 35
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Buronova X.T. O‘zbek tili tibbiy terminlarining miqdoriy leksikografik qiyosi 42
Dadabayeva F. “O`tkan kunlar” nemischa tarjimasi mutarjim Barno Oripova talqinida 45
Elov B.B., Alayev R.H., Xusainova Z.Yu., Yodgorov U.S. CBOW neyron tarmoqlari
vositasida o`zbek tili soʻzlarini bashoratlash 48
Eshmurodov M. Bayoniy tarixiy asarlarining lingvistik xususiyatlari 57
Eshniyazova M.B. Alisher Navoi's "Mahbub ul-qulub" – last work on the basis of the
experiences, observations and conclusions 61
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doirasida shakllangan frazeologizmlar 64
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Kaxxarova Sh.Sh. Jоy nоmlаri bilаn bоg’liq leksik birliklarning lingvоmаdаniy tаhlili 79
Kenzhebayeva R.S. Theme of Katep in R. Ayapbergenov's poetry 82
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diplomats 88
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tolasi” va Xans-Xaynts Eversning “O‘rgimchak” asarlarida “o‘rgimchak” konseptining
tipologik tahlili 93
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funksiyalari 101
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uzbek 105
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leksik-semantik xususiyatlari 109
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4 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Matveeva I.A. Literature review on special terminology used in alternative and folk
medicine 120
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bildirishda keng tarqalgan xatolar 123
Mirzaboyeva N.M. Nemis va o‘zbek maqollarida ismlar 125
Mirzaxmedova O.A. “Qadimgi xalqlardan qolgan yodgorliklar” asari nomshunoslikning
tarixiy-madaniy yodgorligi sifatida 128
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Rajabbayeva F.R. Media diskursning leksik semantik sathi 140
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Rustamova J.F. Nutqiy janrlarning pragmatik aspektlari 146
Ruzieva M.R. Difficulties in translating fiction and their solutions 150
Ruziyeva N.Z. Evfemizmlаrning kоnsept dоirаsidа ifоdаlаnishi 152
Sabirova N.E., Yusupova D.U. Specific characteristics of the fairy tale genre 155
Sabirova N.К. Paronimiya va u bilan chegaradosh hodisalar 158
Sadullayev F.B., Hayitova N.D. Morality, and meaning of the time in cormac mccarthy’s
the road 161
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Salimova S.B. Xitoy tilidagi harbiy texnik atamalarning ta'rifi 166
Samandarova G.I. Xorijiy tillardagi qishloq xo'jaligi terminlarining takomillashtirishning
o'ziga xos xususiyatlari 169
Sarsenbaev K.Zh. The work of T. Qayipbergenov in karakalpak prose 171
Shadiyeva D. She’riyatda sinonimik imkoniyatlardan foydalanish 174
Sharipova M.G‘.O‘tkir Hoshimovning “Tushda kechgan umrlar” asarida bоg‘lаngаn
qo‘shmа gаplаr polisemiyasi 177
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Shukurova M.A. Problems of ethics in the history of the english language 182
Sobirova Sh.F. Alisher Navoiyning “Hayrat ul-abror” asarida aks etgan makon
tushunchasini ifodalovchi so‘zlar 186
Suyarova Sh.T. Features of from the original to the translation of literary texts 189
Turayeva U.Sh. Yuridik tilning o`ziga xos hususiyatlari 191
Tursunov E.U. A. Qodiriyning “O‘tkan kunlar” romanida qo‘llanilgan leksik va
frazeologik birliklarni inglizcha tarjimalarda berilishi 194
Umarova F.B. Analysis of the portrayal of the female character’s psyche in the novel “One
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XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 5
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Яначека) в трилогии Харуки Мураками «1Q84» 250
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М. М. Зощенко 290
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современного литературного процесса 294
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отношений в пословицах 298
Саттарова С.О. Влияние восточной поэзии на творчество Сергея Есенина: анализ
мотивов и образов 302
Урунбаева И.Б. Кийим-кечак компонентли фразеологизмларнинг инглиз, рус ва
ўзбек тилларидаги хусусиятлари 305
Хонова Д.Б. О некоторых принципах лексикографического описания
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6 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
ФИЛОЛОГИЯ ФАНЛАРИ
UDC 881.1:811.581
ROLE OF TONE PHONETIC MEANS IN CHINESE PHONETICS AND THEIR
INTERCOMPATIBILITY
N.B.Abdullayeva, teacher, Uzbekistan State University of World Languages, Tashkent
Annotatsiya. Xitoy tilining boshqa tillardan ajralib turuvchi o’zgacha belgilaridan biri bu –
tondir. Xitoy tili uchun so’zlarni ton bilan talaffuz qilish muhim ahamiyatga ega.
Kalit so’zlar: Fonetik tizim, xitoy tili fonetikasi, ohang, besh shkala, talaffuz, tovush, qisman
moslashish, to'liq moslashish
Аннотация. Одной из особенностей китайского языка, отличающей его от других
языков, является тон. Произношение слов с тоном важно для китайского языка.
Ключевые слова: Фонетическая система, китайская фонетика, тон, пять шкал,
произношение, звук, частичная адаптация, полная адаптация
Abstract. One of the special features of the Chinese language that distinguishes it from other
languages is tone. Pronunciation of words with tone is important for the Chinese language.
Keywords: Phonetic system, chinese phonetics, tone, five scales, pronunciation, sound, partial
adaptation, fully adaptation
We usually pronounce the word "pillow" in Uzbek with an accent on the letter "i". But even if
we say it without emphasis, its meaning will not change and the people who hear it will understand
it in its meaning. In Chinese, one word is pronounced in four different tones (melodic or intonation).
Tone equates to sounds in Chinese, and when a word is pronounced in a different tone, it is equated
to being pronounced in a different tone. For example, if we take the word "da", when it is pronounced
in the first tone, it means "to arm", when it is pronounced in the second tone, it means "to answer",
when it is pronounced in the third tone, it means "to hit", and when it is pronounced in the fourth
tone, it means "big".
Tone characteristic. Tone is equated by the Chinese to a frequency of five scales. The one
pronounced in the lowest voice corresponds to the first scale, and the one pronounced in the loudest
voice corresponds to the fifth scale. Pronouncement in which of the scale is independent of gender
and age. That is, regardless of whether the person speaking is a man or a woman, an old person or a
young child, the tone of the speech remains the same and unchanging.
The first tone is pronounced evenly and loudly, and it corresponds to the fifth scale. The second
tone also belongs to the group pronounced loudly. Its starting point is the third scale, and its end point
corresponds to the fifth scale. This tone is pronounced directly from the third scale to the fifth scale
without stopping. The third tone, unlike the first and second tones, is a tone that belongs to both the
low and the high scale. Some linguists say that its starting point is from the first tone, some say from
the second tone.
A group of scholars say that the pronunciation of this tone starts from the first tone, and after
some correct pronunciation, it is pronounced correctly up to the fourth scale. Another group of
scientists starts from the second scale and immediately goes down to the first scale. After some correct
pronunciation, he says, it goes up again to the fourth scale. The fourth tone belongs to the group of
high-scale tones in Chinese. Its starting point is the fifth scale, and its ending point is the first scale.
This tone is pronounced continuously from the fifth scale to the first scale.
When pronouncing a tone, it is necessary to pronounce it stronger and faster in a certain part.
For example, when pronouncing the first tone, it is necessary to pronounce the beginning more
strongly. On the contrary, when pronouncing the second tone, it is necessary to strengthen it when
approaching the 5th scale, which is the highest at the end of the pronunciation. When pronouncing
the third tone, it is necessary to strengthen the initial and middle scales. In the pronunciation of the
fourth tone, it starts with a strong pronunciation in the initial scale and becomes weaker towards the
end.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 7
There are a few other words in Chinese that change their regular tone when combined with
other words. For example: ”一“ “yi – one” ; “七“ “qi – seven”; “八” “ba – eight” and a negative
word “不””bu – no”. [1]
a) “一” “yi” “a few”
- When a count number is used as the second element before a pause in the Chinese language,
count and ordinal number, continuous word combination, compound words, this count number is
always used in the first tone, for example:一 1 八 1 一 1 七 1 年 2 – 1817-year, 第 4 十 2 一 1 课 4 –
eleventh lesson;
- When a count comes before a word with a fourth tone, it is pronounced in the second tone, for
example:一 2 万 4 – ten thousand, 一 2 定 4 – of course;
- It is used in the fourth tone when it comes before syllables of another tone:一 4 杯 1 茶 2 – a
cup of tea, 一 4 群 2 人 2 – a group of people;
- - It completely loses tone when used between repeated words: 看 4 一 0 看 4 – (a) look, 说 1 一
0
说 1 – to speak;
a) “七” “qi” “seven” va “八” “ba” “eight” counting numbers
- - When it comes before a syllable with a fourth tone, it is pronounced in the second tone, for
example: 七 2 步 4 – seven steps, 七 2 位 4 – seven people, 八 2 岁 4 – eight years old, 八 2 个 0 – eight
pieces (here ge – 个 etymological tone of the word 4);
- - In other cases, it retains its etymological first tone: 七 1 天 1 – seven days, 七 1 百 3 – seven
hundred, 八 1 千 1 – eight thousand, 八 1 头 2 – eight heads.
The numbers seven and eight that come with ordinal numbers do not lose their etymological
tone even when they come with fourth-toned syllables. Of course, there are also cases where these
numbers are pronounced in the second tone. For example: 七 1 节 4 – seventh session, 七 1 日 4 – the
seventh day, 八 1 月 4 – eight months, 八 1 队 4 – the eighth squad. [2]
a) Negative word “不” “bu”
- “不” negation occurs in the second tone only when it precedes a fourth tone syllable: 不 2 必
4
– there is no need, 不 2 信 4 – disbelief;
- - When it comes in the middle of repeated words, it completely loses its tone: 去 4 不 0 去 4
– are you going, 起 3 不 0 来 2 – unable to stand.
b) Tone changes that occur in certain situations in some words:
- There are cases where two repeated words and “di” when an auxiliary word is used, after the
second repeated word in oral communication “er” is pronounced by adding the suffix. As a result, the
second repeated word is pronounced with the first tone, regardless of its etymological tone. For
example: 快 4 快 4 地 0 → 快 4 快儿 1 地 0→ tezda, 好 3 好 3 地 0→好 3 好儿 1 地 0→ well done;
- Auxiliary word “hen” “very” negative word “bu” and when it comes between the third tone
syllable (word)., “hen” the word loses its etymological third tone and is pronounced in the fourth
tone, e.g: 不 4 很 3 好 3 →不 2 很 4 好 3 → not so good, 不 4 很 3 远 3→不 2 很 4 远 3→ not very far;
- “多么” “duo me” “how” the first syllable of the word is sometimes pronounced in the first
and sometimes in the second tone during the pronunciation process;
- In Chinese words, the tone is constantly changing, so it is necessary to pay great attention to
it when teaching Chinese phonetics.;
- Students learning the language do not pay much attention to the pitch of the zero tone, as a
result of which it is pronounced differently, giving the impression of speaking with an accent
(rhythmic emphasis). That is why it is necessary to learn to pronounce the syllable with zero tone
after the word with tone. It is the alternating occurrence of voiced and voiceless syllables that is a
unique rhythm-creating feature of the phonetics of the Chinese language.;
- Most Chinese learners have difficulty pronouncing certain tones together, such as when the
first syllable comes with the second tone and the second syllable comes with the first tone, and when
the fourth and first tones come together.
8 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
- When pronouncing this sequence of the fourth tone and the first tone, students usually
pronounce it on a scale of 5-1 and 3-3 (in fact, it should be pronounced on a scale of 5-1, 5-5). The
reason for this error in pronunciation is the long pronunciation of the preceding fourth-toned syllable,
and as a result, the next first-toned syllable must be pronounced separately.
Tone is unique to the Chinese language. In the Chinese language, each word, each syllable
(hieroglyph) has its own tone. If a mistake is made in the pronunciation of the tone, the meaning of
the word changes completely. That's why every teacher who teaches the Chinese language needs to
memorize tones and teach them to pronounce words correctly. Only if these requirements are fulfilled,
it will be possible to produce students with high knowledge.
The reason for the phenomenon of tone matching in Chinese is that sometimes a word is added
with other suffixes or when it is combined with other words, the tone of the word may cause
discomfort in pronunciation.
In such cases, the tones are adapted to facilitate pronunciation. In Chinese, this situation is
called tone sandhi, i.e. tone matching. Tone matching is divided into two parts:
- Partial adaptation;
- Fully adaptation.
In tones, partial adaptation is divided by 4 instead:
1) When the first syllable with the first tone is pronounced before the second syllable with the
first tone, the tone in the first syllable is relatively shorter and lower. If the pronunciation of the first
syllable starts on the 4th scale and ends on the 4th scale, the pronunciation of the next syllable starts
on the 5th scale and ends on the 5th scale. For example: 分工,工资。
2) The second tone in the first syllable is pronounced slightly shorter when it precedes the
second tone in the second syllable. The first syllable is pronounced from the 3rd scale to the 4th scale,
and the second tone is pronounced from the 3rd scale to the 5th maximum scale. For example: 和平
,长年。
3) The third tone, with all the tones that come after it (except the third tone), loses its strong
falling position and is pronounced a little lower and more uniform. For example: 老师,打球。
4) The fourth tone in the first syllable loses its accent to the lowest scale when it precedes the
fourth tone in the second syllable. The first syllable begins on the 5th scale and ends on the 3rd scale,
and the second syllable begins on the 5th scale and ends on the 1st scale. For example: 宿舍,热爱
。
Total adaptation in tones is divided into the following types:
1. When a third tone is accompanied by another third tone syllable, the preceding third tone
syllable is partially pronounced as the second tone. The reason why it is called partial is that, as a
result of such a change, the third tone is pronounced not entirely from the 3rd scale to the 5th scale,
but from the 2nd to the 4th scale. For example: 整改,改选。[3]
2. If we considered the occurrence of two third-tone syllables above, now we will focus on the
pronunciation of several third-tone words that come in a row. In such cases, a change in tones (sandhi
in tones) occurs, and in many cases it depends on the speed and rhythm of speech, as well as the
meaning of the spoken word. There are 3 types of this change:
- Except for the last third-toned syllable, all preceding syllables are pronounced in the second
tone, e.g.:我 3 有 3 表 3 → 我 2 有 2 表 3;
- Consecutive third-tone syllables alternate in a chess-like manner, e.g.: 我 3 有 3 手 3 表 3 →
我 2 有 3 手 2 表 3;
- The change in tones depends on the lexical-grammatical structure of the phrase and the
rhythm and meaning of the word, for example: 我 3 想 3 买 3 几 3 种 3 礼 3 品 3 → 我 2 想 2 买 3 几 2 种
3
礼 2 品 3.
1) In the process of speaking the Chinese language, the weak tone (sandhi) located between two
strong-toned words changes. This situation is more common in the second tone, and as a result of the
change, it loses its upward pronunciation and is pronounced in the form of the first tone, for example:
三 1 年 2 级 2→三 1 年 1 级 2
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 9
2) How the zero tone is pronounced depends on the tone of the preceding syllable. If the zero
tone comes in the middle of the word and other syllables come after it, then the situation changes a
little. The changes in this case are as follows:
1. Usually the syllable that comes after the zero tone has a tone, and as a result, the zero tone
syllable is between two tone words:
a) If the zero tone falls between the first or second and fourth tones, it is pronounced on the
5th scale. For example: 学 2 不 0 会 4.
b) If the zero tone is between the third or the first and second tones, in this case it is pronounced
on the 1st scale. For example: 两 3 个 0 人 2.
2. The arrival of the second zero tone after the first zero tone. In this case, the pronunciation
of the zero tone depends on the pronunciation of the preceding zero tone. In addition, it also depends
on the syllables pronounced in other tones that come before it. For example:走 3 进 0 去 0.
3. There are several other words in Chinese that change their regular tone when they are
combined with other words. For example:
”一“ “yi – one” ; “七“ “qi – seven”; “八” “ba – eight” and a negative word “不””bu – no”.
In conclusion, it can be said that the tone phonetic tool is one of the most important tools in the
phonetic system of the Chinese language. In the Uzbek language, there are only the concepts of accent
(word accent, sentence accent) and tone, while in the Chinese language there is also the concept of
accent, tone, and tone.
In the phonetics of the Chinese language, words cannot be imagined without tones. Because in
the Chinese language, you can find two, three, and sometimes four same hieroglyphs that have the
same hieroglyph and are pronounced the same. For this reason, the Chinese introduced tones in the
process of pronouncing words. With the help of tones, the Chinese are able to distinguish words with
the same spelling and the same pin.
But in the process of pronouncing some hieroglyphs, especially hieroglyphs with two, three and
four syllables, you may encounter difficulties in pronouncing tones. In such cases, the Chinese
introduced the matching of tones in pronunciation to make pronunciation easier. In this case, the tones
of the words remain as they are when they are written, and only the pronunciation changes.
REFERENCES:
1. 黄伯荣,廖序东.《现代汉语》,上海教育出版社,1997 年版.
2. 邵敬敏.《现代汉语》,上海教育出版社,2001 年版.
3. Задоенко Т. П. Основы китайского языка. Вводный курс / Т. П. Задоенко, Шуин Хуан. –М.: Наука, 1993.
4. Китайско-русский словарь./Под ред. Ся Чжунъи.-Москва, 2003.
5. Спешнев.Фонетика китайского языка.Ленинград-1980.
6. https://bkrs.info
UO’K: 821.51.1.11:821.111
INGLIZ VA OʻZBEK SEHRLI ERTAKLARIDA GʻAROYIB TUGʻILISH MOTIVI
X
N
Annotatsiya. Ushbu maqolada xalq og’zakiAijodining nasriy janri tarkibiga kiruvchi epik asar
bo’lmish sehrli ertaklarning oz’iga xos spesifikasi b ikki xalq o’zbek hamda ingliz sehrli ertaklarida
g’aroyib tug’ilish motivining mushtaraklik,tipologikd va farqli taraflari muhokama qilindi. Qiyoslash
natijasida ikki xalqningagi sehrli ertaklaridagi qahramon
u obrazlarning g’aroyib sababnatijasida
ga’royib tug’ilish motivining o’ziga xoslik taraflari,
l kelib chiqishi, epik obrazlari, epik syujetlari
g’aroyibliklari aniqlandi. l
Kalit so’zlar: mifologik, afsonaviy, xayoliy obrazlar,
a moʻ'jizaviy voqelik, badiiy-estetik, nimjon
yoki nuqsonli tugʻilish, sehrli ertaklar poetikasi. y
Аннотация. В данной статье рассмотрены e общие, типологические и разные стороны
мотива странного рождения в узбекских и vанглийских волшебных сказках двух народов,
представляющих собой эпическое произведение, a являющееся частью прозаического жанра
народного творчества. В Andijon
o’qituvchi, результате
Davlatсравнения было Andijon
Tibbiyot Instituti, определено своеобразие,
10 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
происхождение эпических образов и эпических сюжетов странного мотива рождения в
странной причине героических персонажей магических сказаний двух народов.
Ключевые слова: мифологические, легендарные, воображаемые образы, чудесная
реальность, художественно-эстетическое, дефектное или дефектное рождение, поэтика
волшебных сказок.
Abstract. This article examines the general, typological and different aspects of the motif of a
strange birth in the Uzbek and English fairy tales of the two peoples, which are an epic work that is
part of the prose genre of folk art. As a result of the comparison, the originality, origin of epic images
and epic plots of a strange motive for the birth in a strange cause of heroic characters in the magical
tales of the two peoples was determined.
Key words: mythological, legendary, figurative images, miraculous reality, divine-aesthetic,
defective or defective birth, poetic fairy tale.
Kirish. Xalq og’zaki ijodining nasriy janriga mansub bo’lgan Ertaklar va ularning o'zining
syujetlar va obrazlarning o'ziga xos jozibasi bilan ajralib turuvchi sehrli ertaklar alohida turkumni
tashkil etadi. Sehrli ertaklarda gʻaroyib personajlar, sirli voqea-hodisalar gʻayritabiiy holda
tasvirlanadi. Sehrli ertaklarda u yoki bu totem hayvon etakchi obraz, asosiy personaj boʻlib, bosh
qahramon yoki uning yaqin yordamchisi sifatida keltiriladi. Sehrli ertaklar poetikasida tilsim alohida
oʻrin tutadi. Tilsim va tilsimli hodisalar ta'sirchanlikni orttirib, ertaklarga xos tabiat yaratadi, voqea-
hodisalar mazmunini ochadi, qahramon ruhini belgilaydi. Tilsim syujetning asosiy bezagi, ertak
poetikasining tarkibiy qismidir. Chunki sehr-jodu va tilsim vositalari ertak syujetini harakatga
keltiradi, qahramonlar xarakterini belgilaydi. Ulardagi har bir epizodda sehrli, moʻ'jizaviy voqelik
talqini beriladi. Bunday voqealar markazida mifologik, afsonaviy, xayoliy obrazlar
harakatlanadi.Yan bunday sehrli voqealar hamda xodisalardan eng dastlabki , sarguzashtlar
davomiyligini ,qahramonlarning g’aroyib xislat egasi bo’lishligining asosiy sabablaridan biri bo’lgan
motiv bu g’aroyib tug’ilishdir.
Adabiyotlar taxlili . Oʻzbek qiyosiy folklorshunosligida Y.Nurmurodov, M.Joʻraeva,
R.Shirinova, R.Fayzullaeva, H.Yusupova, O.Fayzullaev, S.Axmedova, A.Jumaev dissertasiyalari
bevosita ertaklar mavzusiga qaratilgani bilan e'tiborga loyiq. Ularda oʻzbek xalq ertaklarining nemis,
fransuz, ingliz tillariga tarjimasi muammolari tadqiq qilingan. O.Xolmurodova [1.63] ingliz va
oʻzbek ertaklarining qiyosiy-tipologik jihatlarini, N.Jumayeva ingliz va oʻzbek xalq ertaklarida sehrli
predmetlar obrazlantirilishining motivasion xususiyatlarini,[2.] S.Qoʻchqorova oʻzbek va fransuz
ertaklaridagi madaniy ramzlarning kommunikativ-pragmatik rolini[3.], Sh.Xalilova ingliz va oʻzbek
ertaklardagi etakchi obrazlar tizimi va tarkibini alohida oʻrgangan. Ushbu dissertasiyada esa ingliz va
oʻzbek sehrli ertaklari poetikasining qiyosiy-tipologik xususiyatlarini ilmiy tadqiq qilish maqsad
qilindi.
Maqola metodologiyasi. Jahon folklorshunosligida sehrli ertaklar dastlab etnografik, diniy,
psixologik nuqtai nazardan oʻrganila boshlangan va bu borada muayyan natijalarga erishilgan. Ammo
sehrli ertaklarning tarixiy-mifologik ildizlarini ochib berish, mifologik tasavvurdan poetik tafakkurga
oʻtish jarayonida qanday badiiy-estetik vazifalarni bajarganini aniqlash kabi masalalar, ayniqsa,
ularning epik matnda badiiy-estetik sathga koʻchishi jarayonini koʻrsatish, epik ijod tabiatiga uygʻun
ravishda namoyon boʻlish qonuniyatlarini yoritish folklor asarlari poetikasini keng koʻlamda tadqiq
etishga asos boʻladi. Barcha xalqlarda boʻlgani kabi ingliz va oʻzbek xalqlari ogʻzaki badiiy ijodida
ham sehrli ertaklar qadimiyligi, an'anaviyligi, poetik tabiatida, obrazlar va motivlar tizimida
oʻxshashliklar borligi jihatidan oʻzaro qiyosiy-tipologik tahlil qilish zaruriyati mavjudligini
koʻrsatadi.
Tahlil hamda natijalar. Gʻaroyib tugʻilish motivi ham sehrli ertaklar tabiatini belgilovchi
muhim alomatlardan biridir. Ushbu motiv ingliz va oʻzbek ertaklarining qadimiy, an'anaviy
motivlaridan biridir. Uning bir necha turlari mavjud.
1. Juda kichkina, nimjon yoki nuqsonli tugʻilish motivi. Bunga inglizlarning “Yarimtajon”
[4.114]ertagi misol boʻla oladi. Unda hikoya qilinishicha, bir podshoning uchta xotini bor boʻlib,
uchalasi ham tugʻmas ekan. Kunlarning birida posho ariq boʻyida oʻtirib, endi mana shuncha molu
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 11
dunyosi kimga qolishini oʻylab xayol surib turganida yoniga bir devona kelib, koʻngil soʻrabdi.
Podsho unga befarzandligidan xafaligini aytibdi. Shunda devona unga uchta olma beribdi.
Olmalarning ikkitasi oq, bittasi qizil ekan. Qizil olmani eng sevgan xotiniga berishini tayinlabdi.
Podsho haligi olmalarni xotinlariga bittadan beribdi. Podshoning kichik xotini xamir qilayotgan ekan,
podsho bergan qizil olmaning yarmisini eb, yarmisini tokchaga qoʻyibdi. Shu payt u olmaning qolgan
yarmisini echki eb qoʻyibdi. Podshoning xotinlari xomilador boʻlishibdi va oy-kuni etib tugʻishibdi.
Katta xotinlar bittadan oʻgʻil tugʻishibdi, kichkinasi esa yarimta oʻgʻil tugʻibdi. Bolalar katta boʻlib
ovga chiqadigan boʻlishibdi. Akalari oʻzlari ovga chiqar ekan-u, Yarimtajonni ovga olib chiqishmas
ekan. Bir kuni Yarimtajon xoʻrozni egarlab, unga minib akalari orqasidan ovga chiqibdi. Oʻsha kuni
ularning ovi yaxshi boʻlmabdi, shahzodalar kunning kech boʻlib qolganini bilishmabdi va yoʻlni
yoʻqotib qoʻyishibdi. Ketishayotgan ekan, bir erda chiroq koʻrinibdi. Uchovi chiroq koʻrinib turgan
erga borishibdi va chiroq yonib turgan uyga kirishsa, u er yalmogʻiz kampirning uyi ekan. Ular
“assalomu alaykum” deb uyga kirishibdi. Kampir ularni mehmon qilibdi, soʻngra ularga joy qilib
beribdi. Akalari uxlab qolishibdi. Yarimtajon esa uxlamabdi. Bir vaqt qarasa, kampir oʻyma
pishirayotgan emish. Yarimtajon kampir pishirib qoʻygan oʻymalarni choʻpga ilib-ilib, akalariga olib
bera boshlabdi. Bir payt kampir qarasa, pishirgan oʻymalari ozayib qolayotgan emish. Kampir hayron
boʻlib u tomon, bu tomonga qarab, hech kimni koʻrmabdi. Bir payt kampir Yarimtajonning
uygʻoqligini sezibdi. Buning sababini soʻrasa, u otlar dupurida uxlolmayotganini aytibdi. Kampir
uydan chiqib otlarini tinchitib kelibdi. Soʻngra Yarimtajon kakliklarning ovozi uyqu
bermayotganidan shikoyat qilibdi. Kampir kakliklarni ham tinchitib kelibdi. Shu paytda Yarimtajon
akalarini tashqariga olib chiqib, bir erga berkitib qoʻyibdi, oʻzi esa uyning shipiga chiqib yashirinib
olibdi. Kampir kelib Yarimtajon, deb chaqirsa, xech kim javob bermabdi. Yigitlarni uxlabdi deb
oʻylagan kampir oʻzining qizini olib borib, oʻyma pishirayotgan qozonga tashlab yuboribdi, qizi
qovurilib qolibdi. Bir vaqt kampir qarasa, Yarimtajon shipda oʻtirgan emish. Kampir nima qilishini
bilmay: “Yarimtajon, san bu erga qanday qilib chiqib olding?” – debdi. Yarimtajon “otashkurakni
qizdirib qornimga bosgan edim, shunda bir irgʻib chiqib oldim” deya javob beribdi.
Kampir uning gapiga ishonib, otashkurakni qizdirib qorniga bosgan ekan, qorni yorilib oʻlib
qolibdi. Yarimtajon darrov shipdan tushib, kampirni qozondagi yoqqa tashlab yuboribdi. Soʻngra
akalarini yashirib qoʻygan joyidan topib, kampirning uyiga olib kiribdi. Kampirning bor dunyosini
ikki ot va xoʻrozga ortib uylariga joʻnashibdi. Podsho yoʻqolib ketgan bolalrining topilganiga xursand
boʻlib, qirq kecha-yu qirq kunduz toʻy qilib beribdi. Yarimtajonni esa oʻz oʻrniga podsho qilibdi.
Inglizlarning “Boshbarmoq Tomning tarixi”[5.1] ertagida sehrgar Merlin qoʻshchi va uning
xotini yaxshiligidan juda mamnun boʻlib, ayolning “Agar bitta oʻgʻlim boʻlganida, dunyodagi eng
baxtli inson boʻlardim, u erimning bosh barmogʻidan katta boʻlmasa ham rozi boʻlardim” deganidan
zavqlanib, bechoralarning istagini amalga oshiradi. Shunday qilib, qisqa vaqtdan soʻng er
haydovchining xotini otasining bosh barmogʻidan katta boʻlmagan oʻgʻilli boʻladi. Parilarning
qirolichasi kichik bolakayni koʻrishni istab kelib, uni oʻpib, bolakayga Boshbarmoq Tom deb ism
beradi va parilarni oʻzining choʻqintirgan oʻgʻlini kiyintirish uchun joʻnat Ingliz ertaklarida g’ayri
tabiiy bola tug’ilishida ona och qolishi va birorta mevani yoki sabzavotni yeb shu tufayli g’aroyib
bola tug’ish motivi juda ko’p uchrab turadi. Bunga misol qilib Qirol Lindworm etagini olishimiz
mumkin(Prince Lindworm [6.ATU433B]. Qirolicha ikkita archilgan piyoz po’chog’ini och
qolganligi tufayli yeb qo’yadi so’ngra bir ajdaho o’g’il ( a dragon son) ko’radi.adi.
2. Gʻaroyib koʻrinishda tugʻilish. Bunga oʻzbeklarning “Noʻxatpolvon”, “Quloqboy”,
“Qurbaqa qiz” [7.88]singari ertaklarini misol qilib koʻrsatish mumkin. “Qurbaqa qiz” ertagi “Sichqon
qiz” ertagiga oʻxshaydi. Aytilishicha, bir kuni kechasi kampir xudoga nola qilib: – Ey xudo, shu
choqqacha menga farzand bermading, endilikda esa qurbaqa boʻlsa ham, bir qiz bersang, debdi. Bir
oy oʻtgandan keyin kampir qurbaqa tugʻibdi. Qurbaqa tez katta boʻlibdi. Uning tili ham tez chiqibdi.
Qurbaqa qiz uydan hovliga, hovlidan uyga kirib chiqadigan boʻlibdi.
Bir kuni kampir bogʻda ishlayotgan choliga choy-non olib borib berishga holi boʻlmay: “Uh,
qarigan chogʻimda qani endi bir farzandim boʻlsa-yu, hozir shu choy bilan nonni cholimga olib borib
bersa”, debdi oʻziga-oʻzi. Qurbaqa qiz onasining bu gapini eshitib qolib: “Abajon, non bilan choyni
dadamga men olib boraman”, debdi.
12 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
– Voy, oʻrgilay, qizimdan, qanday qilib sen oborasan. Nonni koʻtarib boradigan qoʻling
boʻlmasa, – debdi kampir. Shunda qurbaqa qiz toʻrtta nonni ustimga yuklab, toʻrttasini oyogʻimga
bogʻlab qoʻying, debdi. Kampir suyunib, qizi aytganiday qilib, nonni ustiga yuklab qoʻyibdi. Qurbaqa
qiz boqqa borsa, bogʻning eshigi berk ekan, nima qilishini bilmasdan, aqdan-baqqa vaqillab irgʻiy
boshlabdi. Buni eshitgan dedosi bogʻning eshigini ochib, qizini koʻribdi va boqqa olib kirib ketibdi.
Dedosi ovqatlanib oʻtirsa, qiz unga: – Dedojon, meni tom ustiga chiqarib qoʻying, debdi. Dedosi
xayron boʻlib, “Qizim, tom ustida nima qilasan?” debdi.
– Dedojon, tomning ustiga chiqqim kelutti, – deb yolborgan ekan, dedosi uni tomning ustiga
chiqarib qoʻyibdi. Qurbaqa qiz tomning ustiga chiqib olib, ashula ayta boshlabdi. Uning ashulasini
koʻchadan oʻtib ketutgan shahzoda eshitib qolibdi va ashulla aytuttan kim ekanligini bilmoqchi
boʻlib, boqqa kiribdi.
– Bu ashula aytutgan qiz kimning qizi? – deb choldan soʻrabdi, chol hech narsa demabdi.
Shahzoda kechasi bilan u qizni oʻylab uxlayolmay chiqibdi. Jaranglagan ovozli qiz shahzodaning
xayolida turaveribdi.
Ertasi kuni shahzoda yana oʻsha joydan oʻtibdi, qurbaqa qiz ham shu paytda dedosiga choy olib
kelgan va tom ustiga chiqib yana oʻsha ashulasini aytutgan ekan. Uning ashulasini eshitgan shahzoda
yana boqqa kiribdi va ashula chiqayotgan tomonga qarab tom ustidagi qurbaqa qizni koʻrib qolibdi.
– Otajon, bu kimning qizi? – deb soʻrabdi.
– Kecha ham shu ashula aytgan edi, sizga uni koʻrsatgani nomus qilgan edim, bu mening qizim
boʻladi, – debdi chol.
– Qizingizni menga bersangiz, – debdi shahzoda.
– Bu qurbaqa-ku, qanday qilib uni siz xotinlikka olasiz? – debdi chol.
– Xotin qilmasam ham, ashulasini eshitaman, – debdi shahzoda. Shundan keyin dedosi qizdan
soʻrabdi:
– Qizim, seni shahzoda olmoqchi, sen nima deysan?
Shunda qurbaqa qiz turib:
– Agar meni shahzoda olmoqchi boʻlsa, bitta oq xoʻrozni yuganlab, yasatib va shohona
kiyimlarni kiyib olib kelsin, – debdi.
Ertasiga shahzoda qizning aytganlarini yuboribdi. Qiz shohona kiyimlarni kiyib, xoʻrozga
minib shahzodaning oldiga joʻnabdi. Qurbaqa qizni shahzodaning saroyiga qoʻyishmabdi. Shunda
qiz: “Men shahzodaning qayligʻi boʻlaman”, – degan ekan, darbozabonlar uni qoʻyib yuborishibdi.
Qurbaqa qiz darvozadan kirishi bilanoq, yasatilgan oq xoʻroz oq otga aylanibdi, qurbaqa qiz esa tengi
yoʻq chiroyli malikaga aylanib qolibdi. Shahzoda uning oldiga peshvoz chiqib kutib olibdi, qirq
kecha-yu qirq kunduz toʻyu-tomosha qilib qizga uylanibdi.
Podshoga qurbaqa qiz uchinchi, eng kenja kelin ekan. Bir kuni podshoga uni katta kelini Oqgul,
oʻrtancha kelini Qizilgul, eng kenja kelini esa bir dasta bugʻdoy boshogʻini sovgʻa qilib, olib kiribdi.
Kenja kelinining aqlliligini koʻrgan podsho: “Mening hamma boyligim va taxtim kichik oʻgʻlimga
boʻlsin”, deb vasiyat qilibdi. Shunday qilib, shahzoda bilan qurbaqa qiz yaxshi hayot qilib, murod-
maqsadlariga etishibdi.
Natijalar shuni ko’rsatib turibdiki, g’aroyib tug’ilish g’aroyib xislatli qahramonlarni vujudga
keltiradi,aslida sehrli ertaklarning sehrli syujet hamda sehrli obrazlarning boshlanish sabablari shu
bilan birga sarguzashlat shiddati ham shu g’royib tug’ilgan obraz orqali namoyon bo’ladi.Ikki xalq
epik asarlari bu motiv uzoq yillardadan beri mavjudligi sehrli ertaklar qiyosida yaqqol ko’rishimiz
mumkin.
Xulosa qilib aytilganda, sehrli ertaklarning o’ziga xos belgilaridan bo’lmish g’aroyib tug’ilish
motivi juda qadim zalqlar og’zaki ijodidia mavjud bo’lgan motiv hisoblanadi. O’zbek hamda sehrli
ertaklar poetikasida ham bir biriga o’xshash syujetlar yoki etimologik kelib chiqishiga bog’liq
bo’lgan ayrim o’zgarishlar ham ko’rishimiz mumkin. Ammo har ikki xolda ham bu motiv sehrli
ertaklarning tilsim voqealar jarayonini yanada jalashtirishda, badiiy talqinini oshirishga xizmat qiladi.
Bundan sehrli ertaklarning oʻziga xos spesifik belgilarga ega ekani anglashilib turadi va bu belgilar
uni tavsiflab koʻrsatishga va folklorning, jumladan, ertakning boshqa janrlaridan ajratib koʻrsatishga
asos boʻladi.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 13
FOYDALANILGAN ADABIYOLAR RO’YXATI:
1. Xolmurodova O. Oʻzbek va ingliz kumulyativ ertaklarining qiyosiy-tipologik tadqiqi – Toshkent, 2020. – 63 b.;
2. Djumaeva N.Dj. Ingliz va oʻzbek xalq ertaklarida sehrli predmetlar obrazlantirilishining motivasion
xususiyatlari – T., 2022. – 52 b.;
3. Qoʻchqorova S. Oʻzbek va fransuz ertaklarida madaniy ramzlarning kommunikativ pragmatik roli – Samarqand,
2022. – 61 b.
4. G’oziboyev T. Namangan ertaklari –“Sharq” nashriyoti –Toshkent-1998.172-114b.
5 file:///C:/Users/Asus-shop/Desktop/B%20variant%20diss/Tom%20Thumb.htm
6. http://www.mftd.org/index.php?action=atu
7.G’oziboyev T. Namangan ertaklari –“Sharq” nashriyoti –Toshkent-1998.172-88b.
UO’K 808.5
BOLALAR NUTQINI O’STIRISHDA TEZ AYTISHLARNING O’RNI
O.I.Adizova, dots., PhD, Buxoro davlat universiteti, Buxoro
Annotatsiya. Maqolada folklorshunoslik janri uning tarixi va taraqqiyot tamoyillari hamda tez
aytishlarning bolalarning nutqinng o’stirishda va rivojlanishida tez aytishlarning o’rni haqida
misollar tahlilga tortilgan. Tez aytish janrining kelib chiqishi, evolyutsiyasi, xususiyati va tuzilishiga
oid ma’lumotlar aniqlab berilgani asoslangan.
Kalit so’zlar: tez aytishlar, folklorshunoslik, xalq og’zaki ijodi, xarakter, urf-odat, tarixiy,
etnografiya, tarixiy taraqqiyot, an’ana, urf-odat, qadriyat
Аннотация. В статье анализируется жанр фольклора, его история и принципы
развития, а также приводятся примеры роли скороговорок в росте и развитии детской речи.
Выяснилось происхождение, эволюция, особенности и структура жанра скороговорок.
Ключевые слова: поговорки, фольклор, фольклор, персонаж, традиция, исторический,
этнография, историческое развитие, традиция, обычай, ценность.
Abstract. The article analyzes the folklore genre, its history and principles of development, as
well as examples of the role of tongue twisters in the growth and development of children's speech.
And the origin, evolution, characteristics and structure of the genre of tongue twisters has been
clarified.
Key words: quick sayings, folklore, folklore, character, tradition, historical, ethnography,
historical development, tradition, custom, value
Topishmoq, maqol, matal va boshqa folklorning kichik janrlari og‘zaki ijodning badiiy ijod
sifatida shakllanish jarayonida asta- sekinlik bilan paydo bo‘lgan. Ulardan biri-tez aytishlar bo‘lib,
ular ayrim nutq tovushlarining bir necha marta takrorlanishi yoki tovushlarni so‘z va iboralar
tarkibida talaffuzi qiyinlashtirilgan darajada joylashishiga asoslanadi. Ayniqsa, bu iboralar tez
aytilayotgan paytda, aytuvchi murakkab tovushlarni talaffuz qila olmasdan yanglishib ketishi
tinglovchilarning beozor kulgisiga sabab bo‘ladi. Tez aytishlar bolalar folklori tarkibiga nisbatan
keyin qo‘shilgan janr hisoblanadi. Olimlarning fikricha, tez aytishlar avvallari alohida janr sifatida
«tutal», «chalg‘ituv», «chalish», «adashish» atamalari bilan mashhur bo‘lgan. «Tez aytish» esa
nisbatan keyingi atamadir. O‘zbek tilida bu iboralarning tez aytish deb atalishi ham shu ta’rifga
asoslangan.
O‘zbekistonning turli joylarida tez aytishlar «tutal», «chalg‘itma», «chalg‘ituv», «chalish»,
«adashish» deb ishlatiladi. Tez aytish istiloh sifatida janrning birgina xususiyatini bir nafasda shiddat
bilan aytilishinigina ifoda etsada, tez aytishdan kuzatiladigan maqsad nimaligini anglatmaydi.
Shunday cheklanganlikka egaligiga qaramay, ruscha «skorogovorka» istilohining tarjima ekvivalenti
sifatida ilmiy taomilga singib ketgan. «Ota-bobolarimiz bolalarni to‘g‘ri talaffuzga o‘rgatish va
dudukdikdan saqlash uchun talaffuzi qiyin, hamohang so‘zlardan tuzilgan jumlalarni yoddan aytishga
majbur qilar edilar. Aslida, bu yod aytishlar pedagogik mashqlar bo‘lib, topishmoq yoki boshqotirma
shakliga ega edi va aqlni ham nutqni ham charxlashga xizmat qilgan. Aytish kerakki, Fransiyada ham
duduklanmasdan tez aytishga mo‘ljallangan qoliplar ilgari ham mavjud bo‘lgan, hozir ham bor, keyin
ham keng qo‘llanilib borilaveradi. Fransuzlarda mazkur janr ilgari «virelengos» deb nomlangan.
Hozirgi paytda ham bu «virolengos», «virelangue ou «toumelangue» (til aylantirmoq)»69 kabi so‘zlar
14 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
orqali qo‘llanilayapti. Tilni burish nima? Tilni burish, shuningdek, “tilni sindiruvchi”, “vilkali til”
yoki hatto “truba” deb ham ataladi, bu juda o‘xshash tovushlarni o‘z ichiga olgan ibora yoki so‘zlar
guruhidir, shuning uchun talaffuz qilish qiyinlashadi. Buni xavf ostiga qo‘yganlar uchun tilning
burilishi duduqlanishiga, tilning burishishiga va ko‘p kulishga olib kelishi mumkin!
Tez aytishlar bolalar ma’naviy ehtiyojlariga mosligidan ularni tezgina o‘zlashtira borganlar,
asta-sekinlik bilan o‘zlari ham ularning bir qator yengil va oddiy namunalarini ijod qila boshlaganlar.
Natijada davrlar o‘tishi bilan tez aytishlar bolalar folklori arsenaliga o‘tib qolgan. Zotan, tez aytish
nutq tovushlari alliteraciyasiga asoslanuvchi folklor janri bo‘lib, o‘xshash tovushli so‘zlar yoki so‘z
birikmalarining bir nafasda shiddatli aytilishi jarayonida u yoki bu tovush yo so‘z talaffuzida
chalg‘ish natijasida voqe bo‘luvchi ma’no o‘zgarishi negizida yuzaga keladi. Shu xususiyati tufayli
o‘tmishda tez aytish kattalar repertuarida uchragan va aksariyat holatlarda parnografik xarakterga ega
bo‘lgan. Bora-bora katta yoshli bolalar va o‘smirlar repertuariga ko‘chgan, ular bu xildagi tez
aytishlarni o‘yin shartiga aylantira borishgan, kim uni to‘g‘ri aytolmasa, chalishsa, o‘sha yutqizgan
sanalib, g‘oliblar qo‘ygan shartni bajargan yoki o‘yinda navbatda (galda) turgan. Tez aytishlar orasida
34, hatto 47 so‘zli namunalari borki, ularni aytishda 7-12 yoshdagi bolalar nafasi yetmaydi.
Binobarin, aytish mumkinki, XIX asrning ikkinchi yarmi va XX asr boshlarida katta yoshdagi bolalar
repertuariga o‘tish jarayonida tez aytishlarda parnografik xususiyat so‘na boshlagan. Bunda, ayniqsa,
o‘sha davrda kuchaya boshlagan ma’rifatparvarlik harakati ta’siri muhim rol o‘ynagan. Xususan,
ta’lim jarayonida ulardan foydalanish istagi kichik va o‘rta yoshdagi bolalar repertuariga o‘tishiga
yo‘l ochgan. Vaqt o‘tgani sari bu janr kattalardan bolalar folkloriga ko‘chgan. Natijada tez aytish
bolalar folklori doirasida yashay boshlagan. Tez aytishda poetik ritm istak ohangiga ega. Umuman,
nasriy tez aytishlarda poetik ritm xilma-xil ohanglarni (gumon, so‘roq, buyruq, xabar) ifodalashi
mumkin. Bu xususiyat ham she’riy, ham nasriy tez aytishlar uchun mushtarak bo‘lib, ularning
mazmundorligini, g‘oyaviyligini ta’minlagan. Bunda talaffuzning aniq va ochiqligiga, poetik taktga,
mantiqiy urg‘uga alohida e’tibor berish zarur. Shularning birortasiga rioya qilinmasa, o‘sha zahoti
ritmdan chiqib ketadi, ma’no yoki mazmunda mantiqsizlik yuzaga keladi.
Qadimgi tez aytishlardagi so‘zlarning ko‘pligi bu fikrningto‘g‘ri ekanligini tasdiqlaydi. Gap
shundaki, tez aytish qoidasida namuna to‘liq aytib bo‘linmagunicha nafas olish mumkin emas. Son
jihatdan shu qadar ko‘p so‘zli tez aytishlar borki, ularni yosh bola ayta olmaydi. Shuninguchun bu
tez aytishlar avvaliga katta yoshdagi odamlar o‘rtasida keng tarqalgan bo‘lishi mumkin degan
xulosaga kelingan. Tez aytishning ikkinchi qoidasi matndagi tovushlarni aniq talaffuz qilish kerakligi
bilan belgilanadi. Tez aytish hozirgi paytda bolalarning ayrim tovushlarni talaffuz qilishdagi
kamchiliklarini yo‘qotish jarayonini tezlashtiradi. Masalan, ko‘pincha bolalar «r» tovushi talaffuzida
qiynalishadi: «l» tovushi bilan chalkashtirishadi. Shuning uchun tez aytishdagi bir nafasda matnni
to‘liq aytib bo‘lish qoidasidan qat’i nazar «r» va «l» tovushlari talaffuzini to‘g‘ri amalga oshiruvchi
tez aytishlarni ularga o‘rgatish foydalidir:
Charxim chakalak,
Tanobi charxim chakalak.
Charximda gunoh yo‘g‘u,
O‘zim hakalak.
Shuningdek, faqat «R» tovushi talaffuziga bag‘ishlanganmatnlardan ham foydalanish mumkin:
«Bir tup tut, bir tup tutning tagida bir tup turp.
Bir tup tut, bir tup turpning tomirini turtib turibdi. Bir tup turp, bir tup tutning tomirini turtib turibdi.
Bir tup tutning tomirini turtib turgan bir tup turpning tomirini bir tup tutning tomiri turtib turibdi. Bir
tup turpning tomirini turtib turgan bir tup tutningtomirini bir tup turpning tomiri turtib turibdi».
Albatta, so‘z soni jihatidan ko‘p bo‘lgan tez aytishlarni bolalar ijro qilishga qiynalishlari mumkin.
Tez aytishni qayta-qayta mashq qildirish, berilgan matnni osongina diliga, tiliga jo qilib olish
har tomonlama foyda so‘z o‘yini bilan ijro etiladigan har bir tez aytish zamirida bir nechta vazifalar
yotgan bo‘ladi. Shulardan birinchisi qayta-qayta mashq qilish, tinimsiz takrorlash natijasida bolaning
nutqi chiqadi, tili ravon bo‘ladi. Bularning hammasi yig‘ilib bola tarbiyasiga bog‘lanadi. Bola
dunyoga kelishi bilanoq uni kelajakda komil inson bo‘lib o‘sishi uchun mana shunday chora-
tadbirlarni qo‘llashga to‘g‘ri keladi. Aks holda bu ish kechiktirilsa, ko‘zlangan natija chiqmay qolishi
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 15
mumkin.Bunday namunalar xalqimizning faqat til boyligimizga emas, so‘zlarning tiniq talaffuziga
ham katta e’tibor bilan qaraganligini dalillaydi. Olimlarning aniqlashicha, yuzta namunadan 18 tasi
«sh», 17 tasi «m», 15 tasi «k», 10 tasi «s», 8 tasi «j» va «ch», 7 tasi «g‘« va «q» tovushlariga
asoslangan bo‘lib, «l», «m», «g», «d», «z» tovushlariga asoslanganlari nisbatan kam ekan. Xullas, tez
aytishlar bolalar tarbiyasida, hatto talaffuz ko‘nikmalarini oshirishga katta e’tibor bilan munosabatda
bo‘lganligini bildiradi. Katta yoshdagi o‘smirlar orasida sanamalarni bilmaydiganlar bo‘lmasa kerak.
Chunki yoshlik chog‘imizda hammamiz ikkiga bo‘linibynaladigan musobaqalarda qatnashganmiz.
Quvlashmachoq, bekinmachoqlarda ishtirok etganmiz. Avvalo, sanamalardagi qofiya,
o‘xshatish,istiora, sifatlashlar yosh o‘g‘il-qizlarda estetik didni rivojlantirishga, ularning har bir
harakat, har bir so‘zni go‘zal talaffuz qilish ko‘nikmasini egallashlariga ko‘maklashadi.
Ikkinchidan, hayot murakkabliklari bilan ilk bor to‘qnashtiradi: qaysi guruhda ishtirok etishini
uning xohlashidan qat’i nazar hal qiladi. Sanamada qatordan chiqish o‘yin boshining hisobni kimdan
boshlashiga bog‘liq ekanini anglatadi.Uchin chidan, sanash tartibi haqida ko‘nikma hosil
qiladi.Ayniqsa, maktab yoshiga endi to‘lgan bolalar uchun bu xususiyat muhim
hisoblanadi. Masalan, «Bir ikki o‘n olti,o‘n olti deb kim aytdi, o‘n olti deb man aytdim, ishonmasang
sanab boq» sanamasida talaffuzdagi zarblar soni o‘n oltita bo‘lib, har bir zarbdan so‘ng yerga bittadan
chiziq tortilsa, umumiy son o‘n oltiga teng bo‘ladi. Aytilishidagi qulaylik, eslab qolishning osonligi,
yerga chiziq tortish harakati bolada qiziqish uyg‘otadi, va juda bo‘lmaganda o‘n oltigacha sanash
ko‘nikmasini tez o‘zlashtirishga olibkeladi. Olimlarning ta’kidlashlaricha, sanamalar faqat o‘zbek
bolalari orasida emas, umuman turli xalq bolalarida ham ko‘p tarqalgan janr hisoblanadi. Jumladan,
ruslarda «schitalka», tojiklarda «shumurak», turkmanlarda «sana voch», tatarlarda «sanashu» deb
ataladi. Ularning ko‘pchiligi she’riy tarzda ijro etiladi. O‘yinning boshlovchisi - onaboshi sanama
aytib, davradagi bolalarni bittalab chiqargunga qadar uning matnini hamma ishtirokchilar yodlab
ola dilar: Qovun palak, Guvak otdi. Guvak emas, Chuvak otdi. Chuvak qovun Shirin ekan, Safdan
chiqsin Qo‘lim tekkan. Bolalar folklori tadqiqoti bilan shug‘ullangan olim O. Safarov o‘zbek bolalar
folklorida salkam 800 misrani tash- kil etuvchi 150 dan ortiq sanamalar bor ekanligini ko‘rsa tib
o‘tadi. To‘g‘ri, gap sanamalarning soni va hajmining kattaligida emas. Ammo bari bir bu raqamlar
sanamalar sohasida ham folklorimiz naqadar boy ekanligini tasdiqlay- digan dalil hisoblanadi. Ular
orasida yurtimizning deyarli hamma hududlarida bolalar tomonidan qayta-qayta ayti- ladiganlari ham
ko‘p. Masalan: Chori chambar Bori anbar. — Ona qizi qayda? — Ola-bula tog‘da. Tog‘man zuvman,
Kumush bolg‘a. Onavosh yonbosh Guldur gup. Shunday qilib, bolalar folklorining tarkibiy qismi
bo‘lmish sanamalar ham yosh avlodlarning ulg‘ayishida boshqa janrlar kabi estetik, ma’rifiy,
tarbiyaviy ahamiyat kasb etar ekan. Demak, o‘zbek bolalar folklori janrlar rangbarangligi, asarlar
badiiyati va son ko‘lami jihatidan kattalarning og‘zaki ijodi qatoridan munosib o‘rin olishga loyiqdir.
Bolalar folklori namunalari o‘zbekning o‘z farzandi tarbiyasiga, binobarin, xalqining, yurtining
kelajagiga o‘ta mas’uliyat bilan yondoshganini va qanchalar e’tibor bilan qaraganini ko‘rsatadi. Bu
e’tibor o‘z navbatida umuman xalqimiz ongida ajdodlar xotirasiga hurmat tuyg‘usining kuchli
bo‘lishiga olib kelgan. Qadriyatlarimizni e’zozlash, tariximizga hurmat bilan qarash allalar ohangi
bilan jis- mimizga singib ketgan. Ertaklar orqali o‘tmishdagi yurtdoshlarimizning hayot tarzi bilan
tanishganmiz. Tez aytish, topishmoq, sanamalar, qo‘shiqlar bilan ovunganmiz. Oxir oqibatda bu
asarlar bizning ruhan, tabiatan voyaga yetishishimizga xizmat qilgan. Binobarin, ko‘p asrlar oldin
yaratilgan bolalar folklori namunalari bugungi kunda ham o‘z vazifasini bajarmoqda.
FOYDALANILGAN ADABIYOTLAR RO’YXATI:
1. Adizova O. I. The exceptional in the works of Van Gennep. Special issue ijssir april 2023 issn 2277-3630
(online), published by international journal of social sciences & interdisciplinary research., comparative study of
literature, comparative linguistics, translation studies ,2023y,121-126b
2. Narzullaeva, D. B. (2023, January). History of the translation of the quran into french. in international
conferences (Vol. 1, No. 2, pp. 116-118). http://erus.uz/index.php/cf/article/view/1495
3. SarimsoQov B. O’zbеk folklorining janr sostavi // O’zbеk folklori ochеrklari. Uch tomlik.1-tom. T.: «Fan»,
1988, 82-83-b.
4. Dor Remy. Un seul corbeau ne fait pas I’hiver. -Paris, 2010. 11p
5. Nasirdinova Yo. A. O’zbek folklori va mumtoz adabiyoti fransuz tilida(Реми Дор таржимялари асосида)
f.f.f.d.(PhD) ishi. Toshkent-2019y. 38b.
6. Safarov O. O`zbek xalq og`zaki ijodi. Darslik. – Musiqachi, 2010. – B.78.
16 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
7. Dor Remy Cараh-Росе lа росоphilе: virlangues. - Paris, 2005. - p.162
UDC 81'42
PRAGMALINGUISTIC ANALYSIS IN RESEARCH
M.Alihonova, teacher, Namangan State University, Namangan
UO’K 811.161.1.06
“DEVONI MUTRIB XONAXAROB” LINGVOPOETIK TADQIQOT OBYEKTI SIFATIDA
A.A.Allaberganova, o‘qituvchi, Urganch davlat universiteti, Urganch
O‘tgan asr boshlarida Xorazmda yashab ijod etgan hassos shoir, jurnalist, nag‘masoz talant
sohibi Muhammad Hasan Mutrib el orasida Mutrib Xonaxarobiy nomi bilan mashhur. Adib millliy
uyg‘onish adabiyotining ilk boshlovchilaridan biridir. Bu jihatdan uning ijodiy faoliyati H.Niyoziy
va S.Ayniy, A.Avloniy va So‘fizoda, Faqiriy va Bayoniy, shuningdek, M.Ordubodiy va H.Jovid,
A.Shirvonzoda va S.Sayfullin singari o‘tmish adabiyot bilan yangi tipdagi adabiyotni tutashtirgan
adiblar faoliyatiga hamohang ekanligi qayd qilinadi [1]. Muhammmad Hasan yoshligidan Navoiy,
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 19
Jomiy, Munis va Ogahiy devonlariga havas qo‘yadi va o‘zi ham dilkash she’rlar ijod qila boshlaydi.
Xalq orasida naql qilinishicha, Mutribning g‘aribona kulbasi oldidan o‘tayotib, Xiva xoni
Muhammmad Rahim II Feruz undan: “sening uying mana shu bo‘ladimi?”– deb so‘raydi va shoirdan
tasdiq javobini olgach: “Xonang xarob ekan-ku”– deya o‘tib ketadi. Shoir o‘z ijodida ham o‘z holiga
ishora bergan:
” Sham vaslingdin ko‘zumning tiyrasini ravshan et,
Partavi husningga aylay kulbai xarobim fido”.
Shu-shu shoirning Mutrib degan taxallusi yoniga Xonaxarobiy atamasi ham qo‘shilib qolgan.
Mutrib Xonaxarobiy merosining asosiy qismi 1909-yilda Muhammad Sharif bin Muhammad Yoqub-
Xarrot tartib bergan devonda jamlangan. O‘zbekiston Fanlar akademiyasi Sharqshunoslik instituti
qo‘lyozmalar fondida Mutribning kichik hajmdagi ikkita devoni ham saqlanadi [2]. ”Devoni Mutrib
Xonaxarob” da XIX asr oxiri va XX asr boshlarida Xorazmda yashab ijod qilgan Muhammad Hasan
Mutrib – Mutrib Xonaxarobiyning g‘azal, murabba, masnaviy, muxammas, musaddas, ruboiy janrida
yozilgan eng sara she’rlari jamlangan. “Devoni Mutrib Xonaxarob” qo‘lyozmasidan Mutrib she’riyati
tilining o‘ziga xos jihatlarini ilg‘ab, devonga oid barcha materiallarni yig‘ib, shoir va uning ijodi
haqidagi ko‘pgina manbalarni o‘qib-o‘rganib, ijodkor she’riyati tilining lingvopoetik xususiyatlari
bo‘yicha tadqiqot olib borish mumkin. Adabiyotshunos olim N.M.Mallayev mumtoz adabiyotga,
xususan, Xorazm adabiyotiga mehr qo‘ygan inson bo‘lib, u o‘z shogirdi Matnazar Pirnazarovga
Muhammad Sharif bin Yoqub-Xarrot tomonidan 1909-yilda Xivada ko‘chirilgan Muhammad Hasan
Mutrib (Xonaxarobiy)ning uch yuz sahifadan iborat “Devoni Mutrib Xonaxarob” qo‘lyozma
devonini taqdim qilgan. Matnazar Pirnazarov ushbu qo‘lyozma matnini kirill alifbosi asosida tabdil
qilgan. Bu qo‘lyozma bugungi kunda Matnazar Pirnazarovning farzandlari qo‘lida bo‘lgan shaxsiy
kutubxonasida saqlanmoqda. “Hajmi 18.5x27 sm bo‘lib, matn raqamga olinmagan, lekin sahifalar
ma’lum reja asosida ko‘chirilib, mutanosiblik saqlangan. Sahifalar hoshiyasiga ham ancha g‘azal va
muxammaslar bitilgan, qo‘lyozma matni chiroyli nastaliq xat bilan qora siyohda ko‘chirilib, har bir
she’r boshida qizil rangda shoir ismi takrorlangan. Devonda Mutribning 13429 satr she’ri bor. Bular
o‘n ikki yarim ming misradan iborat 875 g‘azal, 16 muxammas, 5 musaddas, 2 ta qasida joylashgan.
326 ta g‘azal, 5 ta muxammasdan iborat fors-tojik tilidagi she’rlari ham ushbu devondan joy olgan”
[3]. M.Pirnazarov o‘zining dissertatsiyasida nashrga tayyorlanayotgan Mutrib tanlangan asarlaridan
shoirning har ikki davr ijodiga oid ko‘plab g‘azal, muxammas, musaddas, masnaviy va qasidalari joy
olganini va shoir she’rlari kitobxonlarga kam miqdorda yetib borganini quyidagicha ta’kidlaydi:
“Demak, Mutribning hozirga qadar o‘quvchilarga ma’lum qilingan asarlari juda kam miqdorda
bo‘lib, ular ham bir manbadan ikkinchisiga, undan uchinchisiga takror ko‘chirilayotgan she’rlardir.
Ana shu ahvolni hisobga olib va shoir adabiy merosini zamonamiz o‘quvchilariga mumkin qadar
to‘la yetkazish maqsadida biz tomonimizdan nashrga tayyorlanayotgan Mutrib tanlangan
asarlaridan shoirning har ikki davr ijodiga oid g‘azal, muxammas, musaddas, masnaviy va
qasidalari joy olishi ko‘zda tutiladi [4]. Umuman, olim mazkur manbalarni topish va yig‘ish ishlarini
amalga oshirishda Xorazm vohasi bo‘ylab, shuningdek, Toshkent, Moskva, Leningrad shaharlari
bo‘ylab qidiruv ishlarini olib borgan va Mutribni taniydigan tarixiy shaxslar, shoir bilan uchrashgan,
suhbat qurgan shaxslar bilan muloqotda bo‘lgan. Bevosita, ilmiy tadqiqot institutlari, tarixiy
muzeylar, qo‘lyozma fondlari va kutubxonalarda ilmiy izlanishlar olib borgan. Bugungi kunda ushbu
devonning M.Pirnazarov tomonidan ishlangan tabdil namunalarini yig‘ish va nashr qildirish orqali
o‘quvchilarni XIX asr oxiri XX asr boshlari Xorazm adabiy muhiti, uning yorqin bir vakili,
”zullisonayn” shoir Muhammad Hasan Mutrib badiiy merosi bilan tanishtirishga muvaffaq bo‘lamiz.
Binobarin, Mutrib Xonaxarobiy ijodi umumturkiy g‘azaliyotda tipologik qimmatga ega bo‘lib,
devonda keltirilgan lirika namunalari voqeiylik asosida qalblarga to‘lqinli tuyg‘ular bag‘ishlash bilan
ajralib turadi. Insoniyatga in’om etilgan noyob xislatlardan biri bo‘lgan ijod hissiyotini Mutrib ijodida
ko‘rish qiyin emas. Shoir ijodiy merosi asosini g‘azal, murabba, masnaviy, muxammas, musaddas,
ruboiy tashkil qiladi. Ishq-muhabbat ruhida yozilgan she’rlari insoniyat qalbida iliqlikni paydo qilsa,
pand-nasihat, da’vat, xitob ohanglari bilan yo‘g‘rilgan she’rlari orqali o‘quvchi ma’naviy olami
shakllanadi, ilm-u ma’rifatga bo‘lgan qiziqish yanada ortadi.
20 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Lingvistik jihatdan e’tibor qaratadigan bo‘lsak, ”Devoni Mutrib Xonaxarob” qo‘lyozmasining
tilini hozirgi o‘zbek tili bilan tenglashtirsak to‘g‘ri bo‘lmaydi. Shoir ijodining birinchi davridagi
ijodiy merosni hozirgi o‘zbek kitobxonlari biroz qiyinchilik bilan tushunsalar, keyingi davr ijod
mahsulini osongina anglab yetadilar, chunki she’rlar yengil, xalq tilida bitilgan. Uning she’rlarida
hayot, tabiat va koinot obyektiv e’tirof qilinarkan, shoir inson va uni o‘ragan borliqni bir butunlik,
bir-biriga uyg‘un holatda tasvir etadi. Bir-biriga qarama-qarshi bo‘lgan payt otlarini ishlatish orqali
she’rda ziddiyatni ochib beradi va kitobxonni ko‘rkam tabiatning barcha ezgu hislatlari bahor fasli,
gullar sahni, go‘zallik tomon yo‘naltiradi. Barchasi insoniyat uchun yorqin va ezgu hislar ekanligini
uqtiradi:
“O‘tib qish mavsumi, ey bazm eli, fasli bahor o‘ldi,
Ochib ruxsorini bog‘ ichra gullar lolazor o‘ldi.
Guli firdavsdek gulshanda nargislar qilib jilva,
Alar ishqida bulbullar ishi afg‘on zor o‘ldi” [5].
Mutrib Xonaxarobiy asarlari lirikasini, asosan, turkiy va arabcha-forscha so‘zlar tashkil etadi.
Qo‘lyozmada rus va rus tili orqali kirgan so‘zlardan deyarli foydalanmagan. Mutrib ijodining keyingi
bosqichida yaratilgan she’rlarda esa yangi so‘z va iboralarni uchratishimiz mumkin:
”Bo‘lib kurultoyi ijroiya ko‘mita shaxr aro barpo,
Bu davlat fayzidin bizlarga har mushkullar osondur” [6].
Yoki:
”Ko‘ring askarni yangi tarbiyatda,
Oning uchun bari xo‘p xosiyatda”.
Mutrib leksikasida o‘g‘uz guruh (Xorazm shevasining o‘g‘uz guruhiga yaqinligi tufayli)
tillarining ta’sirini uchratamiz:
“Ko‘rgach yuzingni bo‘lmisham majnuni sargardon sango,
Yo‘q chorai dardi dilim fosh etgali pinhon sango”.
Mutrib Xonaxarobiy ham boshqa demokratik shoirlar singari davr talabiga javob beradigan til
vositalarini xalq so‘zlashuv tilidan o‘zbek adabiy tiliga olib kirishga harakat qildi. Shoir ijodi eski
o‘zbek adabiy tilining yorqin namunasi desak yangilishmaymiz. Xalq so‘zlashuv tili xususiyatlari
Mutrib ijodining ayrim morfologik, fonetik va leksik belgilarda ham ko‘zga tashlanadi. Ilmiy
kuzatishlar natijasidan ma’lumki, hozirgi o‘zbek adabiy tilida mavjud bo‘lgan “men” birinchi shaxs
kishilik olmoshiga eski o‘zbek adabiy tilida qo‘shimcha qo‘shilish, yoki qo‘shilmasligidan qat’iy
nazar birinchi bo‘g‘inda “e” tovushi saqlanadi. Xorazm ijtimoiy muhitida ijod etgan ijodkorlarning
asarlarida esa ko‘proq og‘zaki tilga xos bo‘lgan “a” tovushiga aylanganining guvohi bo‘lamiz.
Masalan, Avaz O‘tar she’rlarida: “Oh kim qildi falak, ayru diyorimdin mani,
To yiroq solmoqqa bir gulrux nigorimdin mani”.
Yoki:
“Molimni yo‘lida aylabon sarf,
Mandin xazar etgusi gadolar” [7].
Shu belgilarni Mutrib Xonaxarobiy she’riyati leksikasida ham ko‘rishimiz mumkin:
“Mani anduh hijrondin xalos et,
Ko‘zumning mardumin qondin xalos et”.
Mutrib va unga zamondosh Xorazm shoirlari olg‘a surgan chuqur insonparvar g‘oyalar, rang-
barang mavzu va mazmun xilma-xil janrlarda ifodalandi. Serqirra va sermashaqqat hayot va ijod
yo‘lini bosib o‘tgan yetuk san’atkor sifatida Muhammad Hasan Mutribning ijodiy yo‘li va adabiy
merosi avlodlar uchun tabarruk boylik bo‘lib qolajakdir. Shuningdek, bugungi kundagi lingvopoetik
tadqiqot jarayonlarida hijriy 1327, milodiy 1909-yilda Muhammad Sharif bin Yoqub-Xarrot
tomonidan Xivada ko‘chirilgan Muhammad Hasan Mutribning uch yuz sahifadan iborat ”Devoni
Mutrib Xonaxarob” qo‘lyozma devoni (M.Pirnazarov tabdili asosida) tadqiqot obyekti sifatida
ahamiyatli hisoblanadi. Zero, Mutrib Xonaxarobiyning ushbu qo‘lyozmasida keltirilgan she’rlari
tilini lingvopoetik jihatdan tahlil qilib, ijodkorning tilning badiiy tasvir vositalaridan, umuman, tildan
foydalangan holda erishgan ijodiy uslubini asoslash, shoir poetik asarlari matnida til elementlarining
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 21
uslubiy imkoniyatlarini aniqlash va bu orqali uning o‘zbek tili rivojidagi o‘rnini belgilab olish
mumkin bo‘ladi.
FOYDALANILGAN ADABIYOTLAR RO‘YXATI:
1. Пирназаров M. Мутриб Хонахаробий. Рисола-мажмуа. – Тошкент, 2001. – Б. 4.
2. Sharqshunoslik instituti (ShI) N-903, 906 UP.
3. Пирназаров M. Мутриб Хонахаробий. Рисола-мажмуа. – Тошкент, 2001. – Б. 1.
4. М.Пирназаров. М.Хонахаробийнинг ижодий йўли. Ф.ф.н. дис. – Самарқанд, 1973, – Б. 20.
5. М.Пирназаров. М.Хонахаробийнинг ижодий йўли. Ф.ф.н. дис. – Самарқанд, 1973, – Б. 20.
6. Xorazm xabarlari.gazetasi. 1921.
7. Avaz O‘tar. Tanlangan asarlar.–Toshkent. O‘z. SSR. Davlat nashriyoti, 1956.
UO’K 808.3
QISHLOQ XO'JALIGI TERMINLARINING LEKSIKOGRAFIK JIHATDAN
MOSLASHTIRSH
M.J.Ashirmatova, o‘qituvchi, Toshkent davlat agrar universiteti, Toshkent
UO’K: 811.512
“OGAHIYNING “RIYOZU-DAVLA” ASARI ONOMASTIK BIRLIKLARI TARIXIY-
ETIMOLOGIK TAHLILINING BA’ZI MASALALARI
M.Axmedova, mustaqil tadqiqotchi, Urganch davlat universiteti, Urganch
UO’K 81
JAHON TILSHUNOSLIGIDA ETNOGRAFIZMLARNING O‘RGANILISH MASALASI
N.A.Azatova, o‘qituvchi, Urganch davlat universiteti, Urganch
D.Ibodullayeva, talaba, Urganch davlat universiteti, Urganch
Annotatsiya. Irim-sirimlarning tadqiqi xalq madaniyatini va aynan ma’lum bir millatga xos
bo‘lgan til birliklarini o‘rganishda asosiy omil bo‘lib xizmat qila oladi. Ushbu maqolada aynan
o‘zbek va ingliz xalq og‘zaki ijodiga mansub bo‘lgan etnografizmlarning o‘rganilish darajalari va
masalalari xususida so‘z boradi. Shuningdek, tadqiqot natijalari ham keltirib o‘tiladi.
Kalit so‘zlar: irim-sirimlar, etnik tushunchalar, madaniy kod, etnografizm, kognitiv belgilar,
milliy kolorit
Аннотация. Изучение идиом служит ключевым фактором в изучении национальной
культуры и языковых единиц, присущих конкретному народу. В данной статье говорится об
уровнях и проблемах изучения этнографии, принадлежащей узбекскому и английскому
фольклору. Также упоминаются результаты исследования.
Ключевые слова: ритуалы, этнические объединения, культурный код, этнография,
когнитивная символика, национальный колорит.
Abstract. The study of rituals can serve as a key factor in the study of national culture and
language units specific to a particular nation. This article talks about the levels and issues of studying
ethnographies belonging to Uzbek and English folklore. The results of the research are also
mentioned.
Keywords: rituals, ethnic concepts, cultural code, ethnography, cognitive signs, national color
Idiomalar antropologik jarayonlar bilan birgalikda xalqning alohida qarashlarini jamlagan til
leksikasini yaratishda asosiy tarkibiy qismlardan biri sifatida qaraladi. Irim-sirim kundalik hayotdan
avloddan avlodga turli nuqtayi nazarlarni o‘tkazish uchun vosita bo‘lib xizmat qildi. Odamlar endi
irimlarni o‘zlarining kundalik ishlari yoki odatlarining bir qismi sifatida qilishadi. Xalq orasida keng
tarqalgan irim-sirimlar odamlarning hayotiga turli sabablarga ko‘ra kirib kelgan, jumladan,
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 27
voqealarni kuzatish natijasida olingan turli xulosalar; asl dinlarning e’tiqodlariga asoslangan axloqiy
ko‘rsatmalar yoki soxta e’tiqodlarni saqlash; tarixiy rivoyatlardagi voqealarga singib ketgan
istiqbollar; va odamlarning tabiat hodisalariga bo‘lgan qiziqishi, bu hikoyalarning mavzularining
keng doirasini tushuntiradi. Chunki ijtimoiy hayot kontekstida bu, ayniqsa, muhim antropologik
jarayondir. Muayyan hodisalarni talqin qilish, jumboqli g‘oyalarni hal qilish yoki tasavvufiy
qarashlarning turg‘unligidan kelib chiqadigan jumboqli mavzular dunyoning barcha mamlakatlari
tillarida juda ko‘p yoritilgan. Aniq ilmiy dalillar yo‘qligiga qaramay, bir nechta e’tiqodlar turli ilmiy
tomonlardan tekshiriladi. Xususan, sotsiologiya, tilshunoslik, umumiy psixologiya, etnografiya, tarix,
etnopsixologiya kabi yo‘nalishlar bo‘yicha ko‘plab tadqiqotlar olib borilmoqda. Ushbu maqolada
Amerika, Yevropa, Yapon va Oʻzbek tilshunoslari tomonidan amalga oshirilgan marosimlar bilan
bogʻliq til birliklarining tavsifiy oʻrganish natijalari, yutuqlari va cheklovlari koʻrib chiqiladi.
Maqolaning maqsadi etnografik g‘oyalar bilan bog‘liq lingvistik birliklarni tadqiq qilish qanchalik
muhim va qay darajada o‘rganilganligini ko‘rsatishdir.
Irimlarning psixologik jihatlari va ularning inson ongiga ta’siri bo‘yicha ko‘plab tadqiqotlar
AQSh va Yevropa olimlari tomonidan olib borilmoqda. Ayniqsa, L. Dey, J. Meltbi1, [1] E. J.
Hamerman, S. K. Morevejlar [2] o‘z ilmiy izlanishlarida idiomalarning individ psixik sohasiga
ta’sirini atroflicha tahlil qilib, iboralar bilan bog‘liq bo‘lgan til birliklarining lisoniy va psixologik
xususiyatlarini ta’kidlaganlar. Bundan tashqari, irim-sirimlar xalq og‘zaki ijodining alohida bir qismi
sifatida qaraladi va ularning tabiati, ahamiyati, pragmatik va kognitiv jihatlari va psixologik tarkibiy
qismlari bo‘yicha bir nechta ilmiy tadqiqotlar o‘tkazilgan. Lisan Damich tomonidan o‘rganilgan
“Keep your fingers crossed. The influence of superstition on subsequent task performance and
mediating mechanism ” [3] nomli ilmiy monografiya shular jumlasidandir. Ilmiy tadqiqotning
birinchi nazariy komponenti irim-sirimlar, muayyan ijtimoiy guruhlar, shuningdek, yosh va jins bilan
bog‘liq etnik tushunchalarning o‘zaro tarqalishidir. Ijtimoiy qatlam vakillarida uning qanday
namoyon bo‘lishi haqidagi ilmiy kuzatishlar, garchi bu tadqiqotda irimlarning inson xulq-atvoriga
ta’sirining psixologik omillari empirik tahlil qilingan bo‘lsa-da, tilshunoslik uchun muhim manba
bo‘lib xizmat qiladi. Natijada, butun dunyo tilshunoslari, ayniqsa, irimlar bilan bog‘liq til birliklarini
lingvistik tekshirishga e’tibor bera boshladilar.
Tilshunoslikdagi antropotsentrik paradigma gipotezasi o‘tgan asrda paydo bo‘lib, yangi ilmiy
nazariyalarni yuzaga keltirdi. Tadqiqotning asosi tilning alohida hodisasi emas, balki murakkab tizim
ekanligini va unda odamlar katta rol o‘ynashini tushunish edi. Bu tilshunoslik, etnolingvistika,
kognitiv tilshunoslik va boshqa sohalar qatorida marosimlar bilan bog‘liq etnografik til birliklarini
o‘rganishga olib keldi. Amerikalik tilshunos olimlar Iyona Opiy va Moira Tatem ilmiy
izlanishlarining amaliy natijasi sifatida 1996-yilda Oksford universiteti nashriyoti orqali “Irim-
sirimlar” [4] lug‘atini nashr ettirdilar. 2003-yilda ilmiy jamoatchilik ushbu lug‘atning yangilangan
elektron versiyasi bilan tanishtirildi. Ushbu kitobga bugungi kungacha saqlanib qolgan ko‘plab xalq
ertaklari jamlangan. Lug‘at tilshunoslikda muhim o‘rin tutadi, chunki unda har bir irimning asrlar
davomida qanday rivojlanganligi muhokama qilinadigan iqtiboslar mavjud. Irim sirimlar har bir
mamlakatning madaniy me’yorlarini qo‘llab-quvvatlaydi. Natijada, irimlar bilan bog‘liq til
birliklarini o‘rganish bu xalqning madaniy muhitini tushunishga yordam beradi. Shu sababdan
tilshunoslar tomonidan marosimlarga asoslangan til va madaniyatni o‘zlashtirishga oid bir qancha
lug‘atlar, o‘quv qo‘llanmalar, darsliklar dunyoga keldi. Garri Kollis 1998-yilda "101 Amerika irim-
sirimlari" [5] kitobini chiqardi. Ushbu ishning asosiy maqsadi ingliz tili va xalq madaniyatini
Amerika an’analari orqali o‘rganishdir. Kitobda 101 ta irimning mazmuni, tarixiy kelib chiqishi va
madaniy jihatlari ko‘rib chiqiladi.
Rus tilshunosi L.Boyko o‘zining “Madaniyatlararo belgilar va irimsirimlar: rus, ingliz va
fransuz tillarining lingvomadaniy an’analari” [6] nomli maqolasida til birliklarining lingvistik
jihatlarining kognitiv ko‘rsatkichlari orqali gibrid usulda uch tildagi idiomalar va madaniy jozibani
qo‘llaydi. L.Boykoning fikricha, idiomalarni o‘rganishda asosiy element tilning lingvistik
jozibadorligi bo‘lib, idioma lingvistik tahlili tilning madaniyatning o‘ziga xos xususiyatlarini
yaratishdagi rollarini ochib berish imkoniyatini beradi. Bog‘langan leksik etnografiyaning o‘ziga xos
shakllari rus, ingliz, fransuz tillaridan uch tilli imo-ishora va ramziy harakatlarning tahlili orqali
28 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
o‘rganiladi. Tahlildan natijasida shu ma’lum bo‘ldiki, ko‘plab tillarda irim-sirimlar bilan bog‘liq
etnik tushunchalar mavzu va kelib chiqishi o‘xshash bo‘lsa-da, ularning kognitiv xususiyatlari bir-
biridan farq qiladi. Bu diqqatni jamlash bilan bog‘liq va madaniy qadriyatlarning yo‘nalishini
belgilaydi. Shu sababli, irim sirim bilan bog‘langan til birliklarining lingvistik tadqiqi bu birliklar
orasidagi bog‘lanishlarni til shakllanishi davomida tushuntirishga yordam beradi. Chunki madaniy
kodga ega bo‘lgan irim-sirimlar tillarning o‘ziga xos xususiyatlarini ochib beradi. Madaniyatlararo
muloqot vositasining tarkibiy qismlaridan biri inson tafakkurining mahsuli sifatida sirlarni chuqurroq
o‘rganishdir. L.Boykoning maqolasiga ko‘ra, har qanday tilni to‘liq o‘zlashtirishga to‘siq bo‘ladigan
to‘siqlardan biri marosimlarning lingvistik va madaniy jihatlarini yuzaki tushunishdir. Haqiqatan
ham, mamlakatning urf-odatlari uning axloqiy me’yorlarini rivojlantirishda muhim rol o‘ynaydi.
Ommaviy madaniyatning tarkibiy qismi bo‘lgan idiomalarga tegishli til birliklarining lingvistik va
madaniy jozibasini o‘rganish ikkinchi tilni tez va samarali o‘zlashtirish imkonini beradi.
Shu bilan bir qatorda o‘zbek tilshunosligida ham irim-sirimlar bilan bog‘liq til birliklari
etnolingvistikaning tadqiqot obyekti sifatida o‘rganilgan. Irim-sirimlar bilan bog‘liq til birliklari
leksik etnografizmlar qatorida tahlil etilgan. N. Mirzayev [7] tomonidan etnografizmlar izohiga
asoslangan lug‘at tuzilgan. Shunindek, Buxoro davlat universiteti filologiya fanlari bo‘yicha falsafa
doktori (Phd) ilmiy darajasini olish uchun Qosimova Ra’no Rahmatullayevna tomonidan taqdim
etilgan “O‘zbek to‘y va motam marosimlari folklori materiallarining inglizcha tarjimasida
etnografizmlarning berilishi” nomli dissertatsiyasida etnografizmlarning semantik, tematik, uslubiy-
funksional va morfologik xususiyatlari haqida atroflicha fikr yuritiladi. Shuningdek, irim-
sirimlarning leksik etnografik birlik sifatida qaralishi haqida ilmiy mulohazalar o‘rtaga tashlanadi.
Xulosa qilib aytish mumkinki, irim-sirim bilan bog‘liq til birliklari o‘zida madaniy kod, milliy
kolorit, madaniy konnotsiya belgilarini namoyon etadi va milliy belgini ifodalaydi. Tilda madaniy
joziba hosil qiladi va boshqa tillardan o‘ziga xosligi bilan ajratib turuvchi indikatorlik belgisi mavjud.
Shuning uchun qiyosiy tarzda bunday leksik birliklarni o‘rganish amaliy ahamiyatga molikdir.
FOYDALANILGAN ADABIYOTLAR RO‘YXATI:
1. Day, L., & Maltby, J. (2003). Belief in good luck and psychological well-being: The mediating role of optimism
and irrational beliefs. The Journal of Psychology.
2. Hamerman, E. J., & Morewedge, C. K. (2015). Reliance on luck: Identifying which achievement goals elicit
superstitious behavior. Personality and Social Psychology Bulletin
3. Lysann Damisch(2008) “Keep your fingers crossed. The influence of superstition on subsequent task
performance and mediating mechanism
4. Iona Opie and Moira Tatem (1996) “Dictionary of Superstitions” Oxford University PressPrint Publication.
5. Harry Collis(1998) “101 American superstitions: understanding language and culture through superstitions”
February 9,1998.McGraw-Hill Education ISBN-10.
6. L.Boyko (2020) Signs and superstitions across cultures: Russian, English, and French linguocultural traditions.
European Proceedings of Social and Behavioural Sciences EpSBS www.europeanproceedings.com e-ISSN: 2357-1330
7. Mirzayev.N. O‘zbek tili entografizmlarining izohli lug‘ati.Toshkent -Fan 1991
UO’K 811
O’ZBEK VA INGLIZ TILLARI FRAZEOLOGIK BIRLIKLARINING ETIMOLOGIK VA
MADANIY XUSUSIYATLARI
J.Bahromov, o’qituvchi, Jizzax davlat pedagogika universiteti, Jizzax
Annotatsiya. Maqolada aks etgan tadqiqot maqsadi - ingliz va o'zbek tillarining frazeologik
birliklari - tarkibiy qism - voqelik va linvokulturaviy xususiyatlarni belgilash. Maqola muallifi
frazeologik birliklarning leksik-semantik xususiyatlari, lingvokulturologiyasi va etimologiyasi, bu
birliklarning shaxsni tavsiflash vositasi sifatida funksional qoʻllanilishi hamda ularni oʻzbek va ingliz
tillariga tarjima qilishning mumkin boʻlgan variantlarini koʻrib chiqadi.
Kalit so’zlar: frazeologik birlik, tarjima, ligvomadaniy, paradigmatika, integral komponentlar,
etimologiya.
Аннотация. Целью исследования, отраженного в статье, является определение
фразеологизмов английского и узбекского языков – компонента – действительности и
лингвокультурных особенностей. Автор статьи рассматривает лексические и
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 29
семантические особенности фразеологизмов, лингвокультуру и этимологию, функциональное
использование этих единиц как средства описания человека, а также возможные варианты
их перевода на узбекский и английский языки.
Ключевые слова: фразеологизм, перевод, лингвокультурологический, парадигматика,
интегральные компоненты, этимология.
Abstract. The purpose of the research reflected in the article is to determine phraseological
units of the English and Uzbek languages - component - reality and linguistic and cultural features.
The author of the article examines the lexical and semantic features of phraseological units, linguistic
culture and etymology, the functional use of these units as a means of describing a person, as well as
possible options for their translation into Uzbek and English.
Key words: phraseological unit, translation, linguoculturological, paradigmatics, integral
components, etymology.
Har bir tildagi frazeologik tizim o‘ziga xos xususiyatlarga ega bo‘lib, leksik tizimdan
birliklarning yasalishi bilan farqlanadi, chunki frazeologik birliklar so‘zlardan iborat bo‘lib, tuzilishi
jihatidan ibora yoki gapga tengdir. So‘z va frazeologik birliklarning gap sifatida qo‘llanishi esa
ularning umumiy o‘xshashligidir. Biroq frazeologik tizim birliklari o‘zining tuzilish ko‘rinishi,
ba’zilari vazifasiga ko‘ra gap darajasiga yaqin turadi.
Agar tildagi barcha tizim yasovchi elementlarning doimiy o‘zaro bog‘liqligidan kelib
chiqadigan bo‘lsak, frazeologik birliklar quyi bo‘g‘in birliklari asosida, ya’ni so‘zlarning
integratsiyalashuvi orqali hosil bo‘ladi, degan fikrni aytish mumkin. Yuqori bo'g'in nuqtai nazaridan
frazeologik birliklarning o'zi so'zlar kabi gapni tashkil etuvchi qismlarga aylanadi. Bu mavzuni tadqiq
etgan yirik ilmiy tilshunoslardan biri M.Umarxo‘jaev o‘z asarlarida ta’kidlaganidek, gaplar
frazeologik birliklarni to‘g‘ridan-to‘g‘ri integratsiyalashgani, erkin iboralar esa gapga so‘z kiritadi,
chunki erkin so‘z so‘z bilan gap o‘rtasida vositachi vazifasini bajaradi. so‘zdagi alohida o‘rin gapning
tarkibiy qismiga aylangan. Frazeologizmlar so‘z kabi tayyor gapga lisoniy birlik yoki sintagma
shaklida kiradi. [1]
Yuqorida aytilganlarga asoslanib shuni ta'kidlash mumkinki, tilning haqiqiy frazeologik tizimi
lingvistik jihatdan o'zining belgi xususiyatlari bilan ajralib turadi. Frazeologik tizim birliklari barcha
lisoniy darajadagi birlik belgilariga o‘xshash izomorf xususiyatga ega bo‘lganligi uchun leksema
bilan gap o‘rtasida joylashgan komponent hisoblanadi.
Bundan tashqari, frazeologiyaning o‘ziga xos paradigmatikasi (sinonimlar, antonimlar,
semantik-sintaktik variantlar, frazeo-semantik guruhlar) va sintagmatik (ibora shaklidagi iboralar),
valentlik va taqsimot (frazeologik hosila) mavjud bo‘lib, ular to‘laqonli tizimni tashkil qiladi. o'zaro
ta'sir natijasida. Binobarin, frazeologik birliklar ham so`z kabi tilda aloqa vositasi vazifasini va
funksional nominatsiya vazifasini bajaradi. Ularning yana bir xususiyati quyi va yuqori darajadagi
elementlarning mavjudligi.
Agar so‘zning ma’nosi uni tashkil etuvchi morfemalarning yig‘indisi (gapning ma’lum
bo‘lagiga mansublik, valentlik va taqsimot, denotativ-ma’noli bog‘liqlik) bilan bog‘langan bo‘lsa,
frazeologik birliklarda bu hodisa boshqacha xarakterga ega bo‘ladi. Frazeologik birliklar mohiyatiga
ko‘ra, uning tarkibiy qismlari ma’nolarining birlashuviga asoslangan obrazli yo‘naltirilgan denotativ-
ma’noli yaxlitlikdir. Tildagi frazeologik birliklarning integrallashuvi asosida yangi yaxlit ma’no
birligi vujudga keladi. Shu bilan birga, iboraning ayrim integral komponentlari, ba'zan esa barcha
komponentlar o'zining asosiy xususiyatlarini yo'qotadi.
Integrasiya darajasi qanchalik baland bo‘lsa, frazeologik birliklarni tashkil etuvchi so‘zlar
o‘zining dastlabki ma’nosidan qanchalik uzoqlashib borsa va aksincha, integratsiya darajasi
qanchalik past bo‘lsa, ibora erkin so‘z birikmasi va erkin gapga shunchalik yaqin bo‘ladi.
Keling, yuqoridagi nazariy tezislarning to'g'riligini ko'rsatadigan lingvistik material tahliliga
murojaat qilaylik. Shu bilan birga, bizning asosiy vazifamiz o‘zbek tilidagi frazeologik birliklarning
tarkibiy yoki semantik xususiyatlarini o‘rganish emas, chunki ular turli lingvistik materiallar
yordamida yetarlicha batafsil o‘rganilgan. Bu yerda biz frazeologik birliklarning lingvomadaniy
30 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
jihatlarini tahlil qilishni maqsad qilganmiz. Lingvomadaniy jihatlar odatda nutqda pragmalingvistik
jihatlarning namoyon bo'lishi orqali amalga oshiriladi.
К числу прагмалингвистических аспектов ФЕ, проявляющихся в дискурсе, можно
отнести следующие:
1. Frazeologik birliklar nutqda modal munosabatlarni ifodalaydi.
2. Frazeologik birliklar nutqda axloqiy mezonlarni ochib beradi.
3. Frazeologik birliklar nutqda intellektual mezonlarni namoyon qiladi.
4. Frazeologik birliklar nutqda estetik mezon ifodalaydi.
5. Frazeologik birliklar nutqda dinamik mezonni aks ettiradi.
6. Frazeologik birliklar nutqda me’yoriylik mezonini ochib beradi.
7. Frazeologik birliklar nutqdagi emotsionallik mezonini ifodalaydi.
8. Frazeologik birliklar nutqda moslik mezonini namoyon qiladi. [2]
Shu nuqtai nazardan o‘zbek va ingliz tillaridagi ayrim frazeologik birliklarni ko‘rib chiqamiz.
“Tuya go'shti emoq ” – бu ibora harakatning juda sekin bajarilishini, jarayonni kechiktirishni
anglatadi. Masalan: “Qaniydi, o‘zimizdagi tuya g‘o‘shti egan hammom ishga tushsa-yu, biz bu
tashvishlardan qutulsak” (“Mushtum” jurnalidan).
Ushbu frazeologik birlik rus tilidagi "salyangoz tezligida" iborasiga va inglizcha iboraga mos
keladi. ‘till the cows come home’. Rus tilida bu ma'no toshbaqa, ingliz tilida esa sigir tasviri
yordamida beriladi. Bu odamlarning yashash joyi, hayoti va mavjudligining o'ziga xosligi bilan
bog'liq. Inglizlar va ruslar iqlimi sovuq bo'lgan shimoliy hududlarda yashaydilar. Bu, birlamchi
xususiyat sifatida, an'anaviy tushunchalarning nominatsiyasida, so'z va iboralarning birlamchi
shakllarini shakllantirishda namoyon bo'ladi. Tuyalar sovuq muhitda yashay olmaydi, lekin
toshbaqalarning ayrim turlarini topish mumkin. Sekin harakat toshbaqaga xosdir va ruslar sekinlik
haqida gapirganda bu hayvonning tasviridan foydalanadilar.
Oʻzbek til madaniyati sohasida toshbaqa ham mavjud boʻlib, bu tilda sustlik maʼnosini
bildiradi. Ammo bu kontekstda u faqat tuya tushunchasining sinonimi sifatida ishlatiladi.
“Tuyaning dumi erga tekkanda”, “tuyani yut, lekin dumi og'zingdan ko'rinib turmasin”. “Tuya
so'yib, chorlasang ham kelmaydi ”. “Тuya qancha bo'lsa – yag'rini shuncha” kabi iboralar o‘zbek
konseptual sohasida ham ana shu nuqtai nazardan mavjud. [4] Ular Evropa madaniyatiga begona,
chunki tuyaning odatlari haqida bilmagan holda, odam u bilan bog'liq belgilar haqida bilmaydi.
Ammo bu xulosani mutlaqo to'g'ri deb bo'lmaydi. Chunki Angliyada uchramagan ba'zi
hayvonlar shunga qaramay frazeologik birliklarning ob'ektiga aylangan. Masalan: to shed crocodile
tears – timsoh ko'z yoshlarini to'kdi: «Take no notice of her crocodile tears. She is not in the less
concerned about your injury» (W. Saroyan). [3,96]
Ma'lumki, o'ljani yutib yuborgandan so'ng, timsoh ko'z yoshlarini to'kadi. Ushbu hodisaning
fiziologik sabablarini bilmaganlar, yirtqich yutib yuborilgan qurbonga rahm-shafqat bilan
yig'layotgan deb noto'g'ri o'ylashadi. Darhaqiqat, sabab shundaki, to'yimli ovqatdan so'ng hayvonning
tanasidagi barcha organlar va bezlar, shu jumladan lakrimatsiya uchun mas'ul bo'lganlar ishlay
boshlaydi. Aynan ko'z yoshlari yordamida timsoh o'ljasi bilan birga olib kelingan infektsiyalardan
xalos bo'ladi. Bu fan tomonidan tasdiqlangan. Ingliz tilida bu frazeologik birlikning paydo bo'lishiga
sabab, mustamlakachilik davrida inglizlar Osiyo, Afrika, Shimoliy Amerika va Avstraliyadagi katta
hududlarni egallab olganlar. O'sha hududlarning tabiati bilan tanishish bu turdagi frazeologik
birliklarning paydo bo'lishiga sabab bo'ldi.
Keling, yana bir misolni ko'rib chiqaylik. “Тo work like a horse” iborasi rus tiliga “ot kabi
ishlamoq”, o‘zbekchaga esa “eshakdek ishlamoq” iborasi bilan tarjima qilingan. Gap shundaki, oddiy
o‘zbek xalqi orasida eshak, ya’ni eshak otdan ko‘ra ko‘proq bo‘lgan – boylar va boy zodagonlarning
xizmatkorlari sig‘dira oladigan qimmatbaho hayvon. Ot eshakning ishini qilmadi va asosan boylar
uchun faqat transport vositasi sifatida xizmat qildi. Va barcha qora ishlar eshaklar yordamida amalga
oshirilar, ular arava va aravalarga bog'langan, yuk ortilgan, tegirmon g'ildiraklarini aylantirishga
majbur qilingan. Otlar eshaklarga qaraganda kamroq edi, ularning go'shti yeyish mumkin edi, shuning
uchun otlarga eshaklarga qaraganda boshqacha munosabatda bo'lishdi.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 31
Yuqorida biz tarkibidagi hayvon nomlari bilan ifodalangan frazeologik birliklarni tahlil qildik,
endi komponentlari semantik ma’nosiga ko‘ra boshqa guruhlarga mansub frazeologik birliklarning
lingvomadaniy jihatlarini ko‘rib chiqamiz.
"Ko’z bo’yamok" frazeologik birliklarning semantik tarkibiy qismidir; bir qarashda u universal
insoniy xususiyatga ega bo'lishi kerakdek tuyuladi, lekin bu har doim ham shunday emas. Masalan:
“Yo'qolinglar, ifloslar, bizning ko'zlarimizni bo'yay olmaysizlar, sizga bu erda o'rin yo'q”. Ingliz
tilida " to throw dust in someone’s eye" iborasi bor – aldash ma’nosini anglatadi. [2]
Odatda tilshunoslar ma’nosi o‘xshash bo‘lgan lingvistik madaniy frazeologik birliklarni
o‘rganishga e’tibor bermaydilar, aksincha, ekzotik xarakterdagi frazeologik birliklarni izlashga
intiladilar. Bunday istakni noto'g'ri deb atash mumkin emas. Biroq, madaniyatdagi farqlarni
o'rganishda asosiy e'tibor bir tilda mavjud bo'lgan va boshqa tilda mavjud bo'lmagan tushunchalarni
izlashga emas, balki ikkala tilda mavjud bo'lgan, ammo har xil tarzda namoyon bo'ladigan
tushunchalarni qidirishga qaratilishi kerak.
Ingliz tilidagi kabi o‘zbek tilida ham frazeologik birliklar nutqda ishtirok etuvchi turli sub’ektlar
o‘rtasida modal ma’no ifodalaydi. Aniqrog‘i, so‘zlovchi ko‘rilayotgan narsaga yoki shaxsga o‘z
munosabatini bildirishi mumkin; ya'ni mini kontekstlarda ehtimollik, imkoniyat, majburiyat
ma'nolarini ifodalashi mumkin. Masalan, “ Kichkina demang bizni, ko'tarib uramiz sizni”, – Bu ibora
jismoniy va intellektual qobiliyatni ifodalaydi, ya'ni "bu bahsda g'alaba qozonish uchun bizda etarli
kuch va aql bor" degan ma'noni anglatadi.
“Kemaga tushganning joni bir” - bu frazeologik birlik muqarrarlik ma'nosini ifodalaydi. Ya'ni,
bu holatning oqibati aniq ma'lum. Bular frazeologik birliklar orqali ifodalangan modal ma’nolarning
ayrimlari xolos. kabi frazeologik birliklarda ham muqarrarlik ma'nosini ko'rish mumkin “Yetimning
og'zi oshga etganda burni qonaydi”, “Ishi yo'q it sug'orar”, “Teshik quloq eshitadi“, “Xatga tushding
– o'tga tushding”. Frazeologik birliklarda amalga oshiriladigan tushunchalardan yana biri axloqiy
mezon bo'lib, bu pragmatik vazifa frazeologik birliklarda ham ancha keng tarqalgan. Masalan: “ Kir
ko'ylakka kishan yoqa ”, “ Aytmagan joyga yo'nmagan tayoq”, “Aldagani bola yaxshi”, “Onasini
ko'r, qizini ol”, “Aravasiga tushdingmi ashulasini ham aytasan ” va hokazo. [5]
Yana bir lingvomadaniy parametr - bu intellektual mezon bo'lib, unga ko'ra so'zlovchi
frazeologik birliklardan foydalanib, biror narsaga, xoh u shaxsga, xoh u qandaydir sifatga yoki
munosabatlarga oqilona baho beradi. Masalan: “Baqiroq tuyaning bori yaxshi, baqirib turgani undan-
da yaxshi”. “Do'ppini olib qo'yib bir o'ylamoq”, “Yolg'onni suvdek simiradi”, “Zar qadrini zargar
biladi”, “Ipidan ignasigacha”, “Kallasi ishlaydi”. “Yo'lga solmoq”.
Keyingi lingvomadaniy parametr - bu frazeologik birliklar olamida ancha keng tarqalgan estetik
mezondir. Masalan: “Itning tuvagi oltin”, “Do'ppisi yarimta”, “Daqqi Yunusdan qolgan”, “Gapga
pishgan”, “Egani oldinda emagani ketida”, “Etti qovun pishig'i” va hokazo.
Lingvomadaniy turkumlashtirishda dinamik mezon frazeologik birliklarda aks ettirilgan
harakatdir. Bunga ko'plab misollar keltirish mumkin.
Masalan: “Xamirdan qil sug'urgandek”, “Xo'kizning qulog'iga tanbur chertmoq”, “Xoda
yutgan”, “Eshikdan haydasang derazadan kiradi”.
Frazeologik birliklarda lingvomadaniy kategoriyalarning namoyon bo‘lishi tilning semantik
tizimi uchun norma hisoblanadi. Frazeologik birliklarda odamlar, hayvonlar, narsa yoki hodisalar
norma pozitsiyasidan ko'rsatiladi. Masalan: “Zig'irdek kichik”, “Zuvalasi bir joydan olingan”, “Zig'ir
yog'i ichgan odamdek”, Zig'ir yog'i ichmaganda bo'g'ilib gapirmasdi. “Ishlar mixdek” va hokazo.
Aniqrog'i, agar holat normal bo'lsa, unda hech kim uni baholamaydi, tasvirlamaydi yoki hissiy
ekspressiv baho bermaydi.
Gap shundaki, norma tushunchasi turli madaniyatlarda har xil. Shunga asoslanib, turli
madaniyat vakillari bir xil vaziyatni turlicha baholaydilar. Masalan, o‘zbek tilida frazeologik birliklar
mavjud “Mehmon otangdan ulug'”, ammo Yevropa madaniyatida mehmon unchalik baland emas,
shuning uchun mehmon bilan bog‘langan frazeologik birliklar kam uchraydi.
FOYDALANILGAN ADABIYOTLAR RO'YXATI:
1. Маслова, В. А. Лингвокультурология / В. А. Маслова. – М., 2004. – 204 с.
2. Умарходжаев, М. И. Основы фразеографии / М. И. Умарходжаев. – Т., 1983. – 144 с.
32 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
3. Шмелева Т. М. Существительные полиэталоны в английских устойчивых сравнениях / Т. М. Шмелева
// Актуальные проблемы психолингвистики. – Тверь, 1996.
4. Раҳматуллаев, Ш. Ўзбек тилинннг қисқа этимологик луғати / Ш. Раҳматуллаев. – Т., 2003. – 485 б.
5. Хакимова, Г. Э. Фразеологик бирликлар этимологиясининг когнитив аспекти / Г. Э. Хакимова // УзМУ
хабарлари. – 2014. – № 5. – Б. 3–41.
6. Smith, W. Y. The Oxford Dictionary of English proverbs / W. Y. Smith. – Oxford, 1936.
7. The American Heritage Dictionary of the English language. – Boston, 2010.
UDC 81'1
COMPARATIVE STUDY ОF GЕRUND, INFINITIVЕ АND РАRTICIPLЕS IN ЕNGLISH
АND ITS ЕQUIVАLЕNTS IN UZBЕK
M.J.Bekmurodova, teacher, Uzbekistan State University of World Languages, Tashkent
Verbs are the heart of English sentences. After all, they are the ones who tell us what exactly
the subject is doing. In general, a verb is a word or combination of words that indicates an action or
state.
Depending on the functions and tense we are talking about, verbs are modified. Actually, just
like in other languages. Let's look at some examples of the use of infinitives, gerunds and participles
in English.
Essentially, this is the conjugation of a verb by subject: I, you, he/she/it, we, you all, they. A
regular verb will only change its ending, while an irregular verb will appear inconsistent.
Main forms of verbs:
1. Base form, also known as infinitive, e.g.: work, take, play;
2. Past form, for example: worked, played, took;
3. Past participle or -ed, e.g. worked, taken (in regular verbs this has the same form as past, but
in irregular verbs it can be different, e.g., took, taken);
4. -ing form, in particular: working, taking;
5. Third person singular present simple or -s form, for example: works, takes;
Finite Verbs
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 33
Finite verbs — these are actually those that are called sentence roots. A verb form performs or
refers to a subject and uses one of twelve tense forms and changes according to the number/persons
of the subject.
These verbs show tense, person and number:
My brother went to school — Akam maktabga bordi.
He is one of the best football players in the country — U mamlakatning eng yaxshi
futbolchilaridan biri.
Non-finite verb forms
Non-finite verbs do not act like verbs in a sentence, but work like nouns, adjectives, adverbs,
and so on. Apart from this, they do not change according to the number/persons of the subject since
these verbs, also known as verb phrases, do not directly relate to the subject. Sometimes they can
become an object.
The forms of non-finite verbs are:
• Infinitive
• Gerund
• Participle
Infinitive
The infinitive form is the indefinite form of the verb and is often the same as its dictionary form,
but has special forms. The infinitive does not indicate person or number and expresses only an action
or state, and sometimes the time of utterance. The sign of the infinitive form of a verb is the particle
to, although it can sometimes be omitted.
Most of them have an active infinitive form (with or without to): (to) catch, (to) do, (to) help,
(to) leave, (to) wash.
Also, most verbs have a passive infinitive form: (to) be caught, (to) be done, (to) be helped, (to)
be left, (to) be washed.
The infinitive can perform the following functions in a sentence:
Applications: My husband always forgets to eat — Erim doim ovqatlanishni unutadi.
Subject: To swim is good for your health — Suzish salomatlik uchun foydali.
Predicate: They want to take part in this event — Ular ushbu tadbirda ishtirok etishni
xohlashadi.
Adverbial modifier: I came here to welcome you personally — Sizni shaxsan tabriklash
uchun keldim.
Adjective: I made a decision to come here and listen to your arguments — Men bu erga kelib,
sizning dalillaringizni tinglashga qaror qildim.
It should be remembered that some verbs are directly followed by an infinitive:
He was going to call the doctor — U shifokorni chaqirmoqchi edi.
Certain verbs may be followed directly by a noun or pronoun, and then by an infinitive:
He advised me to sell all my bitcoins — U menga barcha bitkoinlarimni sotishimni maslahat
berdi.
Some verbs can be given an infinitive or a gerund without changing the meaning:
I like to read American novels.
I like reading American novels — Men Amerika romanlarini o'qishni yaxshi ko'raman.
Some verbs may be followed by an infinitive or gerund, but with a change in meaning, for
example, compare:
He stopped drinking alcohol.
He stopped to drink alcohol.
Gerund
What is a gerund?
A gerund is a verb in the ing (present case) form that functions as a noun, describing an activity
rather than a person or a specific matter. Any action verb can be turned into a gerund. Gerunds in
English can be found quite often: run - running, sing - singing. However, you should be careful when
translating, since we do not have such an analogue in our native language.
34 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Some people prefer getting up early in the morning — Ba'zi odamlar ertalab erta turishni afzal
ko'radilar.
A gerund can appear at the beginning of a sentence when used as the subject:
Swimming is a hobby of mine — Suzish mening sevimli mashg'ulotim.
A gerund can act as an object after a verb:
My brother quit smoking a few days ago — Akam bir necha kun oldin chekishni tashladi.
A gerund can serve as an object after a preposition:
I look forward to helping you cook the meal — Men sizga ovqat tayyorlashda yordam berishni
intiqlik bilan kutaman.
Some verbs and verb phrases come immediately after the gerund:
This man avoids using sugar… Bu odam shakardan foydalanishdan voz kechdi
Some verbs can be followed by a gerund or infinitive without changing the meaning:
Some people prefer getting up early…
Some people prefer to get up early… Ba'zi odamlar erta uyg'onishni afzal ko'rishadi ...
Some verbs can be followed by a gerund or infinitive, but changing the meaning:
She remembered sending the letter.
She remembered to send the letter — U xatni yuborganini esladi.
Participle
All present participles end in -ing. The past participles of all regular verbs end in -ed. However,
irregular verbs have different endings: thrown, ridden, built, gone,…
So, traditionally the participle in English has two main types and their different tense forms:
1. Present participle (-ing): arriving, biting, carrying, doing, entertaining, flying
2. Past participle (Verb 3):
Regular: acted, borrowed, hopped, mumbled, paused, studied, wandered etc.
Irregular: caught, done, gotten, had ridden, seen, understood, worn etc.
3. Perfect participle (having + Verb3): having asked, having broken, having grown, having
placed, having told, having worn etc.
As you can see, with the help of certain constructions involving the participle, you can express
yourself succinctly in English. Since the participle combines the qualities of a verb, adjective and
adverb, it is quite multifaceted. When we use it in English, we mean, "doing something" or "having
done something."
In English, just like in Uzbek, there are only three non-finite forms of the verb, but their
functions in the language are much more diverse and they form many more constructions (turns of
phrase) than the Uzbek non-finite forms. If in the Uzbek language there are only participial and
participial phrases, the infinitive does not form phrases, then in English the phrases are formed by the
gerund, participles and infinitive. Of these, only participle phrases in the function of adverbial and
definition correspond to Uzbek phrases, the rest have no analogues in the Uzbek language, these are
a gerundial phrase, an independent participial phrase and three infinitive constructions. Each of them
can be called a means of compressing complex sentences into simple ones, and their study causes
certain difficulties both when translating from English into Uzbek and when constructing a phrase in
English.
Thus, the prevalence of non-finite verb forms in English, their versatility and ability to form
unique constructions that have no parallels in the Uzbek language, raise the need to find ways and
opportunities for more effective teaching of non-finite verb forms.
REFERENCES:
1. Bedretdinova Z.N. Non-finite forms of the English verb: A textbook on English grammar / Z.N. Bedretdinova.
– Khabarovsk: Publishing House of Tomsk State University, 2005.
2. https://grammarway.com/ru/participle
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 35
UDC 82
PHRASEOLOGICAL UNITS REPRESENTING TIME IN ENGLISH AND UZBEK
LANGUAGES
G.F.Boltaqulova, Head of the Department, Samarkand State Institute of Foreign Languages,
Samarkand
Annotatsiya. Mazkur maqolada asosiy obyekt frazeologik birliklar bo‘lib, ular takrorlanuvchi
so‘z birikmalari bo‘lib, aniq ma’noni bildiradi. Inson borlig‘ida vaqtning ahamiyati va madaniy
guruhlar o‘rtasida tilda ko‘p ifodalanishini hisobga olsak, zamon bilan bog‘langan frazeologik
birliklarga urg‘u berish ayniqsa muhimdir. O‘zbek va ingliz tillarida vaqtni ifodalovchi frazeologik
birliklarni o‘rganish lingvistik o‘zgaruvchanlik haqidagi bilimimizni oshirishdan tashqari, tilning
temporal hodisalarini tushunishimizga qanday ta’sir ko‘rsatishining muhim usullarini ko‘rsatadi.
Ushbu tadqiqotning tuzilishi quyidagicha: birinchidan, adabiyotlar tahlili frazeologiya va
zamon bilan bog‘liq bo‘lgan iboralar bo‘yicha oldingi tadqiqotlarga umumiy nuqtai nazarni taqdim
etish orqali qiyosiy tahlilimiz uchun asos yaratadi. Tadqiqot o’tkazilgan kontseptual ob'yektiv
nazariy bilimlar asosida tasvirlangan.
Kalit so’zlar: frazeologizm, frazeologik birliklar, so‘z birikmalari, ko‘p so‘zli so‘z birikmalari,
idiomatik iboralar, ingliz tilidagi frazeologik birliklar, o‘zbek tilidagi frazeologik birliklar, semantik
ohanglar, O‘rta Osiyo madaniy merosi, madaniy ahamiyati.
Аннотация. В статье основное внимание уделяется фразеологическим единицам,
которые представляют собой повторяющиеся словосочетания, передающие определенное
значение. Акцент на фразеологических единицах, связанных со временем, особенно важен,
учитывая важность времени в человеческом существовании и множество способов его
репрезентации в языке среди культурных групп. Помимо расширения наших знаний о
лингвистических вариациях, изучение фразеологизмов на узбекском и английском языках,
выражающих время, выдвигает на первый план важные способы, которыми язык влияет на
наше понимание временных понятий.
Структура данного исследования следующая: во-первых, обзор литературы
закладывает основу для нашего сравнительного анализа, предлагая обзор предыдущих
исследований по фразеологии и фразам, связанным со временем. Концептуальная призма,
через которую проводится исследование, изложена в теоретической основе.
Ключевые слова: фразеологизм, фразеологизмы, словосочетания, многословные
словосочетания, идиоматические словосочетания, фразеологизмы английского языка,
фразеологизмы узбекского языка, смысловые нюансы, культурное наследие Центральной
Азии, культурное значение.
Abstract. The study paper focuses on phraseological units, which are recurring word
combinations that transmit a definite meaning. The emphasis on phraseological units connected to
time is especially important, given the importance of time in human existence and the many ways in
which it is represented in language among cultural groups. In addition to enhancing our knowledge
of linguistic variation, the study of phraseological units in Uzbek and English that express time
highlights the significant ways in which language influences our comprehension of temporal notions.
The structure of this study is as follows: first, the literature review establishes the groundwork
for our comparative analysis by offering an overview of previous studies on phraseology and time-
related phrases. The conceptual lens that the investigation is performed through is outlined in the
theoretical framework.
Key words: phraseologism, phraseological units, word pairings, multi-word phrases, idiomatic
phrases, phraseological units in English, phraseological units in Uzbek, semantic nuances, cultural
heritage of Central Asia, cultural importance.
Introduction. The social, cultural, and historical aspects of a society are reflected in language,
which is a dynamic and complex phenomenon. Phraseology is an important conceptual tool in
linguistics that helps explain how societies perceive and measure time, among other notions [1, p. 2].
36 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Phraseological units are recurring word combinations that indicate a particular meaning that
goes beyond the sum of their individual components. They are also known as multi-word expressions
or fixed collocations. These courses offer a distinctive perspective on the cognitive and cultural
functions of language, illuminating the ways in which cultures understand and express a range of
human experience areas. The emphasis on phraseological units connected to time is especially
important, given the importance of time in human existence and the many ways in which it is
represented in language among cultural groups [2, p. 4].
As a branch of linguistics, phraseology studies the regular patterns of word pairings that create
set collocations or multi-word phrases. These language creations capture cultural and contextual
subtleties, going beyond the confines of grammar and syntax. In this context, it is important to
comprehend how languages represent the idea of time since temporal expressions are essential to
social structure and human communication [3, p. 2].
This study's main goal is to compare phraseological units in the context of time in the languages
of Uzbek and English. This study examines the science of phraseology while also deepening our
comprehension of the ways in which cultural perceptions on time influence and are influenced by
language.
Materials. It is evident that phraseological units in Uzbek and English that express time have
not received much attention from academicians. However, a few researches have been published
about them. That could clearly hook that further deepening to the phraseological units is required.
For instance, researchers like Tenny (2020) argue that fixed word combinations make communication
more effective by offering phraseological phrases for scenarios that come up on a daily basis. Smith
(2018) surveyed a large number of English phraseological units relating to time and categorized them
according to their contextual use and subtle semantics. The results showed a diverse range of terms,
from colloquial idioms to metaphors with particular cultural connotations.
Similar to this, Abdullaev (2019) has started to explore the complexities of phraseological units
connected to time in Uzbek language. These studies highlight how crucial it is to take historical and
cultural context into account when examining phraseological phrases.
Moreover, the comparative analyzes has been made in: ‘Idiomatic expressions in English and
Uzbek’ by Bukharayeva, S.T. (2013) and ‘Comparative analysis of English and Uzbek proverbs and
sayings’ by Anna, A., Bakhtiyor, S., & Zilola, B. (2020).
It can thus be stated that making a comparative analysis is necessary since there is a lack of
easily accessible scholarly material that focuses especially on the differences between
"Phraseological Units in English and Uzbek Languages."
Methods. The data presented in this research is arranged according to the representations made
by Rahmatullayev Sh. and Kunin A.V. in their respective works, "An explanatory phraseological
dictionary of the Uzbek language" and "Large English-Russian phraseological dictionary." Therefore,
in order to comprehend the writers' principal method of expressing time in both languages and to
conduct a comparative analysis, it is imperative that time be communicated in phraseological units.
Results. The findings demonstrate that English has a large number of idiomatic phrases, or
idioms with meanings that are hard to interpret. Uzbek phraseological units have the potential to be
more beautiful because they are also rich in idioms. When examining such idioms in both English
and Uzbek, there could be some issues, though, if we take into account the English translation in
Uzbek. According to the findings, meanings may vary, remain stable, or the representation of "time"
might indicate a new meaning instead of communicating time. As a result, the usage of sustainable
phraseological units will be examined in the next sections to highlight the variations and similarities
between these phrases in Uzbek and English as well as in their translations.
Discussion
Phraseological units in English.
The phraseological units associated with time in the English language are rich and varied,
containing a diverse range of idiomatic phrases, metaphors, and culturally imbedded allusions. A
thorough examination of these units demonstrates the variety of ways in which English speakers
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 37
perceive and express temporal notions [4, p. 16]. The Phraseological units have the following
characteristics:
1. They are prefabricated.
2. Consistent in design
3. figurative or transmitted language
4. Vibrant, emotive
5. With a distinct style.
If we examine the phraseological units found in "English-Russian phraseological dictionary"
by A.V. Kunin [5, p. 763-766]:
o From time to time => [vaqti vaqti bilan].
o Give smb. a hard time => [kimnidir bezovta ilmoq].
o Gain time => [vaqtni yutmoq].
o Have all the time in the world => [ko’p vaqtga ega bo’lish].
o In jig time => [tez fursatda].
o Lost time is never found again => [vaqting ketdi, naqding ketdi].
o Time is money => [har bir daqiqa oltinga tengdir].
o What may be done at any time will be done at no time => [Har doim qilinishi mumkin
bo’lgan narsa hech qachon amalga oshmaydi].
o The time is ripe => [vaqti keldi]. (urgency).
o An hour in the morning is worth two in the evening => [Tong oqshomdan donoroq].
(productivity).
the examination of English phraseological units connected to time shows complex semantic
nuances. As we can see, ideas of production, urgency, and the cyclical aspect of life are frequently
associated with how we perceive time. Phrases like "Time heals all wounds" express a viewpoint on
the temporal component of emotional recovery, whereas motives like "Lost time is never found again"
[6, p. 766] and "Time is money" [7, p. 764]: emphasize the significance of acting promptly.
Phraseological units in Uzbek.
When it comes to the Uzbek language, with its varied range of phraseological units, offers a
unique viewpoint on the idea of time, anchored in the rich cultural heritage of Central Asia. These
units capture the cultural and historical aspects of Uzbek temporal expression in addition to
demonstrating linguistic inventiveness [8, p. 4].
Now, let's look at a few Uzbek phraseological units that Sh. Rahmatullayev discovered in his
work "O'zbek tilining izohli frazeologik lug’ati." [9, p. 40-308]:
o Bir kunmas birkun => one day
o Boshiga qilich kelganda ham => when the problem faces one’s head
o Kechani kecha, kunduzni kunduz demay => days and nights (working)
o Yil- o’n ikki oy => a year- twelve months
o Sakkiz yoshidan sakson yoshigacha => from 8 to 80 ages (range of age)
o Temirni qizig’ida bosmoq => completing smth in its best time.
o To’rt gapning birida => saying smth more often
o Hash-pash deguncha => quickly
Uzbek phraseological units relating to time are language expressions of traditional practises and
cultural norms. Phrases like "Yil- o'n ikki oy," which translates directly to "a year-twelve months,"
highlight the significance of yearly cycles in day-to-day living and demonstrate the cultural value put
on time organisation. These statements offer important insights into the ways that Uzbek society's
daily practises are entwined with conceptions of time [10, p. 15].
Semantic nuances that lead to a sophisticated comprehension of temporal ideas within the
cultural context are revealed by the examination of Uzbek phraseological units. Expressions such as
"Kechani kecha, kunduzni kunduz demay" (roughly translated as "days and nights") highlight the
cyclical nature of time and the significance of renewal of reflecting the common perception of time
as cyclical [11, p. 19].
38 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Therefore, it may be concluded that it is important to understand the cultural meanings
associated with time-related idioms. Translators must communicate both the cultural importance and
the literal meaning. When the variations demonstrate that metaphors employed to convey the passage
of time or its worth could not have exact counterparts and hence call for creative modification. For
instance, it is impossible to translate phrases like "Hash-pash deguncha," "Temirni qizig'ida bosmoq,"
"Kechani kecha, kunduzni kunduz demay," and "Boshiga qilich kelganda ham" into English. The
cultural importance of time value and intelligent use may need to be carefully considered while
expressing this matter [12, p. 65].
As a result, it can be difficult to articulate the core of idiomatic phrases about time while
preserving the natural flow of language when they lack direct equivalents.
Conclusion. To sum up, the comparative examination of phraseological components that
convey time in Uzbek and English has shed light on the complex interactions between language,
culture, and temporal conception. In addition to demonstrating linguistic inventiveness, the wide
range of phraseological phrases in both languages also shows the cultural and historical factors that
influence how both linguistic groups see time.
Studying Uzbek phraseology revealed a language environment with strong roots in Central
Asian culture, with phrases referencing historical events, linguistic traditions, and metaphors unique
to the region. The variety and intricacy of Uzbek temporal phraseology demonstrate the distinctive
ways in which this language group perceives and expresses time.
The research's conclusions have implications for encouraging successful communication and
cross-cultural understanding. Through the identification of cultural subtleties included into
phraseological units about time, language learners, instructors, and translators may improve their
capacity to navigate through the complexities of cross-cultural communication.
To guarantee that the translated phraseological units reverberate successfully in the target
language, it is imperative that translations take into account the intended meaning, cultural subtleties,
and context.
REFERENCES:
1. Aripova DA and I. Bashmakova, ‘Towards Phraseologism Formation and Terminologization in Scientific and
Technical Texts’ (2018) 50 SHS web of conferences
2. Global RS, ‘Concept of phraseological units. functional, structural and semantic classification of phraseological
units’ www.academia.edu
3. Abdusamadov ZNO, ‘The classification and functions of phraseological units in english language’ (2021) 2
Academic research in educational sciences
4. Phraseological Units in English.’
5. A.V. Kunin. “English-Russian phraseological dictionary”. P. 763.
6. A.V. Kunin. “English-Russian phraseological dictionary”. P. 764.
7. A.V. Kunin. “English-Russian phraseological dictionary”. P. 766.
8. Djurayeva IG, ‘USE of PHRASEOLOGICAL UNITS in ENGLISH and UZBEK’ (2022) 3 Academic research
in educational sciences 674 https://cyberleninka.ru/article/n/use-of-phraseological-units-in-english-and-uzbek
9. Sh. Rahmatullayev “O’zbek tilining izohli frazeologik lug’ati”. P. 40-308.
10. Tilkhonov N.A., Khodzhaev T. X. “ Grammatical nature of verbal phraseological units in the Uzbek language”.
P. 24.
11. A. Jabborova. Jizzakh State Pedagogical Institute, UZB. “Phraseologism expressing the emotional state of a
person”. Issue 2 Art., 6 (2020).
12. Mamatov, A. E. (1999). “Issues of the formation of the phraseologism of the Uzbek language”.
UO’K 821.111
J. R. R. TOLKINNING "UZUKLAR HUKMDORI" ASARIDA SEHR-JODU KONTSEPTI
N.Bo’riyeva, dots., PhD, Jizzax davlat pedagogika universiteti, Jizzax
Zamonaviy ilm-fanning holati haqida gapirganda, uning rivojlanish vektoriga ta'sir qiluvchi
o'ziga xos tendentsiyalarni eslatib o'tish mumkin emas. Ular orasida bilimlarning alohida sohalarini
birlashtirish, fanlar chorrahasida eng yangi fanlarni o'qitish, gumanitar va antropotsentrik yo'nalish
mavjud. Kognitiv tilshunoslikning vazifalaridan biri voqelikning ongimizda aks etish jarayonlarini
ma’lum bilim tuzilmalari – tushunchalar shaklida o‘rganish va tavsiflashdan iborat. Kontseptsiyalarni
tavsiflashga bag'ishlangan tadqiqotlar o'z ahamiyatini yo'qotmaydi, chunki tushunchalar individual
va jamoaviy lingvistik ongda muhim o'rin tutadi.
Ushbu tadqiqot kontseptual tahlilning lingvomadaniy yo'nalishi doirasida amalga oshirildi va
J.R.R.Tolkinning "Uzuklar hukmdori: uzuk birodarligi» asaridagi sehr-jdu kontseptini o'rganishga
bag'ishlangan.
Shu munosabat bilan ushbu ishning maqsadi J.R.R.Tolkinning "Uzuklar hukmdori: uzuk
birodarligi» asaridagi sehr-jodu kontsepti mazmunini kontseptual va qiymat komponentlarini
aniqlash va tavsiflash orqali qayta qurishdir.
Tolkin "sehr"ni o'ziga xos tarzda ishora qiladigan juda boshqacha kuchni tasvirlaydi. Tolkien
tushunganidek, sehr badiiy emas, balki "ilmiy". Sehr - bu san'atdan ko'ra ko'proq texnika tizimi, uning
maqsadi ikkilamchi dunyoni yaratish emas, balki asosiyni o'zgartirish va boshqarishdir. Sehrgar,
sehrgardan farqli o'laroq, o'zi uchun kuchni xohlaydi va dunyoni yaxshiroq yoki go'zalroq joyga
aylantirish uchun emas, balki boshqa narsalar va istaklar ustidan hukmronlik qilishga intiladi. U har
doim o'ziga qaram ochko'zlik bilan turtki bo'ladi. Sehrgarlik kabi, sehr-jody tushunchasi bizga
Galadrielning uning kuchi va "Dushman" kuchi o'rtasidagi sirli farqni tushunishga yordam beradi.
Sauron, Nazgullar va Saruman, uning xiyonatidan so'ng, o'z maqsadlari uchun vaqtinchalik vosita
sifatida itoat etishga loyiq hech kimni yoki hech narsani tan olmagan holda, o'z vositalari orqali
xudbinlik hukmronligiga intiladigan sehrgarlarga aylandi. Yovuzlik uchun kuch sifatidagi "sehr-
jodu" va yaxshilik uchun kuch sifatidagi "sehr-jodu" o'rtasidagi bu asosiy farq "Uzuklar hukmdori"
dagi kuchning tabiati, mexanizmlari va ta'sirini yanada chuqurroq o'rganishimizga yordam beradi.
Tadqiqot davomida "kontsept" atamasini aniqlashga yondashuvlar bo'yicha ikkita yo'nalish
aniqlandi:
1) Kognitiv, bunda "kontsept" tushunchaning mazmuni sifatida belgilanadi, u asta-sekin
rivojlanib, nutqda individual semantik xususiyatlarni amalga oshiradi, hajm (tor tushuncha) oladi [4].
40 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
2) lingvomadaniy, unda " kontsept" "milliy rangning umumiy ma'nolarini ifodalaydi" - (keng
tushuncha) [1].
Tadqiqot davomida ma'lum bo'ldiki, kontseptual komponent darajasida sehr-jodu kontsepti
"muqaddas" qutb bilan bog'liq kontseptual xususiyatlarning mavjudligi bilan tavsiflanadi. Tanlangan
asardagi sehr kontseptining quyidagi konseptual xususiyatlari aniqlandi: Quvvat - kuch, qudrat:
G'ayritabiiy - g'ayritabiiy, San'at - san'at, mahorat: Sehrgarlik g'ayritabiiy kuchlarni boshqarish uchun
afsunlar, afsunlar va marosimlardan foydalanish san'ati sifatida belgilanadi yoki nayranglar va
illyuziyalar ijro etish san'ati Sehrgarlik (jodu) - sehr, jodugarlik, sehrgarlik;Sehrgarlik (kuchlar) -
jodugarlik; joziba. Tadqiqot natijalariga ko'ra, JRR Tolkin asarida sehr-jodu kontseptining eng tez-
tez uchraydigan namoyoni bu enchantment.
Keling, misollarni ko'rib chiqaylik:
(1) It's the best news I have had since midsummer: it's worth a gold piece at the least. May your
beer be laid under an enchantment of surpassing excellence for seven years! " said I. "Now I can take
a night's rest, the first since I have forgotten when." [6, 398]
Birinchi misolda enchantment (joziba) belgisi aktuallashadi
Ushbu misoldagi enchantment ijobiy baholanadi, chunki u excellence bilan birgalikda amalga
oshiriladi. Lug'atga ko'ra, excellence «is defined as the condition of being superior». (ustunlik, yuqori
bo'lish, yaxshiroq) [7].
Lug'atga ko'ra, oshib ketish ijobiy qiymatga ega bo'lib, bu uning lug'at ma'nosi bilan
tasdiqlanadi: «ortiqcha yoki ustun; g'ayrioddiy ajoyib" - g'ayrioddiy ajoyib.
Quyidagi misolni ko'rib chiqamiz: (2) «Upon her mantle and her sleeves. And her hair like
shadow following. Enchantment healed his weary feet. That over hills were doomed to roam; And
forth he hastened, strong and fleet. And grasped at moonbeams glistening. [6, 289]»
Ikkinchi misolda sehrning kontseptual atributi «Enchantment healed his weary feet»"
birikmasida og'zaki ifodalangan.
Enchantment ijobiy belgiga ega, chunki tanlangan parcha sehrning ijodiy ta'sirini qayd etadi.
Enchantment shifo fe'li bilan birgalikda yangilanadi, uning lug'at ma'nosi "to make or become
healthy" - kimnidir yoki biror narsani davolashdir [7].
O'rganilayotgan ishda sehr-jodu kontseptining qiymat komponenti darajasida kontseptual
xususiyatlarning ijobiy va salbiy belgilari aniqlandi. Ijobiy baho hikoyaning qahramoni - Gandalf
Grey bilan, salbiy baho esa - hikoyaning antagonisti Sauron (Nekromant) bilan bog'liq.
Keling, o'rganilayotgan kontseptning vakillari ijobiy baholangan misollarga murojaat qilaylik.
(3) «As is told in The Hobbit, there came one day to Bilbo's door the great Wizard, Gandalf the
Grey, and thirteen dwarves with him: none other, indeed, than Thorin Oakenshield, descendant of
kings, and his twelve companions in exile». [2,16].
Uchinchi misolda "yaxshi" kontsepti namoyon bo’ladi. Wizard so'zining great sifati bilan
birikmasi tufayli sehrgarni ajratib turadi va uning faqat ijobiy fazilatlarini ta'kidlaydi.. Chunki
lug‘atga ko‘ra great “Excellent, very good, great for doing something, important” [7] – ajoyib, juda
yaxshi, biror narsa qilish uchun ajoyib, muhim ma’nosini bildiradi.
Misol (4)
(4) «but the wizard seemed to think the truth important. Though he did not say so to Bilbo, he
also thought it important and disturbing, to find that the good hobbit had not told the truth from the
first: quite contrary to his habit». [6, 20]
Ushbu misol (4) ma'lum bir axloq kodeksining belgisini o'z ichiga oladi, bu bizga sehrgar uchun
haqiqat do'stlikdan muhimroq ekanligini ko'rsatadi.
Demak, J. Freyzerning fikricha, sehrgarning kuchi o'zboshimchalik va cheksiz emas. U
bo'ysunishi kerak bo'lgan muayyan qoidalar va qonunlar mavjud. Sehrgar o'z san'ati qoidalariga yoki
tabiiy qonunlarga qat'iy rioya qilgan taqdirdagina kuchga ega. Ushbu qoidalarni e'tiborsiz qoldirish,
bu qonunlarni buzish (eng kichik narsalarda ham) muvaffaqiyatsizlikka duchor bo'lish va hatto o'z
hayotini o'ta xavf ostida qoldirish demakdir [5].
Ichki axloqiy sifatlarning muhim roli ko'rsatkichini A. Leman ijodida topamiz. Muallif Korniliy
Agrippaning “Occulta Philosophia” asarida sehrgarlik passiv emas, balki faol e’tiqod bo‘lib,
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 41
insonning ichki fazilatlari va qobiliyatlari bilan bevosita bog‘liq bo‘lganligi haqidagi so‘zlarini
keltiradi [3, 250].
Keling, sehr-jodu kontseptining salbiy belgilarini ko'rsatadigan misollarga murojaat qilaylik.
Keling, quyidagi misolni olaylik:
(5)In Eregion long ago many Elven-rings were made, sehr-jodu rings as you call them, and
they were, of course, of various kinds: some more potent and some less. The lesser rings were only
essays in the craft before it was full-grown, and to the Elven-smiths they were but trifles - yet still to
my mind dangerous for mortals. But the Great Rings, the Rings of Power, they were perilous. ‘A
mortal, Frodo, who keeps one of the Great Rings, does not die, but he does not grow or obtain more
life, he merely continues, until at last every minute is a weariness. And if he often uses the Ring to
make himself invisible, he fades: he becomes in the end invisible permanently, and walks in the
twilight under the eye of the dark power that rules the Rings. Yes, sooner or later - later, if he is
strong or well-meaning to begin with, but neither strength nor good purpose will last - sooner or later
the dark power will Devour him» [2, 30].
Ushbu parcha sehrli uzuk ob'ekti ta'sirining salbiy tomonlarini tavsiflaydi, bu quyidagi
so'zlardan foydalanish bilan tasdiqlanadi:
Craft so‘zi “to make something using a special skill, especially with your hands” [8], ya’ni
maxsus qobiliyatdan foydalanib biror narsa qilish ma’nosida qo‘llaniladi. Shu nuqtai nazardan, so'z
"mahorat", "hiyla" ma'nolarida qo'llaniladi.
Trifle so'zi "something unimportant or not valuable" degan ma'noni anglatadi: [8] -
nomukammal, ahamiyatsiz.
Dangerous (xavfli) so'zi - "able or likely to harm or kill you" [7] - "zarar keltiradigan yoki
o'ldirishga qodir narsa", shunga ko'ra, bu so'z salbiy bahoga ega, bu kontekst bilan tasdiqlangan:
«The lesser rings were only essays in the craft before it was full-grown, and to the Elven-smiths
they were but trifles - yet still to my mind dangerous for mortals».
Ushbu parcha "sehr-jodu rings" elementining salbiy fazilatlarini tavsiflaydi, chunki ular "faqat
mahorat sinovi" bo'lsa ham, ular o'lim uchun juda xavflidir.
Keyingi great so'zi, lug'atga ko'ra, "important to having a lot of influence" [5] "ko'p ta'sir qilish
uchun muhim" degan ma'noni anglatadigan va ijobiy belgiga ega: -, ammo kontekstda bu birlik to
make fe’li ishlatilishi natijasida salbiy ma’noni bildiradi (to make himself invisible - ko'rinmas bo'lish,
boshqalardan yashirin bo'lish), “becomes in the end invisible permanently”. Kontekstga ko'ra, bu
uzuklarni kiygan har bir kishi ko'rinmas va faqat qora kuchga ko'rinadigan bo'lib qoladi. Shunga ko'ra,
bu so'z salbiy belgilandi.
Invisible so‘zi “something that is invisible can not be seen” [7] – ko‘zdan yashirin,
ko‘rinmaydigan narsa ma’nosida qo‘llangan. Bu so'z salbiy belgilab qo'yilgan, bu kontekst bilan
tasdiqlangan:
«walks in the twilight under the eye of the dark power.»[8]
Dark so'zi power (kuch) otlari bilan birgalikda salbiy belgiga ega bo'lib, bu kontekst va " evil
or threatening" so'zining lug'at ma'nosi - yovuz, qo'rqinchli narsa bilan tasdiqlanadi.
“To destroy someone or something” [6] ma'nosida keluvchi devour so'zi - biror narsani yoki
kimnidir yo'q qilish, yuqori salbiy belgiga ega.
Tadqiqot natijalari J. R. R. Tolkinning "Uzuklar hukmdori: uzuk birodarligi" romanida ikkita
qutb aktuallashtirilganligi haqida xulosa qilish imkonini beradi: ijobiy va salbiy, birinchisining soni
ustunligi bilan.
Tadqiqot natijasida ma'lum bo'ldiki, qiymat komponentlari darajasida sehr-jodu kontsepti
bipolyarlikning mavjudligi bilan tavsiflanadi: birinchisining ustunligi bilan ijobiy va salbiy qutblar.
Kontseptual komponent darajasida enchantment, power, art, sorcery, wirzadly kabi kontseptual
xususiyatlar aniqlandi.
FOYDALANILGAN ADABIYOTLAR RO’YXATI:
1. Воркачев С. Г. Лингвокультурный концепт: типология и области бытования. — Волгоград: Изд-во
ВолГУ, 2007. 43с
2. Джон Рональд Руэл Толкин. «Властелин Колец: братство кольца»// Перевод В.Муравьева,
А.Кистяковского,1982г.
42 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
3. Леманн, А. Иллюстрированная история суеверий и волшебства. От древности до наших дней Текст. / А.
Леманн. — Киев: Изд-во «Украина», 1991.-400 е.: ил. С 250
4. Попова, 3. Д., Стернин, Введение в когнитивную лингвистику. Кемерово, 2004. - С. 59
5. Фрезер, Дж., Золотая ветвь. Исследование магии и религии Текст. / Перевод М. К. Рыклина. Frazer J.G.
The Golden Bough. London, 1923. -Mi: Политиздат, 1980.
6. Tolkien J.R.R “The Lord of the Rings: Felloship of the Ring” L., 1954. 258p
7. FD The Free Dictionary Электронный ресурс. URL: http://www.thefreedictionary.com
8. WS Wordsmyth Электронный ресурс. URL: http://www.wordsmyth.net
UO’K 81-13
O‘ZBEK TILI TIBBIY TERMINLARINING MIQDORIY LEKSIKOGRAFIK QIYOSI
X.T.Buronova, o’qituvchi, O‘zbekiston Milliy Universiteti Jizzax filiali, Jizzax
Annotatsiya. Tibbiyot insoniyat hayoti uchun birlamchi muhim sohalardan biri sifatida doim
taraqqiy etib boradi. Unga oid tushunchalar, jarayonlar yangilanib borgani kabi uni aks ettiruvchi
lug‘atlar ham zamon bilan hamqadam bo‘lishi zarurat hisoblanadi. Lug‘atchilikka oid ishlarning
amaliy natijalari auditoriyasi kim bo‘lishidan qat’i nazar jamiyat va ,qolaversa, fan taraqqiyoti
uchun muhim ahamiyat kasb etishi shubhasiz. Ushbu maqolada o‘zbek tilidagi tibbiy terminlarning
qo‘llanilish ko‘lami, lug‘atchilikdagi ahamiyati hamda o‘zbek tilining izohli lug‘atidagi tibbiy
terminlarning miqdoriy qiyosi tadqiq qilingan.
Kalit so‘zlar: termin, leksika, lug‘at, lug‘atchilik, leksikografiya, sohaviy termin, izohli lug‘at,
bir ma’noli, ko‘chma ma’noli, o‘z qatlam, o‘zlashgan qatlam, umumiste’mol qatlam.
Аннотация. Медицина постоянно развивается как одна из первостепенных важных
областей жизни человека. Необходимо, чтобы понятия и процессы, связанные с ним, шли в
ногу со временем, как и словари, отражающие его. Независимо от того, кто является
аудиторией, практические результаты работы по лексикографии имеют большое значение
для общества и, тем более, для развития науки. В данной статье изучаются сфера
использования медицинских терминов в узбекском языке, их значение в лексикографии, а
также количественное сравнение медицинских терминов в толковом словаре узбекского
языка.
Ключевые слова: термин, лексика, словарь, лексикография, лексикография, полевой
термин, толковый словарь, единичное значение, переносное значение, собственный слой,
приобретенный слой, общий слой.
Abstract. Medicine is always progressing as one of the primary important areas for human life.
As the concepts and processes related to it are updated, it is necessary for the dictionaries reflecting
it to keep up with the times. The practical results of lexicographic works, regardless of who the
audience is, will undoubtedly be of great importance for society and, moreover, for the development
of science. In this article, the scope of use of medical terms in the Uzbek language, their importance
in lexicography, and a quantitative comparison of the medical terms in the explanatory dictionary of
the Uzbek language are studied.
Key words: term, lexicon, dictionary, lexicography, field term, explanatory dictionary,
univocal, figurative, own layer, acquired layer, consumer layer.
UO’K 808.5
“O`TKAN KUNLAR” NEMISCHA TARJIMASI MUTARJIM BARNO ORIPOVA
TALQINIDA
F.Dadabayeva, katta o`qituvchi, Namangan davlat universiteti, Namangan
Shunday asarlar bo`ladiki, ularning mualliflari badiiy ijodning turli sohalarida qanchalik go`zal
va umrboqiy san`at namunalarini yaratganlariga qaramay, faqat shu asarlari bilan el-yurt o`rtasida
mashhur bo`ladilar va bu asarning dovrug`i avloddan avlodga, yurtdan yurtga ko`chib yuradi. O`zbek
adabiyotining purviqor siymolaridan biri Abdulla Qodiriy ijodining gultoji -“O`tkan kunlar” romani
shunday boqiy asarlardan biridir. Ma`lumki, Abdulla Qodiriyning “O`tkan kunlar” asari 2020 yil
Germaniyada uzbekshunos olima Barno Oripova tomonidan qayta to`ldirilgan nashr sifatida chop
etildi. Biz ushbu qayta to`ldirilgan nashrga alohida to`xtalib o`tmoqchimiz. Ushbu tarjimaga bundan
50 yil avval rus tajimonlari L. Bat va V. Smirnovalar tomonidan amalga oshirilgan ”O`tkan kunlar”
romanining rus tilidagi tarjimasi asos qilib olingan. Ushbu kitob Abdulla Qodiriy tavalludining 120
yilligiga bag`ishlangan. 375 betdan iborat kitob qattiq muqovada o`zbek milliy bezaklari bilan
ishlangan anchagina salmoqli va yoqimli ko`rinishda.
Asarning Barno Oripova tomonidan to`ldirilgan qayta nashrida juda ko`p yutuqlarni
ko`rishimiz mumkin. Jumladan, Abdulla Qodiriyning roman boshida keltirilgan “Yozg`uchidan” va
“Uzr” kabi izohnomalarini yangilik sifatida tarjima qilinishidir. Barchamizning, hattoki, Abdulla
Qodiriyni va “O`tkan kunlar” asarini yaqindan bilmagan o`quvchining ko`z oldiga ham aynan ushbu
jumla orqali shu asar keladi desak, mubolag`a bo`lmaydi: “Moziyg`a qaytib ish ko`rish xayrlik,
deydilar…” [1]. Asarning 1968 yilda nemis tiliga qilingan tarjimasida mutarjim Arno Shpext
asarning aynan shu qismlarining tarjimasini e`tibordan chetda qoldirgan. 1968 yilgi tarjima bilvosita
rus tili orqali amalga oshirilganini hisobga oladigan bo`lsak, tarjimon Arno Shpextni bu yerda ayblab
ham bo`lmaydi. Chunki asarning L. Bat va V. Smirnovalar tomonidan 1958-yilda amalga oshirilgan
ruscha tarjimasida ham bu qismlar tarjimalari tushirib qoldirilgan.
B. Oripovaning o`zbek tilini yaxshi bilganligi unga asarni hech qanday tarjima variantlarisiz
bevosita o`zbek tili orqali nemischa tarjimasi bilan solishtirish va qayta to`ldirish imkonini berdi.
Endi o`sha mashhur jumlalarni esga olsak: “Modomiki, biz yangi davrga oyoq qo`ydik bas, biz har
bir yo`sinda ham shu yangi davrning ketidan ergashamiz va shunga o`xshash dostonchilik,
ro`monchiliq va hikoyachiliqlarda ham yangarishg`a, xalqimizni shu zamonning “Tohir-Zuhra”lari,
“Farhod-Shirin” va “Bahromgo`r” lari bilan tanishdirishka o`zimizda majburiyat his etamiz.
Yozmoqqa niyatlanganim ushbu-“O`tkan kunlar”, yangi zamon ro`monchilig`i bilan tanishish yo`lida
kichkina bir tajriba, yana to`g`risi, bir havasdir. Ma`lumki, har bir ishning ham yangi-ibtidoiy davrida
talay kamchiliklar bilan maydong`a chiqishi, ahllarning yetishmaklari ila sekin-sekin tuzalib,
takomilga yuz tutishi tabiiy bir holdir. Mana shuning daldasida havasimda jasorat etdim, havaskorlik
orqasida kechaturgan qusur va xatolardan cho`chib turmadim. Moziyg`a qaytib ish ko`rish xayrlik,
46 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
deydilar. Shunga ko`ra mavzu`ni moziydan, yaqin o`tkan kunlardan, tariximizning eng kirlik, qora
kunlari bo`lg`an keying “xon zamonlari” dan belguladim” [1].
Barno Oripova “Yozg`uchidan” degan so`zni “Geleit des Autors”(Muallifning kuzatishlari) deb
tarjima qilgan. A.Qodiriyning so`z boshisi B. Oripova tomonidan shunday tarjima qilingan: “Wir
stehen am Anfang einer neuen Zeit, die uns ungeahnte künstlerische Möglichkeiten eröffnen. Es
drängt uns, neue Gedichte, Romane und Kurzgeschichten zu erschaffen und unser Volk mit den
Werken dieser Epoche wie „Tohir und Zuhra“, “Chor Darvesh”, „Farhod und Shirin“ und
„Bahromgur“ vertraut zu machen.
Dieses Werk „Vergangene Tage“ ist ein bescheidener Versuch, in dem neuen Genre der
Romans zu schreiben. Alles Neues ist anfangs mit Mängeln behaftet. Doch mit der Zeit und
zunehmender Erfahrung schwinden sie. Mit dieser Zuversucht habe ich mich ans Fehlern nicht
abschrecken. Es ist gut, aus der Vergangenheit zu lernen. Deshalb habe ich mich entscheiden, von
längst vergangenen Tagen, von den hässlichsten und dunkelsten Tagen unserer Geschichte, der Zeit
der letzten Khane, zu berichten“ [1].
B.Oripova romanni „Die Liebenden von Taschkent“ deb nomlanishini o`zgarishsiz qoldirgan
bo`lsada, asarning „Yozg`uchidan“ degan qismi tarjimasida „O`tkan kunlar“ ni „Vergangene Tage“
deb bergan. Asarning 1925 yilda to`liq holda chop etilgan nashrida Abdulla Qodiriy tomonidan
yozilgan „Uzr“ izohnomasi bor. Bu izohnoma asarning keyingi nashrlarida uchramaydi. B. Oripova
aynan shu „Uzr“ izohnomasini ham „Entschuldigung“ sarlavhasi ostida tarjima qilishga muvaffaq
bo`lgan. Bu izohnomada Abdulla Qodiriy „O`tkan kunlar“ romani hali to`la chop etilmasidanoq,
„Inqilob“ jurnalida bo`lim–bo`lim bo`lib nashr qilina boshlaganidanoq tanqidlarga uchragani,
arzimas, juz`iy xatolar sababli 5 yillab bosila olmay yotgani haqida yozgan. Ushbu izohnomada
yozuvchi shunday deydi: “Ro`mon deb sizga taqdim qiling`an bu narsa dunyog`a kelishi bilanoq
baxtsizlikka uchray boshlag`an edi. Besh yillab bosila olmay yotdi. Bu kun bosilishi muyassar
bo`lg`anida ham turlik zarbalarga uchradi; imlosi uch-to`rtta imlochilarimiz tomonidan tuzatilib,
ajoyib bir quroq holiga keldi, musahhihlarimizning musohalalari (beparvoligi) orqasida texnika jihati
ko`z ko`rib quloq eshitmagan bir yo`sunda chiqdi [1]. Barno Oripova bu izohnomani nemischa
tarjimada quyidagicha aks ettirgan: „Entschuldigung“ „Dieser Roman hatte einen schweren Start. Es
dauerte fünf Jahre. Ehe er veröffentlicht werden konnte. Und als es endlich soweit war, tauchten neue
Probleme auf: Die Rechtschreibung war durch drei oder vier Korrektoren überprüft worden,
wodurch ein seltsames Flickwerk entstanden war; infolgedessen machte das Buch äusserlich einen
sehr schlechten Eindruck. Vor der Veröffentlichung wurde ich nicht zu Rate gezogen. Über die
Gründe hierfür möchte ich nicht sprechen. Ich bitte nur die Leser um Entschuldigung. Und obwohl
ich nicht versprechen kann, dass es bei der Veröffentlichung des zweiten Teils nicht erneut zu solchen
Fehlern kommt, werde ich aber, wenn das Buch gedruckt wird, die Leser darüber informieren.
Abdulla Qodiriy” [3].
Izohnomaning tagiga havola bilan “O`tkan kunlar” romani 1922-1925 yillar oralig`ida
„Inqilob“ jurnali orqali bo`limlar tarzida chop etilgani, birinchi va ikkinchi bo`limlar 1925 yilda,
uchinchi bo`lim esa 1926 yilda kitob holida nashr qilingani va yuqorida berilgan „Uzr“ izohnomasi
kitobning 1925 yildagi nashrining birinchi bo`limidan olingani haqida ma`lumot berilgan.
Romanning Arno Shpext tarjimasida bu kabi ma`lumotni uchratmaymiz. Asarning har ikki mutarjim
tomonidan amalga oshirilgan tarjimalarida oxirida nemis o`quvchilariga tushunarli bo`lishi uchun
milliy xos so`zlar va tushunchalarga izoh berib ketilgan. Bular Arno Shpext tarjimasida 105 tani
tashkil qilsa, Barno Oripova o`z tarjimasida 62 ta shunday so`z va iboralarni izohlab beradi. Izohlar
o`rtasida tafovutlar bo`lishi tabiiy hol. Chunki bu ikki ish ikki tarjimonning ijod mahsuli hisoblanadi.
Barno Oripova asarni tarjima qilishda Arno Shpext tarjimasini asos qilib olgan bo`lsa ham, o`z
yondoshuvidan kelib chiqqan holda tajimada ayrim hollarda o`zgarishlar qila oldi. Misol uchun
kitobda qo`llanilgan “Baburname” so`zining izohi Arno Shpext tarjimasida shunday keltiriladi:
“Memoiren des indischen Herscherrs Babur” [3], ya`ni hind diyorining shohi bo`lmish Boburning
xotira kitobi. Izohda Z.M. Bobur haqida ma`lumot berilmaydi. Barno Oripova bu jihatlarni ham
inobatga olgan holda tarjimada izohni shunday beradi: “ Babur-name: Memoiren des in Andijan
geborenen Begünder des indischen Mogulenreiches Babur (1483-1530)” (Boburnoma- Andijonda
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 47
tug`ilgan va Hindiston mo`g`ul imperiyasining asoschisi bo`lgan Boburning xotira kitobi) [3]. Qavs
ichiga Boburning yashab o`tgan davri ham yoziladi. Yana bir misol, har ikki tarjimada “Aka” so`zi
izohlangan. Arno Shpext tarjimasida bu –älterer Bruder (katta aka) [2] shaklida berilgan bo`lsa, Barno
Oripova ushbu so`zni –älterer Bruder, respektvolle Anrede, ya`ni „katta aka yoki, hurmat bilan
murojaat qilish“ [3] shaklida tarjima qilgan. Millatimizda o`zidan katta yoshli insonlarga, u hatto
begona bo`lsa ham „aka“ deb hurmat shaklida murojaat qilish odati bor. Barno Oripova aynan shu
holatni nazarda tutgan holda tarjimaga e`tibor qaratgan. Asarda uchraydigan „chakmon“ so`zi ham
Barno Oripova nazaridan chetda qolmagan. Tarjimon olima bu so`zni “wollener Wintermantel für
Männer” (erkaklarning qishki mo`ynali paltosi) deb izohlagan. Bu izoh ayni paytda Arno Shpext
tarjimasida uchramaydi.
Izohnomada berilgan so`zlar tahlilida „Fatiha“ so`zi Arno Shpext tomonidan oddiygina
„kurzes Dankgebet“ (qisqagina shukrona ibodati) [2] deb tarjima qilingan va bunda balki, musulmon
ummatida taomlanib bo`lgandan so`ng dasturxonga fotiha aytib, Allohga shukrona keltirish nazarda
tutilgan. Barno Oripova esa bu so`zning izohini to`laroq berishga harakat qiladi: „Fatiha- Gebet, erste
Sura des Koran“- fotiha so`zi shukronalik bilan birga, Qur`onning ilk surasi ekanligini ham aytib
o`tadi [2]. Yoki o`zbekning milliy va sevimli taomi bo`lmish „palov“ ning har ikki tarjimadagi
izohlariga ko`z tashlasak: Arno Shpext „Palov“ni „Xo`roz yoki qo`y go`shti bilan birga pishirilgan
guruchdan tayyorlangan mahalliy taom“ (orientalisches Gericht aus gekochtem Reis mit
Fleischstücken vom Hammel oder Hahn) [2] deb izohlagan bo`lsa, Barno Oripova izohida bu taom-
„Go`sht bilan birga guruchdan tayyorlangan taom, to`y va bayramlar taomi“ (Reisgericht mit Fleisch,
galt als Festessen) [3] deb tushuntiriladi. Aslida ham o`zbekning birorta to`yi, bayrami yoki shodu-
xurram kuni yo`qki, palovsiz nishonlanadigan. Asar boshida keltirilgan “ Man schrieb den
siebzehnten Tag des Monats Dalv im Jahre 1264 der Hijra” jumlasidagi „Hijra“ so`zi ham sahifa
ostiga snoska bilan izohlanib ketilgan. Arno Shpextda esa bu so`z asar so`nggida izohlangan. Hijriy
taqvim faqatgina sharq xalqlari orasidagina ma`lum. Bu tushunchaning g`arb o`quvchisiga o`z
o`rnida yetkazib berilishi asarni o`qishdagi tushunmovchilikni bartaraf etadi va ayni paytda g`arb
kitobxoniga sharq tarixidan ma`lumot berib ketadi. Barno Oripova „…des Monats Dalv im Jahre
1264 der Hijra“ jumlasini „Januar/ Februar 1847“ tarzida izohlab ketadi [3].
Asarning Arno Shpext tarjimasidagi so`nggi qismi Yusufbek xojining og`li Otabekning
urushda qahramonlarcha halok bo`lgani haqidagi maktubni olishi bilan tugaydi. Barno Oripova esa
Yusufbek xojining o`gli uchun xatmi quro`n qilib, yurtga osh bergani, o`zbek oyimning qora kiyib
ta`ziya ochgani haqida ham „aytib o`tadi“: „Yussufbek-Hoji richtete eine Gedenkfeier aus und
bewirtete das Volk mit Palov, Uzbek-Oyim kleidete sich in Schwarz und verkündete eine Trauerzeit“
[3].
Roman so`nggida Abdulla Qodiriy tomonidan yozilgan „Bitdi. Yozg`uchidan“ nomli
izohnomasi ham olima ayol e`tiboridan chetda qolmaydi. Keling, avval Abdulla Qodiriyning aynan
shu izohnomasini keltirib o`taylik: “Bitdi. Yozg`uchidan. Keyingi Mar`gilon borishimda yaqin
o`rtoqlardan Yodgorbek to`g`risini surishtirib bildim:(Yodgorbek, ma`lumki, Otabekning o`g`li)
Yodgorbek ushbu asrning o`n to`qqiz va yigirmanchi ochliq yillari miyonasida vafot qilib, undan
ikki o`g`ul qolibdur. O`g`ullaridan bittasi bu kunda Marg`ilonning mas`ul ishchilaridan bo`lib,
ikkinchisi Farg`ona bosmachilari orasida ekan. Bu kunda nomu nishonsiz, o`luk-tirigi ma`lum emas,
deydilar” [1]. Ushbu izohnoma Barno Oripova tarjimasida quyidagicha aks etgan:
„Schlusswort des Autors
Als ich wieder in Marghilan war, erkundigte ich mich bei meinen engsten Freunden nach
Zodgor und erfuhr, dass er in der grossen Hungersnot der 1919/20 er Jahre gestorben war. Er
hinterliess zwei Söhne. Einer bekleidet zur Zeit ein hohes Amt in Marghilan. Der andere soll bei den
Basmachi von Ferghana sein. Man sagt, er sei verschollen und keiner weiss, ob er noch lebt oder tot
ist“ [3].
Barno Oripova romanni har jihatdan mukammal qayta nashrini yaratishda astoydil mehnat
qildi. Asarning aynan 1925-1926 yilda nashr qilingan nusxasi asosida avvalgi nemischa tarjimada
yo`l qo`yilgan xato va kamchiliklarni tahlil qildi va o`z o`rnida bu nuqsonlarni bartaraf qilishga
erishdi.
48 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Asarning qayta to`ldirilgan nashriga Berlindagi „Dag`yeli Verlag“ nashriyoti rahbari Janine
Dag`yeli so`ngso`z yozgan: „ Mendan O`zbekistondagi mashhur shaxslar haqida so`rashganida men
hech ikkilanmay Abdulla Qodiriy nomini aytgan bo`lardim. U o`rta osiyoda realistik romanning
asoschisi va ayni paytda o`z asarlari bilan o`zbek adabiy tilining shakllanishiga munosib hissa
qo`shgan shaxsdir. Abdulla Qodiriy tili sunchalar sodda va bo`yoqdorki, hatto oradan bir asr vaqt
o`tgan bo`lsa ham yosh avlod uning asarlaridagi bayon va nutqni bemalol tushuna oladi “ [3].
Barno Oripova tomonidan amalga oshirilgan to`ldirilgan va qayta nashr ushbu asar haqida
nemis kitobxonlari fikrlarini yanada kengroq va yorqinroq bo`lishiga, ayni paytda esa avvalgi nemis
tarjimoni Arno Shpext tomonidan amalga oshirilgan tarjimani mukammallashtirishga xizmat qilgan.
Olima ayol garchi romanda Arno Shpext tarjimasini saqlab qolgan bo`lsa ham, ushbu tarjimada
tushirib qoldirilgan ayrim izohlar, so`z boshi, so`ngso`zlar tarjimasiga alohida e`tibor bergan.
FOYDALANILGAN ADABIYOTLAR RO`YXATI:
1. Abdulla Qodiriy. O`tkan kunlar. – Toshkent: G`afur G`ulom nomidagi adabiyot va san`at nashriyoti, 1980. –
B.6.
2. Abdulla Kadiri. Die Liebenden von Taschkent. Berlin: Verlag Kultur und Fortschrit, 1968.
3. Abdulla Kadiri. Die Liebenden von Taschkent. Berlin: Dag`yeli Verlag, 2020
4. Normatov U. O`tkan kunlar hayrati. Toshkent: O`qituvchi, 1996.
5. Normatov U. Qodiriy bog`i. Toshkent: Yozuvchi, 1995.
6. Nosirov O`. Ijodkor shaxs, badiiy uslub, avtor obrazi.-Toshkent: Fan, 1981.-112 b.
UO’K: 81.33
CBOW NEYRON TARMOQLARI VOSITASIDA O`ZBEK TILI SOʻZLARINI
BASHORATLASH
B.B.Elov, PhD, dots., Toshkent davlat o‘zbek tili va adabiyoti universiteti, Toshkent
R.H.Alayev, PhD, O‘zbekiston Milliy universiteti, Toshkent
Z.Yu.Xusainova, doktorant, Toshkent davlat o‘zbek tili va adabiyoti universiteti, Toshkent
U.S.Yodgorov, o‘qituvchi, Toshkent davlat o‘zbek tili va adabiyoti universiteti, Toshkent
Annotatsiya. Ushbu maqolada bir nechta soʻzlarni oʻz ichiga olgan matnga mos CBOW
modelini shakllantirish usullari va unga oid bir necha sodda misollar keltiriladi. Oʻzbek tilidagi
gapni bitta yashirin qatlamga ega asosiy neyron tarmogʻiga uzatish, uni oʻrgatish jarayoni va
matematik modeli hamda korpus matnlaridagi soʻzlarni raqamlashtirishda n=3 parametr orqali one-
hot encoding vektori hosil qilish tavsiflangan.
Kalit soʻzlar: Oʻzbek tili korpusi, Word2Vec, CBOW, soʻzlarni joylashtirish, kontekstli soʻzlar,
matematik model, vazn qiymati, context words, maqsadli soʻz, word embedding.
Аннотация. В этой статье приведены методы построения модели CBOW, включающие
несколько слов и примеров, основанных на этой модели. Рассмотрены передача узбекского
предложения в основную нейронную сеть, имеющую скрытый слой, процесс его получения и
математическую модель, а также в процессе оцифровки построение вектора горячего
кодирования через параметр n=3.
Ключевые слова: корпус узбекского языка, Word2Vec, CBOW, встраивание слов,
контекстные слова, математическая модель, весовое значение, контекстные слова, целевое
слово, word embedding.
Abstract. In this article there given methods of constructing CBOW model that include several
words and examples based on that model. There examined transferring an Uzbek sentence to the main
neural network that has a hidden layer, the process of acquiring it, and mathematical model and in
the process of digitization construction of one-hot encoding vector through the n=3 parameter.
Key words: Uzbek language corpus, Word2Vec, CBOW, word embedding, context words,
mathematical model, weight value, context words, target word, word embedding.
𝐸 = − 𝑢𝑗∗ + log ∑ 𝑒 𝑢𝑗
𝑗=1
Bu yerda, j* – chiqish qatlamidagi maqsadli soʻzning indeksi.
Modelning birinchi iteratsiyasida maqsadli soʻzning indeksi 2 ga teng. Shunday qilib, CBOW
modelining birinchi iteratsiyasi uchun “oʻzbek” soʻzi gapda 2-pozitsiyada joylashgani uchun j*=2
boʻladi.
Ogʻirlik sozlash orqali orqaga qaytish
Berilgan matn uchun CBOW modelidagi oldinga harakatlanish va xatoliklarni hisoblash
bosqichlari amalga oshirilganidan soʻng vazn matritsalarini sozlash orqali orqaga qaytish (back
propagation) bosqichi bajariladi. Orqaga qaytish bosqichini bajarish uchun ogʻirlik matritsalarini (w
va w’) yangilash talab qilinadi. Ogʻirlikni yangilash uchun har bir vaznga nisbatan yoʻqotish
54 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
qiymatini hisoblash, tegishli vazn bilan koʻpaytirish talab etiladi. Bu usul gradient descent deb
nomlanadi.
Ikkinchi w’ vaznni yangilash uchun quyidagi misolni koʻrib chiqamiz. Ushbu bosqichda barcha
neyronlarning vaznini yangilash uchun yashirin qatlamdan foydalanamiz:
1-qadam. 𝒘’𝟏𝟏 ga nisbatan E gradiyentini hisoblash:
𝑢1 𝑦1
𝑤’11 𝑤’12 𝑤’13 𝑤’14 𝑤’15 𝑢2 𝑦2
[𝑤’21 𝑤’22 𝑤’23 𝑤’24 𝑤’25 ] ∗ 𝑢3 softmax 𝑦3
𝑤’31 𝑤’32 𝑤’33 𝑤’34 𝑤’35 𝑢4 𝑦4
[𝑢5 ] [𝑦5 ]
𝑑𝐸(𝑦1 ) 𝑑𝐸(𝑦1 ) 𝑑𝑢1
= ,
𝑑𝑤’11 𝑑𝑢1 𝑑𝑤’11
Natijada,
𝐸(𝑦1 ) = − 𝑢1 + log(𝑒 𝑢1 + 𝑒 𝑢2 +𝑒 𝑢3 + 𝑒 𝑢4 + 𝑒 𝑢5 )
𝑑𝐸(𝑦1 ) 𝑑𝑢1 𝑑(log(𝑒 𝑢1 + 𝑒 𝑢2 +𝑒 𝑢3 + 𝑒 𝑢4 + 𝑒 𝑢5 ))
=− +
𝑑𝑢1 𝑑𝑢1 𝑑𝑢1
𝑑(log(𝑒 𝑢1 + 𝑒 𝑢2 +𝑒 𝑢3 + 𝑒 𝑢4 + 𝑒 𝑢5 )) 𝑑(𝑒 𝑢1 + 𝑒 𝑢2 +𝑒 𝑢3 + 𝑒 𝑢4 + 𝑒 𝑢5 )
= −1 + ,
𝑑(𝑒 𝑢1 + 𝑒 𝑢2 +𝑒 𝑢3 + 𝑒 𝑢4 + 𝑒 𝑢5 ) 𝑑𝑢1
Ushbu tenglamada bir qator hisoblashlarni amalga oshiramiz:
𝑑𝐸(𝑦1 ) 1
= −1 + 𝑢 ∗ 𝑢1
𝑑𝑢1 𝑒 1 + 𝑒 𝑢2 +𝑒 𝑢3 + 𝑒 𝑢4 + 𝑒 𝑢5
𝑢1
= −1 + 𝑢 = −1 + 𝑦1
𝑒 1 + 𝑒 2 +𝑒 𝑢3 + 𝑒 𝑢4 + 𝑒 𝑢5
𝑢
Yuqoridagi tenglamalarni umumlashtirish orqali quyidagi tenglamani hosil qilamiz:
𝑑𝐸 𝑑(𝑢𝑗∗ ) 𝑑(log ∑𝑉𝑗=1 𝑒 𝑢𝑗 )
=− + = (−𝑡𝑗 + 𝑦𝑗 ) = 𝑒𝑗
𝑑𝑢𝑗 𝑑𝑢𝑗 𝑑𝑢𝑗
1, 𝑎𝑔𝑎𝑟 𝑡𝑗 = 𝑡𝑗∗
Izoh: 𝑡𝑗 = { }
0, 𝑎𝑘𝑠 ℎ𝑜𝑙𝑑𝑎
Yuqoridagi tenglamada 𝒕𝒋 qiymatning haqiqiy natijasi, 𝒚𝒋 – taxmin qilingan natija, 𝒆𝒋 – xatolik
miqdori hisoblanadi. Shunday qilib, birinchi iteratsiya uchun,
𝑑𝐸(𝑦1 )
= 𝑒1
𝑑𝑢1
𝑑𝑢1 𝑑(𝑤’11 ℎ1 + 𝑤’21 ℎ2 + 𝑤’31 ℎ3 )
= = ℎ1
𝑑𝑤’11 𝑑𝑤’11
Yuqoridagi tenglamalardan foydanalanib, asosiy koʻpaytma qiymatini hisoblash mumkin:
𝑑𝐸(𝑦1 ) 𝑑𝐸(𝑦1 ) 𝑑𝑢1
= , = 𝑒1 ℎ1
𝑑𝑤’11 𝑑𝑢1 𝑑𝑤’11
Demak, umumlashtirilgan yakuniy tenglama quyidagi koʻrinishga ega:
𝑑𝐸
== 𝑒 ∗ ℎ
𝑑𝑤’
2-qadam. 𝒘’𝟏𝟏 vazn qiymatini yangilash:
𝑑𝐸(𝑦1 )
𝑛𝑒𝑤(𝑤’11 ) = 𝑤’11 − = 𝑤’11 − 𝑒1 ℎ1
𝑑𝑤’11
1 va 2-qadamlarga oʻxshash tarzda 𝑤’12 , 𝑤’13 … 𝑤’35 qiymatlarni yangilash mumkin.
Keyingi qadamda w vaznni yangilash lozim.
1-qadam. 𝒘𝟏𝟏 ga nisbatan E gradiyentini hisoblash:
𝑤11 𝑤12 𝑤13 𝑢1 𝑦1
𝑤21 𝑤22 𝑤23 ℎ1 𝑤’11 𝑤’12 𝑤’13 𝑤’14 𝑤’15 𝑢2 𝑦2
𝑤31 𝑤32 𝑤33 = [ℎ2 ] * [𝑤’21 𝑤’22 𝑤’23 𝑤’24 𝑤’25 ] = 𝑢3 softmax 𝑦3
𝑤41 𝑤42 𝑤43 ℎ3 𝑤’31 𝑤’32 𝑤’33 𝑤’34 𝑤’35 𝑢4 𝑦4
[𝑤51 𝑤52 𝑤53 ] [𝑢5 ] [𝑦5 ]
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 55
Mazkur orqaga qaytish bosqichida kirish qatlamidan yashirin qatlamgacha boʻlgan barcha vazn
qiymatlari (𝑤11 , 𝑤12 … 𝑤53 ) yangilanadi. Ushbu maqolada faqat bitta 𝑤11 vazn uchun hisoblashlar
keltiriladi:
𝑑𝐸 𝑑𝐸 𝑑ℎ1
= ,
𝑑𝑤11 𝑑ℎ1 𝑑𝑤11
E orqali ℎ1 , 𝑢1 , 𝑢2 , 𝑢3 , 𝑢4 , 𝑢5 qiymatlar yangilanadi.
UO’K: 811.512.133.043.
BAYONIY TARIXIY ASARLARINING LINGVISTIK XUSUSIYATLARI
M.Eshmurodov, f.f.n., Urganch innovatsion university, Urganch
Xorazm turkiy tarixnavisligiga oid manbalar haqida fikr yuritganda, ularlar orasida eng
muhimlaridan biri boʻlgan Muhammad Yusuf Bayoniyning “Shajarayi Xorazmshohiy” hamda
“Xorazm tarixi” tarixiy asarlari borasida alohida toʻxtalish zarur. Ushbu ikki manba, ayniqsa,
“Shajarayi Xorazmshohiy” asarining tarixiy, badiiy, ilmiy ahamiyati haqida koʻplab olimlar fikr
bildirganlar. Ayrimlari, hatto ushbu asarni Munis va Ogahiylarning tarixiy asarlaridan ham ustun
turishi haqida toʻxtalganlar [2, 3-9].
Bayoniyning “Shajarayi Xorazmshohiy” asari 16 bobdan iborat. Asarning muqaddimasida
uning yaratilish sabablari aytib oʻtilgan. Jumladan, Bayoniy “Shajarayi Xorazmshohiy” asarini yozish
buyrugʻini xondan Tolibxoʻja ibn Avazberdi orqali jumod-ul-avvalning yigirma ikkinchi kuni
(1329/1911-yili 10-may) oladi. Bu haqida muarrixning oʻzi shunday yozadi: Bas, arkoni davlatning
mashvaratlari bila nizomi umuri mamlakatga qiyom koʻrguzdilar, tokim, tarixi hijriyning ming uch
yuz yigirma toʻqquzlanchisi va jumod-ul-avvalning yigirma ikkilanchi kuni boʻldi. Faqiri haqirgʻa
muqarrabi borgohi falaki ishtibohlari, ya’ni Tolibxoʻja ibn Avazberdi eshoni magʻfiratnishonning
vasotatlari bila amri oliy sudur toptikim, bu jahoni nopoydorda yogdor qoʻymoq yaxshidur va soʻzdin
baqoliroq va yaxshiroq yodgor yoʻqdur.
Tarixiy manbaning ifoda uslubi sodda va ravon ekanligi, hodisalarga obyektiv yondashuvning
ustunligi, tarixiy haqiqatni aslicha ta’riflash, koʻtarinki ruh, yuqori pafos, jimjimador ta’riflarning
nisbatan ozligi uning tarixiy asarlari uchun xos jihat ekanligi bot-bot takrorlanadi.
Ushbu jihatlardan biz uchun muhim boʻlgan taraflar – bu yuqori pafosning ozligi, xon, bek, va
boshqa yuqori mansabdagi shaxslarning ta’rif-tavsiflarida musajja’ usulining nisbatan kamligi, ifoda
uslubining soddaligi, she’riy bezaklardan foydalanish mahorati, asar leksikasidagi oʻzlashma qatlam,
davlatchilikka oid terminologiya birliklaridan foydalanish darajasi kabi jihatlardir. “Shajarayi
Xorazmshohiy”ning lingvistik tahlilini amalga oshirishda ushbu xususiyatlar katta ahamiyat kasb
etadi. Shular asosida ijodkorning xos uslubi, asardagi oʻzlashmalar qatlami, oʻzlashmalarning asar
badiiyatida tutgan oʻrni va ahamiyati, davlatchilikka oid terminlardan foydalanishdagi oʻziga
xosliklar, ichki va tashqi siyosatga oid terminologik tizim, asarda tilga olingan kasb-kor otlari,
antroponimlar va, umuman, onomastik tizim kabi tilshunoslikning dolzarb masalalariga ma’lum
darajada aniqlik kirituvchi tomonlarga e’tibor qaratamiz.
Eng avvalo, “Shajarayi Xorazmshohiy”dagi oʻzlashmalar tizimiga xos xususiyatlarga
toʻxtaladigan boʻlsak: asar leksikasida shu davrdagi barcha tarixiy asarlardagi kabi arabiy va forsiy
soʻzlarning salmogʻi katta. Ammo asardagi arabiy va forsiy oʻzlashmalar ham nisbatan soddaroq,
oson tushuniladigan soʻzlash ekanligini ta’kidlash zarur: Vaqtekim, Sayyid Muhammad Rahim
Bahodirxoni soniy sariri saltanatda qaroro tutdilar, shuaro va fuzalo hayli juluslari uchun torixlaru
qasidalaru masnaviylar oytib, in’omi shohona va atoyi xusravonadin sarshor boʻldilar.
Oʻzlashmalar “Shajarayi Xorazmshohiy”dagi badiiy-tasviriy vositalarning yuzaga kelishida
katta ahamiyat kasb etadi. Chunonchi, “Shajarayi Xorazmshohiy”dagi soʻzlar ohangdoshligini
aksariyat hollarda ayni oʻzlashmalar qatlami ta’minlaydi: Bas, tamomi oboyi izomu ajdodi
kiromlarimizning voqeotu holatlarin ilo yavmino hazo takallufoti munshiyonadin oriy boʻlgʻon
iboroti mutadovalaning zimnida majozu istioradin kanora tutib, iyzoju ixtisor bilan tarix sahifasigʻa
sabt etilgay, tokim ommayi atrok eshitgan hamono betaraddudi xotir fahmlagaylar.
Parchadan koʻrinib turibdiki, ijodkor maxsus omma uchun bir tarix yaratishni va omma uni
betaraddud fahmlashini orzu qilgan. Shu sabab ham “Shajarayi Xorazmshohiy”dagi murakkab
jumlalar, oʻquvchi uchun tushunilishi qiyin boʻlgan arabiy va forsiy oʻzlashmalar faqatgina hamd,
na’t qismida uchraydi. Asarning boshqa oʻrinlarida oddiy ifoda ustunlik qiladi.
“Shajarayi Xorazmshohiy”dagi she’riy bezaklarga toʻxtaladigan boʻlsak, muarrix she’riy
qismlarda asosan, oʻz qalamiga mansub she’riy parchalardan, shuningdek, Munis va Ogahiyning
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 59
she’rlaridan ham foydalangan. Ular orasida oʻzbek tilida ham, fors tilidagilar ham mavjud. Biz
asardagi she’riy bezaklarni mutolaa qilib, bemalol Bayoniyni zullisonayn shoir deb aytishimiz
mumkin:
Bayon aylayin zoʻri andozasin,
Olib otdi Xaybarni darbvozasin.
Bayoniy chu ul erdi sheri Xudo,
Degil soʻz uzotmay onga jon fido [2, 11].
“Shajarayi Xorazmshohiy”da forsiy she’riy matnlar ham yuqori saviyada bitilgan. Vazn
mukammalligiga alohida e’tibor qaratilgan. Bundan kelib chiqadiki, muarrix, she’riy ta’limni
mukammal oʻrgangan:
Dar hama vaqt on shahi olam,
Bod xushvaqt, xushdilu xurram.
Ahli Xorazm z-u shuda xushhol,
Karda bar xud duoyi alzam [2, 12].
Ma’nosi: Ey olam podshohi, har dam xushvaqt, xushdil va xurram boʻlgin. Xorazm ahli xushhol
boʻlib, sen uchun lozim boʻlgan duolarni qilmoqdalar.
Tadqiqot uchun eng muhim boʻlgan lingvistik xususiyat – bu, soʻzsiz, “Shajarayi
Xorazmshohiy”da qoʻllangan davlatchilikka oid boʻlgan terminlar tizimidir. Ta’kidlash zarurki,
Xorazm turkiy tarixnavisligiga oid boʻlgan manbalar orasida oʻzining leksik tizimi bilan
boshqalaridan aslo qolishmaydigan ushbu asarda davlatchilikka oid koʻplab tushunchalarni
ifodalovchi terminlar mavjud. Xususan, davlat tushunchasini ifodalovchi davlat, saltanat, mamlakat,
viloyat, nohiya, xonlik, mulk, mamolik, yurt, hukumat kabi soʻzlar shular jumlasidan: Jarchilar
koʻchalarda “Davri-davri Muhammad Rahim Bahodirxon!” – deb munodo ura berdilar. Viloyatda
ajab bir xushhollik dast berdi [2, 17-18]; Hamma yurt ulugʻlarining ittifoqlari bilan Bobojon toʻra,
ya’ni Muhammad Rahim toʻra ibni Sayyid Muhammadxoni jannatmakon xon boʻlub, taxti davlatda
oʻlturdilar [2, 11]; Abul-Muzaffar va al-Mansur Sayyid Asfandiyor Muhammad Bahodirxon
“xalladallohu mulkahu va sultonahu va afoza alal olamin birrahu va ehsonahu” (Alloh uning mulku
saltanatini abadiy etsin hamda ezgulik va ehsonlarini olamga yoysin) Xorazmi Erambazmning taxti
saltanatida oʻlturdilar [2, 12]; Bas, arkoni davlatning mashvaratlari bila nizomi umuri mamlakatgʻa
qiyom koʻrguzdilar…[2, 13]
Shahi hukmron turki omil qani?
Hukumat rusumida komil qani? [2, 20]
Albatta, bu davlat tushunchasi bilan bogʻliq boʻlgan ayrim davlatchilik atamalarining qisqacha
izohi va ularga asardan keltirilgan ayrim misollar, xolos. Ishning keyingi boblarida ushbu atamalarga
toʻliq izoh berilib, ularning tarixiy ildizlari yoritishga harakat qilinadi.
Ushbu oʻrinda davlat tushunchasi bilan bogʻliq atamalar izholanar ekan, albatta, davlat
boshligʻi tushunchasi bilan bogʻliq boʻlgan tushunchalar ham tarixiy asar leksikasida muhim
ahamiyat kasb etishni ta’kidlash joiz. Davlat boshqaruvchisi tushunchasi davlat tushunchasi paydo
boʻlibdiki, yashab kelayotgan, u bilan yonma-yon tilga olinadigan tushuncha hisoblanadi. Mulk –
molik, hokim – hukumat, voliy – viloyat, sulton – saltanat (sultonlik), xon – xonlik, podshoh –
podshohlik, imperator – imperiya, xoqon – xoqonlik kabi tanosublar aynan shu sababli ham paydo
boʻlganligi shubhasiz. Shu oʻrinda Bayoniyning “Shajarayi Xorazmshohiy” asari leksikasida
uchraydigan davlat boshqaruvchisi tushunchasi bilan bogʻliq bir qancha davlatchilik terminologiyasi
birliklarini tahlil qilib, asardan ular qatnash misollarni keltirib oʻtamiz.
Asarda davlat boshqaruvchisi tushunchasi bilan bogʻliq atamalar yuqorida ta’kidlangani kabi,
davlat tushunchasi bilan bogʻliq holda tahlil qilingani ma’qulroq. Demak, nohiya soʻzi davlat
ma’nosida qoʻllansa, uni boshqaruvchi noib soʻzi ham ayni davlat boshqaruvchisi ma’nosida
qoʻllanadi. Viloyat soʻzi davlat ma’nosini ifodalasa, muarrix voliy soʻzini ham ayni davlat
boshqaruvchisi ma’nosida istifoda etayotgan boʻladi. Ba’zan viloyat, nohiya kichik bir hudud shu
sabab noib yoki voliy soʻzi ham davlat boshqaruvchisi boʻla olmaydi degan fikrni ilgari suradilar.
Lekin mumtoz adabiyotimizda aksariyat hollarda biz bugun davlat emas, kichik hudud ma’nosida
qoʻllayotgan soʻzlarimiz butun bir davlat ma’nosida uni boshqaruvchi hokim, voliy, noib kabi soʻzlar
60 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
esa aksar hollarda davlat boshqaruvchisi ma’nosida qoʻllanganini kuzatamiz. Bunda ushbu
tushunchalar va soʻzlarning diniy mazmuniga ham e’tibor qaratilgan. Shoh, sulton, podshoh va
boshqa davlat boshqaruvchisi tushunchasi bilan bogʻliq soʻzlar asosan Yaratganga nisbat bergan
holda qoʻllangan, voliy, hokim, noib kabi soʻzlar esa Yaratgan bergan iqbol tufayli uning yerdagi
noibi ma’nosida davlat boshqaruvchisi ma’nosida ham, har qanday boshqaruvchi (hukmdor, viloyat
boshqaruvchisi, ish boshqaruvchi kabi ma’nolarda ham) ma’nosida ham istifoda etilgan. Bu holatni,
ayniqsa, Navoiyda koʻp uchratamiz. Navoiyni oʻziga ma’naviy ustoz deb bilgan undan keyingi barcha
ijodkorlarda ham shu holatni uchratishimiz esa, bizningcha, gʻayritabiiy holat emas.
Yetti gunbadki, anglading oliy,
Yetti ayvon aro yetti voliy.
UDC 82
ALISHER NAVOI'S "MAHBUB UL-QULUB" – LAST WORK ON THE BASIS OF THE
EXPERIENCES, OBSERVATIONS AND CONCLUSIONS
M.B.Eshniyazova, teacher, Samarkand State University veterinary medicine of livestock and
biotechnologies, Samarkand
Annotatsiya. Navoiy “Mahbub ul-qulub”ni yozishning sabab va maqsadlari haqida fikr yuritar
ekan, o‘z o‘tmishini ko‘zdan kechiradi, tanqidiy nigoh bilan baholaydi. Uning so‘zlariga ko‘ra,
hayotning ko‘p achchiq-chuchuklarini totib ko‘rgan shoir taqdirning turli sinovlariga duch keladi;
taqdir uni goh xorlik va loqaydlik bilan, goh shon-shuhrat va martaba bilan sinaydi; goh
zodagonlarning yaxshiligidan bahramand bo‘ladi, goh yomon kishilarning qo‘lidan azob chekadi;
goho ishqda topiladi, goho zohidlik va taqvoga mahkum qilinadi. Ushbu maqolaning maqsadi
Navoiyning “Mahbub ul-qulub” asaridagi aforizmlarni qiyosiy o‘rganish, asarning kompozitsiyasi
va strukturaviy tuzilishini ko’rib chiqish, asardagi aforizmlarni aniqlash va to‘plashdan iborat.
Kalit so‘zlar: Kuzatish, toifa, ziyolilar, bilim, g‘ayrat, ilm, ma’rifat, xolislik, taqvo, fidoyi
qadriyatlar.
Аннотация: Размышляя о причинах и целях написания «Махбуб уль-Кулуб», Навои в
предложениях обозревает свое прошлое и оценивает его критическим взглядом. По его
62 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
словам, поэту, вкусившему немало горестей жизни, предстоят различные испытания
судьбы; небо испытывает его иногда унижением и равнодушием, иногда славой и чином;
иногда он наслаждается добротой дворян, иногда страдает от рук плохих людей; иногда он
встречается в любви, иногда осуждается на аскетизм и благочестие. Целью данной статьи
является сравнительное исследование афоризмов в «Махбуб уль-Кулуб», изучение композиции
и структуры произведения, а также выявление и сбор афоризмов в произведении.
Ключевые слова: Наблюдение, категории, интеллигенция, знание, энтузиазм, познание,
просвещение, беспристрастность, благочестие, самоотверженные ценности.
Abstract. While thinking about the reasons and goals of writing "Mahbub ul-Qulub", Navoi
reviews his past in short sentences and evaluates it with a critical eye. According to him, the poet,
who has tasted many bitternesses of life, faces various tests of fate; the sky tests him sometimes with
humiliation and indifference, sometimes with fame and rank; sometimes he enjoys the goodness of
nobles, sometimes he suffers from the hands of bad and bad people; sometimes it is found in love,
sometimes it is condemned to asceticism and piety. The purpose of this article is the comparative
study of aphorisms in Navoi's "Mahbub ul-Qulub", study the composition and structural structure of
the work, and identifying and collecting aphorisms in the work.
Keywords: Observation, categories, intelligentsia, knowledge, enthusiasm, knowledge,
enlightenment, impartiality, piety, self-sacrificing values.
Introduction. "Mahbub ul-Qulub" is Alisher Navoi's moral and didactic work, and according
to the history of its writing, it is Navoi's last work (1500). The work was created on the basis of the
experiences, observations and conclusions of the thinking poet during his life. The work consists of
an introduction, three parts and a conclusion. According to Navoi’s tradition, the introduction begins
with the praise of Allah. The author expresses his servitude by commenting on the subjective and
verbal attributes of Allah, such as Al-Azim, Al-Muhsin, Al-Qadir, Al-Wajid, Ar-Razzaq, Al-Khaliq,
Al-Qahhar. In the content of Na't and in the lines, the miracles of the previous prophets in the four
elements of the hotamul prophet's body hiding is praised. The Prophet of Islam is called the master
of the universe and the best of all prophets, the best of mankind, and through this the idea that forms
the core of the Islamic religion is that all religions are essentially one, and all people are children of
one parent, the idea that the prophets are brothers to each other is embedded in the essence of blessings
[1].
Methods. The thinker, who learned the necessary lessons from him during his life and gained
a lot of experience in the field of humanity, notes that he wrote this book as a program to prevent
young people who are on the threshold of adulthood from going astray. The first part is called "On
the state of the people and the mood of the people" and the poet expresses his conclusions and
observations about the intentions, activities and words of different social classes in its 40 chapters
[7].
Chapters are titled in the following order: 1) In the zikr of Adil Salatin; 2) In the zikr of Islamic
saints; 3) In the zikr of inappropriate vice-chancellors; 4) At the mention of tyrannical and ignorant
and wicked kings; 5) In the mention of Vuzaro; 6) Remembrance of inappropriate cedars; 7) In female
zikr; 8) In the zikr of Yasovul group; 9) In the mention of Yasoglyk and Kara Cherik; 10) The king's
people will be like him in his zikr; 11) In the remembrance of Sheikh ul-Islam; 12) At the mention of
Kuzzot; 13) Mufti in the mention of jurists; 14) In the remembrance of teachers; 15) In the mention
of Atibbo; 16) In remembrance of the beautiful birds of Nazm Gulistan; 17) At the mention of
secretaries; 18) In the memory of the people of Dabiristan; 19) In the remembrance of Imams; 20) In
the remembrance of Muqri; 21) In the mention of Huffoz; 22) In the zikr of Mutrib and Mughannis;
23) In the mention of storyteller and storytellers; 24) In the zikr of preachers and preachers; 25) In
the zikr of Ahl al-Nujum; 26) In the memory of commercial people; 27) In the mention of sellers in
the city; 28) In remembrance of market workers; 29) Soir in the memory of craftsmen and artists; 30)
In the zikr of Shahna and Zindani and Asas; 31) In the mention of farming; 32) In the remembrance
of orphans and lay people; 33) In the remembrance of the stranger and the destitute; 34) In the
remembrance of Mubrim Gadolar; 35) In the zikr of the birder and the fisherman; 36) Getting an
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 63
education, in the zikr of the servants who have committed filthiness; 37) Quality of marriage and
wives in remembrance; 38) In the zikr of Riyy sheikhs; 39) In the memory of the people of Harobot;
40) Dervishes in the mention [2].
Results. Navoi's attitude towards religious figures, sheikhs and priests who managed the legal
system of the society in the Middle Ages is clearly expressed in "Mahbub ul-qulub". The great thinker,
as a great statesman well-versed in both religious and worldly knowledge, while thinking about the
sheikhs of Islam, judges and jurists, sheikhs of the tariqa, qaris and hafizis of the Qur'an, preachers,
divides them into the category of pious people and religious people who use their knowledge as a tool
[3]. Navoi said that religious leaders, as an advanced category of society, set a personal example in
guiding people to the right path, free from vices such as hypocrisy, bribery, greed, greed, knowledge,
enlightenment and should be adorned with beautiful human qualities.
According to Navoi, a well-written text, even if it is bad, is better than a lot of strange and
beautiful writing. A similar mathlab can be read in the chapter on the zikr of physicians. According
to Navoi's creed, people who practice the science of medicine should have three weapons - in-depth
knowledge and intelligence, skill in working with a surgical blade, and a gentle culture in
communication with patients. Better is an executioner who acts on the orders of rulers than an ill-
mannered, illiterate and uneducated doctor who prematurely kills innocent patients [4]:
The healer of good health is the healer of pain.
Omiyu tund-u badho'y el is a soul (p. 89).
In each chapter, the true nature of these ten human qualities, which are important stages of
spiritual education, is revealed and reinforced with instructive stories and narrations related to the
names of famous sheikhs and legendary characters. The plot of the stories presented in the second
part is also given in such works as "Nasayim ul-Muhabbat", "Lison ut-Tair", "Bahoristan", "Risolai
Qudsiya", "Ilohiyname" [6].
In these stories that promote high human qualities, the wide possibilities of the Uzbek language
are demonstrated with the help of elements of spiritual and common arts such as sajj, tazad and
muqobala, metaphor, talmeh, and the story ends with a verse that means a logical conclusion. The
heroes of the story belong to different categories - former sheikhs, Navoi's contemporaries, legendary
characters. The author has used various methods and means of promoting goodness. For example, in
the fourth chapter, the concept of contentment is defined as generating sustenance until the strength
of prayer is formed and not coveting more than that, or rather, raising the whole imagination [5].
The feeling of contentment is the most effective means and the best way to get rid of inferiority
and misery, the eternal enemy of man - lust. a savior is like a fortress, a friend is like an enemy's
gratitude and a mountain that relieves one's toils, a mountain that brings joy. He refers to the life of
his contemporary, Sheikh Shah Ziyaratgahi, as a proof of these thoughts. According to the story,
despite the fact that Sheikh Shah Ziyaratgahi is a great sheikh and leader of the sect, he completely
gave up on the gifts of the murids and the gifts of the kings, and built a garden with his own hands on
the land inherited from his father.
Conclusion. As a result, princes and dignitaries from the capital visit this dark-eyed sheikh and
bring fruits from his garden to bless him. Navoi, through such a vivid example, shows that even
princes come to need the presence of a person who follows the path of contentment, and shows that
it is possible to gain honor and respect due to contentment, and concludes his opinion with the
following stanza:
The world has seen a lot of sun,
It's enough for someone who isn't right.
To make a person feel guilty without needing to,
Don't be rude anymore.
Although the bad qualities that cause sins are not mentioned in the title of the chapters, in the
definition of a certain good behavior, the bad qualities that are considered to be its opposite are also
defined. For example, in the chapter dedicated to modesty and manners, modesty is interpreted as the
first sign of good morals, the beginning and basis of sincere relationships, and this quality should be
64 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
found, first of all, in self-sufficient and virtuous people. it is emphasized that it is necessary. Humility
and decency polish both sides of the mirror of the soul, making it pure and bright.
REFERENCES:
1. The history of Uzbek literature, volume 2, -T., 2019. -p.94.
2. Tasheva D.S., Kubaeva N.A. Modern educational technologies in the aspect of a student-centered approach in
teaching foreign languages. Eurasian Journal of Learning and Academic Teaching. Volume 12|, 2022. -p.35.
www.geniusjournals.org
3. Allayarova D.K., Tasheva D.S., Practical aspects of the formation of a communicative approach in the
development of a linguistic personality in teaching the Russian language. Periodica Journal of Modern Philosophy, Social
Sciences and Humanities. Volume 18, 2023. -p.181. https://periodica.com
4. М.Эшниязова, Sohada o’zbek tilini o’qitishda yangi pedagogik texnologiyalarni qo’llash samaradorligi.
Евразийский журнал социальных наук, философиии культуры. 2 (6). 2022. -p.47.
5. М.Эшниязова, “Tarixi anbiyo va Hukamo” asaridagi she’riy parchalarning g’oyaviy-badiiy qimmati. Alisher
Navoiy xalqaro jurnali, 3 (1). 2022.
6. M.Eshniyazova, Kitobxonlik madaniyatini shakllantirish-davr talabi. Scientific progress, 1 (5), 2022. -p.103.
7. Shaymanova Y.T., Qarshiboyeva Z.A. Rus olimi A.N. Samoylovichning sharq tillarini o’rganishga qo’shgan
hissasi. “Sharq tillarini o‘qitishning dolzarb masalalari” mavzusidagi ilmiy-amaliy konferensiya. Volume 2| special issue
24. SJIF 2022: 5.947. ASI Factor = 1.7. -p.366. https://doi.org/10.5281/zenodo.6653715
UO’K 82.091
“QISASI RABG‘UZIY” ASARIDA SHAXSNING RUHIY HOLATI VA DINIY
TUSHUNCHALAR DOIRASIDA SHAKLLANGAN FRAZEOLOGIZMLAR
U.Farmonova, o’qituvchi, Farg'ona Davlat Universiteti, Farg'ona
UO’K:81’4:111.85:394
XUNUKLIKNING TILDA LEKSIK VA GRAMMATIK O‘ZIGA XOSLIKDA
VERBALLASHUVI
D.I.Inoyatova, o‘qituvchi, Buxoro davlat pedagogika instituti, Buxoro
Annotatsiya.Tilshunоslik оrqаli biz til qаndаy qilib kоntseptlarni kоdlashtirishini tahlil etamiz.
Bu maʼno eksplikаtsiyasi va freym tоhlili hаmda kontekstual аnaliz, kontseptual metafоralar tаhlillari
yоrdamida amalga oshiriladi. “Xunuklik” kontseptining universаl jihatlari va turli tillardagi
madаniy taʼsirlar, allоmоrflik milliy-madaniy qаdriyatlarni vоqelantiruvchi prоtоtip timsollar,
qadriyatli tushunchalar qiyoslanishi natijasida yuzaga chiqadi.
Kalit so‘zlar: konsept, korpus tahlil, semantik maydon, freym tahlil, prototip.
Аннотация. С помощью лингвистики мы анализируем, как язык кодирует понятия. Это
делается с помощью экспликации смысла и анализа фреймов, а также контекстного анализа
и анализа концептуальных метафор. Универсальные аспекты концепта «уродство» и
культурные влияния в разных языках, алломорфизм возникают в результате сопоставления
прототипных символов и ценностных концептов, воплощающих национально-культурные
ценности.
Ключевые слова: концепция, корпусный анализ, семантическое поле, фреймовый анализ,
прототип.
Abstract. Through linguistics we analyze how language encodes concepts. It is done with the
help of meaning explication and frame analysis as well as contextual analysis and analysis of
conceptual metaphors. Universal aspects of the concept of "ugliness" and cultural influences in
different languages, allomorphism emerge as a rsult of comparison of prototype symbols and
valuable concepts that embody national-cultural values.
Key words: concept, corpus analysis, semantic field, frame analysis, prototype.
UDC 820-2
THE LINGUISTIC ESSENCE OF TAXIS PHENOMENON
O.R.Isarov, teacher, Uzbekistan State University of World Languages, Tashkent
Introduction. Linguistics of the second half of the 20th century is usually characterized as
anthropocentric, integral, text-centric and explanatory. Text analysis has allowed linguistics to take a
fresh look at traditional grammatical objects. The grammar system began to be considered as a tool
for generating text. The sphere of grammar includes concepts that connect the semantics of a word
form, the syntax of a sentence, and the syntax of a text. One of these concepts was taxis [Vyalsova,
2008. - 28 p.].
Taxis was initially identified by R.O. Jacobson as a non-shifter category, i.e. a category focused
on the semantics of an utterance [Jakobson, 1972]. Since semantics and a pragmatic frame are
distinguished in a statement, all grammatical categories are divided into statements expressing
semantics or pragmatics. The categories assigned to the semantics of the utterance do not reflect
dependence on the moment of speech and the situation of communication, while the categories
assigned to pragmatics reflect such dependence. The categories assigned to semantics are considered
non-shifter, i.e. not subject to “shift” when the communication situation changes. The categories
assigned to pragmatics, on the contrary, are subject to “shift”, and therefore are considered shifter
[Dedova, Ovchinnikova, 2009].
Taxis, as a non-shifter semantic category, allows one to express the correlation of the actions
indicated in the utterance without establishing the relationship of each action to the moment of speech.
The category of time, unlike taxis, correlates the content of the utterance with the moment of speech
and, therefore, is pragmatic and shifter. The introduction of the category of taxis into the grammatical
description of the language makes it possible to characterize the time of the events reflected in the
utterance, taking into account not only the proper finite verb forms, but also various non-finite forms
of the verb and verbal names.
Theoretical basis. In modern linguistics, taxis is usually considered from two positions: firstly,
as a grammatical (morphological) category of the verb; secondly, as a functional-semantic field
(FSF).
The functional-semantic field of taxis has not yet been analyzed and described for all languages.
In particular, the FSF of taxis in many Germanic and Turkic languages has not yet been studied.
In our work, we rely on the interpretation of taxis within the framework of the St. Petersburg
School of Functional Grammar. The representation of taxis as a FSF makes it possible to bring
together into a single system (based on the functional principle) the linguistic phenomena described
in various sections of grammar (type, tense, non-finite verb forms, complex sentence syntax,
constructions with homogeneous predicates, etc.).
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 71
The text-syntactic view (grammar school “Communicative Grammar of the Russian Language”
under the guidance of G.A. Zolotova) on the category of taxis showed that the temporal component
is one of the three components of taxis (along with modality and personality) [Zolotova, Onipenko,
Sidorova, 1998]. Taxis in communicative grammar is understood as a grammatical technique of
interpredicative relations. Such an understanding expands the range of objects interpreted in
connection with the category of taxis: this includes not only complex sentences, homogeneous
members and gerunds, but also participles in a full set of forms, infinitive, names of propositional
semantics [Bondarko, 1984. - 136 p.].
The categorical signs of taxis appear in the form of: a) temporal conjugation of actions, their
reference to a single time period, the integrity of which is determined by the perceptual activity of the
subject; b) polypropositivity and c) homogeneous modus-dictum characteristic of propositions.
Currently, there are two main concepts that differ principally from the existing taxis concepts
that recognize it as an independent category:
1. The priority relationship between action(fact)s as the main component of the taxis content-
plan, and the morphological concept of “perfect / non-perfect” as a key component of the expression-
plan. However, it is not difficult to notice that taxis is included in this interpretation as another distinct
term for the grammatical category of tense relativity (reference or phase).
2. As a key component of the taxis-plan, all three types of chronological relationships (priority,
simultaneity, and posteriority), and as a key component of the expression-plan, combine different
levels (lexical, grammatical, lexical-grammatical and syntactic). A functional-semantic concept
consisting of a large inventory of different polypredicative structures with a specific relationship.
This approach is the cornerstone of our research [Isarov, 2020].
Results and discussion. The FSF of taxis is formed by various means (morphological,
syntactic, lexical), united by the function of expressing temporal relations between actions within the
framework of a holistic (single) time period, covering the complex of actions expressed in the
utterance.
The semantic dominant of the taxis field is formed by the relations of simultaneity / non-
simultaneity (precedence, succession) in combination with one or another aspect characteristic of this
relationship.
However, according to Bondarko, not every temporal relationship of predicates is connected by
taxis relations. Taxis relations are formed only in the presence of a number of certain mandatory
conditions.
In accordance with the concept of the St. Petersburg School of Functional Grammar, the sphere
of taxis relations is limited [Theory of Functional Grammar: Introduction. Aspectuality. Temporal
localization. Taxis. 2001. - P. 234-295]:
1. The integrity of the time period. A holistic (single) period of time is understood as “a
microsystem within which one or another structure of taxis relations is revealed”.
The integrity of the time period is revealed in its unifying function in relation to actions
correlated in time, to the belonging of actions to the same time plan (within the past, present or future),
even in a situation where verbs have different tense forms.
Taxis relations are seen only in such a temporal relation, which is distinguished by a sign of the
integrity of the temporal period covering a given set of actions, the component actions of which are
most often expressed in the forms of the same time: The door wide opened, and the carpenter himself
turned up at the threshold. In the integrity of the time period, a homogeneous relation of all
components of the complex of actions under consideration to the moment of speech as to the starting
point of reference is obligatory, therefore all actions of this complex must be attributed to one
“denotative” time from the point of view of the moment of speech: to the plan of the past, present or
future. A.V. Bondarko shows the integrity of the time period on the example of constructions with
gerunds, where the integrity of the time period is manifested in the “conjugation of the main and
accompanying actions”, explaining this by the fact that “the very concept of the accompanying action
implies the integrity of the time period covering this set of actions”, even in the presence of a
72 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
significant time interval between them: Having acquired those special skills in his childhood, he
didn't lose them even in the declining years.
2. Homogeneity of actions in terms of their specificity or generalization (usuality, commonness,
typicality).
The second necessary feature of taxis relations is that actions must be homogeneous in terms
of their specificity/generalization (usuality, commonness, typicality). All actions associated with a
taxis relationship should be, according to Bondarko, either specific or ordinary, typical. At the same
time, complex sentences with subordinate explanatory clauses by A.V. Bondarko brings the fields of
independent taxis to the periphery.
3. The framework of a statement equal to a sentence or a super-phrasal unity (SPU), i.e.
polypredicative complex.
A polypredicative complex in functional grammar is considered to be: a) a combination of main
and secondary (secondary) predication in constructions with gerunds (as well as with participles; we
are talking about all constructions that include main and secondary predication); b) different types of
polypredication in complex sentences and sentences with homogeneous predicates; the concept of
polypredication also extends to statements that are super-phrasal units [Theory of functional
grammar: Introduction. Aspectuality. Temporal localization. Taxis. 2001. - P. 234-295].
Conclusion. Thus, taxis relations characterize not one form, but a combination of forms, i.e.,
the taxis expression is associated with syntactic constructions (including morphological as well as
lexical means). The taxis function has not only paradigmatic, but also pronounced syntagmatic
features, and in its formal expression is basically syntactic. This category characterizes the entire
proposition as a whole, so the possibility of its realization does not depend on the semantics of its
constituent elements. This is the category of the sentence as a whole, and not just of the predicate
verb.
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1. Бондарко A.B. Функциональная грамматика. - Л.: Наука, 1984. - 136 с.
2. Вяльсова А.П. Типы таксисных отношений в современном русском языке: на материале причастных
конструкций: Автореф. дис. канд. филол. наук (10.02.01). - Москва, 2008. - 28 с.
3. Дедова В.О., Овчинникова И.Г. Зависимый таксис: семантические особенности и способы выражения
(на материале словацкого языка). - Вестник Пермского Университета, 2009. - Вып. 3.
4. Золотова Г.А., Онипенко Н.К., Сидорова М.Ю. Коммуникативная грамматика русского языка. - М., 1998.
5. Теория функциональной грамматики: Введение. Аспектуальность. Временная локализованность. Таксис
/ Ред. A.B. Бондарко (отв. ред.) и др. 2. изд., стер. - М.: УРСС, 2001. - С. 234-295.
6. Якобсон Р.О. Шифтеры, глагольные категории и рус. глагол, пер. с англ., в кн.: Принципы
типологического анализа языков различного строя. - М., 1972.
7. Исаров О. Таксис категориал ҳолатлари ва таксис ифодаловчи феъл комбинациялари // Вестник
Каракалпакского государственного университета имени Бердаха. – 2011. – Т. 13. – №. 3-4. – С. 117-118.
8. Isarov O.R. Comparative study of the сonceptions related to the category of taxis. Journal of Critical Reviews.
ISSN-2394-5125. Vol. 7, Issue 12, 2020. DOI: http://dx.doi.org/10.31838/jcr.07.12.27
UO’K 808.3
FONOGRAFIK USLUBIY VOSITALAR HAQIDA MULOHAZALAR
A.A.Haydarov, prof., f.f.n., Buxoro Davlat Universiteti, Buxoro
Sh.Sattorova, magistrant, Buxoro Davlat Universiteti. Buxoro
UDC 808.3
LEARNING AND LINGUISTIC FOUNDATIONS OF MODALITY CATEGORY
A. Haydarov, prof., Bukhara State University, Bukhara
F.Tosheva, master student, Bukhara State University, Bukhara
When we think about modality, we pay attention to the definitions given to this linguistic
concept. While defining the category of modality, Charles Bally said, "modality is the heart, the heart
of speech." It includes "various subtleties of judgment" in the composition of modal meanings. ',
'intuition' and 'desire'[1]. According to M.K. Halliday, "modality is an important functional feature of
communication, a function between individuals, a form of expression of the speaker participating in
the communication[2]. V. G. Gak bases the generalization of the relationship between the speaker
and the informant on the type of modality. In his opinion, modality is divided into three stages:1)
declarative and performative according to the nature of reporting;
2) reliability and probability according to the nature of knowing reality;
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 77
3) according to the nature of the relationship, desire and dissatisfaction are related to the
expression of the subject's feelings[3].
Modality, writes Azim Hajiyev (Latin modus-myl), is a grammatical-semantic category that
expresses the attitude of the speaker to the expressed thought. The content of the thought can be real
or unreal and can be imagined in this way. Modality can be expressed by word, morpheme, loading
and intonation[4].
In fact, the problem of modal logic arose a long time ago. Before Aristotle, Protagoras of
Abdera, "the most famous, but also the first", expressed an opinion about modality, i.e., how their
speech relates to reality from the point of view of the speaking person. His work "The Science of
Debate" has not survived, but seven centuries later Diogenes Laertsky in his encyclopedic collection
"Lives, Education and Wisdom of Famous Philosophers" (2nd and 3rd centuries AD) described
"Protagoras speech in four types - He mentioned that it was divided into "please, question, answer,
command" and called them "speech networks"[5]. From the point of view of modern linguo-
pragmatics, the "networks" indicated by Protagoras correspond to the broad modal classes of speech
acts, which differ according to the purpose communicated by the speaker. It laid the foundation for
linguistic pragmatics long before the emergence of the term "pragmatics" in the semiotics of Charles
Peirce and the rapid development of the study of language communication in modern history.
Professor N. B. Mechkovskaya said that "in the history of communication and language learning, the
very idea of the existence of variety and options, different goals, methods and styles of
communication is considered very important"[6]. In this way, it should be remembered that until a
person paid attention to the lexicon and grammar of the language, he was interested in the
communication process itself, and the question arose about the expression of various communication
goals (illocutions) with the help of speech. The foundations of the doctrine of modality were
explained in detail by Aristotle in his works such as "Analytics", "Metaphysics", "Commentary of
Names". In these works, the term "modality" does not appear, Aristotle used the word enclsis
tendency instead, which he associated with how reliably the speaker calculates his opinion (eg, a
conclusion from a syllogism). In the Latin-Russian dictionary, the term modus is defined as
"inclination" in its 11th meaning. Later, in Greek Alexandrian grammars (2nd century BC) and later
in Roman, Latin and medieval grammars, the modality was defined by Aristotle as enklp'sis, verb
tenses, which are understood differently according to the relationship of the "tendencies" of the action
communicated in the speech to the reality. was the basis for imagination. The verb inclination was
first defined in an unknown Alexandrian grammar: "Inclination refers to the form of the word that
indicates the desire (or movement) of the mind" (as well as the internal form of the term being
described based on a similar definition: "Inclination is the inclination, desire, desire of the heart
(dil)").
In the surviving Alexandrian Greek grammar (2nd century BC) of Dionysius of Thrace, the
concept of verb declension is not defined, but a list of declensions that we can easily compare with
modern terminology is given: “The declensions are five: command inclination, desire inclination,
follow inclination, uncertain inclination". Aristotle divided such modal meanings into "necessary",
"probable", "impossible", "accidental". From Aristotle's point of view, "any message means
information about a desire or an action necessary for it, or a possible action; and some of these
opinions are understood to be emphasized, others to be denied, and others to be unclear, depending
on whether or not they are given a certain inclination[7]. Aristotle distinguished between apodeictic
opinions (from the Greek apodeikticos - proven, reliable) - these are reliable opinions based on
necessity and dialectical opinions whose validity is determined by reasoning and contradicts the
opinions asserted in them, which do not exclude probability. Aristotle's opposition of two logical
"tendencies" in the modern theory of knowledge corresponds to the opposition of reliable (proven)
knowledge and assumption (hypothesis), as well as epistemic and aletic modalities of modern modal
logic. Thus, many concepts of modern logic began with the teachings of ancient and medieval
logicians: "modal logic is one of the branches of modern non-traditional logic, which studies such
expressions as "necessary" and "probably" "[8].
78 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
A broader approach to the concept of modality is presented in the works of A.A. Ivin: "Modality
is the assessment of the relationship defined in the phrase from one or another point of view." Modal
concretization (clarification) in most cases by using concepts such as "necessary", "probable",
"provable", "deniable", "obligatory", "allowed", "good", "bad" is done. Currently, modal logic, which
has been included in universities since the middle of the 20th century, continues to develop and be
enriched with new modal concepts and meanings: "In the last decade, modal logic has been
developing rapidly, including ten new modal concepts. including z. His methods of justification were
refined, giving new impetus to modal logic and placing it at the center of modern logical research.
The composition and groups of modality types given in different works on logic are diverse. As the
authors of "Dictionary of Logic" noted, "out of the various possible types of modal values, it (i.e.,
modal logic) includes a few, the most interesting ones." This article examines the types of modalities
that are regularly involved in everyday communication: cognitive (aletic and epistemic), deontic,
axiological, metalingual, teleological modalities. Now we will think about each of them separately:
• Alethic (necessary) modal words include two different relationships between the subject and
the predicate: necessary and problematic (probable).
• Epismetic modal judgments include modal operators such as -believes, -doubts, -
rejects, -knows, -provable, -calculates, -unsolvable. Epistemic modal considerations are studied in
epistemic logic. It is known that knowledge is different from belief. Knowledge is always true. Trust
can be true or false. Based on this, epistemic logic is divided into two types: logic of knowledge and
logic of belief. These differ from each other in terms of concepts and laws.
• Deontic logic is a branch of modal logic that studies the logical structure of normative
language; is the doctrine of normative concepts. Deontic logic studies the functions of modal concepts
such as forced, -possible, -indifferent, -forbidden in logic. Deontic logic studies expressions and
norms in the form of commands. The relationships established between norms and their elements are
important in modeling norms by means of logical theory.
In axiological modal considerations, the object is described from the point of view of a certain
value system. The axiological 106 position of a separate object is usually expressed in evaluative
judgments by absolute (absolute) evaluative concepts such as good, bad, all the same (no difference)
or comparative evaluative concepts such as -better, -worse, -same. For example: - It's good that she
knows how to play chess, - Nozima knows English better than Russian. Sometimes, instead of the
words good, bad, the words positive, negative, or goodness, evil are used, and instead of the word
better, the words preferable, more favorable are used. It is a necessary component of evaluative
judgments. These concepts are studied in the logic of assessment. Modal operators expressing time,
such as yesterday, today, tomorrow, before, after, participate in judgments expressing time modality.
Such considerations are studied in the logic of time. When comparing the category of modality,
interlinguistic and cultural differences are clearly expressed, because modality is closely related to
national images, that is, cultural concepts of different peoples. In this regard, researching the
possibilities of researching the "specific concept" of each culture based on national values in linguistic
and cultural studies, obtaining complete information about conceptual analysis, comparative research
of the modality category based on cognitive and linguistic approaches, linguistically defining the
national mentality specific to a certain society enables analysis. B.V. According to Panfilov, "there is
no such category as the category of modality, which has been expressed in different, opposing
opinions and has been interpreted in many different ways due to the colorful nature of its individual
meanings in the language[9]. The category of modality is used in all areas of literature: in artistic
texts, newspaper texts, poetic texts, dialogic speech, especially in the text of fairy tales, the
linguocognitive and linguological aspects of the category of modality, in addition, the diverse and
colorful semantics of modality help to reveal the typological features of the language, as well as their
linguistic means of expression allow to accurately reflect the national character of the internal
linguistic landscape, to understand the result of the interaction of language and culture.
Thus, when we think about the question of the relationship and interdependence of language
and culture, the role of language and culture in the development of the category of modality, these
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 79
problems are of great importance both in developing the form and productivity of communication,
and in teaching foreign languages. earns.
So, a person who speaks a certain language acts not only as a carrier of the language, but also
as a carrier of the culture of the nation that speaks this language. For this reason, the language has the
characteristic of showing the national-cultural mentality of the representative of the nation. After all,
linguistic culture studies linguistic facts through their spiritual and cultural characteristics.
REFERENCES:
1. Charles Bally.Le langage et va vie-P.:1926,-P.206
2. M.K.Halliday.System and function in language:Selected papers.-London.Oxford university press.1976-P.197
3. В.Г.Гак Теоретическая грамматика французкого языка. -М.:1986.-С.108.
4. A.Hojiyev.Lingvistik terminlarning izohli lug’ati.-T:1985-B.55
5. Фрейденберг ОМ,редактор.Античные теории языка и стиля-.Ленинград,-Москва:Соцэкгиз,1936-341 с.
6. Мечковская НБ.Философия языка и коммуникации.-Москва:Флинта;.Cовместное издание
‘‘Наука’’.2017-520с
7. Аристотель.Аналитика первая и вторая.-Ленинград:Госполитиздат;1952.-439 c.
8. Ивин АА,редактор.Философия:энциклоредический словарь.-Москва: Гардарики; 2004. 1072 с.
9. Панфилов В.В. “ Категория модальности и ее роль в конструировании предложения и суждения” –
М.1977 г.
UO’K 811.161.1
JОY NОMLАRI BILАN BОG’LIQ LEKSIK BIRLIKLARNING LINGVОMАDАNIY
TАHLILI
Sh.Sh.Kaxxarova, o’qituvchi, Buxoro davlat universiteti, Buxoro
Kirish. Dunyoning milliy-lisoniy shakllaninsh turlaridan biri ma’lum tarixiy shakllarga ega,
inson tomonidan birinchilardan bo’lib idrok etilgan borliq jamlanmasi geografik makonga tegishlidir.
Geografik makon tushunchasi ostida muayyan qabila, jamoa va keyinchalik davlat egallagan maydon
tushunilgan. Geografik maydon insonning yashab turgan joyi edi, shuning uchun ham, inson uni
o’zining amaliy maqsadlarida foydalanish uchun o’rgandi. Inson esa kundalik hayotida har kuni duch
keladigan borliq realiyalarini o’rgana boshladi. Bu realiyalar dastlab dala, tekislik, tog’, o’rmon,
daryo, vodiy, ko’l kabi landshaftning bir qismi, keyinchalik yopiq makonga tegishli uy-ro’zg’or
buyumlari edi.
Аdаbiyоtlаr tаhlili vа metоdоlоgiyа. Har bir insonning geografik makonidan xabardor bo’lishi,
uning milliy mentalitetini shakllantirishda juda muhum rol o’ynaydi. G. Gachev o’zining
madaniyatshunoslikka oid asarlarida turli xalqlarning milliy mentalitetining shakllanishida geografik
va geosiyosiy omillarning ta’siri masalasiga alohida yirik o’rin ajratadi.
80 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Til va nutqdagi geografik makon munosabatlari toponimlar vositasida ko’rsatib beriladi. L. N.
Davletqulova toponim deganda “Yerning quruqlik yoki suvli qismida tabiiy ravishda paydo bo’lgan
yoki inson tomonidan sun’iy ravishda yaratilgan, tarixiy, ijtimoiy va madaniy jihatdan aniq va
tushunarli bo’lgan geografik nomlar”ni [1] tushunadi. N. V. Podolskaya toponimga shunday ta’rif
beradi: “toponim og’zaki va yozma nutq kontekstida ma’lum bir geografik obyektni boshqa bir
geografik obyektdan ajratib turuvchi atoqli ot”.
Geografik nomlarning kelib chiqishi, semantikasi, tarixiy-madaniy holatini o’rganuvchi fan
toponimika deyiladi.
Odatda toponimikaning fanlar tizimidagi o’rnini aniqlashda, tadqiqotchilar uning geografiya,
tilshunoslik va tarix chorrahasida turganini qayd etishadi. Geografik terminlar ma’lum bir hududning
xususiyatlari aks ettirgan holda o’sha hududni nomlab kelganligi sababli, geografiya faniga tegishli
hisoblanadi. Biroq, joy nomlari jamiyat taraqqiyotining ma’lum bir bosqichida paydo bo’ldi. Ular bir
hududni boshqasidan farqlash zarurati kelib chiqqan vaqtda paydo bo’ldi. Xalq, oddiy va ommaviy
nomlar orasidan geografik obyektning nimadir yagona, individual xususiyatni ko’rgan holda, o’ziga
xos xususiyatidan kelib chiqib, uni shunday boshqa obyektlardan farqlaydigan nom beradi.
Geografik nomlar juda barqaror, ular uzoq vaqt saqlanib turadi, ular tarixiy yodgorliklarning
bir turiga aylanib qoladi. Shuning uchun ham, ko’pgina olimlarning fikricha toponimika tarix va
manbashunoslik fanlariga ham tegishli. Ma’lum bir tilda o’z aksini topgan toponimika, shu
mamlakatning tarixi bilan chambarchas bog’liq. Buni Britaniya bosqinchilari misolida ko’rib
chiqamiz. Shunday qilib, Shotlandiya, Uells, Kornuellaning g’arbiy qismida va Irlandiya, Men
orollari va boshqa ba’zilarida: Avon, Shanon, Don, Severn ko’plab kelt nomlari saqlanib qolgan.
Ayniqsa tarkibida “avon”- daryo morfemasi bo’lgan so’zlar gidronimlar keng tarqalgan. Ko’l
nomlari tarkibida Shotlandiya va Irlandiya keltlari tilida “ko’l”, “dengiz ko’rfazi” ma’nolarini
anglatuvchi “loch” terminini ko’plab uchratish mumkin [1].
Angliya tili va madaniyatiga hozirgi Yevropa hududlarida yashagan va eramizning V asrlarida
Angliyaga qul sifatida kelib qolgan anglo-sakson qabilalari (angl, sakson va yutlar) ta’sir
ko’rsatishgan. Anglo-saksonlar o’zlarining yangi davlatlarini Angliya (Angllar yeri ) va tillarini
English deb nomladilar. Hozirgi ingliz toponimiyasida biz ko’plab Anglo-Saksonlar ko’plab joy
nomlariga nom berishganini, va ba’zi joy nomlaridagi elementlar Anglo-Sakson tilidan kelib
chiqqanligini ko’rishimiz mumkin.
K. Kameron shunday deb ta’kidlaydi: “har bir keyingi til ingliz tilida allaqachon mavjud
bo’lgan toponimlarga o’zining fonetik va geografik shakli jihatdan ta’sir ko’rsatgan”
Muhоkаmа vа nаtijаlаr. Geografik nomlarning o'ziga xos va o'ta qimmatli jihati ular o'z ichiga
olgan mahalliylashtirilgan tarixdir. Agar toponim ataylab almashtirilmasa, u til, yozuv va talaffuzning
evolyutsion va inqilobiy oʻzgarishlari tufayli vaqt oʻtishi bilan koʻrinishini oʻzgartiradi, lekin
mohiyatan oʻzgarishsiz qoladi. Ismning birinchi qo'llanilgandagi ma'nosi bir qarashda yo'qolgandek
tuyulishi mumkin, lekin uning ramziy tasviri va ovozi ichida, toshga aylangan shaklda, ehtimol va
faqat o'qitilgan ko'z bilan ajralib turadi, u o'zining noyob hikoyasini har kimga aytib berish uchun
qoladi.
Oksford va Kembrij o'rta asrlarda aholi punktlarini shaharlarga aylantirish uchun etarlicha
muhim bo'lgan daryolarni kesib o'tish haqida hikoya qiladi. Angliyada -chester yoki -caster bilan
tugaydigan shahar nomlari dastlab bu shaharlarning o'sishi uchun mas'ul bo'lgan Rim legionlarining
mavjudligini aks ettiradi. [2]
Angliya toponimiyasi turli lingvistik manbalardan kelib chiqqan. Ko'pgina ingliz toponimlari
yillar davomida til o'zgarishlari tufayli asl ma'nolarini yo'qotib, buzilgan va buzilgan. Baʼzi hollarda
bu joy nomlarida qoʻllanilgan soʻzlar yoʻqolib ketgan va taʼriflari maʼlum boʻlmagan tillardan
olingan.
Joy nomlari turli davrlardagi ikki yoki undan ortiq tillardan olingan elementlardan tashkil
topgan birikmalar ham boʻlishi mumkin. Toponimlarning aksariyati ingliz tilidagi Norman istilosi
natijasida yuzaga kelgan tub o'zgarishlardan oldin va ba'zi keltlar nomlari hatto miloddan avvalgi
birinchi ming yillikda anglo-sakslarning kelishidan oldin paydo bo'lgan.
Ingliz toponimlarida uchraydigan suffikslar jadvali:
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 81
(-)ham/hamm, hamm river, meadow Dagenham, Horsham, Swaffham,
South Hams, Ham, Hampton
-ing, -ingas People of reading Worthing, Hastings
-strata (Strat-, -street) a Roman road Chester-Le-Street
portus (-port) a harbor Portsmouth
ceaster (-chester, -caster) a Roman station or walled town in Manchester, Winchester and
Old English Cirencester
colonia (-coln) a settlement Lincoln
pons- (pont-) a bridge Pontefract
-ton, -tun Fenced, enclosure Brighton, Bolton, Priston
-bury, burh, bourgh Town Middlesbrough, Banbury, Shrewsbury
-ford Fort Bradford, Oxford, Chelmsford
ley, leah Clearing Burnley, Keighley, Barnsley
dale, dael Valley Borrowdale, Calderdale, Derbyshire
Dales
borough/boro- odatda qal'aga ishora qiluvchi inglizcha (oxir-oqibat qadimgi inglizcha,
shuning uchun ham german qo'shimchasi) joy nomi qo'shimchasidir. Bu ko'p hollarda burg bilan
tugaydigan nemis joy nomlari bilan bir xil ma'noga ega, chunki ikkala til ham umumiy ajdodga ega.
Borough odatda Murfreesborodeb nomlangan Tennessi shtatidagi Murfreesboromisolida bo'lgani
kabi boroga qisqartiriladi. Ushbu qo'shimcha Amerika inqilobidan oldin mashhur bo'lgan. Inqilobdan
keyin u foydalanishni rad etdi. [3]
-burg/burgh - bu ingliz (va shotland) qo'shimchasi bo'lib, shahar yoki shaharga ishora qiladi.
Pitsburg Britaniya davlat arbobi Uilyam Pitt sharafiga nomlangan. 1911-yil 19-iyulda “h”
qulflangunga qadar bu shaharning imlova imloxatolari Pitsburg, Pitsburg va Pitsburg kabi turlicha
yozilgan va turlicha yozilgan. Qadimgi ingliz, nemischa ma'noda bu so'z odatda qal'alar va devor
bilan o'ralgan shaharlarni anglatadi. Ushbu qo'shimchali AQShdagi ko'plab shaharlar nemis joylari
nomi bilan atalmagan, ammobu nemis qo'shimchasidan foydalaning. Ushbu joy nomlarining kelib
chiqishi loyqa bo'lib qoladi, chunki ingliz, shotland, nemis va frantsuz joy nomlari o'xshash
qo'shimchalardan foydalanadi. Frantsuz tilida "bourg" qo'shimchasi mavjud. Ushbu qo'shimcha
Amerika inqilobidan oldin mashhur bo'lgan. Ammou inqilobdan keyin ham mashhur bo'lib qoldi va
odatda shaxsiy ismlarga qo'shildi.
Town/ton - AQShda joy nomlari uchun shahar/ton qo'shimchalari qo'shimcha kerak bo'lganda,
masalan, 18-asr o'rtalarida keng tarqalgan hodisaga aylangan joyga shaxs nomi berilganda ishlatilgan.
Misol tariqasida Janubiy Karolina shtatidagi Charlston shahri Angliya qiroli Charlz II nomi bilan
atalgan. Yana bir misol, Nyu-Jersi shtatining Trenton shahri asoschisi Uilyam Trent nomi bilan
atalgan. Ushbu qo'shimcha Amerika inqilobidan oldin mashhur bo'lgan.
Toponimlar va ularning lingvokulturologiya bilan aloqasi haqida gapirganda Harry Potter
asaridan misollar keltirish mumkin. Chunki bu asardagi har bir joy nomi tarixiy madaniyatdan dark
beradigan Britaniya folklor va tarixiga havolalar ham mavjud. Masalan, ba'zi belgilar Arturiya
afsonalari sharafiga nomlangan, ayniqsa Uizlilar (Artur, Ron (ald), Persi / Persival). Yana bir muhim
misol Dambldorning Feniks nomi bo'lishi mumkin - Foks. Aslida u 1605-yilda parlamentni portlatib
yuborishga uringan Britaniya katolik fitnachilaridan biri Gay Foks (1570-1606) nomi bilan atalgan.
Feniks kulidan tirilishning noyob qobiliyatiga ega afsonaviy mavjudotdir. Natijada, Potterian qushiga
singdirilgan madaniy manbalar olov tasviri bilan bir-biriga bog'langan. Bundan tashqari, barcha
britaniyaliklar tarixiy shaxsni yaxshi bilishadi, chunki ko'pchilik uning muvaffaqiyatsiz urinishini har
5 noyabrda gulxan va otashinlar bilan yodga oladi. [4]
Londondagi sehrgarlarning savdoko'chalariga kelsak, Greg Pringl Garri Potterning
Osiyotillariga tarjimasi haqidagi veb-saytida ularni quyidagicha tahlil qiladi:
“Ushbu xiyobonlarning nomlari “xiyobon” (tor koʻcha maʼnosini bildiradi) va “-ittifoqchi”
(adverbial oxiri, masalan, “odatda”, “rasmiy”, “sehrli”, “ogʻzaki”) da injiq oʻyinni oʻz ichiga oladi.
Shunday qilib, "Diagon Alley"ni "diagonal" bo'ylab o'qish mumkin. Diagon Alley Londondagi
Magllarning hayotiga "diagonal" bo'lganligi uchun shunday nomlangan bo'lishi mumkin. Knockturn
Alley biroz murakkabroq, chunki yana bir kichik hiyla bor: "Knockturn Alley" "Knockturnally" emas,
balki "tungi" so'zi. Bu nom tanlangan bo'lishi mumkin, chunki Knockturn Alley tungi mavjudotlar
82 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
("tungi mavjudotlar") hukmronlik qiladigan joydir. "Knockturn" so'zining o'zi - "taqillatish" (urilish)
va "burilish" (egilish, burchakka yo'naltirish yoki aylanma) harakatlarini bildiruvchi yuqori so'z
manzara bo'ylab ko'rinmas sehrli kuch chiziqlari, sehrli va sehrli kuchlar ayniqsa kuchli bo'lgan joy.
Shunday qilib, Diagonal Alley Diagonal Leyga aylanadi va Knockturn Alley Nocturnal Leyga
aylanadi ".
Xulosa qilib aytadigan bo’lsak, hozirgi zamonaviy tilshunoslikda toponimlarni o’rganish
dolzarb ahamiyat kasb etmoqda. Lingvistikaning bir yo’nalishi hisoblangan onomastikaning predmeti
hisoblangan atoqli otlar dunyo hamjamiyatida tilshunos olimlar tomonidan xalq va jamiyatning
madaniyatini aks ettiruvchi asosiy omil ekanligi e’tirof etilmoqda.
FOYDALANILGAN ADABIYOTLAR RO’YXATI:
1.Urаzmetоv А.M. Tоpоnimik kоmpоnentli frаzeоlоgizmlаrning lingvоkul’turоlоgik аspekti.T.: О‘TА,2006 № 5,
- B 46 – 48.
2. Дaвлеткулoвa Л.Н. Тoпoнимы в лингвoкультурoлoгическoм aспекте (нa примере геoгрaфических
нaзвaний грaфствa Oксфoрдшир и Челябинскoй oблaсти): Дисс. … кaнд. филoлoг. нaук. ‒Челябинск, 2014‒220 с.
3. W. F. H. Nicolaisen, Old European names in Britain, Nomina 6. – L., 1982. - p37–42
4. Henry Bradley, English place-names. Essays and studies. L., - 1987. - P. 98
UDC 82.01/09
THEME OF KATEP IN R. AYAPBERGENOV'S POETRY
(Based on the work of the poet Rakhmet Ayapbergenov)
R.S.Kenzhebayeva, teacher, Karakalpak State University, Nukus
We can see from the proverbs, legends and heroic songs about the native land that our Kazakhs
strive to inculcate the value of the native land into the minds and hearts of the growing young
generation from childhood.
Good voiced Kazybek dance: «Алтын ұяң - Отан қымбат.....Туып өскен елің қымбат, кіндік
кескен жерің қымбат»,- he especially appreciated the qualities of his native land.
There are also legends about our ancestors' endless love for their native land. In the distant
times when the sun was born at the head of the country, our ancestors used to sew the soil of the
native land as a talisman and carry it with them.
The legend about Beybarys Sultan, who, missing the smell of wormwood growing in the
Kazakh steppe, left his golden throne and said, "Where are you from my homeland?" The conclusion
to be drawn from this is that everyone values their native land and native country. It is the duty of
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 83
each of us to protect and beautify our native country, as the legacy left to us by our heroic forefathers
and mothers, who defended the country with a spear in hand.
It is not enough to talk about the native place and native village.
Көрсем де талай – талай ғажап мекен,
Қатебім, сұлу жер жоқ сенен асқан! – In this way, the poet Rakhmet Ayapbergenov, who
developed his thoughts into verses, dedicated his heartfelt poem to his native village of Katep.
So, the village of Katep is the golden cradle of the poet's ancestors, his backbone, his childhood
home. Of course, the poet's love for his homeland, his longing for his distant home, probably started
from this small village.
As he grew up, the tender feeling for his native country, which started from the village soil, was
perfected with the education he received at school and the upbringing given by his parents. Every
village child who grew up with the smell of baked bread buried in the hot coals of dung, the smell of
worms boiling in a black cauldron, the smell of cheese, bagels as red as cauliflower fried in oil, the
friendly faces of the villagers, and the warm voices of "Ayalayndy" may not love their native land.
not.
Did not some Kazakh dancers and heroes, scientists and artists take wings from this village
field and fly to the mountains? Rakhmet Ayapbergenov, a bright-eyed boy of the village who flew
out of a beautiful school in such a beautiful village, always speaks proudly of his native village. Yes,
even if the place where the poet was born and grew up does not have a trickling spring, a mountain
that fights with the sky, a gurgling river, or a lush forest, the poet loves it as if it were close to him
and walks around it.
How hot, pure and boundless is the love of a person for his land, where he rolls in its soil, bathes
in its water, burns in the sun and freezes in the cold when he becomes a man and becomes a citizen!
Yes, the native village of the poet, the village of Katep, belonging to the Khozheli district, was
like the poet's heart, gave him sunshine, energy to his body, and inspired the poet's soul.
Бақыт боп қонған маған өлең жастан,
Сен жайлы өршіл жырдан өрем дастан.
Көрсем де талай – талай ғажап мекен,
Қатебім, сұлу жер жоқ сенен асқан!
The golden cradle is the soil of the native land, its bright morning, red sunset, stars and
mysterious night, every healing herb, field, crop field, mountain, river of the native land - everything
is hot, what a happiness it is to cherish and feel them. can be understood from the stanzas.
Сап түзеп көшелерің жылдан – жылға,
Семіріп малың өскен мыңнан – мыңға.
О, Қатеп, саған теңдес ауыл аз – ау,
Қосатын ақын болса, тыңнан жырға
The poet's village was a blessed place during Katep. The poet was born there, grew up
and spent his childhood there. Singing with special attention to the harvest field, which has become
the pride of the people, the farmers who sweated to sow grain there, the great-hearted brothers who
sweated and stomped to collect the grains when autumn came, and the grandmothers who did not
dirty their white bread:
Бар мұнда аталарым нар секілді,
Шаштары таудағы аппақ қар секілді.
Бар мұнда әжелерім кимешегі,
Мәңгілік кір шалмаған ар секілді ,-
the poet is proud of this village, which is beautified by its brave brothers and educated youth.
Our village is blessed by our farmer brothers who don't leave the agreement of spring with a smile -
take a shovel in their hands and earn money from the land, and our peasant brothers who burn in the
heat and freeze to the cold regardless of the heat and cold in order to make one sheep or two sheep.
Ұшса да мейлі қанша талмас қыран,
Әкелер жолын алға жалғастырған.
Бар мұнда ер кеуделі ағаларым,
84 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Жақтырмас жалқауларды малдас құрған.
Brides who get up early in the morning and sweep in front of the door, mothers carrying their
buckets in their arms, crowing of roosters, dogs barking, sparrows chirping, and children are noisy,
are they not the fashion and song of the blessed village?!
Түк те жоқ жетпей жатқан таласатын,
Кімді де сүйсінтер ой парасатын.
Бар мұнда аққудай ақ жеңгелері,
Әрқашан әзіліміз жарасатын.
No country can reach the place of birth. The field is flat, the people are polite, and the water
tastes like honey! While singing the eye-catching high school:
Көсілген шетсіз – шексіз теңіз – дала,
Жыр бағы бұлбұл сайрар жеміс тола.
Әрдайым бірге туып, бірге жасар,
Мен үшін ауыл, мектеп – егіз бала.
In this way, the poet openly sings that his native village Katep was first founded by Moldagali,
that Katep's dances such as Bakhytzhan, Imangali, Konabay, who became famous, the heroism of
Zhumagali, who became a legend in his country, impressed many men, that in the war with the
Germans, he did not return to the country like Zhienaly, his chest is full of orders and medals, and he
defeated the enemy The number of Kulbays who were not killed by bullets is a source of inspiration
and pride.
There is a lake, carp, sole fish, Karakol sheep, proud offspring, various crops of white cotton,
come to sing about the bravery of the citizens of Katep, who are as brave as a vast field, and if you
have a cheerful spirit, the skilled craftsmen Zhumabai and Uzakabai who tied knots from wood. The
price is as deep as a clear lake, and Ashirbaidai, the leader of Katep, came to inspire him:
UDC 81`42
LINGUISTIC AND APHORISTIC DESCRIPTION OF PARADOXICAL TEXT
CONCEPTS
S.B.Khamidova, Head of Department, Jizzak State Pedagogical University, Jizzak
UDC 811.111
ANALYSING ENGLISH DIPLOMATIC DISCOURSE AND NOTABLE SPEECHES OF
DIPLOMATS
R.A.Khamrakulova, ESL Teacher, Fergana State University, Fergana
Introduction: Linguists who analyze diplomatic discourse study the language and
communication strategies used in diplomatic interactions. They examine the linguistic features,
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 89
discourse patterns, and pragmatic aspects of diplomatic language to understand how diplomats
convey messages, negotiate agreements, and maintain diplomacy. These linguists analyze various
aspects of diplomatic discourse, such as the use of indirect speech, euphemisms, diplomatic formulas,
and cultural sensitivity. They also examine the role of power dynamics, politeness strategies, and
rhetorical devices in diplomatic communication. Through their analysis, linguists can provide insights
into the effectiveness of diplomatic discourse, identify patterns and trends in diplomatic language use,
and offer recommendations for improving diplomatic communication. Their research contributes to
the field of diplomacy by enhancing understanding of how language shapes diplomatic interactions
and by providing practical guidance for diplomats to communicate more effectively. English
diplomatic discourse refers to the language and communication style used in diplomatic interactions
involving the English language. Diplomatic discourse is characterized by a formal, polite, and
diplomatic tone, as diplomats are expected to maintain professionalism and convey messages
effectively while representing their countries or organizations.
Literature Review: In English diplomatic discourse, diplomats use specific language strategies
to achieve their goals, such as employing indirect speech, using diplomatic language, and employing
diplomatic formulas. These strategies help maintain diplomacy, avoid confrontation, and promote
understanding and cooperation between nations. Diplomatic discourse is highly pragmatic and
requires a well-organized and well-grounded international dialogue. Therefore, in linguistics, the
study of the peculiarities of language and speech is considered one of the most important problems.
Diplomatic language often involves using euphemisms, vague language, and diplomatic formulas to
soften potentially sensitive or controversial issues. This allows diplomats to express their views
without causing offence or escalating tensions. For example, instead of using direct and
confrontational language, diplomats may use phrases like "we have a different perspective" or "we
would like to explore alternative options."
Furthermore, English diplomatic discourse also involves cultural awareness and sensitivity
when communicating with diplomats from different countries. Diplomats must understand cultural
differences in communication styles, norms, and values to ensure effective communication and avoid
misunderstandings. In political communication, articulation processes are employed to gain or hold
power and, in theory, to ensure that decisions made benefit society as a whole. We draw attention to
the statement theoretically because, even in liberal democracies, the system maintains the positions
of power for political elites, favoring private interests over public ones. When these democracies
eventually develop into efficient systems of discussion, different views will be able to be heard and
represented. Gomes (2016) asserts that scientific attention reveals the extent and depth of a subject
of inquiry. Therefore,the goal of this study is to evaluate how this object has been approached in the
field of communication, particularly in political communication, based on the understanding of
diplomatic discourse as one of the possibilities of international communication sent by different
nations and on the diagnoses made by Carvalho (2011), Gomes (2011),and Oliver (1950), authors
who assert that there is a dearth of studies regarding this discourse genre. Political discourses are a
form of communication that focuses on societal issues and can be presented orally. Individuals,
political parties, governments, institutional subjects, and organized organizations that support
particular ideologies frequently carry out these discourses. They address problems and offer potential
solutions, while also referencing the past and looking towards the future. Additionally, political
discourses are persuasive in nature, aiming to convince others of a particular viewpoint or course of
action.
Analysis: English diplomatic discourse is a specialized form of communication that requires
diplomats to navigate complex political landscapes, negotiate agreements, and represent their
countries or organizations effectively while maintaining diplomacy and mutual respect. In the past
few decades, women have gained prominence in the area of diplomacy, which has historically been
dominated by men. "I Have a Dream" speech by Martin Luther King Jr. (1963): Although not a
diplomat, Martin Luther King Jr. delivered this iconic speech during the March on Washington for
Jobs and Freedom. His powerful words called for racial equality and justice, making it one of the
most famous speeches in history. "You can fool a part of the people at any time, the whole people at
90 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
some time, but you can't fool the whole people all the time." This quote is often attributed to Abraham
Lincoln, although there is some debate about its origins. It suggests that while it may be possible to
deceive some people for a certain period, it is not possible to deceive everyone indefinitely. People
eventually tend to see through deception or manipulation.[2] "The Special Relationship" speech by
Tony Blair (2001): As the Prime Minister of the United Kingdom, Tony Blair delivered this speech
to the U.S. Congress, emphasizing the strong alliance between the UK and the United States in the
aftermath of the 9/11 attacks. "The Power of Diplomacy" speech by Boris Johnson (2019): As the
UK's Foreign Secretary at the time, Boris Johnson delivered this speech at Chatham House, discussing
the importance of diplomacy and international cooperation in addressing global challenges. "The
Responsibility to Protect" speech by David Miliband (2009): As the UK's Foreign Secretary, David
Miliband delivered this speech at Princeton University, highlighting the concept of the responsibility
to protect civilians in conflict zones and advocating for international action to prevent mass atrocities.
Discussion: Especially English women diplomats have transformed the practice of diplomacy
and broken down boundaries in the field of international relations. Beyond their accomplishments,
these ladies have unique speaking philosophies that have captured the attention of listeners all across
the world. This article aims to examine the travels and speech patterns of prominent English women
ambassadors, emphasizing their influence on international relations. Dame Karen Pierce, the first
female British Ambassador to the United States, stands out for her eloquence and persuasive speaking
style. Known for her ability to articulate complex geopolitical issues with clarity, she has earned
respect and admiration from her peers. Her speeches often reflect a balanced approach, emphasizing
the importance of diplomacy and collaboration in resolving global challenges.
As a former British Ambassador to Sudan and Ethiopia, Dame Rosalind Marsden has played a
pivotal role in promoting peace and stability in conflict-ridden regions. Her speaking style is marked
by empathy and sensitivity, allowing her to connect with diverse audiences. Marsden's speeches often
focus on the human aspect of diplomacy, shedding light on the experiences of those affected by
conflict and emphasizing the importance of humanitarian assistance.
Baroness Catherine Ashton, former High Representative of the European Union for Foreign
Affairs and Security Policy, is known for her calm and measured speaking style. Her ability to
navigate complex negotiations with composure has earned her international recognition. Ashton's
speeches often reflect her diplomatic finesse, striking a delicate balance between assertiveness and
compromise.
Harriet Cross, the British Consul General in New York, has made significant contributions to
promoting British interests and fostering cultural exchange. Her speaking style is characterized by
enthusiasm and a knack for storytelling, making her speeches engaging and relatable. Cross often
emphasizes the importance of cultural diplomacy in building bridges between nations.
Conclusion: English women diplomats have not only shattered glass ceilings but also brought
their unique speaking styles to the forefront of international relations. From eloquence to empathy,
their diverse approaches have enriched diplomatic discourse and paved the way for a more inclusive
and effective form of engagement. As these women continue to shape the world through their words,
their impact on diplomacy will undoubtedly leave a lasting legacy for generations to come.
REFERENCES:
1. Abdulakhatovna, K. R. (2022). Diplomatic discourse. Web of Scientist: International Scientific Research
Journal, 3(5), 18-22.
2. Abdulaxatovna, X. R. (2022). Abraham Linkoln iboralarining misolida nutqning psixolingvistik ko ‘rinishi.
barqarorlik va yetakchi tadqiqotlar onlayn ilmiy jurnali, 2(10), 413-416.
3. King Jr, M. L. (1968). I Have a Dream Speech, August 28 1963. Negro History Bulletin, 31, 16-17.
4. Freedman, L. D. (2006). The special relationship, then and now. Foreign Aff., 85, 61.
5. Pollentine, M. (2012). Constructing the responsibility to protect (Doctoral dissertation, Cardiff University).
6. Pimentel, P. C., & Panke, L. (2020). Diplomatic discourses: are they an object of Political Communication
research?Intercom: Revista Brasileira de Ciências da Comunicação, 43, 53-71.
7. www.google.com
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 91
UO’K 81'27
EKSTREMISTIK MATNNING TIL XUSUSIYATLARI
A.A.Kurbonmuratov, doktorant, Toshkent davlat til va adabiyoti universiteti, Toshkent
Biz bilamizki, Tilshunoslik „Lingvistika“ — til haqidagi, uning ijtimoiy tabiati, vazifasi, ichki
tuzilishi, tasnifi, muayyan tillarning amal qilish (faoliyat) qonunlari, tarixiy taraqqiyoti haqidagi
fandir. Maqsadi va vazifasiga koʻra, tilshunoslikning bir nechta yoʻnalishlari (sohalari) bor: umumiy
tilshunoslik — tilni umuman insonga xos hodisa sifatida oʻrganuvchi, asosiy vazifasi dunyo tillariga
xos eng umumiy belgi-xususiyatlarni aniqlash va yoritish boʻlgan soha; xususiy tilshunoslik— ayrim
bir til belgi-xususiyatlarini oʻrganuvchi soha; amaliy tilshunoslik — tildan foydalanish bilan aloqador
amaliy masalalarni (eksperimental fonetika, leksikografiya, lingvostatistika, transkripsiya,
transliteratsiya va boshqalar) hal qilish metodlarini ishlab chiquvchi yoʻnalish; matematik lingvistika,
strukturaviy tilshunoslik, qiyosiy-tarixiy tilshunoslik va boshqa paralingvistika, etnolingvistika,
psixolingvistika, sotsiolingvistika kabi sohalar soʻzlovchi (shaxs)ning jamiyatdagi faoliyati bilan
aloqador til xususiyatlarini oʻrganadi. Hamda ekstremistik matnlarda lingvistik ekspertizalar ham
muhim ahamiyat kasb etadi.
Fuqarolik jamiyati rivojlanishining zamonaviy voqeligining hodisasi sifatida ekstremizmga
qarshi kurashish dunyoda xavfsizlik va barqarorlikni ta’minlashning muhim yo‘nalishlaridan biridir.
Ekstremizm ijtimoiy hodisa sifatida irqiy, milliy yoki diniy adovatni qo’zg’atish, shaxsning milliy
qadr-qimmatini kamsitish kabi ekstremistik faoliyat shakllarining ko’payishi tendentsiyasi bilan
tavsiflanadi; fuqarolarning dinga, ijtimoiy, irqiy, milliy yoki tilga mansubligiga bo’lgan
munosabatidan kelib chiqib, ularning eksklyuzivligi, ustunligi yoki pastligini targ’ib qilish; bu
harakatlarni amalga oshirish uchun ommaviy chaqiriqlar. Ekstremizm nafaqat millatlararo va
konfessiyalararo mafkuraviy nizolar, balki ommaviy tartibsizliklar, g’oyaviy, siyosiy, irqiy, milliy
sabablarga ko’ra yoki diniy adovat yoki adovat, shu jumladan har qanday ijtimoiy guruhga qarshi
sodir etilgan bezorilik va vandalizm harakatlari, shuningdek fuqarolarning ijtimoiy, irqiy, milliy,
diniy yoki lingvistik mansublik. Og’zaki ekstremizmning namoyon bo’lishi holatlarida sud dalillari
qiymatiga ega bo’lgan faktlarni aniqlashda maxsus lingvistik bilimlarning roli to’g’risida ilmiy
adabiyotlar juda tarqoq, to’liq emas, uslubiy va uslubiy jihatdan qarama-qarshidir.
Lingvistik ekspertiza (lotincha ekhraish – tajribali) – turli mazmundagi matnlarni izohlash
(tushunish, izohlash) va atributi (u yoki bu mansublikni belgilash) bilan bog’liq bahsli masalalar va
92 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
kelishmovchiliklarni hal qilish maqsadida tilshunoslar tomonidan olib boriladigan tadqiqot.
Lingvistik ekspertiza ta’limoti amaliy tilshunoslikning bir bo’limi bo’lib, unda lingvistik
ekspertizaning nazariy asoslari shakllantiriladi va uni amalga oshirish usullari ishlab chiqiladi. Rus
tilining izohli lug’atida S.I. Ozhegova, N.Yu. Shvetsiyada “ekstremizm” tushunchasi ekstremizm va
chora-tadbirlarga sodiqlik sifatida ta’riflanadi, bunda sodiqlik kimgadir yoki biror narsaga sadoqatni
anglatadi. Lingvistik ekspertizani amalga oshirishda induksiya va deduksiya ham muhim ahamiyat
kasb etadi. Yuridik tilshunoslikda sud ekspertizasi ishlab chiqarish uchun quyidagi usullar ajratiladi.
Lingvistik ekspertiza:
- Komponentlarni tahlil qilish usuli;
- Kontekstli tahlil usuli;
- Stilistik tahlil usuli;
- Kadrlarni tahlil qilish usuli;
- Mantiqiy va grammatik tahlil usuli;
- Auditorlik tahlili usuli;
- Kontekstni tahlil qilish usuli;
- Nutqni tahlil qilish usuli;
- Lingvistik eksperiment usuli.
Ekstremizm tushunchasi e’tiqod va tushunchalar to’plamini o’z ichiga oladi, ularga kirish kerak
tanqidiy. Shunday qilib, joriy tadqiqot tanqidiy stilistik yondashuvni qo’llash orqali o’z yo’lini topadi.
Ushbu yondashuv doirasidagi ish shakl-funksiya munosabatlaridan tashqari tahlilni o’z ichiga oladi.
Bundan tashqari, u yerda ichki mafkuraning kalitini ochish uchun birgalikda ishlashi mumkin bo’lgan
bir nechta tahlil vositalaridir har bir matn. Har bir ekstraktni tahlil qilgandan so’ng, bir nechta vosita
hamkorlik qilishi aniq bo’ldi fosh qilgani uchun ekstremizmni. Ushbu kontseptsiyani aks ettiruvchi
lingvistik tanlovlar yoki vositalar orqali ochib beriladi. Bu kontseptsiyaning zo’ravonlik, kurash,
g’ayritabiiylik, nafrat, murakkab va ziddiyatli tabiati. Hammasi bular makon va vaqtni ifodalovchi
ta’sirlar, taxminlar, gipotezalar bilan tan olinadi. Harakat, hodisa va holatlarni ifodalash,
tenglashtirish va qarama-qarshilik, inkor qilish va nomlash jarayonlari.
Og’zaki va yozma matnni protsessual tartibga solinadigan lingvistik tadqiqot sifatida, hal
qilinishi tilshunoslik va sud nutqi fanida maxsus bilimlarni talab qiladigan masalalar bo’yicha fikr
bildirish bilan yakunlanadi. Katta tushuntirish lug’atida “ekstremizm” jamiyatdagi mavjud
muammolarni hal qilish uchun jamiyatning bir qismiga nisbatan zo’ravonlik qo’llash, shuningdek,
ijtimoiy zo‘ravonlikni targ‘ib qiluvchi yoki oqlaydigan, jamiyatning istalgan qismiga qarshi
tajovuzkor harakatlarga chaqiruvchi g‘oyaviy asosli bayonotlar.
Jihod, [<arab. Jihod urushi, kurash]. Gazavat bilan bir xil [12, b. 249].
G'azavot. Musulmonlar orasida: Qur'on tomonidan buyurilgan muqaddas urush "kofirlar",
ya'ni. musulmon bo'lmaganlar; jihod bilan bir xil [12, b. 173].
Kofirlar. Mn. eskirgan Boshqalar bilan solishtirganda, e'tiqodi, dini boshqacha bo'lganlar [8].
Ekstremizm holatlarida lingvistik ekspertiza masalalariga qo'yiladigan talablarni ajratib
ko'rsatamiz, bu esa to'g'ri va noto'g'ri shakllanishlardan qochish imkonini beradi.
1. Savollar qonuniy ta'riflarga ega bo'lmasligi kerak
“Ekstremizm”, “ekstremistik” iboralari qonunlarning dispozitsiyasini takrorlamasligi kerak.
2. Savollar imkon qadar aniq, batafsil, ekstremistik bayonotlarning lingvistik belgilarini
izlashga qaratilgan bo'lishi kerak.
3. Kompleks ekspertiza o'tkazishda ilmiy bilimlarning turli sohalari bo'yicha mutaxassislar
uchun alohida savollarga intilish kerak. Masalan, mafkuraviy-diniy matnni tahlil qilishda tilshunos
gap-chaqiruv shaklini o‘rnatadi, diniy olim esa aniqlangan gaplarning mazmuniga baho beradi.
4. Savollar bir ma'noli bo'lishi kerak, ekspertning "Men savolni shu tarzda tushunaman" shartini
talab qiladigan vaziyatlar bo'lmasligi kerak. Savollar matnida noaniqlikka yo'l qo'ymaslik uchun
dastlabki bosqich - ekspertlar bilan maslahatlashish (savollar mazmuni bo'yicha) yordam beradi.
5. Savollar, iloji bo'lsa, imtihon o'tkazishning bitta metodologiyasiga bog'lanmasligi kerak.
Matnni tahlil qilish, xulosalar tadqiqotning turli usullari va usullari bilan tasdiqlanishi kerak.
Masalan, keng qamrovli psixologik va lingvistik ekspertiza uchun yuqoridagi savollarda
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 93
huquqshunoslar jamoasi tomonidan ishlab chiqilgan "belgilar" (chaqiruv nutq akti) ko'rsatkichi
mavjud. Ma’lum bo‘lishicha, turli yondashuvlar nuqtai nazaridan tahlil qilingan bir xil matn turlicha
talqin qilinishi mumkin.
6. Ekspertiza tayinlash to‘g‘risidagi qarorda nafaqat ayrim gaplarni qidirishga qaratilgan
savollar, balki ekspertiza ob’ektini tavsiflash uchun muhim bo‘lgan savollar ham bo‘lishi kerak:
“tadqiqotga yo‘naltirilgan ish janrini belgilang” (janrlari). xatlar, SMS xabarlar, suhbatlar
bayonotning ekstremistik xususiyatini istisno qiladi, tarixiy asarlarni ham ekstremizm belgilari nuqtai
nazaridan tahlil qilib bo'lmaydi).
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UO’K 821.521.398.2
AKUTAGAVA RYUNOSUKENING “O‘RGIMCHAK UYASINING TOLASI” VA XANS-
XAYNTS EVERSNING “O‘RGIMCHAK” ASARLARIDA “O‘RGIMCHAK”
KONSEPTINING TIPOLOGIK TAHLILI
G.I.Kurbonova, PhD, dots., Samarqand davlat chet tillar instituti, Samarqand
L.Sh.Jalolova, talaba, Samarqand davlat chet tillar instituti, Samarqand
Annotatsiya. Mazkur maqolada yapon adabiyotida o‘ziga xos yo‘nalishga ega bo‘lgan ijodkor
Akutagava Ryunosukening “O‘rgimchak uyasining tolasi” va Xans-Xaynts Eversning “O‘rgimchak”
asaridagi “o‘rgimchak” konseptining kategorial ma’noviyligi, vazifalari madaniy hamda diniy
qarashlar orqali yoritilgan. Asarlardagi “o‘rgimchak” konsepti madaniyatlararo falsafiy ma’no
anglatib, ular tipologik jihatdan ochib berilgan. Shuningdek, asardagi obyektiv tasavvur,
assotsiatsiyalar o‘xshashligi, xususiyatlari jahon hamda yapon adabiyotidagi asarlarda ham mavjud
bo‘lib, ular o‘zaro qiyoslandi.
Kalit so‘zlar: Akutagava Ryunosuke, Xans-Xaynts Evers, konsept, o‘rgimchak, simvol, Budda,
Nihon shoki, ruh, o‘lim.
Аннотация. В данной статье рассматриваются понятия «паук» в произведении
«Паутинка», создателя уникального направления в японской литературы Акутагавы Рюноскэ
и в произведении «Паук» Ганса Гейнца Эверса. Посредством культурных и религиозных
взглядов освещаются категориальное значение и функции понятия «паук». Данное понятие
имеет межкультурно-философское значение и рассматривается с типологической точки
зрения. А также в данной статье сравниваются предметный образ, ассоциации,
характеристики, присутствующие в произведениях немецкой и японской литературы.
Ключевые слова: Акутагава Рюносукэ, Ганс Гейнц Эверс, паук, концепция, символ,
Будда, Нихон шоки, дух, смерть.
Abstract. This article discusses cultural and enlightened religious perspectives in relation to
the category spirituality and function of the term “spider” in the writings of Akutagawa Ryunosuke,
a writer with a distinct style in Japanese literature, and Hanns Heinz Ewers’ “The Spider”. In the
works, the term “spider” has a philosophical connotation that transcends cultures and is presented
94 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
typologically. Moreover, the works of Japanese and German literature were examined for their
objective imagination, similarities of associations, and distinctive characteristics.
Key words: Akutagawa Ryunosuke, Hanns Heinz Ewers, spider, concept, symbol, Buddha,
Nihon shoki, spirit, death.
Kirish. Adabiyotshunoslikda asar konseptlari ma’lum bir xalqning mentaliteti asosida tanlanib,
o‘sha madaniyat ruhida asarning butun ma’noviy ahamiyatini o‘ziga singdiradi. Asarning konseptlari
tag zamirini anglash, umumiy ma’noviy jihatlarini yoritishda konseptlar diniy, tarixiy manbalarga
tayangan holda yoki hayotiy tajriba va psixologik yondashuvlar orqali tahlil qilinadi. Asar markazida
asosiy rol ijro etuvchi shaxs, narsa, voqelik kontekstga bevosita bog‘liq tarzda individual sathlarni
tashkil etadi. Yapon yozuvchisi Akutagawa Ryunosuke (1892-1927) ning “O‘rgimchak uyasining
tolasi” asari va nemis adibi Xans-Xaynts Evers (1871-1943) ning “O‘rgimchak” hikoyasi markazida
o‘rgimchakning inson ongiga psixologik ta’sirini hamda diniy qarashlar mujassamlashganini ko‘rish
mumkin. Yuqoridagi asarlarda personajlar bir olamdan boshqa olamga o‘tgandagi holati, ularning
ruhiy kechinmalari tasavvufiy tasvirlanib, o‘rgimchak turli holatda ijobiy va salbiy ruhiyat orqali
insonga ta’sir etadi.
Adabiyotlar tahlili. Akutagava Ryunosuke o‘z asarlari orqali yapon adabiyotini jahon
adabiyotiga olib chiqishga hissa qo‘shgan adibdir. U ijodida g‘arb va sharq madaniyatini
uyg‘unlashtirib, yapon adabiyotiga tasvir hamda ifodaviy uslubni olib kirgan. A. Ryunosuke inson
ongining jumboq shakldaligini isbotlaydigan asarlari orqali ijodini yangi yo‘nalishga burgan. Uning
“O‘rgimchak uyasining tolasi” asarida ham shunday xususiyatlar aks etgan.
Momiuti Yuko o‘zining “Рассказ Акутагава Рюносукэ «Паутина»” nomli ilmiy ishida
“O‘rgimchak uyasining tolasi” ga asos bo‘lgan manbalar tadqiqotlari tarixini taqdim etib,
Akutagavaning ushbu manbalarni o‘z asarida qayta ishlashining ahamiyatini tahlil qilgan. Ushbu
tadqiqotda bir qator tadqiqotchilar tomonidan A. Ryunosukening “O‘rgimchak uyasining tolasi”
qissasiga «Лукова» , «Христов братец» kabi rus xalq hikoyalari, shuningdek, Paul Karus tomonidan
yozilgan buddizmga oid qissalar to‘plamiga kiritilgan “The Spider Web” manba qilib ko‘rsatilishi
bayon qilingan [4].
Tajriba qismi. “O‘rgimchak uyasining tolasi” asarida Kandata ismli yovuz o‘g‘ri-qaroqchi
bo‘lib, vafot etgandan so‘ng do‘zaxga tushadi. Jannatdan turib do‘zax tubida ko‘plab azob-
uqubatlarga duchor bo‘layotgan Kandatani ko‘rgan Budda uning yagona xayrli ishi borligini eslaydi.
Kandata o‘rmonda so‘qmoq ustida pildirab ketayotgan o‘rgimchakni oyog‘i bilan bosib o‘ldirmoqchi
bo‘ladi, lekin, fikridan qaytib unga tegmaydi. Marvariddek oppoq nilufar gullarining nefritdek yashil
yaproqlari ustidagi jannat o‘rgimchagining kumush tolalari Kandatani qutqarish uchun do‘zax tubiga
tushiriladi. Kandata o‘rgimchak uyasining tolasiga chirmashib chiqayotgan vaqtida, uning ortidan
boshqa do‘zaxning gunohkor bandalari ham o‘rmalab chiqayotganligini ko‘rib, Kandata tolaning uzib
qolishi va do‘zax qa’riga yana uchishidan qo‘rqib, bu tola faqatgina uni qutqarish uchun
yuborilganligini, tezda tushishlarini aytib hayqiradi. Shunda o‘rgimchak tolasi Kandata ilinib turgan
joydan chirt etib uziladi.
Kandata o‘zining xudbinligi, birovlarga yaxshilik ulasha olmasligi sabab yana do‘zax uni o‘z
domiga tortib ketadi. Asarda insonning baxilligi, hech narsaga qanoat bilan yondashmasligi,
birovlarga yaxshilik tilamasligi uchun jazolanishi tasvirlanadi hamda bu sujetlar oddiy hasharot orqali
yoritiladi. Nega aynan ushbu hasharot asarda tanlanganligi, muhim tomonlarni ochib berganligiga
doir bir nechta sabab va munozaralar mavjud bo‘lib, ular asosan yapon madaniy qarashlariga bog‘liq.
“O‘rgimchak uyasining tolasi” asarida Kandata o‘rgimchakni o‘ldirishida shunday deydi:
“Yo‘q, kichik bo‘lsa ham, baribir tirik jonzot-ku. Bekordan-bekorga o‘ldirib savob topmayman”
[2] – deb o‘ldirish fikridan qaytadi, balki Kandata o‘rgimchakni o‘ldirmaslikning xosiyati yaxshi
ekanligini bilgandir.
Uzoq sharq mamlakatlarida o‘rgimchak hasharotining ba’zi turlari tanovul qilish uchun tavsiya
etilib, foydali deb topilgan. Yapon madaniy qarashlarida “tonggi o‘rgimchakni o‘ldirma, kechqurungi
o‘rgimchakni o‘ldir” degan nuqtayi nazar mavjud. Buning sababi, tonggi o‘rgimchak xosiyatli bo‘lib,
omad olib kelsa, kechqurungi o‘rgimchak esa omadsizlikka ishora qiladi.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 95
Kunlarning birida Budda jannat hovuzining bo‘yida tanho kezib yurardi. Hovuz yuzasi
marvariddek oq nilufarlar bilan qoplangan, ularning gulkosalaridan chor atrofga zarif va muattar
bo‘y taralar edi.
Jannatda tong pallasi edi …
Do‘zax tasvirlarini tomosha qilarkan, Budda qaroqchi Kandataning o‘rgimchakka rahm
qilganini eslab, ilojini topsa, birgina shu xayrli ishi uchun bu osiy bandani do‘zax changalidan
qutqarmoqchi bo‘ldi. Tasodifni qarangki, shu payt yonida jannat o‘rgimchagini ko‘rib qoldi.
O‘rgimchakdan chiqqan ajoyib kumush tola chashma toshlaridek yam-yashil nilufar yaprog‘iga
ilinar edi.
Budda ham aynan asarda aytilganidek tong payti o‘rgimchak tolasini Kandatani qutqarish
uchun yuboradi, tonggi o‘rgimchak Kandatani jahannam qa’ridan olib chiquvchi chindan ham umid
va ishonch manbai bo‘lgan.
Shuningdek, tonggi o‘rgimchak mehmon kelishidan dalolat bersa, kechqurungi o‘rgimchak
o‘g‘ri kelishiga ishoradir. Havo ochiq, quyoshli kunlar o‘rgimchak in quradi, yomg‘irli kunlarda in
qurmaydi. Shu sabab, o‘rgimchak “quyoshli” kunlar timsoli hisoblanib, kunning xayrli bo‘lishini
bildiradi. Xayrli amallarni oldindan bildirib, ularning yuz berishiga sababchi bo‘ladi. Yapon tarixi va
miflari haqida ma’lumot beruvchi “Nihonshoki” asarida o‘rgimchak haqida so‘z boradi, unga
nisbatan “sevgiga erishish va mustahkam aloqa omili” epiteti beriladi. “O‘rgimchak in qurishi bilanoq
kutgan insoning keladi” – degan qarashlarga ishonishadi.
Kichik o‘rgimchak – pul keltiruvchi hisoblanib, boyib ketish ramzidir.
O‘rgimchak inson tanasiga ilashgandayoq u insonga omad, baxt olib keladi. Ayniqsa, qizil
rangli o‘rgimchak shiftdan pastga tushsa, bundan zo‘ri bo‘lmaydi. “Agar uzoq umr kechirib, badavlat
bo‘lishni istasangiz, o‘rgimchakni o‘ldirmay uni qutqaring” ma’nosini anglatuvchi eski maqol bor.
Bundan tashqari, o‘rgimchakka ruhiy, diniy ozuqa sifatida ham qaraladi. Masalan, yaratganning
elchisi, samoviy avliyolarning tabarruk yo‘lidagi elchisi, o‘tib ketgan ajdodlarning elchisi deb
qaraladi va o‘ldirish mumkin emas. O‘rgimchak o‘lganlarning ruhi bilan aloqa qilib, ularning xohish-
istaklarini tirik insonlarga yetkazuvchi vazifasini bajarishiga ishonadiganlar oz emas. “O‘rgimchak
uyasining tolasi” asarida ham muattar hid taratuvchi marvariddek oppoq nilufarlar jannat guli bo‘lsa,
go‘zal kumush rangli tola to‘qiydigan o‘rgimchak esa “jannat hasharoti” [1], Buddaning elchisi
sifatida tasvirlangan.
Shunga zid ravishda, kechqurungi o‘rgimchak o‘ldirilib, u xosiyatsizlik belgisi hisoblanadi.
Kechki paytda o‘rgimchakni uchratish omadsizlik keltirib, yomon hodisaga sabab bo‘lish belgisini
anglatadi.
Xans-Xaynts Eversning “O‘rgimchak” hikoyasida mehmonxonaning yettinchi xonasini ijaraga
olgan barcha mijozlar ketma-ket bir vaqtda soat kechki oltilarda o‘z joniga qasd qilishadi.
O‘rgimchak go‘zal qiz qiyofasida insonlarga o‘sha xonada ko‘rinib ularni o‘ziga maftun etib, ichki
olamiga kirib, psixologik jihatdan ularni boshqaradi. Go‘zal qiz ko‘rinishidagi o‘rgimchak faqat
o‘ljasigagina ko‘rinadi va ularni kechki payt o‘limga chorlaydi. Xuddi shu holat, ya’ni hayvonot
olami yoki boshqa jonzotlarning maftunkor qiz timsoliga aylanishi, yigitlarni maftun etib oila qurishi,
keyinchalik shaxsiyatlari ochilib o‘z ixtiyorlari bilan yoki majburan uydan chiqib ketish hamda
yigitni nobud qilishlari yapon miflarida uchraydi. Xususan, yapon miflari va xalq ertaklarida ilon,
toshbaqa, baliq va mollyuska kabilar, turna, tulki, mushuk, qurbaqa, samoviy ayol, qor ayol, tog‘
ortida yashaydigan keksa ayol maxluq, iblis va suv alvastisi kabilar, shuningdek, o ‘rgimchak ayol
qiyofasiga o‘zgarish xususiyatiga ega.
Xans-Xaynts Evers hikoyasida “katta qora o‘rgimchak” baxtsizlik timsoli bo‘lib, kechki payt
insonni o‘limga da’vat etish vazifasini bajaradi.
Gap shundaki, politsiyachilar serjant Sharl-Mariya Shomening jasadini sirtmoqdan chiqarib
olayotganlarida uning og‘zidan katta qora o‘rgimchak o‘rmalab chiqdi. Mehmonxona xodimi
o‘rgimchakni bir chertdi-da, hay-qirgancha:
— Jin ursin, bu yana o‘sha jirkanch maxluq-ku, — dedi [5].
Biroq, hikoyada o‘rgimchak haqida quyidagicha ta’rif ham keltirilgan:
96 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Hovliga qaragan chog‘roq derazada o‘rgimchak uyasi osilib turardi, uning qoq o‘rtasiga
qappaygan o‘rgimchak joylashib olgandi. O‘rgimchakni olib tashlashga Dyubonie xonim ruxsat
bermasdi: axir o‘rgimchaklar omad keltirardi-da, bu uyning shusiz ham baxtsizlikdan boshi chiqmay
yotibdi.
Asardagi Dyubonie xonim mehmonxona xo‘jayini bo‘lib, u o‘rgimchakning omad keltirishiga
ishongan. Ikki asarda ham o‘rgimchak omad olib kelishiga ishora mavjud.
Yapon tarixiy manbalarida ko‘rsatilishicha, o‘rgimchak yaxshi umr yo‘ldosh uchrashiga
dalolatdir. “Nihonshoki” asarida ham o‘rgimchakni uchratgan Sotoorihime (yoki Sotooshihime,
“Kojiki” va “Nihonshoki” asarlarida nomi keltirilgan ayol ma’budasi) haqida afsona keltirilgan:
Imperator xotinining Sotoorihime ismli dilbar singlisi bo‘lgan ekan. Malika opasining tavsiyasi
bilan Imperatorga turmushga chiqadi, ammo, opasining qalbini ranjitmaslik uchun Imperator uni
chaqirgan paytlarida Imperatorning taklifini rad etadi. Biroq, Imperatorning muhabbatini his qilgan
Sotoorihime ham sevgisini Imperatorga izhor eta boshladi. Bir kuni Imperator Sotoorihime
koshonasiga borib, uni zimdan kuzatadi, malika yolg‘iz o‘zi Imperatorga atab hissiy tuyg‘ular
yo‘g‘rilgan she’r aytardi. She’rning mazmuni quyidagicha:
“Mening sevikli yorim bugun tunda tashrif buyurishlari mumkin. Kichik o‘rgimchak bambukda
in to‘qayotgani sababli” [6; 184].
O‘sha zahoti Imperator malikaning oldida namoyon bo‘ladi va ular uchrashishadi. Shundan
so‘ng, “o‘rgimchak in qurishi bilan suygan insoning keladi” – degan ishoraviy e’tiqod mavjud bo‘lib,
o‘rgimchak yaxshilik belgisi sifatida qaralgan. Shu sabab, o‘rgimchak sevgining ro‘yobga chiqishi
hamda yaxshi munosabat ramzini bildirib kelmoqda.
O‘rgimchakning bunday xususiyatini Xans-Xaynts Evers hikoyasida kuzatish mumkin.
Boshqacha qilib aytganda, “o‘tirib olib, eski charxda ip yigirardi” , “Ipni chaqqon-chaqqon saralab,
uni cho‘zayotgan qop-qora nozik barmoqchalari qaysidir hasharotning uzun panjalariga o‘xshab
ketardi” - deb tasvirlangani o‘rgimchak qiz Klarimonda yigitlarni, xususan, tibbiyot kulliyotining
talabasi Rishar Brakemonning ko‘nglini maftun etib, o‘z orzu-istagini bajartirishga undaydigan
“buyuk sevgi” ramzi desak mubolag‘a bo‘lmaydi. Yapon mifologiyasidan farqli jihati shundaki,
hikoyada o‘rgimchak sevgining ro‘yobga chiqishi, yaxshilik yoki baxtli munosabatlar timsoli
bo‘lmay, muhabbat orqali tobelik, qo‘rquv va o‘lim keltiradi:
Men yugurib oynani oldiga bordim-da, u mendan nimani kutgan bo‘lsa, o‘shani bajardim:
chilvirni olib, uni sirtmoq qilib bog‘ladim va qoziqqa ildim.
Olingan natijalar taxlili. Xans-Xaynts Eversning asarida “Stevens” mehmonxonasining
yettinchi xonasida ketma-ket uch marotaba sodir etilgan joniga qasd qilish hodisasi juma kuni aynan
soat besh bilan oltilar o‘rtasida bo‘lgani haqida, Rishar Brakemon shunday deb ta’kidlaydi:
Bu – yahudiylar haftasi oxirgi kunining kechki soat oltilarida Iso Masihning do‘zaxga tushish
uchun o‘z qabridan yo‘qolgan payt.
Shuningdek, asarda “Injil” va “Dil izhori” haqida bayon qilingan bo‘lib, qurbonlarning vafot
etish vaqti aynan xristianlik dini asarlariga ko‘ra talqin qilinishi kerakligi hamda yahudiylikda mavjud
bo‘lgan hodisa bilan bog‘langanligi hikoyaning diniy asoslarga egaligini ko‘rsatgan.
Yuqorida aytib o‘tilganidek, Akutagava Ryunosukening asari sahnasi jannat va do‘zax bo‘lib,
asar jannatning osoyichta tongi marvariddek oppoq muattar hid taratuvchi jannatning nilufar guli
ko‘li atrofida sayr qilayotgan Budda tasviri bilan boshlanadi. Nilufar gullari buddizm ramzidir. Nozik
va kumush tola to‘quvchi o‘rgimchak bu - Buddaning elchisi, jannat hasharoti sifatida e’tirof etilishi
buddizm dinining ta’limotidan darak bergan.
O‘rgimchak konseptining kategorial vazifalari zamon va makonda o‘z ahamiyatiga ega.
- Tonggi o‘rgimchak xayrli xususiyatga ega bo‘lishi; omadning zahirasi ekanligi;
- Quyoshli kunlarda o‘rgimchak in to‘qishi uning odati ekanligi; xayrli amallar va xosiyatli
kunlar ramzi ekanligi;
- Muhabbat borasida suyukli yorga ishora ekanligi; sevgiga erishish va mustahkam aloqa
timsoli ekanligi;
- Pul va omad keltiruvchi; badavlat bo‘lishga sabab bo‘lishi;
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 97
- U dunyo va bu dunyo o‘rtasida elchilik vazifalarini ado etishi; Budda elchisi va jannat timsoli
ekanligi;
- Tungi o‘rgimchak xosiyatsizlik ramzi ekanligi.
O‘rgimchak kategorial xususiyatlarini farqlashda asosan bir-biriga zid bo‘lgan makon va
zamon tushunchasi “tong” va “tun” xizmat qilgan. Tong - yorug‘lik, osoyishtalik belgisi, Sharqda
barcha ezgu amallarga yorug‘lik sifatida qaraladi. Tun - qorong‘ilik, Sharq mamlakatlarida
qorong‘ilik g‘am - tashvish ramzi deb hisoblanadi. Badiiy adabiyotda ham bu ikki tushuncha
e’tiborga molik topilib, falsafiy, diniy qarashlarni mujassam etadi.
O‘rgimchaklarga bog‘liq omad kategorial vazifalari haqida turli yondashuvlar mavjud. Yapon
adibi Akutagava Ryunosukening “O‘rgimchak uyasining tolasi” deb nomlangan qissasida
o‘rgimchakning to‘ri mohirlik bilan manipulyatsiya qilingan. Bunday hissiy taassurot bilan
o‘rgimchak Buddaning elchisi kabi e’tirof etilib, yaratganning elchisi, umid va najot beruvchi ruhiy
kuch deb qaraladi. Budda aynan tongda o‘rgimchakni yuborishi - bu tonggi o‘rgimchak bosh
qahramon Kandataga omad keltirishi, uni do‘zax qiynoqlaridan najot qilish kabi xayrli ishni bajarish
uchun yuborilganligiga amin bo‘lamiz.
Akutagava Ryunosukening asarida voqea rivoji tongdan tush paytigacha yuz bersa, Xans-
Xaynts Eversning “O‘rgimchak” hikoyasida o‘rgimchak bilan bo‘liq mudhish hodisa kechqurun ro‘y
beradi. O‘rgimchak zulmat, qo‘rquv va ajal belgisi bo‘lib, insonlarni tunda bir vaqtda o‘z joniga qasd
qilishiga sababchi bo‘lgan. Umuman olganda, g‘arbliklarda ham tungi o‘rgimchak xosiyatsizlik,
baxtsizlik, “o‘z komiga tortib ketadigan buyuk sevgi” hamda o‘lim ramzi hisoblanishiga ishora bor.
Bundan tashqari, asardagi Dyubonie xonimning o‘rgimchaklar omad olib kelishiga ishonishi, ularni
o‘ldirishga ruxsat bermasligi turli madaniy e’tiqodlarga ishonishidan dalolat.
Asarda o‘rgimchak, kechqurun va tun, vahima va qo‘rquv va o‘lim, ruhiyat tushunchalari
mental belgilar hisoblanadi. Xans-Xayntsning asarida o‘rgimchak boshqalarning ongiga kirib, ruhiy
jihatdan ularni o‘z amriga bo‘ysundirib, “yoqimli” va “muloyim” ta’sir ko‘rsatib, ularni dunyodan
uzib, boshqa olamga olib kiradi. Xullas, ushbu asarda o‘rgimchak konsepti o‘ziga xos huzur-halovat
va rohat bag‘ishlaydigan, muloyim va baxtiyor etuvchi, yoqimli ruhiy qo‘rquv, mag‘lubiyat hamda
tobelik timsoli sifatida gavdalanadi.
Xulosa. Akutagava Ryunosukening asarlaridagi konseptlar “psixologik” va zamon jarayonida
yuz bergan aniq makonga ega. Yuqoridagi ikki asarda ham o‘rgimchak konsepti o‘zida ramziy
ifodalarni ko‘rsatgan. Shu bilan birga, yapon va nemis madaniyatlarida “o‘rgimchak” ga nisbatan
qarashlarning biriktiruvchi va farqlovchi xususiyatlarini ochib bergan. Asarlarda kontrast konseptlar
ziddiyatni emas, o‘z ma’noviy tomonlarini ochib bergan. Masalan, o‘lim-uzoq umr ko‘rish; omad-
omadsizlik; diniy e’tiqod, nemis va yapon xalqlarining diniy falsafiy qarashlari; tun-kun kabi
tushunchalar bir nuqtada o‘rgimchak konseptida tutashishi ko‘p simvollikka ega bo‘lishini
ko‘rsatgan. Demak, “shakllanayotgan konsept har doim o‘zida predmetli va simvolik obrazlilikni
biriktirishi, qadriyatli-baholovchi mazmun ifodalashi lozim. Boz ustiga, eslatib o‘tamizki, kontseptga
aylanishi uchun predmetning hissiy obrazi hodisaviy ma’noga to‘yinishi darkor. Axir, kontsept - bu
hodisa” [7;153] hisoblanadi. Shunday qilib, asarlar markaziy maydonida o‘rgimchak kontsepti
kategorial xususiyatlarni, tasavvufiy tasavvurlarni, insonga xos umuminsoniy kechinmalarni ko‘plab
qiyofaga ega bo‘lishi bilan yoritib bergan.
FOYDALANILGAN ADABIYOTLAR RO‘YXATI:
1. 芥川龍之介「蜘蛛の糸」『芥川龍之介全集 2』筑摩書房、1996 年 7 月(青空文庫より).
2. Akutagava Ryunoske. O‘rgimchak uyasining tolasi. Rus tilidan Dilshod Nurulloh tarjimasi. “Sharq yulduzi”
jurnali. 10-son. 1991-yil. (Xurshid Davron kutubxonasi)
3. Кунчиқар мамлакати ҳикоялари. Япон тилидан Қудрат Дўстмухаммад таржимаси. - T.: Noshir, 2012.
4. Момиути Юко. Рассказ Акутагава Рюносукэ «Паутина». (CYBERLENINKA)
5. Xans-Xaynts Evers. O‘rgimchak. Rus tilidan Dildora Aliyeva tarjimasi. “Jahon adabiyoti” jurnali, 7-son. 2011.
(ZIYOUZ.COM KUTUBXONASI)
6. 「我が夫子が 来べき夕なり。 ささがねの 蜘蛛の行ひ 今夕著しも。」大久保正全訳注『日本書紀歌謡』講
談社、1981 年.
7. Сафаров Ш.С. Прагмалингвистика. - Тошкент: Узбекистон миллий энциклопедияси, 2008.
98 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
UO’K 81'22
METAFORA VA UNING GAZETA MATNIDAGI LINGVOSTILISTIK VAZIFALARI
G.G.Lolayeva, tayanch doktorant, Samarqand davlat chet tillar instituti, Samarqand
Annotatsiya. Metafora tilni yanada jonli, jozibali va ma’lumotli qilish uchun ishlatilishi
mumkin bo‘lgan lingvistik vositadir. U tom ma’noda o‘xshash bo'lmagan ikkita narsani solishtirish
orqali ishlaydi. Gazeta matnlarida metafora turlicha qo‘llanilishi mumkin. Ular sarlavhalar,
sarlavhalar, asosiy matn va hatto sarlavhalarda ishlatilishi mumkin. Quyidagi maqolada biz gazeta
matnlarida foydalaniladigan lingvostilistik vositalarni o‘rganib tadqiq qilishga harakat qilib
ko‘ramiz.
Kalit so‘zlar: Metafora, gazeta, muqova, matn, analiz, lingvostilistik vosita, majoziy ifoda,
metonomiya, senekdoxa, farqlash.
Аннотация. Метафора – лингвистический прием, с помощью которого можно сделать
язык более ярким, привлекательным и информативным. Это буквально работает путем
сравнения двух непохожих вещей. Метафоры в газетных текстах могут использоваться по-
разному. Их можно использовать в заголовках, подзаголовках, основном тексте и даже
заголовках. В следующей статье мы попытаемся изучить и исследовать лингвистические
стилистические средства, используемые в газетных текстах.
Ключевые слова: Метафора, газета, обложка, текст, анализ, языковой инструмент,
образное выражение, метонимия, синекдоха, дифференциация.
Abstract. Metaphor is a linguistic device that can be used to make language more vivid,
attractive and informative. It literally works by comparing two dissimilar things. Metaphors can be
used in different ways in newspaper texts. They can be used in headlines, subheadings, body text, and
even headings. In the following article, we will try to study and research the linguistic stylistic tools
used in newspaper texts.
Key words: Metaphor, newspaper, cover, text, analysis, linguistic tool, figurative expression,
metonymy, synecdoche, differentiation.
Kirish: Metafora - bir-biriga o‘xshamaydigan ikki narsani tom ma’noda taqqoslaydigan nutq
shakli. Bu yozuvchi va ma’ruzachilarga o‘z tinglovchilari ongida yorqin tasvirlar va tushunchalarni
yaratishga imkon beradigan majoziy tilning bir turi.
Ko‘pincha mavhum g‘oyalar va aniq ob’ektlar o'rtasida taqqoslash uchun metaforalardan
foydalaniladi. Misol uchun, kimdir birovga bo‘lgan sevgisini "yonib turgan olov kabi" deb aytishi
mumkin. Bu metafora ishq haqidagi mavhum g‘oyani yonayotgan olovning konkret ob’ektiga
qiyoslaydi. Ma’ruzachi ularning sevgisi xuddi yonayotgan olov kabi ehtirosli va shiddatli ekanligini
ta’kidlaydi.
Metafora odatda bir-biri bilan bog‘liq bo‘lmagan ikkita narsani taqqoslash uchun ham
ishlatilishi mumkin. Misol uchun, kimdir o‘z xo‘jayini "mashq serjanti" deb aytishi mumkin. Bu
metafora xo‘jayinni harbiy instruktor bo‘lgan serjantga qiyoslaydi. Ma’ruzachi ularning boshlig‘i
xuddi maktab serjanti kabi qattiqqo‘l va talabchan ekanligini ta’kidlamoqda.
UO’K: 81'373.613:821
FRANSUZ VA OʻZBEK XALQ IBORALARIDAGI ZOONIMLARNING FUNKSIYALARI
R.Maxmudov, f.f.d., katta ilmiy xodim, Xorazm Ma’mun akademiyasi, Xiva
R.Masharipova, magistrant, Urganch davlat universiteti, Urganch
Har qanday til lugʻatining muhim madaniy komponenti frazeologik birliklar - koʻchma
ma’noga ega boʻlgan va uni tashkil etuvchi soʻzlarning asl ma’nosidan kelib chiqmaydigan, balki
ularning barqarorlashib majoziy ma’no ifodalashidan hosil boʻlgan va boʻlinmas iboralardir [4, 23].
Frazeologizmlar oʻtgan avlodlar tajribasini, xalqning madaniy merosini oʻz ichiga oladi.
Hayvon nomli frazeologizmlar zoomorfizmlar deyiladi. Zoonimlardan (zooleksemalardan),
ya’ni hayvonot dunyosi vakillarini bildiruvchi soʻzlardan farqli oʻlaroq, zoomorfizmlar odamni
xarakterlash uchun majoziy, metaforik qayta talqindagi hayvonlar nomlaridir [2, 18]. Demak,
frazeologik birliklar nafaqat har bir hayvon bilan tanishish, balki inson va tabiatning asrlar davomida
oʻzaro munosabati, ajdodlarimizning hayvonlarni kuzatishi natijasida orttirilgan xalq hikmatlarini
ham oʻzlashtirish imkonini beradi.
Hayvonot dunyosi haqidagi bilimlarni odamni tavsiflashning majoziy vositalar tizimiga kiritish
insonning oʻzi haqidagi bilimlarini taqqoslash, tabiatning haqiqiy dunyosi – hayvonlar tasvirlari bilan
oʻxshashliklarni izlash orqali kengaytirish va chuqurlashtirishga imkon berdi. Bu bilimlar tilni
frazeologik birliklar bilan boyitib, kishi nutqini ancha yorqin va hissiyotli qildi.
Frazeologiyadagi zoomorfizmlar bir qator oʻziga xos xususiyatlarga ega:
1. Zoomorfizmlar – hayvonning bevosita nomini oʻz ichiga olgan turgʻun iboralardir.
2. Zoomorfizmlar har doim “shaxs” majoziy ma’nosiga ega boʻladi.
3. Zoomorfizm oʻz-oʻzidan inson xatti-harakatlari yoki xarakteriga baho beradi [3, 42].
Semantik ma’nosiga koʻra har qanday til madaniyatidagi zoomorfizmlarni 3 guruhga boʻlish
mumkin:
“Inson ijtimoiy mavjudot sifatida”, ya’ni uning faoliyati, xulq-atvori, harakatlari,
munosabatlari, jamiyatdagi mavqeyi, muloqot qobiliyatlari xususiyatlari; “Inson tirik mavjudot
sifatida”: jismoniy imkoniyatlar va uning jismoniy holati aniqlanadi – harakat, tana holati, fizika,
masalan: tezlik / chaqqonlik / epchillik, sekinlik, qoʻpollik, ozgʻinlik, kuch / chidamlilik, koʻrlik,
mutelik, charchoq, xunuklik , ogʻriq / kasallik va boshqalar; “Inson aqlli mavjudot sifatida”:
insonning axloqiy fazilatlari, uning irodaviy, hissiy, aqliy harakatlari va holatlarining aks etishi
(masalan, uyat, qaygʻu, qoʻrquv, gʻazab, ahmoqlik, idrok, donolik va boshqalar); uning boshqa
odamlarga boʻlgan munosabatini bildiradigan xarakter xususiyatlari (qoʻpollik, gʻazab, qaysarlik,
qiziquvchanlik, jahldorlik), oʻziga nisbatan (takabburlik / kibr), narsalarga (ziqnalik, ochkoʻzlik),
ishga munosabat (dangasalik, bekorchilik, mehnatsevarlik).
Doimiy namuna olish usuli yordamida toʻplangan lingvistik materiallar shuni koʻrsatadiki,
odamlar bilan yaqin atrofda, ba’zan bir tom ostida yashaydigan uy hayvonlarining nomlari koʻpincha
nutqda uchraydi, ya’ni aynan ulardan zoomorfizmlar hosil qilish koʻp uchraydi:
1-jadval:
T/r Oʻzbek tilidagi zoonimlar Fransuz tilidagi zoonimlar
1. It, kuchuk Un chien
2. Ot, baytal, aygʻir, qulun, toy Un cheval
3. Eshak, xoʻtik Un chat
4. Mushuk, mosh Une vache
5. Sigir, hoʻkiz, buzoq Un boeuf
6. Tovuq, xoʻroz, joʻja Un ane
7. Choʻchqa Une poule
8. Echki, taka, uloq Un coq
9. Gʻoz Un cochon
10. Qoʻy, qoʻchqor, qoʻzichoq Un oie
11. Induk Un canard
Barcha taqqoslanadigan tillardagi zoonimlarning aksariyati itlar va mushuklar kabi uy
hayvonlari tasvirlari bilan bogʻliq, chunki aynan shu hayvonlar birinchi boʻlib xonakilashtirilgan va
doimo odamlarning yonida boʻlgan.
Boshqa hayvonlar nomlari orasida frazeologik birliklarda eng koʻp ishlatiladiganlari:
2-jadval:
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 103
T/r Oʻzbek tilida iboralarda koʻp Fransuz tilida iboralarda koʻp qoʻllanuvchi
qoʻllanuvchi zoonimlar zoonimlar
1. Boʻri Un loup – boʻri
2. Ayiq Un соrbeau – qargʻa
3. Ilon Un moineau – chumchuq
4. Quyon Un livre / un lapin – quyon
5. Tulki Un renard – tulki
6. Tovuq Une hirondelle – qaldirgʻoch
7. Sher Un lion – sher
8. Baliq Un poisson – baliq
9. Qush – qargʻa, bulbul, kaptar, kakku, Un merle – qora qush
tovus, chumchuq
10. Sichqon Une carpe – karp
11. Maymun Un singe - maymun
Shunday qilib, oʻzbek, fransuz va ingliz tillarida eng koʻp qoʻllaniladigan zoonimlarni
taqqoslash orqali oʻxshashlik va ayrim farqlarni aniqlash mumkin.
Eng keng tarqalgan zoonimlardan biri bu “it” boʻlib, u odamni tavsiflash uchun stereotipik
tasvir sifatida ishlaydi. Taqqoslangan tillarda bu zooleksema odamlarning xarakteri va xulq-
atvorining oʻziga xos xususiyatlarini, dunyoqarashini bildiradi. It tasviridan odamga oʻtadigan eng
ajoyib xususiyatlar “sodiqlik” va “sadoqat”dir.
Zamonaviy fransuzlar va oʻzbeklar boshqalarga nisbatan gʻazablangan va tajovuzkor odamni
tavsiflash uchun “it” zoonimini qatnashtirib frezemalar hosil qilishi yoxud itning tasviriga murojaat
qilishlari mumkin: ktre chien (soʻzma-soʻz, it boʻlish – ya’ni yovuz boʻlish – fransuzcha), it(day) kabi
qopadigan (oʻzbekcha) – ikkala holatda ham biz juda gʻazablangan va janjalkash odam haqida
gapiramiz. Fransuzcha ktre chien iborasining yana bir ma’nosi – ziqna, ochkoʻz odam boʻlib, oʻzbek
tilida ushbu ma’noni ifodalash uchun suyagini ham bermaydi iborasi bilan, ingliz tilida dog in the
manger (oʻqxona yaqinidagi it) iborasi bilan solishtirish mumkin.
Ingliz tilida, shuningdek, ijobiy va salbiy ma’noda it timsoliga ega odamning qiyosiy
xususiyatlari mavjud, masalan: lucky, clever dog (aqlli, aqlli odam), sad dog (quvnoq), dump dog
(jim), surly dog (xushchaqchaq), barking dog, scornful (jirkanch), yellow dog (oʻrtacha),
dirty dog (yomon odam).
Itlarning sezgir uyqu xususiyati oʻzbek va fransuz tillarida oʻxshashi boʻlmagan sleep a dog (it
kabi uxlash; yengil uyqu) frazeologik birligida oʻz aksini topadi [1, 38]. Oʻzbek tilida esa bu holat
mushuk uyqu, qush uyqu iborasi bilan aks ettiriladi.
Ingliz tilida “uxlab yotgan it” iborasi – sleeping dog tasviri “yoqimsiz sir” degan ma’noni
anglatadi. Quyidagi it zoonimi qatnashgan ehtiyot boʻlish ma’nosidagi iboralarni diqqatni qaratamiz:
let sleeping dog lie (uxlab yotgan itni uygʻotmang). Yashirin tahdid obrazi boshqa esa frazeologik
birliklarda “it” zooleksemasi bilan ifodalangan: Beware of a silent dog & still water – Jim it va tinch
suvdan ehtiyot boʻling; Dumb dogs are dangerous – Soqov itlar xavflidir [3]. Fransuz tilida xuddi
shunday frazeologik birlikdagi yashirin tahdid mushuk obrazi bilan bogʻlangan – Il ne faut pas
reveiller un chat qui dort (Uxlayotgan mushukni uygʻotmang). Rus tilida yashirin tahdid yovuz ruhlar
bilan bogʻliq deb qaraladi, u folklorga borib taqaladi, bu oʻziga xos tarzda dunyoning atrofdagi
tasvirini aks ettiradi, masalan, maqollarda – В тихом омуте черти водятся; не буди лихо, пока оно
тихо (Sokin suvlarda shaytonlar bor; jim turgan paytda suvni qoʻzgʻatmang).
Zoonimlarning 3 tilda toʻliq mos kelishi mushuk va itlar oʻrtasidagi abadiy adovatga toʻgʻri
keladi – agree like cats & dogs (ingliz tlida) – s’entendre comme chien et chat (fransuz tilida) – it-
mushuk boʻlib yashaydi (oʻzbek tilida).
Oʻzbek va fransuz tillarida xarakter va inson xatti-harakatlarini tavsiflash uchun fe’l + kabi
(comme) + hayvon nomi (fransuz tilida) – hayvon nomi + kabi + fe’l (oʻzbek tilida) konstruksiyasi
ishlatiladi. Misol uchun, “sekin harakat qilish” ma’nosidagi iboralar bir xil mavjudotlar bor boʻlgan
xalqlar madaniyatlarida taqqoslab koʻrilsa deyarli bir xil: avancer comme escargot (soʻzma-soʻz.
104 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Shilliqqurt kabi harakat qiladi); avancer comme une tortue (toshbaqa kabi olgʻa siljish) – fransuz
tilida soʻzlashuvchi madaniyatda bu “juda sekin” degan ma’noni anglatadi. Oʻzbek tilida esa koʻproq
toshbaqa kabi harakat qiladi iborasi istifoda etiladi.
Ingliz tilida odamning xatti-harakatlarini hayvon xususiyatlari orqali tasvirlash quyidagi
konstruksiyada aks ettiriladi: as + sifatlovchi + as + hayvon nomi sifatida berilgan. Masalan:
as brave as a lion – sherdek jasur;
as cunning as a fox – tulkidek ayyor;
as dumb as a fish – baliq kabi soqov [1, 87].
Ingliz tilida inson xatti-harakati va xarakterini tavsiflash uchun quyidagi iboralarni qayd
etishimiz mumkin, masalan: to swim like a fish (baliq kabi suzish), to sing like a bird (qush kabi
qoʻshiq aytish), to eat like a horse (koʻp yemoq), to run like a hare (quyondek yugurmoq) va hokazo
[1, 75].
Fransuz tilida siz oʻzbek tili madaniyatiga oʻxshash boʻlmagan hayvonlar nomlari bilan qiyosiy
konstruksiyalarni topishingiz mumkin:
comer comme un chien dans un jeu de quilles (soʻzma-soʻz. – oʻyinda itdek kelmoq) – notoʻgʻri
vaqtda, nomaqbul vaqtda yetib kelish; bicher comme un pou (soʻzma-soʻz. – bit kabi sakrash) –
quvonmoq, xursand boʻlmoq; ktre la comme rat en paille (soʻzma-soʻz. – somondagi kalamush kabi
boʻlmoq) – baxtli yashash; ktre connu comme le loup blanc (soʻzma-soʻz. – oq boʻri sifatida tanilmoq)
– mashhur boʻlmoq [3, 22].
Rus tiliga mos kelmaydigan ingliz tilidagi zoomorfizmlarga misollar:
let the cat out the bag (soʻzma-soʻz. – mushuk sumkadan chiqsin) – sirni toʻkib tashlang; to
have a frog in one’s throat (soʻzma-soʻz. – tomogʻida qurbaqa bor) – boʻgʻilmoq; ushbu iboralarni
fransuz tilidagi quyidagi frazemalarga qiyoslash mumkin: avoir un chat dans la george (soʻzma-soʻz.
– tomogʻida mushuk bor) – hirqiroq boʻlmoq; fish and visitors smell in three days (soʻzma-soʻz. –
baliq va mehmonlar 3 kundan keyin chirishadi) – mehmondoʻstlikni suiiste’mol qila olmaysiz, buni
vaqtida bilish esa sharafdir [13].
Har qanday xalqning tili uning tarixi, dunyoqarashi, mentalitetini aks ettiradi. Ona tilida
soʻzlashuvchilar oʻz nutqida frazeologik birliklarni doimiy, tanish shaklda, ba’zan esa iboralarning
obrazliligini sezmay qoʻllaydilar. Chet elliklar uchun ularni tushunish va ona tiliga tarjima qilish,
ayniqsa, oʻz nutqida foydalanish qiyin. Shu munosabat bilan, zoomorfizmlarni fransuz tilidan oʻzbek
tiliga tarjima qilish koʻp hollarda qiyin boʻlishi mumkin, chunki oʻzbek madaniyatida
soʻzlashuvchilar uchun u yoki bu iborani fransuz tilidan soʻzma-soʻz tarjima qilish natijasida
koʻpincha u tushunarsiz boʻlib qoladi va bunday vaziyatlarda soʻzma-soʻz tarjima qabul qilinishi
mumkin emas. Bu holda ifodaning obrazliligi yoʻqoladi. Masalan, ktre gourmand comme un chat
(soʻzma-soʻz – mushuk kabi gurme boʻlish (mazali ovqatni yaxshi koʻradigan), tarjimasi “katta shirin
tish boʻlmoq” degan ma’noni anglatadi). Fransuz tilida milliy oʻziga xoslik tufayli koʻplab
gastronomik taqqoslashlar hayvonlarga oʻtkaziladi. Oʻzbek tilida esa bunday holat kuzatilmaydi.
Fransuz tilining yana bir qiziqarli frazeologik birligi bu avoir des rats dans la tkte (soʻzma-
soʻz. – boshida kalamushlar boʻlish). Fransuzlar uchun kalamush aqlning yetishmasligi, gʻalati,
oqilona xatti-harakatlar nuqtayi nazaridan me’yordan chetga chiqishni anglatadi. Biz uchun bunday
xususiyatlarning tashuvchisi suvarak yoki qurt, ba’zi shevalarda havo ham ushbu ma’noni
ifodalashda ishlatiladi (miyasida qurt bor, miyasini qurt yegan, kallasida suvarak bor, kallasida havo
bor). Bu misolda har ikki xalqning milliy va madaniy oʻziga xosligidagi farqlar yaqqol koʻrinib
turibdi.
Ingliz tilida “mushuk” zoonimi tushkunlikni anglatuvchi iboralarda ham ishlatiladi: “as
melancholy as a cat” (soʻzma-soʻz. – mushuk kabi melanxolik) – tushkunlikka tushish. Bu hodisalar
oʻrtasidagi bogʻliqlik inglizlar uchun aniq – mushukdagi xotirjamlik va yolgʻizlikka moyillik bilan
bogʻliq, odam esa tushkunlikka tushganda yolgʻizlikka intiladi. Ingliz tilidagi mantiqsiz
taqqoslashning yana bir misoli – “no room to swing a cat” (soʻzma-soʻz. – dumi bilan bogʻlangan
mushukni silkitadigan joy yoʻq) – burilishga joy yoʻq, koʻrinib turganidek, iboragʻalati tasvirga ega
boʻlib, u fikrni hissiy jihatdan kinoya, oʻynoqilik, giperbola bilan ifodalaydi. Yaqqol mubolagʻaning
xuddi shunday funksiyasini yana bir zoomorfizmda qayd etish mumkin “enough to make a cat speak”
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 105
(soʻzma-soʻz. – mushuk gapirtirish uchun yetarli) – kishi hayratga tushadi ma’nosini ifodalovchi
ibora. Bu yerda mushuk qiyofasi moʻjiza roʻy bersa, toʻsatdan gapira oladigan soqov jonzot sifatida
taqdim etilgan [3, 43].
Shunday qilib, til madaniyatidagi zoomorfizmlar inson shaxsining ijtimoiy-psixologik
jihatlarining xususiyatlari bilan bogʻliq boʻlgan koʻp qirrali hodisadir. Fransuz, ingliz va oʻzbek
tillarida soʻzlashuvchilar ushbu tillarda qoʻllaniladigan lingvistik birliklarni ularning tasavvurlari
kesishgan (umumiylikka ega) darajada tushunadilar; bu tasvirlar orasidagi nomuvofiqliklar
madaniyatlararo muloqotda tushunmovchilikni keltirib chiqaradi. Demak, madaniyatlararo
muloqotda tushunmovchilikning asosiy sababi tillardagi farq emas, balki kommunikantlar, ya’ni
muloqotda boʻlganlar oʻrtasidagi milliy ongdagi farqdir, deyishga asos bor.
Zoonimlar bilan frazeologik birliklarning taxminiy ma’nolariga kelsak, ular koʻpincha
hayvonlar bilan solishtirishda masxara qilinadigan salbiy insoniy fazilatlarni aks ettiradi, degan
xulosaga kelishimiz mumkin. Oʻzbek, fransuz va ingliz tillarida yovvoyi hayvonlardan koʻra uy
hayvonlari nomi bilan ifodalangan frazeologik birliklar ustunlik qiladi.
Fransuz, ingliz va oʻzbek tillarida zoomorfizmlarning qiyosiy tahlili quyidagi xulosalar
chiqarishga imkon beradi:
1. Turli tillarning zoomorfizmlarida bir xil haqiqatda mavjud boʻlgan hayvonga yoʻnaltirilgan
shaxsning xususiyatlari toʻliq, qisman mos kelishi yoki mos kelmasligi mumkin, chunki til
madaniyatining soʻzlashuvchilari oʻziga xos hayvonni turli sifat va xususiyatlarning etaloni sifatida
koʻrsatishi mumkin.
2. Zoomorfizmlar milliy xarakterning oʻziga xos xususiyatlarini aks ettiradi – xalq tomonidan
yaratilgan va ular tomonidan koʻp asrlar davomida sayqallangan, ularda ma’lum bir xalq tili va tarixiy
taraqqiyotining barcha jilo va xususiyatlarini saqlab qolgan.
3. Umuman olganda, fransuz, ingliz va oʻzbek tillarining frazeologik tarkibida qayd etilgan
hayvon obrazlari tizimi ijtimoiy-ma’naviy madaniyatning oʻziga xos xususiyatlari bilan belgilanadi
va xalqning milliy madaniy tajribasi va an’analaridan dalolat beradi.
FOYDALANILGAN ADABIYOTLAR ROʻYXATI:
1. Кунин. Фразеологии современного английского языка. М., 1986. –C. 38.
2. Назарян. Так говорят по-французски. М.: Наука, 1983. –C. 18.
3. Солнцева анализ зоонимов русского и французского языков // Вестник Омского государственного
педагогического университета. – 2003 г. –C. 42.
4. Черемисина. В современном французском языке в сопоставлении с русским/ В помощь
преподавателям иностранным языков. Вып. 3. Под ред. . Новосибирск: Наука, 1982. –C. 23.
UDC 81'44
THE USE OF LINGUISTIC GRADATION AT THE PHONOLOGICAL LEVEL IN
ENGLISH AND UZBEK
N.R.Mahmudova, PhD, doc., Andijan state institute of foreign languages, Andijan
Annotasiya. Til gradatsiyasi asosan alliteratsiya orqali fonetik – fonologik darajada fonologik
darajada ifodalanishini kuzatdik. Birinchidan, alliteratsiya atamasini tushuntiramiz: bu undosh
tovushlarning takrorlanishi Ba’zan tarjimonlar alliteratsiya qo‘llangan she’rni tarjimada boshqa
she’riy uslubga aylantirib, she’r ruhini buzishi ham mumkin. Assonans esa unli tovushlarning
takrorlanishidir: gradatsiya “assonans” deyiladi, ma’lum bir misra, bayt yoki she’r davomida aynan
bir xil yoki uyg‘un unli tovushlarning fonologik darajada takrorlanishi “assonans” deyiladi.
Kalit so‘zlar: lingvistik, alliteratsiya, assonans, gradasiya
Аннотация. Мы заметили, что языковая градация преимущественно выражается на
фонологическом уровне через фонетико-фонологический уровень через аллитерацию. Для
начала разъясним термин аллитерация: это повторение согласных звуков. Иногда
переводчики могут превратить стихотворение с помощью аллитерации в другой
поэтический прием перевода и разрушить дух стихотворения. А ассонанс – это повторение
гласных звуков: градация называется «ассонансом», когда повторение совершенно
106 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
одинаковых или гармоничных гласных звуков на фонологическом уровне в течение
определенного стиха, строфы или стихотворения называется «ассонансом».
Ключевые слова: языкознание, аллитерация, ассонанс, градация
Abstract. We observed that linguistic gradation is mainly expressed at the phonological level
through phonetic - phonological level through alliteration. First, let's explain the term alliteration:
it is the repetition of consonant sounds. In poetry, alliteration can be used to express an intense, fast
state of mind. Sometimes translators can turn a poem using alliteration into another poetic method
in the translation and destroy the spirit of the poem. And assonance is the repetition of vowel sounds:
gradation is called "assonance" when the repetition of exactly the same or harmonious vowel sounds
at the phonological level during a certain verse, stanza, or poem is called "assonance".
Keywords: linguistic, alliteration, assonance, gradation
Introduction: We observed that the linguistic gradation is expressed through alliteration at the
phonetic-phonological level. First, let's comment on the term alliteration [5.104]: the repetition of
consonants. In poetry, alliteration can be used to express an intense, fast state of mind. Scholar D.
Sultonova [5.105] analyzes the alliteration in a passage from Brown's poem "The Pied Piper of
Hamelin" as follows: This passage describes that rats leave the city in a hurry.
And the muttering grew to a grumbling
And the grubling grew to a mighty rumbling,
And out of the house the rats came tumbling,
Great rats, small rats, lean rats, browng rats,
Brown rats, black rats, gray rats, tawny rats …
(Browning)
In the previous three verses [5.103], repetition of [gr], [br] and vibrating sound, sonorous sound
[r] served to express noise. The repetition of the word 'rats' 9 times in the fourth and fifth verses
represents the confusion and fuss of the rats. [.
Methods: Let's quote the following verses by the well-known Uzbek poet Erkin Vohidov:
Qaroqoshing, kalamqoshing,
Qiyiq qayrilma qoshingqiz
Qilur qatlimga qasd qayrab
Qilich qotilqa boshing qiz.
The rhythm created by the poet is based on the repetition of the sound [q], and the experience
of the lyrical hero, that is, his grudge against the girl, is beautifully expressed in this passage. In the
process of translating poetic passages using alliteration into English, this method is a somewhat
complicated process. This is because certain voiced consonants selected in the original may turn into
unvoiced consonants in the translation. Ba’zida tarjimonlar alliterasiya usuli qo’llangan she’rni
tarjimada boshqa she’riy usulda o’girib, she’r ruhiyatini buzib yuborishlari mumkin. For example,
such a situation can be observed in the translation of poems written by the Uzbek poet Shukrullo by
the Russian translator and poetess R. Kazakova [3.25]. Let's pay our attention to the following verses
by Shukrullo [3.25]:
Sen qilganni har kim qilar, kibrlanib netasan!
Halq maqtasa hizmatingni, murodingga yetasan.
O’z-o’zingga yetmoq bo’lib ko’kka qancha sakrasang,
Faqatgina yerni o’yib, shuncha tuban ketasan.
R. Qazakova translates it as follows:
Похвала, похвала, похвала…
Закружила, как лист, - ветер осени.
Позвала, за собой повела,
Поводила лишь за нос и бросила!
It is clear [5.106] that the spirit and idea of the translation is far from Shukrullo's. Humility is
called for, and thankless service is glorified in the four line verse. The description is given in a calm
tone in the translation. The Uzbek poet took the fourth. The author of the poem used alliteration
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 107
whereas the translator used the method of anaphors (repetition of words at the beginning of a line),
which are not found in the original, and destroyed the rhythm and spirit of the original. As a result,
cognitive dissonance has arisen. It is often thought provoking. The translator should deeply analyze
the idea and content of the original and look for ways to convey the spirit of the work in the translation.
Preservation of the poet's voice and style is the main factor that creates it. Sometimes translators use
alliteration, which is not found in the original text, to reflect the intense spirit of the original in the
translation.
Results: Assonance [5.107]. Let's pay attention to the fact that the repetition of vowel sounds
is also used as a gradation at the phonological level: It is the frequent repetition of the same or similar
vowel sounds during a certain verse, stanza, or poem that is called "assonance":
O’n sakkiz ming olam oshig’iagar boshindadur
Ne ajabkim sarvinozim o’nsakkiz yoshindadur,
Desa bo’lgay kim yana o’n sakkiz yil husni bor
O’n sakkiz yoshinda shuncha fitna kim boshindadur.
In this ghazal, the vowels "o', i, o" are repeated in succession, increasing the sonority and
unrepeatable tone of the ghazal.
Repetition of only one vowel can also be observed in assonance:
Olti oyga olma otar Oybodom
Oybotarday ig’lab yotar Oybodom
Oyqizlarning oyparisi Oybodom… (E.Shukur)[1.39]
Alliteration and assonance can sometimes be used together in English poetry. For example, the
consonant [r], [i] and [e] sounds are repeated in the following tongue twister:
Peter Piper pickled a peak of pickled pepper
A peak of pixel pepper Peter Piper picked.
If Peter Piper pickled peak of pickled pepper
Where is a peck of pickled pepper.
In this tongue twister, the sound [r] is repeated 35 times, [i] 29 times, [e] 14 times. The repetition
of these sounds in the tongue twister evokes a cheerful mood.
At the phonological level, gradation is manifested in raising and lowering the voice, lengthening
the sounds in the word, stress, etc., and it was found that the phonetic means of expressing gradation
in written texts are graphically reflected as follows. They refer to the lengthening of sounds in a word
by writing more than one letter: kichkiiina, kaaaatta.
Discussion: In phonetic studies, the phenomenon of gradation was noted in the signs of vowels
and consonants, and this situation reflects the opinion that vowels and consonants cannot be
completely opposed to each other.
Recently, linguists have been focusing on the issue of phoneme grouping, pointing to the
transition from traditional binary oppositions to graded classification (not vowel-consonant, but
vowel-consonant-noise). [2.16]
"There is an obstacle" - "There is no obstacle" signs that distinguish vowels from consonants
and seem not to be graded also need an explanation. When our linguists firmly believe that vowels
are formed without any barrier, they mean only the transverse obstacle. However, in addition to
transverse obstacles, there are also lateral obstacles (degrees of gradual protraction of the lips and
inward retraction of the cheeks), as well as obstructions such as the vocal cords, which are taut in the
path of airflow from the lungs. So, the appearance of sound itself is a product of obstruction. So,
vowels are not only dependent on the degree of tension of the vocal cords, but also have side obstacles
(going from the side to the cross through the slope) of the oral cavity and lips, as a result of their
activities (signs), vowels such as narrow, medium narrow, and very narrow are formed. So, while
the empirical binary phonological classification studied the phoneme system (as a whole) in non-
adherent oppositions such as vowel-consonant, sonorous-noisy, voiced-unvoiced, voiced-sonor,
unvoiced-sonor, vowel-sonor, the dialectical-level classification studied the phonological system of
signs of identity (similarity) analyzes according to their gradual connection and on this basis
determines the necessary place and position of each phoneme type in the phonological system. As a
108 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
result, the essence of each phoneme and phonological system is revealed more deeply. If we want to
think about the gradations characteristic of vowels, there is no need to prove the gradation in the sign
of vertical movement of the tongue (opening of the mouth). According to this sign, in the traditional
classification of vowels such as wide - medium narrow - very narrow or lower - medium - upper,
it is taken into account the decrease of the sign of width or the disappearance of narrowness: Also,
the U-O'-O direction is built on the same basis, it is narrow and labial in the first place. If it is standing,
wide and lipped O is located at the end of this system. The phoneme O' occupies an intermediate
place in these gradation conflicts: Qayerda ov qilmoqchisan? – Qirg’oqdan uzoqroq joyda. Shamol
o’zgarganda qaytaman. Tong otmasdan chiqaman.
– Sherigimni ham uzoqroqda ov qilishga koʼndirish kerak boʼladi. Аgar qarmogʼingga juda
kaaaatta baliq ilinib qolsa, biz yordamlashib yuboramiz. – Uning qirgʼoqdan koʼproq uzoqlashishga
tobi-pobi yoq[2.36];
ABiiig Bad Wolf blows down the first two pigs' houses, made of straw and sticks respectively,
but is unable to destroy the third pig's house, made of bricks[2.56].
According to Bozorov, the phenomenon of gradation manifests itself in phonetics/phonology,
where the substance is more material (obvious), as well as in the lexical system, which directly reflects
the gradations of real existence, and in more abstract directions at other levels of the language.
Pharynx - deeper velar - deep velar - dorsal - blade, blade/palate - blade/gum - blade/dental,
labial/nasal - blade/nasal - velar/nasal, front line - indifferent- back line, vowel – sonorant –
consonant, sonorant – voiced – voiceless, sibilant – sibilant/explosive – explosive, narrow – medium
wide – wide, not labial – incomplete labial – labial have important constitutive importance [2.43].
Conclusion: At the phonetic level, the stylistic technique of gradation can be manifested,
because the volume of voice can increase when pronouncing a speech, and the volume can be
expressed using exclamation marks in writing. In addition, T.G. Khazagerov and L.S. As Shirina
notes, a gradation "has several centers of intonation with a rising or falling intonation." [4.25]. In this
regard, we can talk about phonetic (intonation) gradation: — Bu judolik vaqtlarida boshingdan oʼtgan
voqealarni eshitishga juda qiziqaman. Ularning baʼzisini boshqalardan eshitgan boʼlsam ham, oʼz
ogʼzingdan eshitishim uchun boshqa gap edi,— dedi. — Sen ham mening boshimdan nimalar
kechganidan xabardor boʼlishni istasang kerak, albatta. Gaplarimiz koʼp, bafurja gaplasharmiz.
Umrim boʼyi senga tikilib oʼtirsam ham, tikilishdan toʼymayman, ey guluzorim! Ey obi hayotim!
Muhabbat lazzati shu muhabbat yoʼlida chekiladigan azob-uqubatga qarab ziyoda boʼladi, deganing
toʼgʼri. Аmmo sen bilan mening muhabbatimiz ziyodalikni qabul qilmasa kerak, lekin mashaqqat,
azob-uqubat bilan yana ham musaffo boʼladi, desang, bu fikringga qoʼshilaman[9.98];
It was so immediately clear that this was the only thing to do. I would not have accepted any
other answer. I would not have trusted a great booming voice that said either: You Must Divorce
Your Husband! or You Must Not Divorce Your Husband! Because that’s not true wisdom. True
wisdom gives the only possible answer at any given moment, and that night, going back to bed was
the only possible answer[8.26] .
In this example, the identical phrases that follow each other must have different pitches,
represented by one, two, and three exclamation marks. In another example, volume is indicated by
different exclamation marks:
Shu kecha Fotima, uxlay olmadi. Koʼzlarini yumishi bilan Ismoilni koʼrar, u yigʼlar, toʼxtovsiz
yigʼlardi. Bu bolaning yolgʼiz aybi — onasining oʼlgani, yetimligi. Аslida, unga bu yoshda parvarish,
ona mehriga muhtoj gʼamli yuragiga, mahzun koʼngliga malham zarur edi. Lekin qayda malham?!
Qani, u mehribon inson?! Insoniylik amriga kuloq tutgan bormi? Muruvvat, marhamat yoʼlidan
yurguvchi qani? Qani, oʼz diniy burchini oʼylaganlar?! Qaerda?!! Аxloqiy vazifasini oʼtaydiganlar
qayda, qayokda, qani?!!![7,214]
For since he had been drawing closer and closer to Sondra, his hopes had heightened so
intensely that, hearkening to this demand on the part of Roberta now, his brow wrinkled and his
manner changed from one of comparatively affable, if nervous, consideration to that of mingled fear,
opposition as well as determination to evade drastic consequence. For this would spell complete ruin
for him, the loss of Sondra, his job, his social hopes and ambitions in connection with the Griffiths--
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 109
all--a thought which sickened and at the same time caused him to hesitate about how to proceed. But
he would not! he would not! He would not do this! Never! Never!! Never!!![6,224]
REFERENCES:
1. Kuronov D., Mamajonov Z., Sheralieva A. Adabiyotshunoslik terminlari lug’ati. T.Fan, 2010. B. 39.
2. Bozorov. O. Oʼzbek tilida darajalanish. fil. f. dok. diss. avtoref. Toshkent 1997. B. 16.
3. Sultonov D. She’r va tarjima. Samarqand, 2009. B.25
4. Hudoyberdiev E. Adabiyotshunoslikka kirish.T.; O’qituvchi, 1995.B.180.
5. Xazagerov T.G. Shirina L.S. Obщaya ritorika: Kurs lektsiy i Slovar ritoricheskix priemov. Rostov n/D, 1999.
S. 137.
6. Shuhrat Sirojiddinov, Gulnoza Odilova. Badiiy tarjima asoslari. 2011
7.Theodore Dreiser. An American Tragedy.Crowell, 1974
8. http://library.navoiy-uni.uz.
9. https://www.elizabethgilbert.com.
10. Jo'rjiy Zaydon. Farg'ona kelini (roman) https://forum.ziyouz.com
UO’K: 81'373.613:821.
FRANSUZ VA OʻZBEK TILLARIDAGI AYRIM GEOGRAFIK TERMINLARNING
LEKSIK-SEMANTIK XUSUSIYATLARI
R.Maxmudov, f.f.d., katta ilmiy xodim, Xorazm Ma’mun akademiyasi, Xiva
L.Davletova, magistrant, Urganch davlat universiteti, Urganch
Ushbu maqolada fransuz va oʻzbek tilidagi ayrim toponimlarning paydo boʻlish sabablari tahlil
qilingan. Joy nomlari qoʻyilishidagi sabab va omillar aniqlashtirilgan
Kalit soʻzlar: toponim, etimologik tahlil, nomlash tamoyili, semantik taraqqiyot, tarixiy qatlam.
Аннотация. В данной статье анализируются причины появления некоторых
топонимов во французском и узбекском языках. Уточнены причины и факторы размещения
топонимов.
Ключевые слова: топоним, этимологический анализ, принцип именования,
семантическое развитие, исторический пласт.
Abstract. This article analyzes the reasons for the appearance of some toponyms in the French
and Uzbek languages. The reasons and factors for the placement of toponyms are clarified.
Key words: toponym, etymological analysis, naming principle, semantic development,
historical layer.
Toponimika tilshunoslikning eng muhim va eng dolzarb sohalaridan biri. Soha rivojida koʻplb
tilshunoslar zahmat chekib, ilmiy faoliyat olib bormoqda. Buning natijasi oʻlaroq toponimika asoslari,
sohaning eng muhim yoʻnalishlari, tarixi va kelajagi borasida muhim ilmiy gʻoyalar ilgari
surilmoqda. Bugun joy nomlarining oʻrganilishi, tarixiylik hamda zamonaviylik, milliylik hamda
an’analarga sodiqlik kabi prinsiplarga asoslangan yangi joy nomlari tizimini yaratish hamda xalq
uchun zarur taklif va tavsiyalarni berish tilshunoslik mazkur yoʻnalishida eng muhim masalalardan
biri boʻlib qolmoqda. Ushbu tadqiqotimizda joy nomlari hosil qilishning eng muhim tamoyillari,
oʻzbek va fransuz tillaridagi ayrim toponimlarning yuzaga kelish sabab va omillarini tahlil qilamiz.
Geografik nomlar uzoq muddatli boʻlib, ma’lum hududdagi u yoki bu xalqning tili haqida guvohlik
beradi. Nomlar ma’lum bir aholining hamjihatligi yoki tarqoqligiga ham bogʻliqdir. Ibtidoiy jamoa
tuzumi davrida nomlar juda kam boʻlgan, keyinchalik aholi koʻpayib boʻlinish yuz bergan, qoʻyilgan
nomlar ham koʻp vaqtlar oʻtishi bilan boshqa nomlarga oʻzgartirilib yuborilgan yoki butunlay yoʻq
boʻlib ketgan. Yozma manbalardagi toponimikaga oid ma’lumotlar tahlil qilinganda buni yaqqol
koʻrish mumkin. Bu hodisani hozirgi vaqtda ham aniq koʻrishimiz mumkin. Ayrim shahar va
qishloqlarning eski nomlari oʻrniga yangi nomlar qoʻyiladi, bu eski nom nima uchun yoʻqotildi-yu,
nima uchun yangi nom qoʻyildi, buning sabablarini ham aniqlash mumkin. Oʻtmishda esa koʻp
hollarda yangi zamindor (yer egasi) paydo boʻlishi bilan koʻpincha aholi eski geografik nomlar
oʻrniga shu zamindorning nomini qoʻyishgan.
Demak, toponimlarni hosil qilishning bir necha tamoyillari mavjud: eng avvalo, atropotoponim
– shaxs nomlari bilan bogʻliq holda joyga nom qoʻyish – Navoiy, Beruniy, Ibn Sino v.b.; joyning
110 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
oʻziga xos belgilariga qarab nom tanlash – Balandchaqir, Oqtepa, Qizilrabot, shu yerda yashagan
etnik guruh nomidan kelib chiqqan holda nom tanlash – Qipchoq, Mangʻit, Qoʻngirot v.b.
Biz koʻp hollarda toponimlarni tahlil qilar ekanmiz, ularning kelib chiqishi haqida,
etimologiyasi, nomlash tamoyili haqida tahlillarni keltiramiz. Aksincha, toponimlardan nom olgan
buyumlar, oʻsimlik, hayvonlar shu qadar koʻpki, ba’zan hatto ularning etimologiyasi toʻgʻrisida
oʻylab ham oʻtirmaymiz. Qoʻqon arava, buxoro qovuni, chust pichogʻi kabi soʻzlarda oʻsha joy
nomlari hamon esga kelishi mumkin. Biroq akademiya (Afina yaqinidagi changalzor), vulkan (Tirren
dengizidagi Vulkano oroli nomidan), jersi (Normandiyadagi shahar), kofe (Afrikadagi Kaffa oʻlkasi
nomidan), olimpiada (Gretsiyadagi eng baland Olimp togʻi nomidan), roman (Rim shahri nomidan
olingan) kabi soʻzlarning ham aslida toponimlar ekanini koʻpincha xayolimizga ham keltirmaymiz.
Bu holat kimyoviy elementlarning nomlarid ahm kuzatilishi mumkin: Koʻpgina kimyoviy
elementlar joy nomlari bilan atalgan: ameritsiy (Amerika), galliy (Fransiyaning lotincha nomi –
Galliya), germaniy (Germaniya), golmiy (Shvetsiyaning poytaxti Stokgolmning lotincha nomi –
Golmiya), yevropiy (Yevropa), indiy (Hindiston), lyutetsiy (Parijning lotincha nomi — Lyutetsiya),
poloniy (Polsha), ruteniy (Rossiya), ittriy (Shvetsiyadagi Itterbo qishlogʻi) va hokazolar.
Qit’alar (materiklar) va dengizlar nomlaridan hosil boʻlgan toponimlar. Avstraliya – grekcha
«Janubiy quruqlik» degan soʻz. Antik dunyo olimlarining faraz qilishicha, janubiy yarim sharda
noma’lum quruqlik Terra australis incognito boʻlishi kerak edi. XVII asr oʻrtalarida bu quruqlik
kashf etilgach, incognito (noma’lum) soʻzi tushib qoladi va janubiy yerni Terra Australis deya
boshlaydilar. Bir vaqtlar uni «Yangi Gollandiya» deb ham ataganlar. XIX asrdan e’tiboran qisqacha
Avstraliya (Janubiya) shakli qaror topdi. Yevropa — osuri tilida ereb — «kun botish», «qorongʻulik»,
«gʻarb» demakdir. Osiyo — ruscha Aziya, xitoycha Yasiya, yaponcha Adziya. Bu nom dastlab
Gomer dostonlarida tilga olingan. Miloddan oldingi V asrda Gerodot asarlarida Osiyo deb hozirgi
Turkiyaning gʻarbiy qismi anglashilgan. Xullas, Osiyo nomi oʻrta dengiz sohillariga xos atoqli otdir.
Bora bora bu nom sharqiy yerlarga ham yoyilib, umumlashib ketadi va avvali quyi Osiyo, soʻngra
Buyuk Osiyo nomlari, XVIII–XIX asrlarda Kichik Osiyo, Oʻrta Osiyo, Markaziy Osiyo singari ayrim
qismlarni anglatuvchi nomlar paydo boʻladi. Osiyo nomining ma’nosi turlicha manba va
adabiyotlarda turlicha izohlangan: Aziya shahri nomidan, filosof Aziya ismidan, Aziya vodiysi
nomidan kelib chiqqan deb faraz qilinadi, osuri tilida asu «kun chiqish tomon». «Sharqiy» ma’nosida
qoʻllanilgan. Qora dengiz – janubiy xalqlar tomonidan berilgan nom qora soʻzining «shimol»,
«salqin» degan ma’nosi ham bor. Uning suvi qoramtir boʻlgani uchungina qora dengiz deyiladi deb
izohlash notoʻgʻri. Miloddan avvalgi IX–VII asrlarda yunonlar qora dengizni yoki mamlakatimizning
janubiga joylashgan bu dengizni «uzoq shimol» deb ham ataganlar. Qizil dengiz–arabcha “Bahri
axmar”, grekcha Eritreya. Afsonaga koʻra, Eron shohi Eritr (qizil qalpoq) bosib olgan va Nil tomon
kanal qazitgan ekan. Boshqacha izohi ham bor: qirgʻoqlarida qizgʻish suv oʻtlari va chigʻanoqlar koʻp
boʻlganidan shunday nom olgan. Oʻrta dengiz – Yevropa, Afrika va Osiyo oʻrtalarida joylashgan
dengiz. Grekcha Mediterrano – «Oʻrta yer» soʻzlaridan ruschaga aynan tarjima qilingan, oʻzbekcha
shakli shundan qisqartirib olingan. Tarixiy sharqiy manbalarida koʻpincha Rum dengizi, Shom
dengizi nomlari bilan ham mashhur boʻlgan. Oʻlik dengiz – gʻarbiy Osiyodagi koʻl. Suvi juda shoʻr
va unda hayot yoʻqligidan «hayotsiz», «jonivorsiz», «oʻlik dengiz» deb atalgan. Lotin Amerikasi –
Markaziy va Janubiy Amerikada ispan va portugal tillari tarqalgan hudud. Bu tillar lotin yoki roman
tillar guruhiga kiradi. Bu yerda yashovchi xalqlarning asosiy qismi lotin tilida soʻzlashganligi uchun
shunday nomni olgan. Bolqon – Yevropadagi yarim orol. Turkiy tillarda balqon, balxan «togʻ»,
«togʻli yer» degan ma’noni anglatadi. Turkmanistondagi Balxan nomini turklar Yevropaga
koʻchirgan boʻlishi ham mumkin (V.F.Minorskiy). Bosfor – Qora dengizdan Oʻrta dengizga
oʻtadigan yerda joylashgan boʻgʻoz. Turkiyada koʻpincha Boʻgʻoz, Istanbul boʻgʻozi, Qora dengiz
boʻgʻozi deb ataladi. Bosfor xonancha «buqa» degan soʻz. Afsonaga koʻra, goʻyo bu boʻgʻozdan
buqalar sakrab oʻtgan emish. Ammo yana boshqa haqiqatga yaqinroq izoh ham bor. Qadimda bu
boʻgʻozdan suzib oʻtadigan kema egalari boj haqini qoramol bilan toʻlaganlar, shu-shu «buqa
toʻlanadigan boʻgʻoz» nomini olgan.
Arabiston – Gʻarbiy Osiyodagi yarim orol. «Arab» aslida «choʻl» degan soʻz, shundan
«choʻlliklar», «koʻchmanchilar» arablar soʻzi hosil boʻlgan, soʻngra «arablar yeri» Arabiston paydo
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 111
boʻlgan. Avstriya – aslida nemischa Osterreyx: ost – «sharqiy», reyx «oʻlka», ya’ni «sharqiy oʻlka»
degan ma’noni bildiradi. Angliya – Gʻarbiy Yevropadagi Buyuk Britaniya davlatining nomi; V–VI
asrlarda kontinental Yevropadan shu yerga suzib oʻtgan angl qabilalari nomidan olingan.
Yuoqridagi ma’lumotlardan shunday toʻxtamga kelish mumkin: toponimlar tarkibida
ishlatiladigan geografik terminlarni ifodalayotgan obyekt turlariga koʻra geografik oʻrinni
bildiruvchi, landshaftni, relefni, suv obyektlarini, togʻ jinslarini (litologiyani), oʻsimlik va hayvonot
dunyosini, iqlimni, tuproqning turini bildiruvchi terminlarga boʻlish mumkin.
Relefni bildiruvchi geografik obyektlar nomida togʻ, tepa, qir, dovon, bel, chuqur, jar, yozi,
kungay, tarskay, ort, oshuv, qopchigʻay (dara), qoratov, qurum, ayrim boshqa tillarda maunt, shan,
lin, serra, monte, jabal, koʻh va boshqa terminlar koʻp qoʻllaniladi.
Suv obyektlari nomlari tarkibida arashon (arason–issiq buloq), arna, ariq, buloq, guzar, daryo,
duob, yop, idil, kom, qoʻl (irmoq), koʻl, pul (koʻprik), qayir, qorasuv, quduq, hovuz va boshqa
terminlar koʻp ishlatiladi.
Arpa, bodom, patta (tol navi), tol, terak, tut, jiyda, qayragʻoch, olma, oʻrik, gʻazol (gʻizol – ohu,
kiyik), tuya va boshqa terminlar oʻsimlik va hayvonot dunyosi bilan bogʻliq joy nomlari tarkibida
uchraydi. Qishloq, kent, ovul, kat, mahalla, guzar, qoʻrgʻoncha, koʻcha va boshqa terminlar aholi
punktlari (oykonimlar) nomlari tarkibida ishlatiladi. Turli xalqlar, urugʻ-qabilalar nomlari–oʻzbek,
qipchoq, qangli, ming, nayman, qirgʻiz, doʻrmon, yuz, saroy, mangʻit, arab, uygʻur va boshqalar
koʻpincha aholi punktlari nomi tarkibida uchraydi hamda shu yerda yashovchi xalq, urugʻ-aymoq,
qabilalar haqida ma'lumot beradi. Obyektning belgi–xususiyati, tomon, oʻrin-joy, hajm va boshqa
xususiyatlarni ifodalovchi terminlar ham koʻp: obod, katta, kichik, oʻrta, yuqori, quyi, yangi, koʻhna,
eski, oq, qizil, achchiq, chuchuk, shoʻr, shirin va boshqalar [5, 32].
Yuqorida oʻzbek tilida koʻp uchraydigan ayrim toponimlar haqida ayrim mulohazalar keltirildi.
Ushbu toponimlar tarkibidagi komponentlar, joy nomlarining paydo boʻlish tamoyillari, ular asosida
yuzaga kelgan turli nomlar haqida fikr yuritildi, quyida fransuz tilidagi ayrim joy nomlari haqidagi
mulohazalarimizni keltiramiz.
Fransuz tilida joy nomlarini tasniflashning ikkita usuli mavjud. Lingvistik yoki tarixiy
qatlamlar boʻyicha tasniflash hamda Krekelt (qadimgi kelt) toponimlari.
Ushbu tasniflarni hind-yevropa tillarida fransuz tiligacha boʻlgan davr hamda mamlakatlarda
bir-birini toʻldirib, bir-biri bilan qiyoslanuvchi turli lingvistik qatlamlarga koʻra amalga oshirilishi
mumkin (bu tasnifning oʻzgarishi nomlarni tarixiy davrlarga boʻlishdir) [1, 36].
Qulaylik uchun biz ularni hind-yevropagacha yoki hatto keltgacha boʻlgan joy nomlarini tahlil
qilamiz, ularni hind-evropa yoki qadimgi kontinental keltlar (galli) bilan izohlab boʻlmaydi.
Fransiyaning mintaqalariga qarab, asosan janubda, ba'zan bir mintaqada bir-biriga oʻxshash,
keltgacha yoki lotingacha boʻlgan substratlarning bir nechta turlari mavjud:
• Proto-Bask yoki Akvitaniya, ularning -ossum va muannas jinsda -ossa qoʻshimchalari [oxiri
-os (s) bilan tugaydigan] Akvitaniya nomlarida eng aniq: Andernos, Angos, Urdos, Biscarrosse,
Seignosse (Occitan Endarnòs, Angòs, Urdòs, Biscarròssa yoki Biscarròsse, Senhossa) va boshqalar.
Bu qoʻshimcha Ispaniya shimolida -uès diftong shaklida ham uchraydi. Bu toponimik -ossum
qoʻshimchali yasalmalarning ba'zilari gallik -akum- soʻz yasovchisi bilan bir davrda qoʻllangan joy
nomlarini hosil qiluvchi qoʻshimcha boʻlishi mumkin.
• Liguriya Alp togʻlari va Italiya shimolida (Manosque, Greasque, Turbiasque, Monaco, Como
Comasco, Bergamo Bergamasco) -asque, -osque, janubi-sharqiy Fransiya qoʻshimchalari bilan
ifodalanadi. -enc qoʻshimchasi liguriyaliklar qoʻllagan qoʻshimchalarni ham eslatadi: Korenc,
Kluman, Senanke. Shimoliy Alp togʻlarida esa ushbu qoʻshimcha -enche shaklini oladi: Aosta
vodiysida Sallanches, Choranche, Valgrisenche kabi toponimlar ayni shu yasovchidan hosil qilingan.
-elu, -elo, -elio qoʻshimchalari hali ham Liguresda joy nomi hosil qiluvchi qoʻshimcha sifatida
istifoda etiladi [3, 20].
• Pireney tili Kataloniyaning joy nomlarida oʻz izini qoldirgan boʻlishi mumkin, bu hind-
yevropagacha boʻlgan substratning bir qismi ham boʻlishi mumkin, ammo bu til hali toʻliq
oʻrganilmagan, bu esa Iberiyaning asl geografik nomlarini aniqlashni qiyinlashtirmoqda. Iibera va
basklarning joy nomlarini hosil qiluvchi vositalari haqidagi tadqiqotlarda “shahar” degan ma'noni
112 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
anglatuvchi berry atamasi ilgari surilgan. Ammo bu fikr bugungi kunda ikki tilning oʻzaro bogʻliqligi
toʻgʻrisida dalillar yoʻqligi sababli shubha ostida, chunki evskarologiyaning doimiy jihatlaridan biri
bu “iberiya” va “bask” tushunchalarini taqdim etishning murakkabligidir.
• Miloddan avvalgi VI asrda yunon mustamlakachilari tomonidan asos solingan Nitsa va Antib
shaharlari (yunoncha ĝki [Nike] va [Αντιπολις Antipolis]) qat’iy ravishda keltgacha boʻlgan
substratning bir qismidir (oʻsha paytda Gallar bu mintaqaga hali kelmagan edi). Yunon va keyinchalik
Rim va Kelt koloniyalari paydo boʻlgunga qadar bu hududlarda yana qanday neolit yoki paleolit
ildizlari mavjud boʻlganligi ma'lum emas, ularning substratlari koʻplab mahalliy xalqlar bilan juda
koʻp aralashib ketgan, hatto ushbu hududlarga tehishli toponimlarning tarixiy ildizlarini aniqlash
birmuncha murakkabliklarni tugʻdiradi. Biroq, Mishel Morvan (Bask etimologiyasi lugʻati)
tomonidan ta'kidlangan qiziqarli holatlarni ajratib koʻrsatishimiz mumkin: Buches-du-Rhone va Var
Val d'Aran boʻlimlarida Bask Aran “vodiysi” bilan mos keladigan koʻrinadi [2, 1089]. Quyida fransuz
tilidagi ayrim toponimlarning ushbu tasniflar asosidagi tahlillarini keltiramiz.
• Lill (fransuzcha Lille, picard. Lile, z.-flam. Rysel, golland. Rijsel) - shahar nomi gallo-rim
tilidagi “ISULA” soʻzidan kelib chiqqan. Toponimning tarixiy ildizi lotincha i[n]sula – “uylari
boʻlgan orol” ma’nosini anglatuvchi soʻz bilan bogʻlanadi, bu shaharning geografik joylashuvi bilan
toponim bogʻliq boʻlib, u Dol daryosining ikki tarmogʻi orasidagi orolda qishloq sifatida paydo
boʻlgan. Nom lotinlashtirilgan shakllarda Isla 1066-yilgi nizomda, Insula 1104-yilda, castro Insulano
1177-yilda va, nihoyat, fransuzcha versiyada Lysle 1259-yilda qayd etilgan
Ushbu oʻrinda ayrim togʻ nomlari bilan bogʻliq toponimlar (oronim)ni ham tahlil qilib ketamiz:
• Alp tog‘lari (fransuzcha Alpes) – nomning kelib chiqishi haqida bir qancha versiyalar mavjud.
Ulardan biriga ko'ra, Albus (Oq) so'zidan kelib chiqqan lotincha Alpes so'zi miloddan avvalgi 1-asrda
qor bilan qoplangan tog'larga nisbatan ishlatilgan. Yana bir talqin shuki, bu nom Al yoki Ar
soʻzlaridan kelib chiqqan boʻlib, baland togʻ degan maʼnoni anglatadi. Hozirgi fransuz va italyan
tillarida Alpe soʻzi nemis tilida Alp soʻzi “Togʻ choʻqqisi” degan maʼnoni bildiradi. Keltlar tilida ham
Alpes soʻzi boʻlgan, keltlar bu soʻzni barcha baland togʻlarga nisbatan qoʻllashgan. Keyin u ingliz
tiliga ham kirib keldi. Taxminlarga ko'ra, Alp soʻzi kelt tiliga Rim imperiyasi ta’siri ostida kirib
kelgan
• Pireneylar (fransuzcha Pyrénées) – nomning kelib chiqishi aniq belgilanmagan. Bu nomni
dastlab qadimgi yunon geograflari qoʻllagan degan nuqtayi nazar mavjud. Πυρηναῖα (Pyrēnaîa)
atamasi, masalan, Plutarxda (taxminan eramizning 46-125-yillari) uchraydi. Keyinchalik bu nom
lotincha Pireneyga aylantirildi va 1660-yilda oksitan tilida als confins dels Pireneus sifatida paydo
bo'ldi. Ushbu tog' tizmasi hududida yashagan xalqlar tillarida bu nom quyidagicha ko'rinadi: aragon
– Pireneu o/OS Perinés, kataloniya shevasida - Els Pirineus/El Pirineu, ispancha - los Pirineos/el
Pirineo, oksitancha - eths/los Pirenèus, Bask - Pirinioak. Bu tillarning barchasida nom muzakkar
jinsdadir, lekin fransuz tilida "Pyrenees" nomi garchi ko'plikda jins shakli boʻlmasa-da, ko'pincha
muannas jinsdagi ot sifatida qabul qilinadi,. Bundan tashqari, tillararo aloqalar tufayli Oksitan tilida
toponimning las Pirenèas tarzidagi xato shakli paydo bo'ldi. Pireney togʻlarining eponimi hayvonlar
tomonidan parchalanib, Pireneyga dafn etilgan qadimgi mif qahramoni boʻlgan Pirena asosida paydo
boʻlgan.
• Yura (Жюра́, fransuzcha Jura [ʒyʁa]) – franko-provans juris soʻzidan kelib chiqqan boʻlib,
lotincha juria soʻzidan kelib chiqqan boʻlib, “togʻ oʻrmoni” degan maʼnoni anglatadi. Bu formantlar,
o'z navbatida, ushbu tog' tizmasini qoplagan keng tog o'rmonlari tufayli “o'rmonli balandlik” degan
ma'noni anglatuvchi kelt jor, jore asoslari bilan bogʻlanadi [4, 39].
Xulosa qilib aytganda, toponimlar fransuz tilida ham, oʻzbek tilida ham leksikaning eng
qadimiy qismlaridan biri desak, mubolagʻa boʻlmaydi. Toponim, har bir xalqning tarixi, madaniyati,
til tarixi, etnografiya va boshqa sohalari kesishgan nuqtasida yuzaga kelgan va bugungacha rivojlanib,
sayqallanib borayotgan sohadir. Yuqorida biz fransuz tilidagi qadimiy substrat qatlamga oid ayrim
toponimlarning paydo boʻlish omillarini tahlil qildik. Keyingi tadqiqotlarimizda kelt substrat qatlamli
fransuz toponimlarining etimologiyasiga oid tahlillarimizni davom qildiramiz.
FOYDALANILGAN ADABIYOTLAR ROʻYXATI:
1. Albert Dauzat et Charles Rostaing, Dictionnaire étymologique des noms de lieux en France, 2e édition, Librairie
Guénégaud 1978. –P. 24.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 113
2. Ernest Nègre, Toponymie générale de la France, Librairie Droz, 1996, volume 2. –P. 1089.
3. Hubert Bessat, Les noms du patrimoine alpin, 2004. –P. et 20.
4. Pierre Chessex, "Noms de lieux forestiers", revue La Forêt, Neuchâtel, Imprimerie Nouvelle L.-A. Monnier,
1950. –P. 39.
5. Qorayev S. Toponimika. –T., 2006. –B. 32.
UO’K: 81'373.613:821.
OʻRXUN-ENASOY VA UYGʻUR YOZUVI MANBALARIDAGI TARIXIY
ANTROPONIMLAR
R.Maxmudov, f.f.d., katta ilmiy xodim, Xorazm Ma’mun akademiyasi, Xiva
B.Ibadullayev, magistrant, Urganch davlat universiteti, Urganch
UDC 81-13
LINGUISTIC FEATURES OF SPORT TOURISM
G.U.Marupova, teacher, Bukhara State University, Bukhara
A sіmіlar classіfіcatіon of sports tourіsm was pre- sented by B. BOŃCZAK (2013, p. 56) and
J. MOKRAS- GRABOWSKA (2015, p. 15), who dіstіnguіshed (Fіg. 1) outdoor and іndoor sports
tourіsm (actіve sports tourіsm, meanіng varіous sports dіscіplіnes), fan tourіsm (watchіng sportіng
events), nostalgіa sports tourіsm (vіsіtіng sports facіlіtіes, both modern and hіstorіcal) and the tourіsm
of sportsmen and women (competіtors travellіng to sportіng events).
A slіghtly dіfferent poіnt of vіew іs represented by A. Pawlіkowska-Pіechotka, who іdentіfіes
mass ‘hard’ sports tourіsm (organіzed groups of fans), ‘soft’ sports tourіsm (іndіvіdual trіps) and
nostalgіa tourіsm among all the trіps made іn order to passіvely partіcіpate іn sportіng tourіsm. Іn
turn, among trіps made to actіvely partіcіpate іn sportіng events, she dіs- tіnguіshes actіve sports
tourіsm (undertakіng a gіven sports dіscіplіne) and sports adventure tourіsm (travelіng to remote, hard
to reach parts of the world, expedіtіons to the ‘unknown’). Іt іs worth poіntіng out that A.
Pawlіkowska-Pіechotka combіnes adventure tourіsm wіth hіgh mountaіn clіmbіng, hіkіng and lone
saіlіng (e.g. clіmbіng mountaіn crowns, breakіng saіl- іng records). Іt must be stressed, however, that
actіv- іtіes of thіs type are also ascrіbed to forms of specіalіsed, adventure or extreme tourіsm. Thіs
іs because the essence of adventure tourіsm іs experіenc- іng a ‘trіp іnto the unknown’ (exploratіon).
Іt іs characterіzed by an emotіonal aspect (for іnstance connected wіth hіgher rіsk) as well as the
spіrіtual and aesthetіc experіences based on contact wіth dіfferent natural and cultural envіronments.
However, adventure tourіsm іs often organіzed by professіonal tour-operators and therefore does not
requіre such profound psycho-physіcal preparedness as specіalіsed tourіsm. Іn turn, extreme tourіsm
(rіsk tourіsm) means extreme forms of recreatіon (extreme sports), focused on gaіnіng a strong
emotіonal experіence. Thіs іs often accompanіed by physіcal exhaustіon as well as a hіgh rіsk of
damagіng one’s health or even losіng one’s lіfe. Іn thіs type of tourіsm, rіsk іs the key element
(MOKRAS-GRABOWSKA 2015, p. 29).
As thіs dіscussіon іmplіes, establіshіng fіne lіnes between іndіvіdual forms of actіve tourіsm
(sports, specіalіsed, adventure, extreme) іs very dіffіcult (some- tіmes even consіdered іmpossіble) and
greatly depends on the psycho-physіcal preparedness of tourіsts, theіr tourіsm awareness and
professіonalіsm. Many actіvіtіes may be undertaken іn a mіlder form (actіve tourіsm e.g.
lowland/mountaіn hіkіng), but some of them are only a form of specіalіsed tourіsm, whіle others
maіnly serve the purposes of adventure tourіsm (e.g. balloonіng) or extreme tourіsm (e.g. canyonіng).
A wіdenіng spectrum of tourіst and sports actіvіtіes can be found related to new trends, fashіon and
development.
Another type, whіch іs thought controversіal, іs nostalgіa sports tourіsm. The objects of іnterest
іn thіs case are both hіstorіcal sіtes (e.g. ancіent stadіums) and contemporary monumental sports
facіlіtіes, especіally the seats of famous clubs (e.g. the Man- chester Unіted, FC Barcelona, or Real
Madrіd sta- dіums), as well as museums of sport and sports clubs, commemoratіon and exhіbіtіons
120 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
devoted to sports- men and women, Olympіc Games preparatіon centres, traіnіng facіlіtіes, Olympіc
Vіllages, ‘halls of fame’, sportsmen’s homes, or cemeterіes where the famous are burіed.
Соnсlusіоn. The іnquіry has shown an іncoherent pіcture of sports tourіsm. Despіte the adopted
defіnіtіon presentіng sports tourіsm as іnvolvіng a change іn everyday lіfe routіne іn order to
partіcіpate іn sports actіvіty (actіve sports tourіsm), as well as to watch sportіng events (event sports
tourіsm/fan tourіsm), or іn order to vіsіt sports attractіons (nostalgіa/sentіmental sports tourіsm),
there are many іnterpretatіons of thіs pheno- menon, as well as controversіes. Whіle the vіew that a
partіcіpant іn sports tourіsm may be actіve or passіve (spectator, supporter) іs acceptable, the detaіls
vary sіgnіfіcantly.
Sports tourіsm іs regarded as one of the most dynamіcally developіng forms of tourіsm, but at
the same tіme a debate contіnues whether іt should be dіstіnguіshed at all. What should be stressed
іs the questіon of varіous classіfіcatіons of sports tourіsm, to whіch the experts partіcіpatіng іn the
іnquіry refer to (actіve and passіve partіcіpatіon іn sports dіscіplіnes), as well as the fact that іt іs
very dіffіcult to ascrіbe a gіven actіvіty to a specіfіc type.
RЕFЕRЕNСЕS:
1. Gіbson H., 2003, Sport tourіsm: An Іntroductіon to the specіal іssue „Journal of Sport Management”, Journal
of Sport Mana- gement, 17 (3), pp. 205-213.
2. Hall C.M., 1992, Adventure, sport and health tourіsm, [іn:] Specіal Іnterest Tourіsm, B. Weіle, C.M. Hall (eds.),
Belhaven Press, London, pp. 141-158.
3. Kurek W. (ed.), 2007, Turystyka, Wyd. Naukowe PWN, pp. 256- 279.
4. Łobożewіcz T., 1983, Turystyka kwalіfіkowana, Wyd. PTTK „Kraj”, Warszawa.
5. Malchrowіcz-Mośko E., 2015, Fenomen turystykі sportowej na tle tendencjі charakterystycznych dla epokі
postmodernі- zmu, [іn:] Turystyka sportowa. Społeczno-kulturowy potencjał і perspektywy rozwoju, M. Kazіmіerczak
(ed.), AWF w Pozna- nіu, Poznań, pp. 55-66.
6. Mokras-Grabowska J., 2015a, Aktywne formy turystykі – mo- tywacje і pozіom kwalіfіkacjі uczestnіków.
Podejścіe koncep-cyjne і empіryczne, [іn:] Turystyka sportowa. Społeczno-kulturo- wy potencjał і perspektywy rozwoju, M.
Kazіmіerczak (ed.), AWF w Poznanіu, Poznań, pp. 28-40.
UDC 616-053.2-07-08-084:001.8
LITERATURE REVIEW ON SPECIAL TERMINOLOGY USED IN ALTERNATIVE AND
FOLK MEDICINE
I.A.Matveeva, senior teacher, Andijan State Medical Institute, Andijan
Annotatsiya. An'anaviy tibbiyot o'z rivojlanishini adabiy davrdan ancha oldin boshlagan.
O'sha paytda tibbiyot hali alohida faoliyat sohasi emas edi. Xalq va an'anaviy tabobat tajribasi faqat
og'zaki ravishda o'tkazildi. Faqat kichik bir qismi yozma manbalarda qo'lda yozilgan. Xalq
tabobatining lingvistik atamalari to‘g‘ridan-to‘g‘ri hissiy tajriba natijasi bo‘lib, bu insonning tabiat
bilan yaqin munosabati natijasidir.
Kalit so‘zlar: xalq tabobati, terminologik iboralar, insonning tabiat bilan aloqasi, an’anaviy
mifologiya, leksik birliklar.
Аннотация. Лингвистические термины народной медицины являются результатом
прямого чувствительного опыта, что является следствием тесного взаимоотношения
человека с природой. Традиционная медицина начала своё развитие задолго до литературной
эпохи. Медицина того времени ещё не была отдельной сферой деятельности. Опыт народной
и традиционной медицины передавался только устно. Только малая часть была
зафиксирована в письменных источниках, написанных от руки.
Ключевые слова: народная медицина, терминологические выражения, связь человека с
природой, традиционная мифология, лексические единицы.
Abstract. A large number of linguistic names in the language of traditional medicine are the
result of direct sensory experience, which is explained by the close relationship between man and
nature. Folk medicine was formed mainly in the pre-literate era, when medicine had not yet emerged
as a separate field of activity, and the experience of folk healing and folk medicine was passed on
from mouth to mouth. Only a small part of this information was included in written sources and has
come to us in the form a small number of handwritten books.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 121
Key words: folk medicine, terminological vocabulary, relationship between man and nature,
traditional mythology, lexical units.
The original and oldest type of medicine is usually called folk medicine. Folk medicine is "a
set of appropriate treatment methods developed by spontaneous folk experience of thousands of
years" [1]. The main importance of folk medicine is its complex effect on the physical and mental
state of a person not only during illness, but also throughout his life from birth to death.
The basis of traditional medicine is "always a harmonious philosophical, or rather religious-
philosophical doctrine, organically woven into it the empirical experience of folk healing of a certain
ethnic group" [1] . In other words, both of these types of medicine are traditional and folk, because
they are part of traditions and have absorbed the historical and cultural experience of the people.
Folk medicine was mainly formed in the pre-literate period, medicine was not yet formed as a
separate field of activity, folk medicine and the experience of folk medicine passed from mouth to
mouth, and only a small part of this information remained included in written sources and has come
down to us in the form of a small number of manuscripts. This situation significantly affects the
difficulty of the process of separating the terminological vocabulary from the general language
structure.
A large number of language names in the language of folk medicine are the direct result of
emotional experience, which is primarily explained by the close relationship between man and nature.
The fact that man did not think of himself outside of nature in ancient times and asked for help from
the things that surround him in the treatment of diseases explains the fact that the vocabulary of the
language of folk medicine is very similar to the common spoken language. Life itself has taught man
to know the healing properties of all things surrounding him: earth, water, air, flora and fauna, stones,
metals, etc. Ancient folk recipes are dominated by lexical units denoting natural sources of treatment
("treatment with internal lard") "; "steam bath treatment"; "treatment with bee stings", "herbal
medicine", "treatment with wax").
The distinctive features of mythological thinking were the result of human animating nature,
giving it the characteristics of humans or animals. Using the phrase "modern man is wild", he
automatically pronounces it according to a set pattern. The "humanization" of nature by ancient man
can be considered as "the result of ancient man's psychological adaptation to the surrounding world,
moral, psychological, and spiritual adaptation to the world itself" [1]. Currently, there is a revival of
many names in the language of folk medicine ("witch doctor", "healer"). In other words, modern
Russian language has its own exploitation of traditional mythology and symbolism. This is evidence
of "the close connection of symbolic words and symbolic words with cultural, social and
psychological ideas" [1]. Since ancient times, symbols have been used for prayers, spells, exorcisms,
evil spirits and diseases. The denotation, meaning and connotation of the word denoting the sign is
extremely versatile. As the amount of information contained in a given symbol is overflowing, a
semantic explosion occurs in the word-symbol. The word "nature" has a special meaning in the system
of Russian national culture, which is expressed in the increasingly common way of writing it with a
capital letter. And this can be considered a symbolic sign of the word. Acknowledging nature as the
pinnacle of perfection, the basis of our existence, lies in a new type of thinking - ecological thinking,
the need for its formation is becoming more and more evident in the era of pragmatic rationalism.
The close connection of the lexical units of the language of folk medicine with the commonly
used vocabulary affects the low percentage of highly specialized terms in the language of folk
medicine.
Martin Shattle traces the origins of folk medicine in his historical review, "The History of
Medicine in the Golden Age of Islam, Interesting Facts." Many Islamic physicians made great
discoveries in all aspects of medicine during the Islamic Golden Age, building on the knowledge of
Galen and the Greeks and adding their own discoveries. The most famous Islamic scientist in the
history of medicine was al-Razi.
Islamic Scholar Ibn Sina Ibn Sina was a true scholar who excelled in many scientific fields,
including Islamic medicine and the natural sciences. His publication, the Canon, was a key text for
122 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
physicians throughout the Islamic world and Europe, providing a detailed guide to the diagnosis and
treatment of disease.
Al-Kindi (800-870), another great Islamic polymath, made further contributions to the history
of medicine. This scientist was greatly influenced by Galen's work and made unique contributions to
this field. In his Aqrabadin (Medicinal Formulations), he described many preparations derived from
plant, animal and mineral sources. [2].
"The relatively modern term 'folk medicine' refers to the care of patients by unlicensed
practitioners, including practitioners of herbal and magical medicine. Since the mid-19th century, this
trend has become an important part of folklore, and in recent years it has been of increasing interest
to many people in the modern scientific medical community. Traditional medicine has its roots in
healing systems that have existed since the dawn of culture and flourished long before the
development of systematic or scientific medicine. It continues to evolve today along with modern
scientific medicine. This is described in the works of Dr. Amrit Pal Singh [3].
Here he explained some historical facts. Evidence from the oldest sources - the Atharva Veda
in India (written around 1200 BC), the Petrie Collection at Kahun in Egypt (1880 BC) and the Avesta
from Persia (composed around the 6th century AD...) . Early medicine was largely based on religion
and magic, but also increasingly included the use of herbs and mineral products. Originally, all
diseases were believed to be cured by a shaman, healer, or other "therapist" who was able to cast out
the evil that caused the disease. Over time, doctors became more specialized. The Greek historian
Herodotus noted the increasing specialization of Egyptian physicians.
“Ever since I started this journey, I've learned that this is what alternative medicine can do for
people. By making us feel supported, drawing on the power of hope and belief, relaxing our bodies,
and reducing stress, mind-body therapy moves molecules in our brains in ways that reduce disease in
our bodies. " - said Melanie. Warner in his book "The Magic Feather Effect: Alternative Medicine
and the Surprising Power of Belief". This is the point of view of one of the representatives of Europe.
[3].
Regarding Chinese medicine, it is interesting to analyze the following words of Anthony
Bourdain: "Only desperation can explain what the Chinese are doing in the name of 'medicine'. This
is the new thinking of 'holistic medicine' and 'alternative Chinese treatment' is something you can
remind your friends of in the 19th century.[8] The approaches that make up traditional Chinese
medicine (such as acupuncture, tai chi, and herbal products) have been the subject of numerous
clinical studies and scientific reviews.
Certain psychological and physical approaches used in traditional Chinese medicine, such as
acupuncture and tai chi, can help improve quality of life and certain pain conditions. Studies of
Chinese herbal products used in traditional Some Chinese herbal products are contaminated with
toxic compounds, heavy metals, pesticides, and microorganisms and can have serious side effects.
Production errors, when one plant was mistakenly replaced by another, also caused serious
complications.
Traditional Chinese Medicine (TCM) has evolved over thousands of years. TCM practitioners
use a variety of psychological and/or physical approaches (such as acupuncture and tai chi) as well
as herbal products to treat health problems.
Tai chi combines certain postures, gentle movements, mental focus, breathing and relaxation.
Research shows that practicing tai chi can improve balance and stability in older adults and people
with Parkinson's disease, reduce pain from osteoarthritis of the knee, help people with fibromyalgia
and back pain, and , can improve quality of life and improve mood in people with heart failure.
Conclusion: A large number of language names in the language of folk medicine are the direct
result of emotional experience, which is primarily explained by the close relationship between man
and nature. The fact that man did not think of himself outside of nature in ancient times and asked for
help from the things that surround him in the treatment of diseases explains the fact that the
vocabulary of the language of folk medicine is very similar to the common spoken language.
Nowadays the tendency to transform terms pertaining to folk medicine into modern language words
is observed in all spheres of alternative medicine.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 123
REFERENCES:
1. G.N. Nosenko, T.S. Kirillova. Some features of the language of folk medicine.
2. Martyn Shuttle. History of Medicine in the Golden Age of Islam. https://explorable.com/islamic-medicine
3. The lost glory of folk medicine. Dr. Amrit Pal Singh, MD (Alternative Medicine), Ind-Swift Ltd.
4. Irina Matveeva, Alternative medicine. First steps towards a career", Andijan State Medical Institute, 2023.
5. Melanie Warner, The Magic Feather Effect: Alternative Medicine and the Surprising Power of Belief
https://www.goodreads.com/quotes/tag/alternative-medicine
6. Laura Kemppainen. Complementary and alternative medicine use in Europe: health-related and socio-
demographic determinants. Volume 46, Issue 4. https://doi.org/10.1177/1403494817733869
7. Folk medicine. https://kids.britannica.com/students/article/folk-medicine/274370
8. Anthony Bourdain, The Chef's Journey: Global Adventures in Extreme Kitchens.
https://www.goodreads.com/quotes/tag/alternative-medicine
9. What is the conclusion? https://www.nccih.nih.gov/health/traditional-chinese-medicine-what-you-need-to-
know
UO’K 811.112.2’271.2
OG’ZAKI VA YOZMA HAMDARDLIK BILDIRISH USULLARI VA HAMDARDLIK
BILDIRISHDA KENG TARQALGAN XATOLAR
O.Sh.Mavlanova, tayanch doktorant, O’zbekiston Milliy Universiteti, Toshkent
Tilning asosiy vazifasi muloqot vositasidir. Til odamlarga bir-biriga gap aytish va o’z
kommunikativligini ifodalash imkonini beradi. O’zaro ta’sir muhitida odamlar til o’zgarishidan
foydalanadilar. Bu o’zaro ta’sir, ularni muayyan so’zlardan foydalanishga olib keladi, ular aniq
maqsadlar yoki manfaatlar uchun ishlatiladi. Ta’ziya iborasi ana shunday iboralardan biridir.
Hamdardlik kommunikativ nutqiy harakatlardan biridir. Bu iboralar kimningdir o’limi munosabati
bilan o’z hamdardligini bildirish uchun mo’ljallangan. Yaqin insonidan ayrilish judayam og’riqli
hodisadir. Bunday paytlarda har qanaqa yaxshi so’z, tasalli ham ko’ngil hotirjamligi uchun kishiga
yordam beradi, yupatadi. Ayniqsa, g’am - anduhga to’la kunlarda, ular qalbga tasalli beradi. Yaqin
insonlaringdan bunday so’zlarni eshitish ruhiy dalda beradi va ovutadi. Demak hamdardlik bildirish
bu juda muhim hisoblanadi.
Ta’ziya va hamdardlik mashxur mantiqshunos olim J.Ostin va amerikalik psixolog J.Searlening
expressive nutq aktiga kiradi. J.Ostin uni behabitiv nutq akti sifatida tavsiflagan. Ularning tasnifiga
124 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
ko’ra, mazkur masala pragmatik tahlilning asosiy masalalaridan hisoblanib, u lokutsiya, illokutsiya
va perlokutsiya singari uch boshqichdan iborat faoliyat sifatida qaraladi. Bunda lokutsiya- nutqiy
aktning birinchi bosqichi, talaffuz qilinish orqali nutqiy faoliyat bajarilish aktidir. Illokutsiya-
markaziy akt, muloqot jarayonida kommunikativ maqsad voqelanadigan faoliyatdir. Perlokusiya-
nutqiy aktning ta’sir etuvchi bosqichi, natijaviy maqsad amalga oshadigan faoliyatdir.
Shuningdek, o’zbek olimi Sh.Safarov J.Searle tomonidan tuzilgan nutqiy aktlarni ancha
tuzilmaviy ko’rinishga ega deydi va bu tasnifga ko’ra nutqiy aktlarni beshta turga bo’ladi. Bular:
1. Assertivlar. Axborotning rostligi va ishonchliligi haqida ma’lumot beradi. Misol
uchun: Singlim – talaba. Poyezd soat 11 da jo’naydi.
2. Direktivlar. (bunga buyruq, savol, iltimos, ogohlantirish, talab qilish, ruhlantirish,
ta’qiqlash, tavsiya etish kabi nutqiy harakatlar kiradi).
3. Komissivlar. Va’da berish va majburiyatni ifodalovchi nutqiy aktlar kiradi. Masalan:
Ertaga kelishga va’da beraman. Rejani albatta bajaraman.
4. Deklarativlar. E’lon qilish, cho’qintirishga oid nutqiy harakatlar kiradi. Misol uchun:
Sizlarni er va xotin deb e’lon qilaman. Yig’ilishni yopiq deb e’lon qilaman.
5. Ekspressivlar. (tabrik, ta’ziya, hamdradlik bildirish kabi nutqiy harakatlar kiradi).
“Ta’ziya” so’zining kelib chiqishi chuqur ma’no bildiradi. Uning ikkita lotin ildizi bor: com,
“birga” va dolere, “qayg'u” degan ma’noni anglatadi. Hamdardlik - bu birovning hamdardligini
bildirish uchun ishlatishi mumkin bo’lgan barcha iboralardir. Ular o’limni boshdan kechirgan
odamlarga nisbatan afsuslanish yoki qayg’uning rasmiy ifodasidir. hamdardlik tinglovchi javobgar
bo’lgan harakatni o’z ichiga olmaydi. Ular tinglovchining qayg’usiga nisbatan hamdardlik tuyg’usini
ifodalaydi. Hamdardlik shunchaki hamdardlik ifodasi emas; ular ham faol aktlardir, qiyinchiliklarga
duch kelganda ongli ravishda qo’llab-quvvatlash va rag’batlantirishdir. Ular yaqin insonini yo’qotib,
ayriliq azobidan g’am chekayotlarning og’rig’ini kamaytiradi. Odatda har qanday shakldagi
hamdardlik motam tutuvchi va uning oilasi tomonidan juda qadrlanadi. Ta’ziyani qabul qiluvchilar
odatda yorqin o’ziga hos so’zlardan ko’ra, shunchaki his-tuyg’ularning samimiy ifoda etilganini afzal
ko’rishadi. Biroq, tegishli vaziyatga mos ta’ziya so’zlarini qo’llamaslik, marhum oila a’zolarini yoki
adresantni ko’nglini og’ritishi va hattoki jahlini chiqarishi ham mumkin. Bu hatto munosabatlarning
zaiflashishiga yoki do’stlik yo’qolishiga olib kelishi mumkin [1].
Hamdardlik- bu qandaydir maxsus marosim emas, balki so’zda – og’zaki yoki yozma ravishda
va harakatlarda ifodalanadigan tajribaga, boshqa odamning baxtsizligiga sezgir, hamdardlik bilan
munosabatda bo’lishdir [2].
Ta’ziya bildirishning eng keng tarqalgan usuli – og’zaki. Og’zaki hamdardlik marhumning
qarindoshlari, tanishlari, do’stlari, qo’shnilari, hamkasblari tomonidan oila, do’stlik va boshqa
rishtalar bilan yaqinroq bo’lganlarga bildiriladi. Og’zaki hamdardlik shaxsiy uchrashuvda (ko’pincha
dafn marosimida, xotirlash marosimida) bildiriladi [3].
Keyingi turi esa bu yozma hamdardlik hisoblanib, uni turli xil usullar bilan ifodalanadi. Yozma
shaklda biz xatlar (otkritkalar) va zamonaviy messenjerlar orqali va boshqa aloqa vositalari orqali
hamdardlik bildiramiz. Masalan:
Xatlar (rasmiy va norasmiy bo’lishi mumkin);
Ijtimoiy tarmoqlar (Facebook, Twitter, Telegram, Viber, WhatsAP);
Gazetalarda;
SMS orqali.
Shu o’rinda aytish joizki, hamdardlik nutqini non-verbal ya’ni paralingvistik vositalar orqali
ham ifodalash mumkin. Tulanbayeva Sh.Sh. simpatiyani non-verbal ifodalash usullari haqidagi
maqolasida “Non-verbal expressions have the power to convey emotions and provide comfort in a
matter that transcends words alone” [4]. Ya’ni ma’nosi non-verbal iboralar his-tuyg’ularni va tasalli
ifodalashda so’zlarga qarganda ta’siri kuchlidir.
Nutq etikasiga ko’ra hamdardlik (simpatiya) yoki ta’ziya bildirayotganda adresat marhum
kishining yaxshi tomonlarini sanab o’tishi, uning boshqa atrofdagilari hayotidagi o’rni haqida gapirib
o’tishi, agar adresat yaqin kishisi bo’lsa marhum bilan bo’lgan yaxshi xotiralarini ham esaga olishi
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 125
axloq qonun-qoidalariga mos bo’ladi. Hamdardlik bildirayotganda shuningdek,vaziyatga hamdard
bo’lishi va kerakli so’z va iboralarni topishi kerak.
Shuni ta’kidlash kerakki, ta’ziya izhor etishda ko’pincha odamlar bilmagan holda qo’pol
xatolarga yo’l qo’yishadi va oqibatda azadorga tasalli, yupanch berish o’rniga uni ranjitib qo’yadi va
hattoki bu tushunmovchilik, norozilik, tajovuz, alamzadalik, umidsizlik manbaiga aylanib qolishi
hech gap emas.
Ta’ziya bildirishdagi eng katta xatolardan bittasi bu “yig’lama bu dunyoda hamma narsa
o’tkinchi, biz ham bir kun bu dunyodan o’tib ketamiz” kabi so’zlarni ishlatishdir. Bunday hamdardlik
so’zlarini ishalatadigan odamlar qayg’uga mutlaqo no’to’g’ri munosabat bildiradilar. Bunday
munosabatda bo’lish bilan so’zlovchi qayg’udan qiynalayotgan odamni og’riq va ko’z yoshlarini
to’xtata olmaydi. Aksincha, bu kishining psixo-emotsional holatiga qattiq ta’sir qiladi.
“Havotir olma, hammasi yaxshi boladi” degan yana bir bo’sh gap bo’lib, ta’ziya bildiruvchi
odam bu so’zni motam tutuvchi uchun optimistik va hatto umid beradi deb tasavvur qiladi. Shuni
tushunish kerakki, qayg’uni boshdan kechirayotgan odam bu so’zni butunlay boshqacha qabul qiladi.
Bu vaqtda motam tutayotgan odam bundan keyin bima bo’lishi haqida o’ylamaydi, o’ylashni ham
xohlamaydi. Hali bunday katta yo’qotish bilan yuzlashmagan, qayg’urmagan kishi, aziz insonsiz
yangi hayot kechirishni hayoliga ham keltira olmaydi. Va shuning uchun bunday bo’sh optimizm
yordam berishdan ko’ra azadorni g’ashiga tegadi va uni jahlini chiqarishi mumkin. Bu vaqtda bunday
quruq so’zlarga ishonishni ham xohlamaydi.
Xulosa qilib aytganda, ushbu maqolada hamdardlik va ta’ziya bildirishning yozma va og’zaki
turlari, shuningdek, non-verbal hamdardlik haqida ham ma’lumot berilgan. Bundan tashqari,
hamdardlik J.Ostin va J.Searlening nutq aktlari nazariyasiga oiddir. Yuqorida aytib o’tganimizdek,
eng muhimi, ta’ziya nomiga bo’lmasligi kerak. Biz nosamimiy, umumiy so’zlarni gapirmaslikka yoki
yozmaslikka harakat qilishimiz kerak. Bundan tashqari, ta’ziya bildirishda quruq, oddiy, ma’nosiz va
beozor iboralar ishlatilmasligi juda muhimdir.
FOYDALANILGAN ADABIYOTLAR RO’YXATI:
1. Austin, J. How to do things with words. Cambridge. Mass. Harvard University Press. 1962. P. 174
2. Searle, J. Speech Acts: An Essay in the Philosophy of Language, Cambridge: Cambridge University Press. 1969.
P. 208
3. Mavlanova O.Sh. Ingliz tilida “hamdardlik” tushunchasini lingvistik jihatdan tadqiq qilish. Scientific Bulletin
of NamSU. ISSN: 2181-0427, 4-son, 2023. P 224
4. Tulanbayeva Sh.Sh. Exploring the role of non-verbal communication in conveying sympathy and support. Oscar
Publishing Services, Volume 03 Issue 06, 2023. pp. 130-136
5. https://minikar.ru/uz/health/primery-soboleznovanii-pomoshch-mozhno-predlozhit-takimi-slovami/
UO’K [802.0+809.435+809.432.1]
NEMIS VA O‘ZBEK MAQOLLARIDA ISMLAR
N.M.Mirzaboyeva, o’qituvchi, O‘zbekiston davlat jahon tillari universiteti, Toshkent
Annotatsiya. Maqolallarning kelib chiqishi, nemis va o’zbek ismlarining maqollarda aks etishi,
ma’nolari ushbu maqolaning maqsadi sifatida ko’riladi.
Kalit so‘zlar: Folkloristik, nemis maqollari, o’zbek maqollari, milliy, umuminsoniy mohiyat,
ma’nolar, falsafa, shaxs ismlari, axloqiy saboqlar.
Аннотация. Целью данной статьи рассматривается происхождение пословиц,
отражение в пословицах немецких и узбекских имен, их значения.
Ключевые слова: Фольклористика, немецкие пословицы, узбекские пословицы,
национальная, общечеловеческая сущность, смыслы, философия, личные имена,
нравственные уроки.
Abstract. The origin of proverbs, the reflection of German and Uzbek names in proverbs, and
their meanings are considered as the purpose of this article.
Keywords: Folkloristics, nemetskie proslovitsy, uzbekskie proslovitsy, natsionalnaya,
obshchechelovecheskaya suschnost, smysly, philosophy, lichnye imena, nravstvennye urok.
126 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Maqollar xalq donishmandligining nodir namunalari sifatida og‘zaki badiiy ijodning keng
tarqalgan mustaqil janridir. Shartli ravishda ularni xalqona axloq-odob qoidalari deb atash mumkin.
Zero, maqollar xalqning asrlar davomida hayotiy tajribalarida sinalgan ijtimoiy-siyosiy, ma‘naviy-
madaniy, axloqiy-falsafaviy qarashlarining g‘oyat ixcham, lo‘nda, siqiq va obrazli ifodasidan
tug‘ilgan hodisadir. Maqollar maxsus ijod qilinmaydi, balki ma’lum bir sharoit taqozosi tufayli
sinalgan hayotiy tajribadan tug‘iladigan xulosaning axloqiy bahosi sifatidagi hukm bo‘lib yuzaga
keladi. Har bir xalq maqolida o‘sha xalqning qalbi, milliy saviyasiga xos qarashlari ifodalansa-da,
ulardagi g‘oya umumxalqqa tegishlidir. Shu xususiyatlariga ko‘ra, maqollar ham milliy, ham
umuminsoniy mohiyat kasb etganlar. Maqollar insonlarning turli sohalardagi faoliyatlari jarayonida
uzoq muddatli sinovlardan o‘tgan turmush tajribalarining hosilasi–barqaror va o‘zgarmas, to‘g‘ri va
haqqoniy xulosasi tarzida yuzaga kelgan. Til, falsafa va badiiy ijodning o’ziga xos hodisasi sifatida
yuzaga kelgan xalq maqollari folklorning ixcham shakl, ammo teran mazmunga ega bo‘lgan bir
janridir. Har biri til ko‘rkini, nutq nafosatini, aql-farosat va tafakkur mantiqini hayratomuz bir qudrat
bilan namoyish etgan va eta oladigan bunday badiiyat qatralari xalqlarning ko‘p asrlik hayotiy
tajribalari va maishiy turmush tarzining bamisoli bir oynasidir. Bu badiiy oynada uning hayotga,
tabiatga, inson, oila va jamiyatga munosabati, ijtimoiy-siyosiy, ma‘aviy-ma‘rifiy, axloqiy-estetik va
falsafiy qarashlari, qisqasi, o‘zi va o‘zligi to‘la namoyon bo‘lgandir. Shuning uchun ham maqollar
g‘oyatda keng tarqalgan bo‘lib, asrlar davomida jonli so‘zlashuv va o‘zaro nutqiy munosabatlarda,
badiiy, tarixiy va ilmiy asarlarda, siyosiy va publitsistik adabiyotda doimiy ravishda qo‘llanilib
kelgan va qo‘llanmoqda. Yillararo, davrlararo ularning yangilari yaratilib turgan, eskilarining — jonli
muomalada, tilda mavjudlarining ma‘no doirasi kengayib yoki torayib borgan. Hatto ularning
muayyan qismi unutilib ketgan. Chunki o‘zbek xalqining bunday ulkan folklor merosi folkloristiк
nuqtayi nazardan keyingi asrlargacha deyarli to‘planmay va o‘rganilmay kelgan. Bundan xalq
maqollari o‘tmish adiblari, shoirlari, tarixchilari e‘tiboridan mutlaqo chetda ekan, degan xulosa
chiqarmasligimiz kerak. Maqolga adabiy nuqtayi nazardan qiziqish, asar badiiyligini oshirish va
badiiy til ravonligini ta‘minlash uchun undan foydalanish hamma zamon so‘z san‘atkorlarining
diqqat markazida bo‘lgan. Yusuf Xos Hojib, Ahmad Yassaviy, Rabg‘uziy, Lutfiy, Alisher Navoiy,
Bobur, Abulg‘ozi Bahodirxon, Munis, Ogahiy, Nodira, Muqimiy, Furqat, Avaz, Hamza. Sadriddin
Ayniy, Fitrat, Cholpon, Abdulla Qodiriy, Oybek, G‘afur Gulom va boshqa o‘nlab ijodkorlarning
asarlari sinchiklab o‘rganilsa, ularning tarkibida qanchadan qancha maqollar ba‘zan aynan, ba‘zan
o‘zgargan holda mavjudligiga ishonch hosil qilamiz. Tariximizda hatto maqolga maxsus, agar ta‘bir
joiz bo‘lsa, folkloristik nuqtayi nazardan, garchi epizodik xarakterda bo‘lsa-da, munosabatda
bo‘lingan hollarga ham duch kelamiz. Maqollar avloddan-avlodga o‘tib keluvchi, boy hikmat va
hayotiy tajribalarga egadir. Biroq, ba‘zida ularning ma‘nosini bir qarashda tushunish mumkin emas.
Nemis maqollarida ko‘pincha maqolning xabarini ko‘rsatish va mustahkamlash uchun xizmat
qiluvchi nemis ismlari mavjud. Bu ismlar xayoliy yoki haqiqiy bo‘lishi mumkin va ko‘pincha tasvirga
hissa qo‘shadi.
Quyida nomlari bilan nemis maqollarining ba‘zi misollari tushuntirilgan. Nemischa ismni o‘z
ichiga olgan "Hans Dampf in allen Gassen" maqoli. Bu maqol hamma joyda faol bo‘lgan va turli
vazifalarni o‘z zimmasiga oladigan odamni tasvirlash uchun ishlatiladi. "Hans Dampf" nomi energiya
va faollik g'oyasini bildiradi.
Bu misollar nemis shaxs ismlari maqollarda ma‘lum xususiyatlar yoki vaziyatlarni tasvirlash
uchun qanday ishlatilishini ko‘rsatadi. Maqollarda ismlardan foydalanish xabarni mustahkamlaydi va
tasavvurni uyg‘otadi. Shaxs ismlari bilan nemis maqollari nemis tili va madaniyatini ko‘rsatishga
yordam beradi va odamlarning tafakkuri va tasavvurlari haqida tushuncha beradi. Ular nemis tilining
ajralmas qismi bo‘lib, jonli ifodalashga hissa qo‘shadi. Ism ishlatilgan nemis maqolining yana bir
misoli "Der Peter zahlt". Bu maqol boshqa birov to‘lovni o‘z zimmasiga olayotganini yoki biror narsa
uchun pul to‘layotganini bildirish uchun ishlatiladi. Ushbu maqoldagi "Peter" ismi saxiylik va
moliyaviy mas‘uliyatni o‘z zimmasiga olishga tayyorlik g‘oyasini anglatadi. Nemis shaxs ismiga ega
bo‘lgan yana bir mashhur maqol – „Klaus und Klaus machen keine Geschäfte". Bu maqol yaqin
do‘stlar yoki qarindoshlar bilan biznes qilish maqsadga muvofiq emasligini bildirish uchun
ishlatiladi, chunki bu nizo keltirib chiqarishi mumkin. Ikkita bir xil nomlardan foydalanish, "Klaus
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 127
va Klaus" maqolning xabarini kuchaytiradi va yaqin munosabatlar bilan biznes yuritishda yuzaga
kelishi mumkin bo‘lgan muammolarni ta‘kidlaydi. Maqollarda ismlarning qo‘llanilishi obrazlilikka
hissa qo‘shadi va odamlarga maqolning mazmunini yorqin tasavvur qilish imkonini beradi. Ismlar
bilan kelgan nemis maqollari nemis tili va madaniyatining ajralmas qismi bo‘lib, nemis ifodasining
rang-barangligi va jonliligiga hissa qo‘shadi. Ular nemis tilining qiziqarli jihati bo‘lib, odamlar
qanday fikrlashi va tasavvur qilishlari haqida tushuncha beradi. Yana bir mashhur maqollardan biri
"Klaus im Glück" dir. Bu kimningdir kutilmagan omad yoki muvaffaqiyatga erishganligini ifodalash
uchun ishlatiladi. Bu yerda "Klaus" nomi baxt va muvaffaqiyatning sinonimi sifatida ishlatiladi.
Yana bir misol: "Fritzchen macht sich die Welt, wie sie ihm gefällt". Bu so‘z kimdir o‘jarlik
yoki o‘zini o‘zi o‘ylashini va boshqalarning umidlari yoki ehtiyojlariga ahamiyat bermasligini
ifodalash uchun ishlatiladi. "Fritzchen" nomi bu yerda o‘z qoidalarini yaratadigan kichkina bola
uchun ramz sifatida ishlatiladi.
Bunday ismlar ishlatilgan maqollar nemis tilining ajralmas qismi bo‘lib, murakkab g‘oyalar
yoki tushunchalarni sodda va esda qolarli tarzda yetkazish uchun ishlatiladi.
Shu kabi yana bir maqol „Was Hänschen nicht lernt, lernt Hans nimmermehr“ so‘zma so‘z
tarjimasi „Hans o‘rganmagan narsani Hans hech qachon o‘rganmaydi“. Bu maqol 17 asrda paydo
bo‘lgan va yoshlikda o‘rganish kerakligini ifodalaydi. Bunga o‘zbek tilidagi „Yoshlikda olgan bilim,
toshga o‘yilgan naqshdir“ maqoli mazmuniga muqobil bo‘la oladi.
Ammo nemis tilida Hans nomi bilan bog‘liq bir nechta ibora va maqollar mavjud. Masalan:
“Hanswurst” – hech narsani jiddiy qabul qilmaydigan, va o‘zini ustidan kuldiradigan ahmoq odam.
“Hans-Guck-in-die-Luft” maqoli doimo osmonga qaraydigan, yo‘lga e‘tibor bermay, oxiri
daryoga tushib ketgan o‘quvchi Hans haqida hikoya qiladi.
“Faselhans” ahmoqona, chalkash narsalarni aytadigan kishi uchun kamsituvchi ma‘noda
ishlatiladi.
“Prahlhans ” — maqtanishni yaxshi ko‘radigan kishiga nisbatan ishlatilsa, „Bei jemandem ist
Schmalhans Küchenmeister“ nochorligidan yoki ziqnaligi tufayli ovqatga ko‘p pul sarflay
olmaydigan odamga aytiladi.
Asrlar davomida shakllangan va bizgacha yetib kelgan o‘zbek xalq maqollarida ham ko‘pgina
shaxs ismlari qatnashgan maqollarni topishimiz mumkin. Masalan: “Alixo‘ja — Xo‘jaali“ bu maqol
faqatgina ikkita so‘z, ya‘ni ismdan tarkib topgan bo‘lib, vaziyat yoki holatning o‘zgarishsiz qolganini
ifodalaydi. “Aql o ‘rgatguncha, naql o‘rgat, Aql — Hasan, odob — Husan” maqolida kelgan egizaklar
ismi Hasan va Husan, aql bilan odobni bir-biridan ajratib bo‘lmasligini ko‘r- satadi‘.
“Tug‘ilmagan Tilovga tilla beshik” maqolida, bor inson qolib, yo‘q odamga sarf harajatni
o‘ylash yoki manmanlik ifodalanadi. Shu kabi, “Uyida bir osh uni yo‘q. Itining oti — Marjongul”
maqoli ham hech narsasi yo‘q bo‘lsada manmanlik qiluvchilarni bildiradi. Bu maqoldagi
“Marjongul” ismi qiz bolalarga qo‘yiladigan ism bo‘lib, “Marjondek qimmatli, aziz hamda guldek
zebo qiz” degan ma‘noni bildiradi. “Ishni Ismat qiladi, Lofni Toshmat uradi. Ishni qiladi asbob, egasi
uradi lof.” Ushbu maqolda ham Ismat va Toshmat ismlari qo‘llanilgan bo‘lib, ishni qilgan boshqa,
maqtangan boshqa ekanligini tushunishimiz mumkin. “Borida — Hotam, yo‘g‘ida — motam.”
maqolida Hotam ismi qo‘llanilgan. Hotam sahovatpesha inson Hotami toy ismidan olingan. Sharq
xalqlari ogʻzaki ijodi va yozma adabiyotida Hotami toy haqida koʻplab afsona va rivoyatlar, qissa va
dostonlar, hatto "Hotamnoma" kitobi yaratilgan. "Hotamnoma" dastlab arab tilida yaratilib, keyin
forscha nusxasi Oʻrta Osiyo xalqlari oʻrtasida keng tarqalgan. Oʻrta asrlardayoq kitob holida
tarqalgan bu asar 18—19-asrlarda hind, urdu, oʻzbek, turkman, ingliz va qisman rus tillariga tarjima
qilingan. 19-asrda Oqsuvda Muhammadhasan Olim forschadan turkiyga tarjima qilgan va u 1900-
yilda Toshkentda "Hotamnomai turkiy" nomi bilan chop etilgan.
Xulosa qilib aytganda maqollar xalqning hayotiy tajribasi, axloqiy qadriyatlari va ijtimoiy
normalarini aks ettiruvchi oʻziga xos adabiy asarlardir. Xalqning umumiy kechinmalaridan olingan
bu xalq hikmati va nasihatlari ko‘pincha hazil-mutoyiba va didaktik tarzda aytiladi. Maqollar
odamlarga kundalik hayotida duch keladigan muammolarni yengishga yordam beradi va ularning
hayot mazmuniga hissa qo‘shadi. Shu bois maqollar ham ko‘ngilochar, ham tarbiyaviy xususiyatga
ega bo‘lib, ko‘pincha avloddan-avlodga o‘tib, madaniy merosning bir qismiga aylanadi.
128 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Shaxs ismlari maqollarda muhim rol o‘ynaydi va ko‘pincha ma‘lum fazilatlar yoki
xususiyatlarning metafora yoki timsoli sifatida ishlatiladi. Ular murakkab tushunchalar yoki axloqiy
saboqlarni aniq va tushunarli tarzda yetkazishga xizmat qiladi. Maqollarda odamlarning ismlaridan
foydalanish mavhum fikrlarni yanada aniqroq va tushunarli qilish imkonini beradi. Bundan tashqari,
ular madaniy an‘analarga hissa qo‘shadi va insoniy tajriba va shaxsiyatlarning xilma-xilligini aks
ettiradi. Demak, maqollardagi shaxs ismlari til va madaniyat tarixining maftunkor jihati bo‘lib, inson
tabiati va jamiyat tuzilishi haqida chuqurroq ma‘lumot olishga imkon beradi.
FOYDALANILGAN ADABIYOTLAR RO’YXATI:
1. Tora Mirzayev, Asqar Musoqulov, Bahodir Sarimsoqov, O‘zbek xalq maqollari, “Sharq” 2005
2. Rolf-Bernhard Essig, Sprichwörter und Redensarten, Anaconda Verlag 2015
3. Wolfgang Mieder, Sprichwörter und Redewendungen aus aller Welt, Reclam Verlag, 2007
4. Gisela Fischer, Die schönsten Sprichwörter und Zitate, Bassermann Verlag, 2019
5. Ingrid Schröder, Sprichwörter und Redewendungen, Komet Verlag, 2015
UO’K 81-13
“QADIMGI XALQLARDAN QOLGAN YODGORLIKLAR” ASARI
NOMSHUNOSLIKNING TARIXIY-MADANIY YODGORLIGI SIFATIDA
O.A.Mirzaxmedova, tayanch doktorant, Namangan davlat universiteti, Namangan
Qadimda ajdodlarimiz tomonidan bitilgan tarixiy yozma manbalar xalq xotirasi madaniyati va
ma’naviyatining tarkibiy qismini tashkil qiladi. “Qadimgi xalqlardan qolgan yodgorliklar” asari
o‘zbek tarixiy nomshunosligida o‘zida qimmatli tarixiy-geografik ma’lumotlarni mujassam etgan
noyob asarlar qatoriga kiradi.
“Qadimgi xalqlardan qolgan yodgorliklar” kitobi to‘g‘risida S.P.Tolstov, V.P.Sheglov, V.Yu.
Zohidov, M.A.Sal’ye, U.I.Karimov, P.G.Bulgakov, A.Irisov, I.Abdullayev kabi olimlar o‘zlarining
Beruniy ijodiga bag‘ishlangan asarlarida qimmatli fikr va mulohazalar bildirganlar.
“Qadimgi xalqlardan qolgan yodgorliklar” asari 20 dan ortiq nusxada yetib kelgan bo’lib,
asarning eng qadimiy va toʻliq nusxasi Istanbuldagi Boyazid umumiy kutubxonasida № 4667
raqamda saqlanadi.[Ibragimov F. Beruniyning “Osor ul-boqiya” asari qo‘lyozmalari, nashrlari va
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 129
tarjimalari xususida//Xalqaro ilmiy-amaliy konferensiya materiallari, Тоshkent. “Ma’naviyat”, 2023,
73-bet]
Taniqli tilshunos olim A.Nurmonov Abu Rayhon Beruniyning lingvistik qarashlari xususida
fikr yuritib quyidagi fikrlarni yozgan: “Beruniy arab yozuvidagi unli fonemalarning ifodalanmasligi,
ko‘p harflarning bir-biriga o‘xshashligi va ularning ayrim nuqtalar orqaligina farqlanishi qator
qiyinchiliklarga olib kelishi xususida fikrlarini bayon etgan. Agar nuqtalar tushib qolsa, ma’noning
chiqmay qolishi, yunon olimlarining nomlari to‘g‘ri va to‘liq ifodalab bo‘lmasligini ta’kidlagan.
Shuningdek, hind so‘zlarini berishda bir qancha hind fonemalarining arab tili fonologik tizimida yo‘q
ekanligini, shuning uchun arab yozuvi orqali bu so‘zlarni to‘g‘ri ifodalab bo‘lmasligini aytib o‘tadi.
Natijada u arab yozuviga forslardan foydalangan holda ayrim qo‘shimcha harflar kiritadi”.
Абдуҳамид Нурмонов. Ўзбек тилшунослиги тарихи. Ўқув қўлланма// Тошкент.
“Ўзбекистон”.2002.Б.16]
A.Nurmonov yozishicha, Beruniy o‘zini xorazmiy tiliga mansub ekanligini, arab, fors tillarini
esa keyin o’rganganligi xususida ham yozgan. Shuningdek, Beruniyning narsa nomini bilish
insonning ma’naviy boyligigina emas, balki katta moddiy boyligi bo’lishi mumkinligini, shuning
uchun ham til o’rganishning tengsiz amaliy ahamiyati mavjudligini ta’kidlagani xususida aytib
o’tgan. [Абдуҳамид Нурмонов. Ўзбек тилшунослиги тарихи. Ўқув қўлланма// Тошкент.
“Ўзбекистон”.2002.Б.14-15]
Onomastik birliklar o‘z tabiatiga ko‘ra, o‘zga tillarda tarjimasiz beriladigan, tilning g‘oyatda
turg‘un va kam o‘zgaruvchan materialidir. Ushbu xususiyatiga ko‘ra, “Qadimgi xalqlardan qolgan
yodgorliklar”dagi onomastik birliklar tarixiy, lisoniy jihatdan har qanday tadqiqot uchun eng
ishonchli va nufuzli dalildir. Atoqli otlar tizimi “Qadimgi xalqlardan qolgan yodgorliklar” tili
leksikasining salmoqli qismini tashkil qilib, asar matnida ko‘plab tarixiy antroponim, geortonim,
kosmonim, toponim, mifonimlar qo’llangan.
Azamat Primovning “O’zbek tili kosmonimlarining lisoniy xususiyatlari” tadqiqot ishida
Beruniy faqatgina astronomik jismlarning tabiati va harakati haqida so‘z yuritib qolmasdan, ularning
nomlanish tamoyillari va etimologiyasi haqida ham qimmatli ma’lumotlar bergani xususida yozilgan.
A.Primov olim asarlarida tilga olingan arabcha va turkcha kosmonimlar hozirgi tilimizda ham faol
qo’llanib kelayotgani xususida o’z fikrlarini bayon etgan. [А.И.Примов. Ўзбек тили
космонимларининг лисоний хусусиятлари.Филол. фанлари номзоди..дисс. Тошкент. 2009. Б.
20-21]Bundan tashqari, “Qadimgi xalqlardan qolgan yodgorliklar” asarida, munajjim xorazm tilida
axtar venik deb atalishi, xorazmliklar burjlarni arablardan yaxshiroq bilishlari xususida ham tadqiqot
ishida yozib o’tilgan.
Olim “Qadimgi xalqlardan qolgan yodgorlikar” asarida xorazmliklar tilida qo’llangan
Azvapachkirik nomli yulduz turkumi haqida ma’lumot berib o’tgan: Xorazmliklar burjlarni
arablardan yaxshiroq bilganlar. Burjlarga bergan nomlari ularni tasvirlash uchun mutasaddi
bo’lgan [astronomlar]ning qo’ygan nomlariga muvofiqligi, arab [tili]ga mos kelmasligi, arablar esa
mutasaddilar tomonidan berilgan suratlardan boshqa suratlar orqali tasvir etishlari so’zimizning
to’g’riligini ko’rsatadi. Masalan, arablar Javzoni Egizak o’g’il bola [surati] o’rnida burjlar qatoriga
qo’yganlar. Holbuki, Javzo Jabborning yulduzidir. Xorazmlikar bu yulduz turkumini Azvapachkirik
nomi bilan ataydilar. Bu “egizaklar” ma’nosini anglatadi. [Абу Райҳон Беруний. Қадимги
халқлардан қолган ёдгорликлар. Танланган асарлар. Тошкент: “O’zbekiston”, 2020. 1-жилд. –
Б. 267]
X.Solixo‘jayeva Beruniyning “Qadimgi xalqlardan qolgan yodgorliklar” asari o‘zbek tili
xrononimiyasi va geortonimiyasinining tarixiy manbalardan biri ekanligi xususida yozib, tadqiqot
ishida “Qadimgi xalqlardan qolgan yodgorliklar” asarida Xorazm va sug‘dlarning islomgacha
bo‘lgan davrdagi bayram va hayitlari xususida to‘xtalib o‘tadi. [Салиходжаева Х.З. Ўзбелк тили
хрононим ва геортонимларининг лисоний тадқиқи. Филол. фанлари номзоди..дисс.Фарғона.
2020. Б. 56]
Qadimgi xalqlardan qolgan yodgorliklar” asarida Rasulluloh zamonida odamlar yillarni
raqamlar bilan emas, “Tinchlik yili”, “G’alaba qozonish yili”, “Oshnochilik yili” kabi nomlar bilan
yuritilgani xususida ham tadqiqot ishida yozib o’tilgan. X.Solixo’jayeva Navro’z va Mehrjon
130 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
geortonimlariminig lingvokulturologik xususiyatlariga to’xtalib o’tib, “Qadimgi xalqlardan qolgan
yodgorliklar” asarida olimning bayramlar xususida keltirilgan ma’lumotlaridan havolalar keltirib
o’tadi.
Ba’zilarning aytishicha, Navro’z Alloh mahluqotni yaratgan olti kunning birinchisidir.Quyosh
va Oy osmonning ikki ko’zi bo’lganidek, Navro’z va Mehrjon zamonning ikki ko’zidir.[Абу Райҳон
Беруний. Қадимги халқлардан қолган ёдгорликлар. Танланган асарлар. Тошкент:
“O’zbekiston”, 2020. 1-жилд. – Б. 239]Beruniy asarda Bag‘dod mubadi Ozarbodning Navro’z va
Mehrjon bayramlarida forslarda shakar hadya qilish marosimi bo’lgani xususida ham bayon etgan:
Forslarda Navro’z kuni bir-birlariga shakar hadya qilish rasm bo’lgan edi. Bag’dod mo’badi
Ozarbodning hikoya qilishicha, buning [sababi], Navro’z kuni Jamshid mamlakatida shakarqamish
paydo o’lgan, bu shu vaqtgacha bilinmagan edi. Jamshid sersuv bir qamishdan shira
tomchilayotganini ko’rgan. Uni tortib qaragan, unda lazzatli shirinlik borligini bilgach, suvini
chiqarib, shirasidan shakar ishlashni buyurgan.[Shakar] beshinchi kuni ko’tarib olingan va
tabriklash uchun uni bir-birlariga hadya qilganlar.Mehrjon bayramida ham bu
[marosim]o’tkazilgan.[Абу Райҳон Беруний. Қадимги халқлардан қолган ёдгорликлар.
Танланган асарлар. Тошкент: “O’zbekiston”, 2020. 1-жилд. – Б. 241]
Buyuk ajdodimizning ilmiy merosi nafaqat O’zbekistonda, balki hozirgi kunda butun jahon
miqyosida o‘rganilmoqda. Xususan, nomshunoslik doirasida ham izlanish va tadqiqotlar davom
etmoqda. A.Mirboboyev va Yu.Boboyevlar tomonidan yozilgan “Аbu Rayhon Beruniyning eroniy
tilda so‘zlashuvchi xalqlar kosmonimlari haqida ma’lumotlari” maqolasida “Qadimgi xalqlardan
qolgan yodgorliklar” asarida tilga olingan planetalarning arabcha, forscha, xorazmcha, rumiycha
nomlarini keltirib o‘tadi va ba’zi sug‘dcha va xorazmcha kosmonimlar tojik tilida saqlanib qolgani
xususida yozgan. [https://cyberleninka.ru/article/n/aburayhon-berunis-information-concerning-
cosmonimy-of-iranian-speaking-people/viewer] Yu.Boboyev “Abu Rayhon Beruniy asarlarida
Xorazmning tarixiy onomastikasi talqini” maqolasida “Qadimgi xalqlardan qolgan yodgorliklar”
asarida qayd etilgan xorazmshoh afrig’iylar sulolasi shohlari nomlari va Xorazmning tarixiy qal’asi
bo’lgan Fir qal’asi xususida bayon etilgan. [https://cyberleninka.ru/article/n/reflection-of-khorezm-
historic-onomastics-in-aburaykhon-s-berunis-works/viewer]
Al-Fir – Xorazmning qadimgi poytaxti nomi bo’lib, Amudaryoning so‘l sohilida joylashgan.
Arab yozma manbalarida Al-Mansura deb ham atalgan. Beruniyning yozishicha, Al-Fir Xorazm
shahri chekkasidagi loy va xom g‘ishtdan qurilgan qal’a bo‘lib, bir-birining ichiga joylashgan va
balandlikda bir-biridan qolishmaydigan uch qavatli qo’rg’ondan iborat bo’lgan.
Al-Fir Xorazm shahrining chekkasidagi loy va xom g’ishtdan qurilgan qal’a bo’lib,bir-birining
ichiga joylashgan va balandlikda bir-biridan qolishmaydigan uch qavat qo’rg’on edi….Al-Fir o’n
milcha va undan ko’proq masofada ko’rinar edi.Jayhun har yili uni buzib,yiqitib va parchalab olib
ketaberdi;nihoyat Iskandar tarixining ming uch yuz beshinchi yilida undan asar qolmadi.[ Абу
Райҳон Беруний. Қадимги халқлардан қолган ёдгорликлар. Танланган асарлар. Тошкент:
“O’zbekiston”, 2020. 1-жилд. – Б.69]
“Qadimgi xalqlardan qolgan yodgorliklar” bizga taqdim qiluvchi ko’hna ma’lumotlar orasida
uning turli tillarda qo’llangan tarixiy nomlar alohida o’rin tutadi. Buyuk ajdodimiz asarini har
tomonlama chuqur tahlil qilish bu kitob yozilgan davr va hududlarda yashagan xalqlarning tillari va
bu tillarning hozirgi davr tillari, xalq shevalarida saqlanib qolgan qoldiqlari xususida qimmatli
ma’lumotlar beradi. Mana shu ma’noda “Qadimgi xalqlardan qolgan yodgorliklar” bebaho tarixiy-
lisoniy merosdir.
FOYDALANILGAN ADABIYOTLAR RO‘YXATI:
1.Абу Райҳон Беруний. Қадимги халқлардан қолган ёдгорликлар. Танланган асарлар. 1-жилд. Тошкент:
“O’zbekiston”, 2020.
2. Абдуҳамид Нурмонов. Ўзбек тилшунослиги тарихи. Ўқув қўлланма// Тошкент. “Ўзбекистон”.2002.Б.14-
16
3.А.И.Примов. Ўзбек тили космонимларининг лисоний хусусиятлари.Филол. фанлари номзоди..дисс.
Тошкент. 2009. Б. 20-21
4. Ibragimov F. Beruniyning “Osor ul-boqiya” asari qo‘lyozmalari, nashrlari va tarjimalari xususida//Xalqaro
ilmiy-amaliy konferensiya materiallari, Тоshkent. “Ma’naviyat”, 2023, 73-bet
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 131
5.Салиходжаева Х.З. Ўзбелк тили хрононим ва геортонимларининг лисоний тадқиқи. Филол. фанлари
номзоди..дисс.Фарғона. 2020. Б. 56
6.https://cyberleninka.ru/article/n/aburayhon-berunis-information-concerning-cosmonimy-of-iranian-speaking-
people/viewer
7.https://cyberleninka.ru/article/n/reflection-of-khorezm-historic-onomastics-in-aburaykhon-s-berunis-
works/viewer
UO’K 81
UY-JOY, UNING QISM VA JIHOZLARIGA OID LEKSIK BIRLIKLAR
(“Malika ayyor” va “Bahrom va Gulandom” dostonlari misolida)
M.T.Narmatova, o‘qituvchi, Jizzax davlat pedagogika universiteti, Jizzax
Insoniyatning barcha taraqqiyot bosqichlarida muayyan uy-joy yoki vaqtincha yashash uchun
moʻljallangan uy, turadigan oʻrin, makon muhim oʻrin tutganki, ularning har biri oʻz nomi va
atamasiga ega. Ta'kidlamoqchimizki, har bir xalqning ma'naviy hayoti va kundalik maishiy turmush
tarzida muayyan makon-turar joylar, ularning jihozlari nomlari oʻsha xalq tilining oltin fondi
xazinasida, xalq ogʻzaki ijodi namunalarida munosib oʻrin olgan. Bu barcha turkiy xalqlar qatori,
oʻzbek tili va folkloriga ham tegishli, albatta.
Tadqiqotimizda qoʻyilgan maqsaddan kelib chiqib, tahlil ob'ektiga jalb qilingan xalq
dostonlarini oʻrganish davomida muayyan makon-uy, joy, yashash oʻrni tushunchalarini ifadolovchi
20 dan ortiq leksik birliklar qoʻllanganligini kuzatdik. Bular: qoʻrgʻon, saroy, uy, kulba, yurt, vatan,
xonumon (uy va uning jihozlari) dargoh, xona, ayvon, eshik, darvoza, ustun, zina, boʻsagʻa, toʻr, hujra
makon va h.k. Quyida ulardan ayrimlarining etimologiyasi, qoʻllanilish doirasi va leksik-semantik
xususiyatlari haqida qisqacha soʻz yuritamiz.
Bo‘sag‘a: leksemasining ma’nodoshi ostona sanaladi: Har ikkalasi og‘zaki nutqda bir xil
darajda qo‘llaniladi. Ostona forsiycha so‘z bo‘lib, tilimizga o‘zlashib kirgan va “kiraverish, bo‘sag‘a;
arafa; shoh saroyi; dahma” kabi ma’nolarni bildiradi. Tilimizning nufuzli lug‘atida bo‘sag‘a so‘zi 3
xil ma’noda; asl ma’noda ostona, ko‘chma ma’noda “biror hudud”, “manzilning kirish, boshlanish
joyi, ostonasi”, shuningdek, “biror marosim, muhim sana va sh.k. arafasi, boshlanish davri” (O‘TIL
I. 419-bet) tarzida izoh berilgan. Mazkur manbada ostona so‘zining beshta ma’noni ifodalashi qayd
etilgan: 1. Eshik, darvoza chorcho‘pining ostki ko‘ndalang yog‘ochi; binoga, hovliga kiraverishdagi
yerga ko‘ndalang yotqizilgan yog‘ochi, taxta, harsang va sh.k: bo‘sag‘a; 2. Uy, xonadon, dargoh; 3.
Qishloq yoki shaharga kiraverishdagi joy, bo‘sag‘a; 4. Biror voqea yoki hodisaning boshlanishiga
yaqin qolgan payt: arafa; 5. Daryo ostidagi, ba’zan suvdan chiqib ko‘rinib turadigan va suv oqimini
tezlashtirib, kemalar qatnovini qiyinlashtiradigan balandroq joy, do‘nglik (O‘TIL III 150-bet)
Xalq dostonlari, xususan “Malika ayyor” tilida ostona so‘ziga qaraganda bo‘sag‘a leksik birligi
ancha faol qo‘llanilganligi kuzatildi. Masalan, shu tog‘ning ostidagi Torkiston shahar darvozasining
bo‘sag‘asi shul murvat bilan ochilar ekan. Buni Shoqalandar bilar edi (M.a 80-bet). 2. Ko‘klam
toqqa zarb qilsa, ko‘klam tog‘ yorilib Shohoqalandarga yo‘l beradi. Torkistonning bo‘sag‘asini
ko‘radi. Uning ostidan bir katta lavhi daryo chiqib oqadi. Torkistonning bo‘sag‘asining o‘ng
132 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
yog‘idan bir yaydoq qora tulpor chiqib shu suvdan suvlaydi (M.a 77-bet). Keltirilgan matnlarning
dastlabkisida bo‘sag‘a leksemasi asl ma’noda (shahar darvozasi chorcho‘pining pastki qismida
yog‘och) va keyingisida ko‘chma (muayyan joyga kirishdagi balandroq joy, bo‘sag‘a) ma’nosida
qo‘llanganligi kuzatilgan. Lekin mazkur ma’nolarning birortasi “Bahrom va Gulandom” dostonida
uchramadi. Ostona leksik birligining fonetik varianti (oston) yozma yodgorliklar tilida, xususan,
Navoiyning “Farhod va Shirin” dostonida hozirgidek “uy ostonasi” ma’nosida, “bo‘sag‘a” so‘ziga
ma’nodosh-sinonim tarzida qo‘llanganligi asli sir emas: Yotib bosh qo‘ysalar ostonga, Qolur erkin-
mu yer bu notovonga. (F.Sh. VIII, 419-bet).
Zina (zinapoya): fors tilidan o‘zlashgan mazkur leksema “pog‘ona, daraja; narvon, pillapoya”
ma’nolarini ifodalaydi. Uning 3 xil ma’nosi bor: 1. Bino va inshootlardan yuqoriga chiqish yoki
pastga tushish uchun mo‘ljallab yasalgan pog‘onali qurilma va uning har bir ma’nosi: zinapoya; 2.
Ostona yoki bo‘sag‘a; 3. Ko‘chma, bosqich, pog‘ona; marta, karra (O‘TIL II 151-bet). Zina va uning
to‘liq leksik variant bo‘lgan zinapoya leksemasi qo‘llanilishiga ko‘ra ham yozma va og‘zaki adabiyot
namunalarida uchraydi. Masalan Navoiyning asarlarida, xususan, “Hayratul abror”da zina (H.a, VII,
336-bet), shuningdek “Farhod va Shirin” da zinapoya (F.Sh. VIII, 161-bet) shakllarining
qo‘llanganligi ilm ahliga ma’lum. Biz tadqiq etgan “Malika ayyor” dostoni tilida zinaga, zinaning,
zinapoya, zinapoyaga kabi shakllarning qo‘llanganligi aniqlandi: Bir-birining belini ushlab, Har
zinaga qadam tashlab, O‘yin-kulgusini boshlab, Jo‘nadi pari, jo‘nadi (M.A,51-bet). Shunday qarasa,
oldidan bir yerda bir zinapoya ko‘rindi, Ul zinapoyaga borsa eshigi bor. U eshikni ochib ichkari
bordi. Qarasa bu zinaning tagida juda katta bir joy bor ekan (M.A, 154-bet). Zina, zinapoya leksik
birliklari “Bahrom va Gulandom” dostoni matnida uchramadi.
Darvoza: forsiycha bu so‘z “hovliga, qo‘rg‘onga kiriladigan, ochib-yopiladigan katta eshik”
ma’nosini ifodalaydi. Uning qo‘llanilish doirasi, tarkibi va tavsifi haqida nufuzli lug‘atlarda yetarli
ma’lumotlar berilgan. Masalan, tilimizning izohli lug‘atida “shahar, qo‘rg‘on, qal’a, hovli va shu
kabilarga kiriladigan ikki tabaqali katta eshik, qopqa” (O‘TIL, I, 561-bet) degan izoh berilgan.
Tilimizning etimologik lug‘atida aytilishicha, darvoza nomi tojik tilida “katta eshik” ma’nosini
ifodalaydigan dor otiga “ochiq ma’nosini bildiruvchi boz sifatini qo‘shib yasalgan dorboz
yasalmasiga -a qo‘shimchasini qo‘shib hosil qilingan: b tovushi v tovushiga almashib,keyinchalik
shu shaklda tilimizga ko‘chgan (O‘TIL, III,77-bet). Darvoza atamasi yozma adabiyot manbalarida
ham, folklor namunalari matnida, qolaversa, og‘zaki so‘zlashuv nutqida ham faol qo‘llanadi.
Masalan, Alisher Navoiyning mashhur “Hayratul abror” asaridagi “Bor edi darvozaga surmak hamon,
Har soridin xalq yugurmak hamon” (H.a, VII, 185-bet) misralarida mazkur leksema ayni ma’noda
qo‘llanganligini kuzatamiz. Tadqiqotimizda o‘rganilgan “Malika ayyor” dostoni matnida uning
darvozada, darvozadan, darvozani, darvozaning, darvozasi, darvozasiga, darvozasin, darvozasini,
darvozasining kabi qator shakllari mavjudligi aniqlandi. Ularning hammasida ham yuqorida
ta’kidlangan ma’no o‘z ifodasini topgan: Avazxon xayr deb o‘rnidan turib, piyoda bo‘lib, tepani
aylanib borib qarasa, oldidan bir g‘or chiqdi. G‘orga bora berdi, qarasa, g‘orda bir darvoza
ko‘rindi. Darvozani ochib ichkariga kirib qarasa, qirq dev araq-sharaq ichib mast bo‘lib o‘tiribdi
(M .a 37-bet). Gulqizoyim qirqin qizlari bilan Gulshanboqqa ergashtirib darvozadan ichkariga olib
kirdi (M.a. 47-bet).
Mazkur matndagi darbozabon leksemasi asli forsiycha so‘z bo‘lib, unga -bon qo‘shimchasini
qo‘shish orqali hosil qilingan va natijada “ eshik og‘asi”, “darboza egasi” ma’nosini anglatadi.
Tilimizning izohli lug‘atida bu so‘z quyidagicha izohlangan: 1. tar. Shahar yoki xon saroyi
darvozasining qorovuli yoki soqchisi; 2. sport. Darvozani himoya qiluvchi o‘yinchi (O‘TIL, I, 561-
bet). Tadqiq etilgan har ikkala doston matnida darvozaxona leksemasi ham uchraydi.Aslida bu leksik
birlik darvoza+xona shaklidagi so‘zlarning qo‘shilishidan hosil bo‘lgan va u “hovli darvozasiga
yopishgan yoki uning tepasiga qurilgan usti yopiq joy” ma’nosini anglatadi.
Eshik: sof turkiycha bu leksema “uy, xona, bino yoki hovlining kiraverishida o‘rnatiladigan,
ochib-yopib turiladigan qurilish buyumi” ma’nosini anglatadi. Ona tilimizning izohli lug‘atida
mazkur leksik birligi haqida yana quyidagi ixcham ma’lumot berilgan: sheva: hovli, uy-joy, xonadon
(O‘TIL, V, 64-bet). Bu leksema juda qadimdan og‘zaki va yozma manbalarda faol qo‘llanilgan.
Masalan, Navoiy asarlarida, xususan, “Saddi Iskandariy”da yuqorida ta’kidlangan ma’nolardan
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 133
tashqari, “uyning tashqarisi, hovli” ma’nosida qo‘llanganligini ham kuzatish mumkin. (Qarang:S.I,
XI 218- bet).
Bulardan tashqari, ba’zi o‘zbek shevalarida eshik leksemasi uy, xonadon ma’nolarida
qo‘llanilishi hech kimga sir emas. Masalan, eshikka chiqamiz-xonadonga chiqamiz; eshikka
o‘tinglar-uyga o‘tinglar; eshikka boringlar-uyga boringlar kabi.
Biz o‘rgangan xalq dostonlari tilida “uy”, “ xonadon”, “ hovli” ma’nolari faol
ifodalangan.”Malika ayyor” dostonida eshik leksemasining eshigi, eshigidan, eshikli, eshikni kabi
shakllari qo‘llanilganligi aniqlandi: bu fe’limga tavba qilibman, - deb G‘irotini Soqiga berib, Qirq
eshikli chilla xonasiga kirib, ko‘kragini nam yerga berib xafa bo‘lib yotdi (62-bet). Avazxon bog‘otga
yetib, eshikni ochib ichkariga kirdi (47-bet); uyidan oldirsa har nima borin, Eshikda mohini, qatorda
norin, xonavayron bo‘lsa, uyda yoring (B.G. 71-bet): Eshikning keyniga borib bu Bahrom, Gapirgan
so‘zlarni tingladi, turdi (B.G. 68-69-betlar).
Tom (uy): bu leksemaning lug‘aviy ma’nosi uch xil: a) uyning, binoning ustini bekitib turuvchi
tepa qismi; b) ba’zi qurilmalarning qor, yomg‘ir, quyosh va shu kabilardan himoya qiluvchi tepa
qismi; v) sheva: uy, hovli, joy (qarang: O‘TIL, IV, 139-bet). Tahlil etilgan dostonlar matnidagi tom
(uy) leksik birligining ma’nosi asosan dastlabki va oxirgi izohlarga to‘g‘ri keladi: Chambilning
hamma xotin-qizlari tom-tomning boshida turib tomosha qilib turibdi (M.A, 16-bet); Uchovi birga-
birga pastki tomdan chiqib, qo‘rg‘onning shosupasiaga borib, yaxshi libos, to‘shaklardan chiqarib
soldi (M.A, 154-bet). Bu matnlarning dastlabkisida “uyning tepasi”, ikkinchisida “uy, hovli, joy”
ma’nolari o‘z ifodasini topgan. “Bahrom va Gulandom” dostonida “tom” leksik birligi
qo‘llanilmagan.
To‘r: qadimgi turkiy tildagi bu leksema aslida “uyning to‘ri”, poygakning eng yuqori qismi
ma’nosini anglatadi. Bu ot asli top tarzida talaffuz qilingan (Devon III, 133-bet, DS 580-bet);
keyinchalik Ö unlisining yumshoqlik belgisi yo‘qolgan: tön > tor shaklida qo‘llangan “poygakning
qarama-qarshi tomonidagi joy” ma’nosida qo‘llangan (O‘TEL, I, 372-bet). Ayni ma’no biz tadqiq
etgan “Malika ayyor” dostoni matnida ham uchradi: “Go‘ro‘g‘li degan so‘zni eshitgandan poygada
turgan devlar qochib to‘rga o‘taberdi. Bir-birini bosib, takbiridan adashib aqli shoshib, to‘polon bo‘lib
qoldi (38-bet)
To‘r leksik birliging qo‘llanish doirasi juda keng: deyarli barcha turkiy tillarda faol qo‘llanadi,
hatto ko‘pgina yozma manbalarda ham o‘z ifodasini topgan. Bu o‘rinda birgina misol keltiramiz:
Hazrat Navoiy bobomizning asarlarida, xususan, “Saddi Iskandariy” dagi “Eshik poy yeridur, gar
olsin bo‘ri, Mushukka maqom o‘ldi uyning to‘ri” (SI XI, 218-bet) misralarini xotirga keltirishning
o‘zi kifoya.
Xulosa qilib aytganda, uy-joy nomlari, uning muayyan qism – bo‘laklari va jihozlariga oid
leksik birliklar jamlanmasi ona tili ijtimoiy-siyosiy leksikasining mustaqil bir tarmog‘i sanaladi.
Bunday tipdagi leksemalar ijodkor xalqimizning ma’naviy hayotida va kundalik maishiy turmush
tarzida juda faol qo‘llanilib kelganligini qadimgi qo‘lyozma asarlar, shuningdek, xalq og‘zaki ijodi
asarlari matnidagi lisoniy dalili – ma’lumotlari yana bir tasdiqlay oladi. Ta’kidlanayotgan va nazarda
tutilayotgan leksik birliklarni to‘plash, muayyan matnlar tarkibida o‘rganish, ularning etimologik va
funksional-semantik xususiyatlarini ochib berish tilshunosligimizning navbatdagi vazifalaridan biri
sanaladi.
FOYDALANILGAN ADABIYOTLAR RO’YXATI:
1. Abdushukurov B. “Qissasi Rabg‘uziy” leksikasi. Filol. fan doktori (DSs) dissertatsiyasi, Toshkent, 2017, b. 75.
2.Xoziyev A. Leksika slovarya Maxmuda Kashgari “Devonu lyugot ut-turk” v sravneniye s sovremennom
Bashkirskim yazikom. Kand. Dis-ya. Ufa, 2018
3. A.Navoiy «Tarixi muluki ajam» www.ziyouz.com kutubxonasi
4. B.G.- Bahrom va Gulandom –Toshkent:G‘.G‘ulom nomidagi Adabiyot va san’at nashriyoti,1886.
5. .M.a.- Malika ayyor.- Toshkent:G‘.G‘ulom nomidagi Adabiyot va san’at nashriyoti,1886.
6. O‘TIL- O‘zbek tilining izohli lug‘ati.Besh tomlik.- Toshkent:O‘zbME.,1-jild,2006.
7. O‘TIL- O‘zbek tilining izohli lug‘ati.Besh tomlik.- Toshkent:O‘zbME.,3-jild,2006.
8. O‘TIL- O‘zbek tilining izohli lug‘ati.Besh tomlik.- Toshkent:O‘zbME.,4-jild,2006.
9. O‘TIL- O‘zbek tilining izohli lug‘ati.Besh tomlik.- Toshkent:O‘zbME.,5-jild,2006.
134 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
UDC:811.581:81’373
CHINESE MEDICAL TERMINOLOGY IN THE MODERN ERA
Y. I. Nurmatov, senior teacher, Oriental university, Tashkent
Annotatsiya. Akupunktura va moksa bilan davolash xitoy tibbiyoti ilmi va xitoy an'anaviy
tabobatining muhim qismi hisoblanadi. Ming yillar davomida xitoy xalqi uni farmatsevtik bo'lmagan
davolash usuli, oddiy dastur, keng foydalanish imkoniyati, yaxshi shifobaxsh ta'siri va arzonligi
uchun qadrlaydi. Xitoy ilm-fan va madaniyatining bir qismi sifatida akupunktura va moksa bilan
davolash Xitoy o'rtasidagi boshqa mamlakatlar bilan madaniy almashinuv natijasida qadimdan
dunyoda ma'lum.
Kalit so’zlar: ‘eski tibbiyotni bekor qilish’ y´u y´un-xi`u ( 余 雲 岫 ), “Xitoy tibbiyotining
qisqacha tavsifi”‘Zh¯ou’s Zh¯ong Y¯ı Xu´e G`ai L`un (中醫學概論), ‘sovuq zarari' sh¯ang h´an(傷
寒), ‘issiqlik kasalligi’ w¯en b`ıng (溫病), yin-yang (阴阳), five elements (五行), zang-fu (脏腑),
‘shamol zarbasi’ zh`ong f¯eng(中風), hayot quvvati chi (气), etiologiya, patologiya.
Аннотация. Иглоукалывание и мокса-терапия являются важной частью китайской
медицины и традиционной китайской медицины. На протяжении тысячелетий китайцы
ценили его за нефармацевтическое лечение, простоту применения, широкую доступность,
хорошие лечебные эффекты и низкую стоимость. Акупунктура и моксотерапия как часть
китайской науки и культуры давно известны в мире в результате культурного обмена между
Китаем и другими странами.
Ключевые слова: ‘отмена старой медициныe’y´u y´un-xi`u (余雲岫), “Краткое описание
китайской медицины”‘Zh¯ou’s Zh¯ong Y¯ı Xu´e G`ai L`un (中醫學概論), ‘ущерб холода’ sh¯ang
h´an(傷寒), ‘болезнь тепла’ w¯en b`ıng (溫病), yin-yang (阴阳), five elements (五行), zang-fu (脏
腑), ‘удар ветра’ zh`ong
f¯eng(中風), жизненная сила цзи (气), этиология, патология.
Abstraсt. Acupuncture and moxibustion are an important part of Chinese medicine and
traditional Chinese medicine. For thousands of years, the Chinese have valued it for its non-
pharmaceutical treatment, ease of use, wide availability, good medicinal effects and low cost.
Acupuncture and moxibustion as part of Chinese science and culture have long been known in the
world as a result of cultural exchanges between China and other countries.
Key words: ‘abolition of the old medicine’y´u y´un-xi`u ( 余 雲 岫 ), “Outline of Chinese
Medicine”‘Zh¯ou’s Zh¯ong Y¯ı Xu´e G`ai L`un (中醫學概論), ‘cold damage’ sh¯ang h´an(傷寒),
‘warm disease’ w¯en b`ıng (溫病), yin-yang (阴阳), five elements (五行), zang-fu (脏腑), wind-
stroke zh`ong f¯eng(中風), qi (气) (vital force), etiology, pathology.
Modern Western medicine began to enter in China from the middle of the 19th century through
the efforts of Christian missionaries. By 1850, ten missionary hospitals had already opened, and their
numbers gradually increased. It was not by the power of the missionaries’ religion, though, that
Western medicine gained a fast foothold in China, but rather by the power of Western civilisation
based on secular knowledge. By the end of the century, after decades of humiliation by Western
powers and, finally, by Japan, China’s faith in its own intellectual traditions was deeply shaken, and
the values of modern science were seen by an increasing majority to offer the only possible solutions
to the nation’s problems. In the political realm, this development inspired the overthrow of imperial
rule and the founding of the Republic.
Amid these upheavals, Chinese medicine was increasingly viewed as unscientific and primitive,
and all but met its demise. In 1929, a bill was presented by Y´u Y´un-Xi`u (余雲岫) for the ‘abolition
of the old medicine’. Although opposition was strong enough to prevent the bill from going through,
the challenge to Chinese medicine remained unabated. In 1932, the Chinese government ordered that
Chinese medical schools be excluded from the mainstream education system. Chinese medicine
gained a reprieve on them a in land in the 1950s after the Communist assumption of power there.
Two reasons have been suggested to explain the support of M´ao Z´e-D¯ong’s government for
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 135
Chinese medicine. One is that China did not have the resources to provide adequate Western medical
health care for the whole population, and that there were still many practitioners of Chinese medicine
(Sivin 1987: 18). The other is that traditional Chinese medicine contained a strong pragmatic element
and its y¯ın-y´ang and five-phase theories were considered as a kind of primitive materialism
(Unschuld 1985: 253). Nonetheless, not all traditional Chinese healing practices received communist
approval. Chinese medicine was considered as a ‘treasure house’ of experience in the treatment of
disease, in which, nevertheless, the grain had still to be separated from the chaff. The PRC’s support
for Chinese medicine is half-hearted; the medical education it provides trains at least twice as many
in Western medicine as in Chinese medicine (Birch & Felt 1999: 52).
In T´aiw¯an, where choice in health-care has been left largely to the individual, Chinese
medicine has remained alive out of popular assent, and over recent years has been incorporated into
the island’s national health insurance scheme. Nevertheless, support for Chinese medicine is even
weaker in T´aiw¯an than in the PRC: T´aiw¯an had nearly three times as many Western medical
doctors than Chinese doctors in 1954, and ten times as many in the early 1990s (R.O.C. Health
Department 1993, 1995). No government-run university has a Chinese medical faculty. The challenge
of Western medicine and the scientific world view has brought numerous changes. Only those
elements of traditional healing practices that have a rational theoretical basis have been deemed
acceptable. In the PRC, magical and shamanistic practices have been eradicated, but even in
T´aiw¯an, where they have been allowed, they have not been considered by educators to be valid
elements of the Chinese medical corpus.
At the same time, importance has been accorded to scientific research to establish the scientific
basis of Chinese medicine This has led to the scientific understanding Chinese Medical Terms of
various therapeutic mechanisms, and provided ample evidence of the effectiveness of both
acupuncture and medicinal therapy. However, the theoretical infrastructure of the system as a whole
has not been validated. Notably the channel system, certain organ functions, and external causes of
disease traditionally recognized have gained no substantiation. Western research into acupuncture has
led to the discovery of endogenous opioids, but the traditional concepts of q`ı and its pathways that
provided the traditional explanatory model of the therapy have not been shown to have any objective
referents. Policy-makers in both the PRC and T´aiw¯an have declined to draw the most radical
conclusions of the scientific challenge, which would entail discarding all traditional theories of
physiology and pathology and recasting traditional therapies in the mould of mechanisms recognized
by modern medicine. The traditional edifice of Chinese medical theory has been left intact, but not
entirely unaltered.
The teaching of Chinese medicine was traditionally based on the student-master relationship.
In the classical tradition, the earliest knowledge had more importance that the latest. The authors of
the early texts were considered to have such deep knowledge that later generations could only
approximate. Texts such as the Hu´angd`ı N`eij¯ıng, N`anj¯ıng, and Sh¯angh´anl`un were often
closely studied and even memorized. The shift into the framework of large teaching establishments
has lead to the creation of new texts that explain the subject systematically in modern Chinese (白話
文 b´ai hu`a w´en). Texts such as M`eng & Zh¯ou’s Zh¯ong Y¯ı Xu´e G`ai L`un 中醫學概論 “Outline
of Chinese Medicine” of 1985 (a revised version of the work by Z¯un Zh`ao-W`ei published in 1958)
is a typical example. The fact that study of the classics is giving way to short quotations in textbooks
that present modern doctrines of traditional Chinese medicine (Sivin 1987: 27) does not simply reflect
a desire for greater educational efficiency; it almost certainly reflects falling estimations of the value
of classical literature.
Education in basic theory still includes y¯ın-y´ang and the five phases, the channels and
networks, causes of disease, and the physiology, or visceral manifestation theory (藏象學說 z`ang
xi`ang xu´e shu¯o) as it has come to be called in China, more or less according to the contents of the
N¯eij¯ıng. Diagnosis is still presented in the form of the four examinations, which combine a wealth
of diagnostic criteria from a wealth of literature. Inevitably this involves presenting different, even
conflicting, diagnostic ideas such as different theories concerning how various parts of the tongue
and the various vertical and horizontal divisions of the pulse corresponded to internal disturbances.
136 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
The study of externally contracted disease is explained in traditional terms, even though this involves
presenting two different schools of thought, that of ‘cold damage’ (傷寒 sh¯ang h´an) and ‘warm
disease’(溫病 w¯en b`ıng). Central to diagnostic procedures in modern education is the practice of
determining treatment on the basis of ‘disease patterns’ identified (辨證論治 bi`an zh`eng l`un zh`ı).
The notion of the disease pattern can be traced to the N¯eij¯ıng and underwent development by
Zh¯ang Zh`ong-Jˇıng, but explicit formulations of it in modern texts, such as the eight principles, q`ı
and blood pattern identification, and bowel and visceral pattern identification, did not begin to
develop until the M´ıng and Q¯ıng (1368–1919) (Zh`ao J-F 1987: 2). (The first dictionary of Chinese
medicine (Xi`e G 1921) contains far fewer bowel and visceral disease pattern terms than the 1995
ZD.) Treatment by identification of patterns is a key element in modern Chinese medicine on the one
hand because it is theoretically based, rather than a symptomatic approach, and on the other because
it is a holistic complement to Western medicine emphasizing the individual’s particular
manifestations of disease.
The ways in which Western medicine has influenced the practice of Chinese medicine have not
been systematically studied. But there are some well-known examples. Jaundice, which was
traditionally explained largely in terms of damp-heat and the spleen, is now explained in terms of the
gallbladder (Wiseman & F´eng 1998a: 322). So strong is the new understanding of this condition that
modern Sh¯angh´anl`un commentators have introduced the notion of the gallbladder to explain
Zh¯ang J¯ı’s approach to treatment (Mitchell, F´eng, & Wiseman 1999: 21). Wind-stroke (中風
zh`ong f¯eng, apoplexy) is still explained in traditional terms of internal wind and various
complications, but its Western medical understanding as a cerebrovascular disease has encouraged
the use of blood-quickening stasis-transforming medicinals (活血化瘀薬 hu´o xu`e h`u y¯u y`ao).
The Western cognitive esthetic of integrated knowledge was doubtlessly responsible for the idea of
ascribing categories of medicinal actions to acupuncture points in the 1950s. In promoting traditional
Chinese medicine, the PRC government has hoped not only that Chinese medicine can be purged of
all irrational theories and ineffective remedies, but also that it can be integrated with modern medicine
to produce an even more effective synthesis. These efforts are still hampered by the ultimate challenge
that modern science poses: the theoretical edifice of Chinese medicine largely rests on speculation.
There is no firm evidence for q`ı and the channel system through which it flows, for certain organ
functions, for the activity of external evils in the body and other pathological processes, or for the
nature and action of drugs as traditionally described. None of these traditional concepts can be
accepted by the Western medical community, yet their abolition would reduce the value of Chinese
medicine to an assorted collection of folk remedies.
The future survival of Chinese medicine will undoubtedly entail continuing change under the
pressure of modern medical knowledge and the gradual disappearance of the social and cultural
motivation of its traditional development. The nature and scope of the changes, as well as the pace of
change, still cannot be perceived. Despite the changes that have visibly occurred in modern education,
it is clear that so far the Orient has not been so bold as to discard all speculative concepts, since this
would lead to a total collapse of the traditional theoretical basis of Chinese medicine. Chinese
medicine has undergone a degree of reacculturation in China (as it has in Korea and Japan). Chinese
medicine is subject to the same pressure to validate itself in modern medical terms in its westward
transmission. It will also become apparent that in addition to this, there is also an antagonistic pressure
to force Chinese medicine into the mould of a complementary health care, whose values are
diametrically opposed to those of Western medicine. These pressures, combined with the lack of
familiarity with the culture and language of China, explain the variety of ways in which Chinese
medicine is presented, and, specifically, the high degree of variation in terminology.
REFERENCES:
1. Chinese Acupuncture and Moxibustion. Foreign languages press Beijing Fourth Printing 2003.
http:/lwww.flp.com.cn
2. WHO international standard terminologies on traditional Chinese medicine. © World Health Organization 2022.
ISBN 978-92-4- 004233-9 (print version)
3. Essentials of Chinese acupuncture. Foreign languages press Beijing First Edition 1980. www.bamboo-
delight.com
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 137
4. The translation of Chinese medical terms into English. Linguistic considerations on the language of TCM.
Rivista della issn: 1974-4331 Facoltà di scienze motorie vol ii, fasc. 3, sez. 1, 2009 Dell’università degli studi di palermo
5. Dictionary of medicine 英汉双解医学词典 P.H. Collin. Foreign languages Teaching and Research Press 2000.
6. Chinese-English Medical Vocabulary: Arthritis and Osteoporosis 醫藥詞彙中英對照: 關節炎和骨質疏鬆症
7. Fung Yu Lan 1966 A Short History of Chinese Philosophy, Free Press, New York.
UO’K 81-13
“DЕVONI LUG’OTIT-TURK”DAGI IKKI TO’RTLIK TARJIMASI HAQIDA
B.R.Parpiboyev, o’qituvchi, Namangan Davlat Universiteti akademik litseyi, Namangan
Annotatsiya. Maqolada qadimgi turkiy yozma obida “Dеvonu lug’ot-it Turk” asaridagi ayrim
maqol va hikmatli so’zlarni horijiy tillarga tarjimalari qiyosiy tahlildan o’tkazilgan. Shuningdеk,
tarjimada muqobillik va so’z tanlash muammolari o’rganilgan.
Kalit so’zlar: Qadimgi turkiy adabiyot, “Dеvonu lug’otit turk”, badiiy tasvir vositalari, maqol,
ilmiy tarjima, badiiy tarjima, uslub, tarjimon mahorati.
Аннотация. Данная статья посвящена изучению проблем перевода пословиц и
поговорок, используемых в “Дивани лугат-ит турк”, одном из древнейших письменных
памятников тюркских народов. В ней также раскрываются проблемы адекватности и
выбора слов при переводе.
Ключевые слова: древнетюркская литература, “Дивани лугат-ит турк”,
литературные приемы, стилистические приемы, пословица, научный перевод,
художественный перевод, стиль, талант переводчика.
Abstract. This article is devoted to the study of the problems of translation proverbs and
sayings used in “Divani lugat-it Turk”, one of the oldest written monuments of Turkic nations. It also
exposes the problems of adequacy and word choosing in translation.
Keywords: Old Turkic literature, “Divani lugat-it Turk”, literary devises, stylistic devises,
proverb, scientific translation, literary translation, style, talent of translator.
UO’K 81
MEDIA DISKURSNING LEKSIK SEMANTIK SATHI
F.R.Rajabbayeva, oʻqituvchi, Urganch davlat Innovatsiya Universiteti, Urganch
Annotatsiya. Ushbu maqola media diskursning leksik semantik sathi, lingvistikaning turli
sohalarida amalga oshirilgan funksiyonal semantik va semantik tarixiy tadqiqotlarga, shuningdek
an'anaviy diaxronik yondashuv bilan bir qatorda lingvistik tavsifning yangi sinxron ko'rinishiga
bag’ishlanadi.
Kalit so’zlar: leksika, semantika, sath, frozologiksath, morfema, lingvistika
Аннотация. Данная статья посвящена лексико-семантическому уровню
медиадискурса, функционально-семантическим и семантико-историческим исследованиям,
проводимым в различных областях языкознания, а также новому синхроническому взгляду на
лингвистическое описание наряду с традиционным диахроническим подходом.
Ключевые слова: семантический уровень, фрозологический уровень, морфема,
лингвистика, лексический уровень.
Abstract. This article is devoted to the lexical semantic level of media discourse, functional
semantic and semantic historical studies carried out in various fields of linguistics, as well as a new
synchronic view of linguistic description along with the traditional diachronic approach.
Key words: semantics level, phrosological level, morpheme, linguistics, lexical level
Lisonning shakl va denotativ ma’no yaxlitligidan iborat birligini qamrab oluvchi sathi turlicha
nomlanadi.Bular quyidagilardir: leksik sath, leksik-semantik sath,leksik- frozologik sath. Leksik sath
birligi tilshunoslikda leksema deyiladi. Leksema tilshunoslikning eng muhim tushunchalaridan biri
hisoblanadi. Biroq uning mazmun va chegarasi hozirgacha aniq belgilangan emas. Masalan o’zbek
tilshunosligida leksema va so’z atamasining hozirgacha yonma-yon qo’llanilayotganligi,
leksemaning morfemaning bir ko’rinishi sifatida qarash kabilar shular jumlasidandir.
Media diskurtsning leksik semantik tadqiqi lingvistikaning turli sohalarida amalga oshirilgan
funksiyonal semantik tadqiqotlarga asoslanadi. Ma’lumki semantika alohida soha sifatida birinchi
marta 1883 yilda Breal [1] tomonidan taklif qilingan. U "semantik" atamasini "so’zning o'zgarishini,
yangi iboralarni tanlashni, nutqda iboralarning payda bo’lishi va yo’qolishini boshqaradigan qonunlarni
o'rganish uchun taklif qilgan. Keyingi ellik yil davomida semantika sohasi so'z ma'nosi bo'yicha tarixiy
tadqiqotlar bilan shug'ullandi. Masalan Sterning [2] Meaning and the Change of Meaning (Ma'no va
ma'noning o'zgarishi nomli) risolasi semantika bo'yicha tadqiqotning birinchi bosqichi bo’lib ma’no
sintezini ta'minlaydi.
F.Sossyur [3] so‘z ma’nosini lingvistik belgi jarayoni sifatida o‘rganishni boshlab berdi.
F.Sossyurning belgining dialek modeli so'zning ixtiyoriy, ammo shartli shakli va ma'nosi o'rtasidagi
psixologik muvofiqlikni taxmin qildi. Uning Cours de linguistique générale ya’ni Umumiy lingvistik
kurslar asari an'anaviy diaxronik yondashuv bilan bir qatorda lingvistik tavsifning yangi sinxron
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 141
ko'rinishini qo'llab-quvvatladi. Bundan tashqari, Sossyur til tizimini (tilni) o'rganishni, muloqotdagi
ya’ni omma orasidagi jonli tilni o'rganishga alohida e’tiborini qaratib o’tdi, bu esa kontekst va nutqni
lingvistik tavsifdan tashqarida degan tushunchani keltirib chiqardi. Shu sabab deyarli barcha
lingvistik tadqiqotlar alohida so’z va so’z birikmalari, gap va yozma matn doirasida amalga
oshirilgan. O’g’zaki nutqning diskurs tahlili zamonaviy tilshunoslikning yechimini kutayotgan
masalalari qatorida qolib kelgan.
F.Sossyur [4] nazaryalari ta'sirida Trier 1931 yilda birinchi chinakam sinxron semantik
tadqiqotni yaratdi. Uning semantik sohalar deb ataladigan tahlili bugungi kunda ham mavjud bo'lgan
tadqiqot sohalarida keng qo’llanilmoqda. Deyarli bir vaqtning o'zida Blumfild [5] lingvistik
semantikaning bixevioristik nuqtai nazarini ommalashtirdi. Bloomfild uchun ma'noning ta'rifi
"so'zlovchi [iborani] aytadigan vaziyatni va tinglovchida chaqiradigan javobni" o'z ichiga oladi .
Garchi ular "tushuncha" va "tuyg'u" kabi atamalardan voz kechishsa ham, bixevioristlar kontekstdagi
nutq funktsiyasini ma'no uchun markaziy deb bilishadi. Shunga qaramay, paradoksal ravishda
bixeviorizmning, xususan, Amerika tilshunosligiga ta'siri, uning yo'nalishini leksik elementlar
o'rtasidagi tarkibiy munosabatlarga toraytirdi va nutq ma'nosini tavsiflashni ritorika, stilistika va
poetika kabi yondosh fanlarning tadqiqot masalasi degan nazaryani ilgari surdi. Tilning strukturaviy
va generativ vazifalari so'z va jumlani semantik nazariyaning obyekti sifatida oldi. Gapning ma'nosi
tamoyilga asoslangan tarkibiy qismlarining ma'nolari va ularning tarkibiy munosabatlari mahsuli
sifatida ko'rilgan.
S.Ogden va I.Richards [6] so’z semantikasi borasida o’z qarashlarini taklif qilgan va
tilshunoslikda ramziy va hissiy ma'noni tubdan farqlanishini takidlagan. Ularning ramziy ma'nosi
boshqa mualliflar g'oyaviy, tavsiflovchi, taklif yoki murojaat ma'nosi deb ataydigan ma'noga mos
keladi, hissiy ma'no esa ma'noning shaxslararo, ekspressiv, nomutanosi, tasirchan va uslubiy mano
xususiyatlariga mos keladi. stilistik jihatlariga mos keladi. Taxminlarga ko'ra, g'oyaviy ma'no
kontekstdan mustaqil ravishda kompetentsiyaning bir qismi sifatida o'rganilishi mumkin, shaxslararo
ma'no esa tizimli tekshirish uchun ilojsiz imkonsiz bolgan muayyan shaxslar nutqida vaqtinchalik
payda bo’ladigan ma’nodir.
Til, ma'no, madaniyat va shaxsiyat o'rtasidagi munosabatlarga oid savollar media
tilshunoslikning dolzarb masalalari bo’lib bular semantik tadqiqotlar mazmunining asosini tashkil
qilmoqda. Tilimizning bizning idrokimizni belgilaydigan darajasi, ko'pincha "Sapir-Uorf gipotezasi"
sarlavhasi ostida muhokama qilinadi, ayniqsa G. Lakoff va uning sheriklarining kognitiv
semantikasida yana bir muammoga aylangan. Ushbu tadqiqot yo'nalishi metaforani sinxron
o'rganishni ham jonlantirdi. Metafora allaqachon an'anaviy diaxronik semantikaning asosiy
muommosi bo'lib kelgan, chunki u majoziy ma'no kengaytmalarini ma'no o'zgarishi omili sifatida
muammo keltirib chiqargan. Daslabki semantik tadqiqotlar doirasida metoforaga oid nazaryalar 1960
yillarga kelib payda bo’lgan.
Trubetzkoy va Praga maktabi tomonidan ishlab chiqilgan antropologik tilshunoslik
tadqiqotlarida ham semantikaning fonologik xususiyatlari, komponentli tahlil, marker va leksik
bo’linish bilan bog’liq jihatlari generativ transformatsiyaning standart nazariyasiga kiritilgan. Katz,
Fodor, Postlar semantikaning xususiyatlar va nazaryasi bo’yicha tadqiqot ishlarini olib borganlar.
Shuningdek Katz semantikada ma'nolilik, anomaliya, ziddiyat, tavtologiya, sinonimiya, antonimiya,
parafraza kabi semantik tushunchalarni tavsiflash uchun leksik grammatik nazaryalardan
foydalangan holda ushbu tushunchalar borosida tadqiqotlar olib boradi.
Komponentli tahlilning mantiqiy belgilar yoʻnalishida kengayishi, ayniqsa Makkoli va
G.Lakoff tomonidan generativ semantika harakatining asosiy tamoyili boʻldi. Predikat mantiqiy
yozuvlarida jumla ma'nolarini ifodalash bo'yicha takliflar, ayniqsa Montague tomonidan ishlab
chiqilgan intensial mantiqda semantik nazariyaning bir sohasi sifatida gullab-yashnashda davom etdi.
Montaguening rasmiy mantiqdan kelib chiqqan pozitsiyasi ma'noni model yoki mumkin bo'lgan
dunyoda haqiqat shartlari bilan tenglashtiradi. Ushbu tadqiqot haqiqat-funksionallikni g'oyaviy jumla
ma'nosi va malakasi bilan bog'lash bo'yicha an'anaviy amaliyotga amal qiladi va shaxslararo ma'noni
haqiqatga mos kelmaydigan faoliyat hodisasi sifatida qoldiradi.
142 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Semantika bo'yicha boshqa ko'pgina ishlardan farqli o'laroq, Hallidayning funktsional-tizimli
tilshunosligi nafaqat g'oyaviy va shaxslararo ma'noni, balki matn ma'nosini ham tan oladi. U turli xil
ma'nolarni matndagi jumlani yaratishda yo'l davomida qilingan tanlovlar bilan bog'laydi. Bunday
tahlil 1935-yildayoq Fertning semantik tahlil bo'yicha bergan takliflarini aks ettiradi. Shunday qilib,
tizimli tilshunoslik hamma vaqt davomida nutq ma'nosini tavsiflash maqsadi bilan ishlagan.
Semantika nuqtai nazaridan media diskurs hodisalarini o'z ichiga olgan bosqichma-bosqich
tadqiqotlar indekslilik va anafora, presuppozitsiya, media nutqning asosiy nutqiy aktlari, muallif
istagi va shaxslararo munosabatda yuzaga keladigan ma’no, ayniqsa majoziy ma'noni ko'rib chiqish
o’rinli deb hisobladik. Bundan maqsad tor doiradagi mavzularni qayta tahlil qilish va to'liqroq
tushunish hamda, yangi ma’lumotlar va ijtimoiy tarmoqlardagi muloqat kabi dolzarb mavzular
oqimi lingvistik semantika haqidagi tushunchamizni kengaytiradi va chuqurlashtiradi.
Media diskurs semantikasiga oid qarashlar faqat media nutqdagi ma'noni o'rganish jarayonida
paydo bo'ladi. Masalan, nutq vaziyatiga so’z ma’nosining mosligi, shakl va mazmun uyg'unligi,
media diskursning reestr xususiyatlari, media diskurs turlarida semantik maydon tushunchasi kabi
alohida masalalar bunga misol bo’la oladi. Media diskurs g’oyaviy,ramziy,majoziy ma’noni
ifodalashi muayyan shakl va uslubga asoslanadi. Bunda nutq takrorlari, parallelar, imo ishoralar
va nutqiy formulalar kabi vositalardan foydalaniladi. Shu o’rinda media diskurs semantikasining
nutqiy tahlili ya’ni uning fonotsion, stilistik, madaniy va nutqiy etiket normalari bilan ham bog’liq
ekanligi isbot talab qilinmaydigan haqiqatdir.
Media diskursning leksik semantik tipologiyasi nutqiy va an’anaviy semantika nazaryalar
asosida yaratilishi uning semantik sathining mazmun mohiyatini to’liq ochib berishga hizmat qiladi.
Media diskursning leksik semantik sathi uning falsafiy, ijtimoiy, g’oyaviy lingvistik, struktur,
funksional va pragmatik xususiyatlarini o’zida aks ettiradi. Ushbu xususiyatlar avvalo nutq
paradigmalarida nostandart shaklda nomoyon bo’ladi. Anashu nostandartlik o’zgaruvchan paradigma
deb ataladi. Media diskursning o’zgaruvchan paradigmasi semantik sathni ifodalovchi vosita
hisoblanadi.
Falsafa va tilshunoslikdagi turli tadqiqot yo'nalishlari semantikadagi strukturaviy paradigmani
kengaytirish uchun hizmat qiladi. Ushbu eski modelda so'zlar tilning lug'at tarkibidagi munosabatlari
tufayli ma'noga ega edi. Har bir so'z o'zining diskret ma'nosini sintaktik birlikda nomayon qiladi.
Ushbu model asta-sekin semantik tahlil uchun boshlang'ich nuqta va eng yomoni, nostandart nutq
deb hisoblana boshladi, chunki diskurs nafaqat so'z strukturasini, balki so'z ma’nosini ham o'rganish
uchun asosiy manba bo'lib xizmat qiladi. S.Ostinning "performativ tahlili" shuni ko'rsatdiki, biz
tildan formal ya’ni standart shakldagi nutq yoki informal ya’ni nostandart shaklda va so’zlarni
to’g’ri ma’noda yoki o’z o’rnida ma’nolarning ketma-ketligida bayonotlar qilish uchun foyfalanamiz
deb takidlab o’tadi.
Bundan kelib chiqib shuni aytib o’tishimiz mumkunki media diskursda semantik ma’nolar
juda muhum o’rin tutadi. Masalan intervyu jarayonida biz rasmiy muloqatga amal qilamiz va bu
jarayon standart uslubda bo’ladi. Chunki intervyu jarayonida rasmiy savollar bilan murojat qilinadi.
Yoki televedenyada bo’lib o’tadigan tok shovlarning ayrimlari informal shaklda (nostandart)bo’lib
o’tadi. Masalan olaylik bu kabi tok shovlarda idomalardan, frazalagik brikmalardan ko’proq
foydalaniladi va bunda auditoriyadagi ko’pchilik o’z fikrini body language ya’ni emotsiyalar orqali
ifoda qila oladi.
H. Grise [7] ma'ruzachilarning media diskursga asoslangan ma'no nazariyasini qo'llab-
quvvatladi va u kontekstning kognetiv bog’liqligi va bog'lovchilarning ma'nolariga qanday ta'sir
qilishini ko'rsatib berdi. Bundan tashqari, Grisning implikatsiya tushunchasi tilshunoslarga
ma'noning inferensial modellarini ishlab chiqish yo'lini berdi.
Bundan xulosa qilib aytishimiz mumkunki media diskursning semantik tadqiqi bo’yicha H.
Grise, S.Ostin, Fert ,Makkoli va G.Lakoff , Katz, Fodor, Postlar tadqiqot ishlari olib borganlar va
ularning rivojlanishiga o’z hissalarini qo’shishgan.
FOYDALANILGAN ADABIYOTLAR RO’YXATI:
1.Bréal, Michel (1900) Semantics: Studies in the Science of Meaning. New York: Dover.
2.Stern, Gustaf (1931) Meaning and the Change of Meaning. Bloomington: Indiana University Press.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 143
3. Trier, J. (1931) Der deutsche Wortschatz im Sinnbezirk des Verstandes. Die Geschichte eines sprachlichen
Feldes
4.Saussure, Ferdinand de (1916) Cours de linguistique générale. Paris: Payot.
5. Bloomfield, Leonard (1933) Language. New York: Holt
6.Ogden, C. K. and Richards, I. A. (1923) The Meaning of Meaning. London: Routledge
7.Grice, H. Paul (1975) Logic and conversation. In P. Cole and J. Morgan (eds), Syntax and Semantics, vol. 3:
Speech Acts. New York: Academic, 41–58
8.Grice, H. Paul (1978) Further notes on logic and conversation. In P. Cole (ed.), Syntax and Semantics, vol. 9:
Pragmatics. New York: Academic, 113–27
9.Katz, Jerrold J. (1977) Propositional Structure and Illocutionary Force. Hassocks: Harvester.
10. Katz, Jerrold J. and Fodor, Jerry A. (1963) The structure of a semantic theory. Language, 39: 170–210
UO’K 81-13
TA’LIM SOXASIDA PR NING ISTIQBOLLARI
G.I.Ramanova, o‘qituvchi, O‘zbekiston jurnalistika va ommaviy kommunikatsiyalar universiteti,
Toshkent
Annotatsiya. Jamoatchilik bilan aloqalar (PR) ta'lim muassasalarining imidji, obro'si va aloqa
strategiyasini shakllantirishda hal qiluvchi rol o'ynaydi. So'nggi yillarda raqobat kuchayib
borayotgani va raqamli ommaviy axborot vositalarining kuchayishi bilan PRning ta'limdagi roli har
qachongidan ham muhimroq bo'ldi. Ushbu maqola ta'lim sohasidagi PR istiqbollarini o'rganish,
uning ahamiyati, muammolari va samarali amalga oshirishning potentsial strategiyalarini
muhokama qilishga qaratilgan. Mavjud tendentsiyalar va paydo bo'layotgan amaliyotlarni tahlil
qilib, ushbu maqola ta'lim muassasalari o'zlarining ko'rinishini oshirish, manfaatdor tomonlarni jalb
qilish va o'z jamoalarida mustahkam aloqalarni o'rnatish uchun PRdan qanday foydalanishi haqida
tushuncha beradi.
Kalit so'zlar: Jamoatchilik bilan aloqalar, Ta'lim, Aloqa, Obro'-e'tiborni boshqarish,
Manfaatdor tomonlarni jalb qilish, Inqirozga qarshi aloqa, Brendlash
Аннотация. Связи с общественностью (PR) играют важнейшую роль в формировании
имиджа, репутации и коммуникационной стратегии образовательных учреждений. В
последние годы, с ростом конкуренции и развитием цифровых медиа, роль PR в образовании
стала более важной, чем когда-либо. Целью данной статьи является изучение перспектив PR
в образовании, обсуждение его важности, проблем и потенциальных стратегий для
эффективного внедрения. Анализируя текущие тенденции и новые практики, эта статья
дает представление о том, как образовательные учреждения могут использовать PR для
повышения своей известности, привлечения заинтересованных сторон и построения прочных
отношений внутри своих сообществ.
Ключевые слова: Связи с общественностью, Образование, Коммуникации, Управление
репутацией, Взаимодействие с заинтересованными сторонами, Кризисные коммуникации,
Брендинг
Abstract. Public Relations (PR) plays a crucial role in shaping the image, reputation, and
communication strategies of educational institutions. In recent years, with the increasing competition
and the rise of digital media, the role of PR in education has become more significant than ever. This
article aims to explore the prospects of PR in the field of education, discussing its importance,
challenges, and potential strategies for effective implementation. By analyzing current trends and
emerging practices, this article offers insights into how educational institutions can leverage PR to
enhance their visibility, engage stakeholders, and build strong relationships within their
communities.
Key words: Public Relations, Education, Communication, Reputation Management,
Stakeholder Engagement, Crisis Communication, Branding
Kirish: Jamoatchilik bilan aloqalar, ko'pincha PR sifatida qisqartiriladi, tashkilot va uning turli
manfaatdor tomonlari o'rtasidagi aloqani strategik boshqarishni o'z ichiga oladi. Ta'lim sohasida PR
institutlar uchun o'z imidjini boshqarish, turli auditoriyalar bilan muloqot qilish va zamonaviy media
144 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
landshaftining murakkabliklarida harakat qilish uchun kuchli vosita bo'lib xizmat qiladi. Ushbu kirish
bo'limi ta'limdagi PR istiqbollarini o'rganish uchun zamin yaratadi, uning ahamiyati, muammolari va
strategik amalga oshirishning potentsial yo'llarini yoritadi.
Maktablar va universitetlardan tortib, kasbiy ta'lim markazlari va onlayn platformalargacha
bo'lgan ta'lim muassasalari kuchli raqobat muhitida ishlaydi. Ushbu muassasalarning obro'si va qabul
qilingan qiymati talabalar, professor-o'qituvchilar, moliyalashtirish va hamkorlikni jalb qilishda hal
qiluvchi rol o'ynaydi. PR ushbu obro'ni shakllantirish va oshirish uchun vosita bo'lib xizmat qiladi,
bu institutlarga o'z missiyasi, qadriyatlari, yutuqlari va jamiyatga qo'shgan hissalarini samarali
etkazishga imkon beradi.
Bundan tashqari, axborotning haddan tashqari yuklanishi va raqamli ulanish bilan tavsiflangan
davrda PR ta'lim muassasalariga shovqinni engib o'tishga va maqsadli auditoriyaga erishishga
yordam beradi. Strategik xabar almashish, ommaviy axborot vositalari bilan aloqalar, ijtimoiy media
boshqaruvi va kontent yaratish orqali institutlar o'z ovozlarini kuchaytirishi, manfaatdor tomonlarni
jalb qilishi va bo'lajak talabalar, ota-onalar, bitiruvchilar, donorlar, siyosatchilar va keng jamoatchilik
bilan mazmunli aloqalarni rivojlantirishi mumkin.
Bundan tashqari, PR inqirozni boshqarish va xavflarni kamaytirishda muhim rol o'ynaydi.
Ta'lim muassasalari bir qator muammolarga, jumladan, akademik tortishuvlar, kampus xavfsizligi
muammolari, moliyaviy bosimlar va obro'ga tahdidlarga moyil. Samarali PR strategiyalari
institutlarga inqirozlarga tez, shaffof va hamdardlik bilan javob berishga imkon beradi va shu bilan
manfaatdor tomonlar o'rtasida ishonch, ishonchlilik va yaxshi niyatni saqlab qoladi.
Ta’limda PRning ahamiyati:
Ta'lim muassasalari talabalarni ro'yxatga olish, moliyalashtirish va jamiyatni qo'llab-quvvatlash
uchun kurashayotgan bugungi kuchli raqobat sharoitida, Jamoatchilik bilan aloqalar (PR) roli har
qachongidan ham muhimroq bo'lib qoldi. PR ta'lim muassasalari uchun o'z obro'sini samarali
boshqarish, manfaatdor tomonlarni jalb qilish va o'z missiyasi va qadriyatlarini turli auditoriyalarga
etkazish uchun asosiy vosita bo'lib xizmat qiladi. Quyidagi fikrlar ta'limda PRning ahamiyatini yoritib
beradi:
Institut imidji va obro'sini shakllantirish: Ta'lim muassasalari talabalar, professor-o'qituvchilar
va moliyalashtirishni jalb qilish uchun o'z obro'siga tayanadi. PR institutning ilmiy yutuqlari,
innovatsion dasturlari, tadqiqot yutuqlari va jamiyatga qo'shgan hissalarini ta'kidlash orqali ushbu
obro'ni shakllantirish va oshirishda hal qiluvchi rol o'ynaydi. Strategik xabarlar va hikoyalar orqali
PR asosiy manfaatdor tomonlar, jumladan, bo'lajak talabalar, ota-onalar, bitiruvchilar, donorlar, ish
beruvchilar va siyosatchilar o'rtasida muassasa haqida ijobiy tasavvurni yaratishga yordam beradi.
Manfaatdor tomonlarni jalb qilish va munosabatlarni o'rnatish: Samarali PR turli manfaatdor
tomonlar bilan mazmunli hamkorlikni osonlashtiradi, ishonch, sodiqlik va uzoq muddatli
munosabatlarni rivojlantiradi. Ochiq muloqot kanallarini qo'llab-quvvatlash, fikr-mulohazalarni
so'rash va muammolarni hal qilish orqali ta'lim muassasalari talabalar, professor-o'qituvchilar,
xodimlar, bitiruvchilar va keng jamoatchilik o'rtasida hamjamiyat va tegishlilik tuyg'usini
rivojlantirishi mumkin. Ishtirok etgan manfaatdor tomonlar muassasani himoya qilish, uning
tashabbuslarini qo'llab-quvvatlash va muvaffaqiyatga hissa qo'shish ehtimoli ko'proq.
Talabalarni jalb qilish va ularni saqlab qolish: Bozor kuchayib borayotgan raqobat sharoitida
talabalarni jalb qilish va ularni saqlab qolish ta’lim muassasalari uchun ustuvor vazifa hisoblanadi.
PR institut dasturlari, jihozlari va kampus madaniyatini bo'lajak talabalar va ularning oilalariga
sotishda hal qiluvchi rol o'ynaydi. Maqsadli reklama kampaniyalari, kampus sayohatlari, ijtimoiy
media ishtiroki va bitiruvchilarning guvohliklari orqali PR institutning noyob qiymat taklifini
namoyish etishga yordam beradi va talabalarni raqobatchilardan ko'ra tanlashga ko'ndiradi. Bundan
tashqari, talabalar qoniqishini oshirish, o'qishni saqlab qolish va bitiruv ko'rsatkichlarini oshirish
uchun ro'yxatga olishdan keyin PR harakatlari davom etmoqda.
Inqirozlarni boshqarish va obro'ni tiklash: Ta'lim muassasalari bir qator inqirozlarga, jumladan,
akademik janjallar, kampus xavfsizligi hodisalari, moliyaviy muammolar va etakchilik
tortishuvlariga moyil. PR manfaatdor tomonlar bilan o'z vaqtida, shaffof va empatik aloqani
ta'minlash orqali inqirozni boshqarishda muhim rol o'ynaydi. Xatolarni tan olish, tuzatuvchi chora-
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 145
tadbirlarni belgilash va javobgarlik va takomillashtirishga sodiqligini namoyish etish orqali institutlar
inqirozlarning o'z obro'siga ta'sirini yumshata oladi va manfaatdor tomonlar bilan ishonchni tiklaydi.
Siyosat va moliyalashtirishni qo‘llab-quvvatlashni targ‘ib qilish: Davlat mablag‘lari kamayib
borayotgan va oliy ta’lim nazorati kuchaygan davrda PR siyosat islohotlarini himoya qilishda va
davlat idoralari, xayriya tashkilotlari va korporativ hamkorlardan moliyaviy yordam olishda muhim
rol o‘ynaydi. Iqtisodiy ta'sir, ishchi kuchini rivojlantirish, innovatsiyalar va ijtimoiy manfaatlar nuqtai
nazaridan institutninga qiymat taklifini ifodalash orqali PR qonunchilik tashabbuslari, tadqiqot
grantlari, stipendiyalar va kapital loyihalarni qo'llab-quvvatlashga yordam beradi.
Xulosa qilib aytganda, PR taʼlim muassasalari uchun zamonaviy media landshaftining
murakkabliklarini samarali yoʻlga qoʻyish, gavjum bozorda oʻzlarini farqlash va yuqori sifatli taʼlim
berish hamda bilim va jamiyat taraqqiyotiga hissa qoʻshish missiyasiga erishish uchun strategik
imperativ boʻlib xizmat qiladi. PR resurslari, tajribalari va strategiyalariga sarmoya kiritib, institutlar
o'zlarining ko'rinishi, ishonchliligi va ta'sirini oshirishi mumkin, shu bilan ularning uzoq muddatli
muvaffaqiyati va barqarorligini ta'minlaydi.
Ta'lim uchun PR sohasidagi qiyinchiliklar va imkoniyatlar:
Ta'lim sohasidagi jamoatchilik bilan aloqalar (PR) sohaning dinamik tabiati va rivojlanayotgan
media landshaftini aks ettiruvchi ko'plab muammolar va imkoniyatlarga duch keladi.
Imkoniyatlardan foydalangan holda ushbu muammolarni tushunish va samarali boshqarish ta'lim
muassasalari uchun PR harakatlarining ta'sirini maksimal darajada oshirish uchun juda muhimdir.
Quyida ta'lim uchun PRning asosiy muammolari va imkoniyatlari keltirilgan:
Ta'lim muassasalari ko'pincha cheklangan byudjetlar va PR faoliyatiga bag'ishlangan xodimlar
bilan ishlaydi. PR tashabbuslari uchun etarli resurslarni ajratish, ayniqsa, o'quv dasturlari, talabalar
xizmatlari va binolarni ta'mirlash kabi boshqa institutsional ustuvorliklar bilan raqobatlashganda
qiyin bo'lishi mumkin.
Raqamli media kanallari va platformalarining ko'payishi media landshaftini parchalab tashladi
va maqsadli auditoriyaga erishish va ularni samarali jalb qilishni tobora qiyinlashtirmoqda. PR
amaliyotchilari turli xil aloqa kanallarida, jumladan an'anaviy media, ijtimoiy media, bloglar,
podkastlar va onlayn forumlarda harakat qilishlari kerak, shu bilan birga xabar almashishda izchillik
va uyg'unlikni saqlaydilar.
Soxta yangiliklar, noto'g'ri ma'lumotlar va dezinformatsiyalarning tarqalishi institutsional obro'
va ishonchlilikka katta xavf tug'diradi. Ta'lim muassasalari zararli hujumlar, mish-mishlar va ijtimoiy
tarmoqlar va onlayn platformalar orqali tez tarqalishi mumkin bo'lgan virusli tortishuvlarga qarshi
zaifdir. PR mutaxassislari onlayn suhbatlarni kuzatishda, yolg‘on ma’lumotlarni yo‘q qilishda va
salbiy reklamaning muassasa imidjiga ta’sirini yumshatishda hushyor bo‘lishlari kerak.
Ta'lim muassasalari keng ko'lamli potentsial inqirozlarga duch keladi, jumladan, akademik
janjallar, kampus xavfsizligi hodisalari, moliyaviy muammolar va etakchilik bahslari. PR
amaliyotchilari inqirozlarga tez va samarali javob berishga tayyor bo'lishlari, manfaatdor tomonlar
bilan o'z vaqtida, shaffof va hamdardlik bilan muloqot qilishlari, shu bilan birga obro'ga putur
yetkazish va ishonchni tiklashga tayyor bo'lishlari kerak.
Ta'lim muassasalari muvofiqlik talablari, akkreditatsiya standartlari va hukumat nazorati ostida
murakkab tartibga soluvchi muhitda ishlaydi. PR mutaxassislari nozik ma'lumotlarni uzatishda,
talabalar shaxsiy hayotini himoya qilishda va institutsional yaxlitlikni qo'llab-quvvatlashda huquqiy
va tartibga soluvchi cheklovlardan o'tishlari kerak.
Xulosa qilib aytadigan bo'lsak, ta'limdagi PR resurslarning cheklanganligi, ommaviy axborot
vositalarining bo'linishi va obro'-e'tibor xavfini o'z ichiga olgan bir qator muammolarga duch kelgan
bo'lsa-da, u innovatsiyalar, ishtirok etish va strategik ta'sir uchun keng imkoniyatlarni taqdim etadi.
Raqamli transformatsiya, hikoyalar, jamoatchilik ishtiroki, strategik hamkorlik va maʼlumotlarga
asoslangan qarorlarni qabul qilish orqali taʼlim muassasalari qiyinchiliklarni yengib oʻtishlari,
imkoniyatlardan foydalanishlari va PR boʻyicha saʼy-harakatlarini 21-asrda muvaffaqiyat va
dolzarblikning yangi choʻqqilariga koʻtarishlari mumkin.
FOYDALANILGAN ADABIYOTLAR RO’YXATI:
1. Waymer, Damion, and Omari Dyson. "The journey into an unfamiliar and uncomfortable territory: Exploring
the role and approaches of race in PR education." Journal of Public Relations Research 23.4 (2011): 458-477.
146 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
2. Sriramesh, Krishnamurthy. "The dire need for multiculturalism in public relations education: An Asian
perspective." Journal of Communication Management 7.1 (2003): 54-70.
3. L’Etang, Jacquie, and Magda Pieczka. "Public relations education." Public relations: Critical debates and
contemporary practice (2006): 433-442.
4. https://wearecsg.com/blog/how-public-relations-for-education-providers-powers-success-for-schools-and-
students/
UO’K 811.161.1'06
NUTQIY JANRLARNING PRAGMATIK ASPEKTLARI
J.F.Rustamova, kafedra mudiri, Oriental universiteti, Toshkent shahar
Semiotika jamiyat va tabiatdagi belgilar tizimini o‘rganuvchi fan bo‘lib, uning tarkibida
sintaktika, semantika va pragmatika kabi yo‘nalishlar ajraldi. Bu yo‘nalishlarning o‘rganish obyekti
bitta – belgi va ifodalovchilarning o‘zaro munosabati hisoblanadi. Lekin bu munosabatlar turlichadir,
belgilarning o‘zaro sintaktik munosabatlari sintaktika, belgilarning ifoda etayotgan obyektga
munosabati semantika, belgining undan foydalanayotgan subyektga bo‘lgan munosabati
pragmatikadir.
O‘tgan asrning 70-yillaridan boshlab tilshunoslikning yangi yo‘nalishi pragmatikaga e’tibor
kuchaydi. Pragmatika falsafa, mantiqiy semantika bilan uzviy bog‘liq bo‘lib, uning turli yo‘nalishlari
mavjud, bu yo‘nalishlarni lingvistik tadqiqotda inson omilini hisobga olish zarur degan tushuncha
birlashtiradi. Pragmatikadan ajralib chiqqan yo‘nalishlardan biri – nutqiy janr qismlarining ichki
tuzilishini tahlil qilishga qaratilgan nutqiy janrlar nazariyasidir.
“Pragmatika” termini ilmiy hayotga semiotik belgilarning umumiy nazariyasi asoschilaridan
biri Ch.Morris tomonidan kiritilgan.[1] Olim Charlz Pirs g‘oyalarini rivojlantirgan holda semiotikani
quyidagilarga ajratdi: 1) semantika – belgilarning borliq ob’ektlariga munosabati haqidagi ta’limot;
2) sintaktika – belgilar orasidagi munosabatlar to‘g‘risidagi ta’limot; 3) pragmatika – belgilarning
shu belgilar sistemasidan foydalanuvchilarga munosabati haqidagi ta’limot.[2] Shu munosabat bilan,
tilshunoslikda lingvistik pragmatika shakllana boshladi. Bu davrda Ch.S.Pirs, J.R.Ostin, J.R.Serl,
Z.Vendlerlar, P.Grays, L.Linskiy, J.R.Serl, P.F.Strosonlarning ilmiy-nazariy qarashlari nutqiy akt
tushunchasi va uning ijrochilari, kommunikativ niyat masalalariga qaratildi.
Ma’lumki, o‘zbek tilshunosligida ham pragmalingvistik yondashuv bo‘yicha qator qimmatli
tadqiqotlar mavjud. N.Mahmudov, A.Nurmonov, H.Ne’matov, Sh.Safarov, S.Rahimov, A.Mamatov,
A.Mamajonov, M.Hakimov, N.Turniyozov, S.Mo‘minov, Sh.Iskandarova, D.Lutfullaeva, I.Hojaliev,
U.Rahimovlarning lisoniy pragmatikaning turli masalalari yoritilgan tadqiqotlari, risola va maqolalari
shular jumlasidan.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 147
Sh.Safarov jahon tilshunosligida pragmatikaning shakllanishi va taraqqiyoti haqida to‘xtalib,
“hozirgi paytda tilshunoslikning insoniy-antropologik fan ekanligini inkor etishga hech kim jur’at eta
olmasa kerak” degan xulosaga keladi.[3] Haqiqatan, til faqat insonlarga xos bo‘lganligi uchun ham
insoniy-antropologik fandir. Olim tomonidan kommunikatsiyaning muhim tarkibiy qismlari sifatida
“so‘zlovchi”, “tinglovchi”, “ijro etish” va “tushunish” bo‘limlarini ajratadi [1]. Buni quyidagi rasm
orqali ko‘rsatish mumkin:
UDС 808.3
DIFFICULTIES IN TRANSLATING FICTION AND THEIR SOLUTIONS
M.R.Ruzieva, Trainee teacher, Uzbekistan State University of World Languages, Tashkent
Annotatsiya. Badiiy matnni tarjima qilish tarjima jarayonining eng qiyin turlaridan biridir.
Ushbu maqolada badiiy adabiyotni tarjima qilishdagi qiyinchiliklar va ularning нechimlari
yoritilgan.
Kalit so'zlar: tarjima, tarjimon, badiiy matn, badiiy adabiyot, chet tili, badiiy asarlar, ijod.
Аннотация. Перевод художественного текста - один из самых сложных видов
переводческого процесса. В этой статье освещаются трудности перевода художественной
литературы и пути их решения.
Ключевые слова: перевод, переводчик, художественный текст, художественная
литература, иностранный язык, художественные произведения, креативность.
Abstract. Translation of a literary text is one of the most difficult types of translation process.
In this article highlights of difficulties in translating fiction and their solutions.
Key words: translation, translator, literary text, fiction, foreign language, artistic works,
creativity.
During the period of globalization, interest in the works of foreign authors is especially growing
all over the world and their works are becoming available to speakers of different languages. The
peculiarities of literary translation and the specifics of the problems associated with it are determined,
first of all, by the specifics of the literary text itself and its significant differences from other types of
texts, as already mentioned in the previous paragraph. Impeccable knowledge of a foreign language
is undoubtedly necessary for a translator, while creative intuition and background knowledge are of
great importance. differentiates the concepts of «literary translation» and «translation of fiction». In
this case, the first term is represented as a qualitative determinant of activity, while the second term
defines only the nature of the translated texts, and not the translation itself.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 151
Therefore, non-artistic translations of literary texts are possible. With conscious creative
activity and involvement of the translator in the creation of images, they will take into account, for
example, the degree of activity of the reader, namely participation in the creation of the work, co-
creation, because the reader's experience, his associations complete the text. In this way, the translator
solves the issue of the degree of targeting and the type of narration. First of all, a literary text is
characterized by a high degree of imagery, in addition, some of the information of a literary text can
be conveyed implicitly, due to a special property of fiction called «semantic capacity».
As you know, the quality of translation largely depends on the goal that the translator sets for
himself. There are three purposes for translating literary texts. The first is to introduce readers to the
work of a writer whose works they cannot read themselves due to ignorance of the author's language.
That is, the translator should introduce the reader to the author's works, his creative manner and
individual style. The second purpose of literary translation is to introduce readers to the peculiarities
of the culture of another people, to convey the uniqueness of this culture. The third is to introduce the
reader to the contents of the book.
The versatility of the structural diversity of a work of art forces the translator to pay special
attention, for example, to chronological and logical plans, therefore, a special place is given to the so-
called strategic principles of translation: Understanding the original, which always precedes
translation, highlighting and ranking important elements and the meaning of individual parts of the
source text compliance with the norms of the translation language, the translator, when choosing a
strategy, is naturally guided by these principles and subsequently begins strategic planning. Some
researchers emphasize the interpretative component of the process and define strategy as
«understanding the communication situation using interpretative schemes that contribute to the
development of alternative ways of carrying out actions.» There are three stages of translation
strategies:
-Pre-translation text analysis,
-Analytical variable search,
-Analysis of translation results.
In the theory of translation, the national and cultural specifics of the recipients of the original
and the translation, the background knowledge of the communication participants are considered as
the most important pragmatic factors influencing the translation process. The influence of these
pragmatic factors is especially significant, in our opinion, when translating realities as specific lexical
units that bear a pronounced national historical flavor. The most important prerequisite for the correct
transmission of realities in translation is the translator's knowledge of the realities and a correct
understanding of them. This kind of extralinguistic information forms the basis of background
knowledge that determines the translator's activity, both at the stage of perception of the initial test
and in the process of creating a translation test. The translator's background knowledge and familiarity
with the real situation described in the text are the most important elements of translation competence.
Obviously, any real translation process goes through many stages, the nature of which depends on
the individuality of the translator and the specifics of the translated work. When translating, the
translator constantly has to assess the relative importance of individual text elements that ensure the
construction of a grammatically and semantically correct utterance. The choice of the option
associated with the least losses is an important part of the creative act of translation and is ensured by
the use of certain techniques by the translator.
The main task of the translator is to convey the artistic merits of the original, achieve aesthetic
impact and create a full–fledged literary text in the target language. In the implementation of the
strategy and the main task, the translator needs to identify the purpose of the translation. There are
three goals in the translation of literary texts. The first is to introduce readers to the work of a writer
whose works they cannot read themselves due to ignorance of the author's language. This means that
the translator must acquaint the reader with the author's works, with his creative manner and
individual style. The second purpose of literary translation is to introduce readers to the peculiarities
of the culture of another people, to convey the uniqueness of this culture. The third is to introduce the
reader to the contents of the book.
152 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
The English poet, playwright, and critic John Dryden in 1680 set the following requirements
for the translator:
1) be a poet;
2) speak the original language and your own language;
3) understand the individual characteristics of the original author;
4) match your talent with the talent of the original author;
5) preserve the meaning of the original;
6) preserve the attractiveness of the original without compromising its meaning;
7) preserve the quality of the verse in translation;
8) force the author should speak as a modern Englishman speaks;
9) do not follow the letter of the original too closely, so as not to lose its spirit;
10) do not try to improve the original[1].
The British historian and writer Alexander Fraser Tytler, in his essay «Principles of
Translation», proposed the following requirements for the translation process:
1) the translation should fully convey the ideas of the original;
2) the style and manner of presentation of the translation should be the same as in the original;
3) the translation should be read as easily as the original work [2]. From the above requirements,
it is clear that it is not enough for a translator to master the translation language perfectly, he must
also have extensive knowledge in the field of foreign culture in order not to lose the spirit of the
original, must understand, masterfully convey the deep intentions and ideas of the author, mincing
every word without prejudice to the meaning of the original.
One of the features, as well as the main difficulties of translating literary texts, is the means of
expression and imagery. It is often very difficult to transfer such means into another language due to
the lack of direct equivalents, as well as the presence of certain cultural and other differences. Thus,
in order to achieve translation equivalence in order to convey all the information contained in the
original text, the translator is faced with the need to apply certain interlanguage transformations, or
so-called translation transformations. Transformations, in turn, are techniques that serve the tactics
of translation in the implementation of a translation solution.
The analysis of works on translation studies devoted to the consideration of this issue allows us
to speak with confidence about the need to preserve the national and historical flavor of the original
in translation. At the same time, those elements of the original that are the most striking indicators of
the national and historical originality of the work, i.e. the so-called realities, require special attention.
In most cases, the meaning of these lexical units should be conveyed in translation. The first and
absolutely necessary requirement for a translator in the process of interlanguage communication is
«professional bilingualism». It is also assumed that the translator is equally (or almost equally)
proficient in both the source and the translating cultures.
At the same time, translation cannot be carried out without an interpreter. Without his emotional
participation, empathy, translation cannot be artistically complete. Thus, it can be noted that literary
translation, like the source text, is the result of a creative process with high information saturation, in
which the translator's choice of personal strategies and tactics that serve to implement the author's
linguistic worldview and his personal aesthetics of the work plays a special role.
REFERENCES:
1. Rechetov V.G., Tcharouchin A.N. Essays of John Dryden / Ed. вy W.P. Ker. Oxford, 1926. Vol. 1-2.
2. Tytler A.F. Essay on the Principles of Translation, London, 1791.
3. Haque M. Z. Translating literary prose: Problems and solutions //International Journal of English Linguistics. –
2012. – Т. 2. – №. 6. – С. 97.
UO’K 808.5
EVFEMIZMLАRNING KОNSEPT DОIRАSIDА IFОDАLАNISHI
N.Z. Ruziyeva, oʻqituvchi, Buxoro davlat universiteti, Buxoro
Sо‘nggi yillаrdа gumаnitаr sоhаdа til vа mаdаniyаt, til vа milliy mentаlitet, til vа milliy оng
о‘rtаsidаgi bоg‘liqlik mаsаlаlаrigа tоbоrа kо‘prоq e’tibоr qаrаtilmоqdа. Hоzirgi vаqtdа kоnsept
аtаmаsi kоgnitiv tilshunоslikning tаhlil оstigа оlingаn аsоsiy tushunchаlаrdаn biridir. Ushbu
аtаmаning keng tаrqаlgаn tа’riflаridаn biri А.Vejbitskаyаnikidir. Uning tа’rifichа, “hаqiqаt”
insоnning dunyо hаqidаgi mаdаniy shаrtli gʻоyаsini аks ettiruvchi “ideаl” dunyоsi оbyektidir.
Shuningdek, D.S.Lixаchev kоnsept оstidа “insоn yоzmа nutqidа ifоdаlаnаdigаn mа’nоning о‘zigа
xоs аlgebrаik kо‘rinishi”ni tushunаdi. Tilshunоslikdаgi kоnsept аtаmаsi bir vаqtning о‘zidа hаm eski,
hаm yаngi ekаnligini аnglаsh mumkin. Gаrchi, 1928 yildа tаniqli оlim S.А.Аskоldоv “kоnsept vа
sо‘z” mаqоlаsidа kоnsept tushunchаsi hаqidа fikr yuritgаn bо’lsаdа, о‘tgаn аsrning о‘rtаlаrigа qаdаr
kоnsept tushunchаsi ilmiy аdаbiyоtlаrdа аtаmа sifаtidа qаbul qilinmаgаn. Bugungi kundа kоnsept
tushunchаsini kоgnitоlоgiyа fаni о‘rgаnаdi. Kоgnitоlоgiyа fаni 1956 yildа Аmerikаdа pаydо bо‘ldi.
Ushbu fаnning аsоsiy vаzifаsi аqliy tаsаvvur qоidаlаri vа mаntiqiy xulоsаlаr qоnuniyаtlаrigа
tаyаngаn hоldа tаbiiy til tizimini “qаytа ishlаsh”ning tаlаbgа vа hаqiqаtgа mоs nаzаriyаsini
yаrаtishdir. Zаmоnаviy tilshunоslikdа tаdqiqоtlаr mаrkаzidа о‘zgаchа pаrаdigmа, til
munоsаbаtlаridа insоn о‘rni muhim аhаmiyаt kаsb etishi tushunchаsi pаydо bо‘ldi. Insоn tаfаkkuri
fаktоrigа diqqаtni qаrаtish tilshunоslikdаgi muhim metоdоlоgik siljishni аnglаtаdi. Bundа
аntrоpоlоgik tilshunоslik insоn, uning mа’nаviy -аmаliy аhаmiyаti, оngi, tаfаkkuri о‘rtаsidаgi
bоg‘liqlikni о‘rgаnаdi. Zаmоnаviy fаlsаfа tа’limоtidа аntrоpоlоgiyа – bu insоnning mаvjudligi vа
uning dunyо bilаn munоsаbаti hаqidаgi fаsаfiy tа’limоtdir.
XVIII аsr оxiridа I.Gerder hаmdа umumiy tilshunоslik fаnining аsоschisi V.Gumbоldt
tоmоnidаn ilgаri surilgаn tilni xаlq mаdаniyаti, urf-оdаti, rusumi, xаrаkteri bilаn chаmbаrchаs
bоg‘liqlikdа о‘rgаnuvchi etnоlingvistikаni shаkllаntirish vа rivоjlаntirish mаsаlаlаri yuzаsidаn
tаdqiqоtlаr оlib bоrilgаn. Shu о‘rindа V. Gumbоltning “tildа millаt ruhi аks etаdi” degаn fikrining
muhimligini e’tirоf etish zаrur. Zerо, hаr bir millаt tilidа shu xаlqning urf-оdаti, yаshаsh tаrzi,
ijtimоiy, iqtisоdiy hоlаti nаmоyоn bо‘lаdi. Tildа “kоnsept” аtаmаsining turli xil tаlqinlаri mаvjud.
Tаdqiqоtimiz uchun аsоs sifаtidа Rus оlimi Y.S.Stepаnоvning “Kоnsept insоn tаfаkkurining etnik
о‘zigа xоsligining ifоdаsi bо‘lib, uning оg‘zаki nutqdа qо‘llаnilishi u yоki bu tildа
sо‘zlаshuvchilаrning lingvо-kоgnitiv etnо-mаdаniy jihаtdаn belgilаngаn аssоtsiаtsiyаsigа bоg‘liq”
degаn qаrаshlаrigа tаyаnаmiz. Hоmilаdоrlik kоnseptini ikki til dоirаsidа tаqqоslаsаk, ingliz tilidа
hаve bun in the оven idiоmаtik evfemаsi hоmilаdоrlikni ifоdа etаdi. Bundа bun (shirin kulchа) –
chаqаlоq degаn mа’nоni vа оven (pech) – оnаning bаchаdоnini аnglаtаdi, yа’ni embriоnning xuddi
shirin kulchа kаbi kаttаlаshib о‘sishigа qiyоslаnаdi: He wаs оverjоyed when she tоld him they were
expecting, аnd thаt night, he аnnоunced tо the entire theаter thаt his wife hаd а bun in the оven.
(https://grаmmаrist.cоm/idiоm/bun-in-the-оven/)
О‘zbek xаlqidа hоmilаdоrlik kоnsepti yukli bо‘lmоq evfemik birlik bilаn ifоdаlаnаdi. Yuk оnа
qоrnidаgi bоlа, hоmilа mа’nоsidаn tаshqаri аyоlning bu dаvrdаgi qiyinchiligi, hоmilаdоrlik
jаrаyоnining оg‘irligi, аsоrаtlаri, оnаning ruhiy vа jismоniy о‘zgаrishi, zаiflаshuvini hаm аnglаtаdi.
Demаk, inglizlаrdа embriоnning оnа qоrnidаgi dаvri pоzitiv kоnseptni (shirin kulchа) аnglаtsа,
154 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
о’zbek tilidа mаs’uliyаti yuqоri kоnseptni (yuk) ifоdаlаydi: Shоkir аkа qizimning yukli ekаnligini
eshitib, Xudо оq yо‘l bersin dedi. (А.Оmоnturdiev)
S.А.Аskоldоv kоnsept tushunchаsining оg‘zаki, kоnseptuаl vа оbrаzli shаkllаri hаqidа fikr
yuritаr ekаn, ulаrni kоgnitiv vа bаdiiy turgа аjrаtаdi. Bundа оlim kоgnitiv kоnseptni muhim deb
hisоblаydi. Chunki, insоn birоr sо‘z yоki аtаmаning kоnseptuаl xususiyаtlаrini tаhlil qilgаndа,
аvvаlо, uning оngi, idrоki ishgа tushаdi. Kishilаr bilаn mulоqоtgа kirishishdа hаm, kоmmunikаtiv
hоlаtni yuzаgа chiqаrishdа hаm, nutqiy strаtegiyа tuzishdа vа sаmаrаgа erishishdа hаm insоn
idrоkining аhаmiyаti kаttа hisоblаnаdi. Shu о‘rindа bir qаtоr оlimlаrning “kоnsept” vа “tushunchа”
аtаmаlаrining bir-biridаn fаrqlаnishi hаqidаgi tаdqiqоtlаrini eslаsh о‘rinlidir. V.Z.Demyаnkоv о‘z
ishlаridа “kоnsept” tushunchаsining mа’nоsi vа etimоlоgiyаsini turli tillаr dоirаsidа о‘rgаngаn.
Uning “Термин “концепт” как элемент терминологической культуры” nоmli kitоbidа “kоnsept”
vа “tushunchа” аtаmаlаrining tаrixiy dubletlаr (sinоnimlаr) ekаnligi, аmmо hоzirgi kundа ulаr
qо‘llаnishi jihаtdаn о‘zаrо fаrqlаnishi hаqidа fikrlаr yuritilgаn. U shundаy yоzаdi: “Kоnsept - оgʻzаki
belgining mаzmun tоmоni, tushunchа esа vоqelik. Ulаr insоn hаyоtining аqliy, mа’nаviy yоki
hаyоtiy muhim mоddiy sоhаsigа tegishli bоʻlgаn, оdаmlаrning ijtimоiy tаjribаsi bilаn rivоjlаngаn vа
mustаhkаmlаngаn, ulаrning hаyоtidа tаrixiy ildizlаrgа egа bоʻlgаn, ijtimоiy vа subyektiv rаvishdа
tushunilgаn jаrаyоnlаrdir”. Bundаn quyidаgi xulоsаni berish mumkin: bir millаt tilidа
sо‘zlashuvchilаr uchun аvvаlо insоn оngidа birоr bir tаnlаngаn sо‘zgа nisbаtаn kоnsept vujudgа
kelаdi, sо‘ngrа bu bоrаdа tushunchаlаr pаydо bо‘lаdi. Аmmо shu tilni о‘rgаnuvchi bоshqа
оdаmlаrning оngidа birоr bir hоlаt yuzаsidаn ungа nisbаtаn tushunchа, sо‘ng esа kоnsept pаydо
bо‘lаdi. Chunki ikkinchi tildа sо‘zlаshuvchi shаxs, аvvаlо, bir predmet yоki hоdisаgа bо‘lgаn
tushunchаni аnglаydi. Yа’ni, birоr bir оbyekt tushunchа sifаtidа mаydоngа chiqsа, kоnsept shu
оbyektning mаzmun mоhiyаtini izоhlаydi. Mаsаlаn, tying the knоt evfemik ibоrаsi ingliz tilidа
fаqаtginа unаshuv vа turmush qurish mа’nоlаrini ifоdаlаsа, о‘zbek tilidа ushbu evfemik birlikning
ekvivаlenti bо‘lgаn rishtа bоg‘lаmоq ibоrаsi yuqоridаgi mа’nоlаrdаn tаshqаri dо‘stlik, qаrindоshlik,
sheriklik munоsаbаtlаrigа nisbаtаn hаm qо‘llаnilаdi.
D.S.Lixаchev kоnseptgа tа’rif berishdа mа’nо vа tushunchа nuqtаyi nаzаridаn yоndаshаdi vа
quyidаgichа bаhо berаdi: “kоnsept – shаxsning tushunishi, mаzmundоrlikning оz miqdоrdа оbyektiv
mа’nо vа tushunchа tаrzidа nаmоyоn bо‘lishi”. E.S.Kubryаkоvа esа kоnseptning tildа ifоdаlаnishini
e’tirоf etgаn hоldа uni bevоsitа xоtirа bilаn bоg‘lаydi vа xоtirа birligi sifаtidа tа’riflаydi: “Kоnsept –
xоtirаning fаоl birligi, mentаl sо‘z bоyligi, kоnseptuаl tizimlаr vа miyа tili, оlаmning jаmi
mаnzаrаlаri, bilim kvаnti”. E.S. Kubryаkоvа bоshchiligidа yаrаtilgаn “Kоgnitiv terminlаrning
qisqаchа lug‘аti”dа “kоnsept” tushunchаsigа nisbаtаn tо‘liq tа’rif berilgаn deb hisоblаymiz.
Chunоnchi, mаnbаdа ushbu аtаmаgа “kоnsept (lоt.cоnceptuаl: mа’nо, mаzmun, tushunchа) – insоn
оngining ruhiy zаhirаlаri vа mentаl birliklаrni hаmdа uning tаjribаsi, bilimini аks ettirаdigаn
mа’lumоtlаrni izоhlаsh uchun xizmаt qiluvchi аtаmа; xоtirа, mentаl sо‘zlаr vа miyа bilаn bоg‘liq
fаоl birlik, yа’ni shаxsning dunyо оbyektlаrigа оid tаsаvvurlаri, о‘ylаri, tаxminlаri, bilimlаri hаqidаgi
mа’lumоtlаrdir” deb izоh berilgаn. Semirmоq felini ikki nоturdоsh tillаr evfemizmi kesimidа
о‘rgаnsаk ingliz tilidа u get fаt birligi bilаn ifоdаlаnsа, о‘zbek tilidа etlanmoq tаrzidа berilаdi. Yа’ni
inglizlаr semiz gаvdаdа yоg‘ qаtlаmini tаsаvvur qilsа о‘zbeklаr semiz gаvdаni et (gо‘sht) bilаn
chаmbаrchаs bоg‘lаydi. Yоki, ingliz tilidаgi semiz оdаmni аnglаtuvchi big-bоned evfemik birligining
о‘zbek tilidаgi ekvivаlenti - suyаgi yо‘g‘оn ibоrаsi nаfаqаt semiz, bаlki, gаvdаsi kаttа, besоʻnаqаy
оdаm degan ma’noni hаm ifоdаlаydi.
Y.S.Stepаnоv kоnseptgа emоtsiоnаl-ekspressivlik jihаtdаn yоndаshаdi vа “Kоnsept – mаvhum,
аniq-аssоtsiаtiv vа emоtsiоnаl-bаhоlоvchi birliklаr оrqаli ifоdаlаnаdigаn tushunchаlаr vа ulаr bilаn
bоg‘liq tаjribаni qаmrаb оluvchi g‘оyа”, deb tа’riflаydi. Mаsаlаn: о‘zbeklаrdа uylаnish kоnseptigа
nisbаtаn оlа xurjin evfemik birligining qо‘llаnishi shu оdаmgа оilаgа nisbаtаn mаs’uliyаt
yuklаngаnini bildirish uchun qо‘llаnilаdi (chunki erkаk оilа bоshlig’i, bоquvchi shаxs). Inglizlаrdа
esа getting hitched evfemik birikmаsi unаshilgаn оdаmning bir arqon bilan turmush oʻrtogʻiga
bogʻlanganligini (yа’ni u оilа qurish mаs’uliyаtidаn qоchib qutulа оlmаsligini) аnglаtаdi. Bu evfema
inglizlar lingvomadaniyatida oilada har ikki inson, ya’ni ham erkak ham ayol roʻzgʻorni tortishi
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 155
nazarda tutiladi. Ola xurjin evfemasidan farqli oʻlaroq, getting hitched evfemasi ham ayol ham erkak
kishiga nisbatan qoʻllaniladi.
Xulоsа о‘rnidа kоnsept tushunchаsining аhаmiyаti ijtimоiy muhit, shаrt-shаrоit, yаshаsh tаrzi,
qаdriyаtlаr vа milliy dunyоqаrаsh, vаqt, mаkоn kаbi оmillаrgа bоg‘liq bо‘lаdi, deyishimiz mumkin.
Zerо, bir millаt оlаm mаnzаrаsidа аks etgаn mа’lum tushunchа, bоshqаsidа о‘zgаchа аhаmiyаt kаsb
etishi mumkin. Shu bilan bir qatorda, bir xil kоnsept turli оlаm mаnzаrаlаridа hаr xil tushunchаlаr
bilаn ifоdаlаnishi mumkin.
FOYDALANILGAN ADABIYOTLAR RO’YXATI:
1. Аскольдов С.А. Концепт и слово. Статья. Опубликована в книге: Русская словесность: От теории
словесности к структуре текста: Антология / Под общ. ред. В.П. Нерознака. - М.: Academia, 1997. - С. 267-279.
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– С.103-110.
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UDC 811.161.1
SPECIFIC CHARACTERISTICS OF THE FAIRY TALE GENRE
N.E.Sabirova, DSc, prof., Center for retraining and improving the qualifications of public
education workers of Khorezm region, Urgench
D.U.Yusupova, graduate student, Urgench State University, Urgench
Annotatsiya. Har bir ertak, xalqning tarixi, ma’naviy-madaniy hayoti, ichki dunyosi, e’tiqodi,
boshqa qardosh xalqlar bilan ijtimoiy munosabatlari, urf-odatlari, iqlimi, yashash joyi – bularning
barchasi insoniyat uchun qimmatli manba bo‘lib xizmat qiladi. Ushbu maqola ertak janriga xos
xususiyatlarni o'z ichiga oladi.
Kalit so‘zlar: epik sayohat, ertak, tekstura, xalq, etnik, e’tiqod, ma’naviy-madaniy va yumor.
Аннотация. Каждая сказка, история народа, духовная и культурная жизнь,
внутренний мир, вера, общественные отношения с другими родственными народами,
традиции, климат, место проживания - все это служит ценным ресурсом для человечества.
В данной статье собраны особенности, характерные для жанра сказки.
Ключевые слова: эпическое путешествие, сказка, фактура, народная, этническая,
вера, духовно-культурная и юмористическая.
Abstract. Each fairy tale, the people's history, their spiritual and cultural life, their inner world,
their faith, their social interactions with other related peoples, their relationship, their customs, their
climate, and their type of residence all serve as valuable resources for the study of conditions. This
article covers the features specific to the fairy tale genre.
Key words: epic journey, fairy tale, texture, people, ethnicity, faith, spiritual-cultural, and
humor.
Introduction. One of the most well-known and ancient genres of creative writing in folklore
are fairy tales. As youngsters, we are told fairy stories. Children are entertained by stories told by
156 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
adults, and as they become older and go to school, they begin to tell short stories of their own.
Children tell each other tales that are a combination of their own creations and what they have heard
from grownups. Yu. Sokolovs, a researcher, expressed sorrow that "the stories told by children to
each other were almost not recorded." The majority of the folktales gathered were recounted by adults,
if we look at who told them. The fairy tales of every country describe its past, spiritual and cultural
practices, inner life, beliefs, relationships with neighboring countries, customs, environment, and
weather. It functions as a valuable educational tool. The artistic-compositional structure of fairy tales
is exclusive to their genre. The compositional mechanism of a fairy tale is based on an introduction,
beginning, knot, epic adventure, and conclusion, and they are constructed and performed within the
same creative forms. Every folktale in the globe has a customary beginning, whose purpose is to draw
the audience's attention to a particular area and get them ready to hear the story.
Literature analysis and methodology. Fairy tale introductions aim to set the scene with a
fictitious backdrop appropriate for the subject matter and to lift the audience's spirits. Usually, it takes
the shape of beautifully written paragraphs that describe a location and a period of time. For instance,
the following passage opens the story "Gulpari": "Bir bor ekan, bir yo'q ekan, bo'ri bakovul ekan,
tulki yasovul ekan, g'oz karnaychi ekan, o'rdak surnaychi ekan, toshbaqa tarozidor ekan, qurbaqa
undan qarzdor ekan." In addition to providing details on the characters, the introduction also specifies
the location and time of the plot's events. A fairy tale's beginning is a recurring element in the subject
line, but it has no bearing on how the topic develops and doesn't drive the way the action is organized.
The exposition primarily names the fairy tale's primary characters and explains their relationships
with one another as well as their values, personalities, and outward appearances. Various themes and
knots may be found in fairy tales, contingent on the character's primary emphasis. The knot is
essential and genuine in real-life fairy tales, since it explains the protagonist's love for a princess. A
dream-based infatuation with a girl serves as the impetus for marriage and sets off an amazing
journey. "Varqa and Gulshah" is an illustration of a knot constructed on the foundation of social
inequity, where the conflict arises from the struggle between riches and poverty, monarchy and
commoners, and motherhood and orphanhood. The knot typically takes the shape of fantastical or
magical fictions in stories. These stories have a two-pronged knot. The first direction deals with
family dynamics, and the stepmother theme is crucial to the story. The second knot has to do with the
enigmatic or dreadful powers of nature. The knot is essential and serves a crucial purpose even in
animal-themed and humorous stories. Events are set in motion, and the process of topic creation
occurs. A fairy tale's storyline typically consists of two main sections: the adventure section and the
narrative section. As a hopeful finale, the conclusion consistently highlights the people's unwavering
spirit and strength. The most popular genre worldwide, fairy tales highlight the commonalities across
many peoples' daily lives at home. But names, issues, home issues expressed, nature described,
events, trades, and professions all represent nationalism in fairy tales. Fairy stories were recounted at
particular times of the year by aged, intelligent, respectable, and kind persons who had the potential
to be performers. In the past, storytellers were referred to as "storytellers" and "matalchi". Typically,
these entertainers are referred to as storytellers. Narrative has always been a crucial subject for people.
The unique function of folklore associated with the genres of epics, fairy tales, and stories was
to preserve epic memory, epic knowledge, and epic performance. Professional actors with specialized
training typically performed these pieces. But the ordinary populace also enacted stories and legends.
"A legend is not necessarily told by a professional storyteller or a storyteller," according to K.
Imomov, the man who created the legend genre, which is essential for a professional storyteller. It is
a heard and known narrative told in a personal style." The fundamental characteristics of myth and
tale genres—which can have both professional narrators and broad public performers—are defined
by folklorist U. Jumanazarov. The popularization of folklore works by individuals who narrate texts
belonging to the genres of narratives, oral stories, and legends, according to folklorist M. Joraev, has
no bearing on professional performance. According to M. Joraev, "When a storyteller, anecdote, or
fairy tale performer visits his home, he also shares legends or stories." However, folktales cannot be
spoken at the caliber of a professional storyteller by someone who narrates works in the instructional
prose genres (myth, myth, narrative, oral story - U.S.). A storyteller may choose to tell their tale to
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 157
an individual or to an entire group of people. It is comparable to execution in essence. Fairy story and
folklore sample telling are, in general, highly intriguing and distinctive procedures. Folklorists B.
Karimov, H. Zarifov, M. Afzalov, M. Alaviya, and Z. Husainova believed that when artists performed
oral creative works, they adhered to rigid traditions. After assembling, storytellers enhance their tale
by setting objects such as ashes, sticks, combs, water, incense, and soil in front of their audience.
When a riddle is told, the parameters defining the winners and losers are disclosed. Epic performance
storytelling has its own traditions in Fergana (Namangan), Khorezm, and Samarkand. We reached at
the following conclusion while writing this article: customs are crucial to the execution of works in a
variety of genres. This conclusion was reached after reviewing the writings of several fairy-tale
scientists. We believe that in folklore studies, it is more crucial to focus on textual traditions. At this
stage, we take into account the composition of poetry and prose pieces that fall under the epic and
fairy tale genres, as well as the customary starting points for the works. It is regarded as the creation
of designs with an image or a conflicting quality in literary studies. It takes many forms, including
images, narratives, and uploading qualities from visual images, and may be found in anything from
folk ballads to epics, proverbs to fairy tales. To capture the attention of the audience, the storyteller
adopts a mindset appropriate for the tale's subject matter. They gently narrate an honest narrative by
lifting their gaze and shifting it. The narrator may mimic animal noises or give legendary characters
unsettling tones in their voices. By themselves, they enact a whole fairy tale, bringing energy and life
to the work's spiritual realm via their experiences. Though it is devoid of decorations and other stage
elements, this performance style is similar to folk one-actor theater. Fairy stories are typically recited
in rural villages during long, dull evenings in the fall and winter, when farmers have completed their
field labor. Evenings from fairy tales frequently extend till dawn. The adage "Tales are told at night,
epics are told during the day" is not surprising. Even though fairy tales frequently reach their most
engaging point—the climax—they end as soon as daybreak breaks. This is particularly true for
magical-fantasy tales, as listeners were under the impression that characters from these genres,
including as giants, fairies, and wrinkles, might actually materialize in the realm of light and harm
humans. Additionally, there might be danger to the listeners. Storytellers also feared that the mystery
that made fairy tales so compelling would vanish and be absorbed into the outside of tangible
existence. The mystique of the realm of fairy tales is strengthened by the darkness that descends from
dusk until dawn. As a result, there is a custom of reciting fairy tales at night. Originally, stories of
magic and fantasy were recounted, but with time, commonplace stories took their place. It is only
normal for some ideas and pictures in fairy tales to change throughout time as they are refined and
passed down orally. Folktales can occasionally borrow themes from one another, giving rise to several
stories with related themes. These stories are known as wandering tales in folklore. Even if the
substance of fairy tales about travel may be identical, they are distinct literary-oral phenomena that
vary depending on the national culture, customs, worldview, expressive methods used in the
language, and perception of the surrounding area. We may utilize Shahrizoda's rendition of a song
based on the Arabian folktale "MING BIR KECHA" to demonstrate this concept.
Conclusion. We've looked at the topic of fairy tales and come to the conclusion that there are
several kinds of them. Family fairy tales are one kind of them. The classic fairy tale "Three Brothers
and Sisters" is a prime example of this kind of work. In this story, a father sets off on a journey with
his three boys and provides them with guidance that demonstrates his qualities as a knowledgeable
and compassionate dad. He imparts valuable knowledge and abilities to children, including how to
be courageous, informed, healthy, adept with weapons, and steer clear of pride and sloth. The sons
successfully overcome a variety of obstacles by adhering to their father's advice. They are ultimately
rewarded for their efforts by getting married to three of the king's daughters. Nevertheless the brothers
decide to keep living a moral life and working hard rather than enjoying their newfound affluence.
This story inspires readers to be courageous, truthful, intelligent, diligent, and to place a higher value
on valuable life lessons than monetary gain.
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4. O‘zbek xalq ertaklari. Ikki jildlik. 2-tom. –T.: Adabiyot va san'at nashriyoti, 1964. – 516 b.
5. Imomov K. O‘zbek xalq ertaklari \ O‘zbek folklorining epik janrlari. –T.: Fan, 1981. –B.62-69.
6. Imomov K. O‘zbek xalq prozasi. –T.: Fan, 1991. -B. 67
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8. Xorazm ertaklari (nashrga tayyorlovchi: F.Abdullaev). –T.: Fan, 1961. – 190 b.
9. Jumanazarov U. Tarixiy voqelik va o‘zbek folklori. –T.: Fan, 1991. – B.174 10. Jo‘raev M. O‘zbek xalq nasri
janrlarini tasnif qilish mezonlari // O‘zbek tili va adabiyoti, 1996, №5. -B.32
10. Juraqulov R. Ertak janrining o’ziga xos xususiyatlari.- Academic Research in Educational Sciences Volume
3, Issue 5, 2022
UO’K 811.111:811.161.1’25
PARONIMIYA VA U BILAN CHEGARADOSH HODISALAR
N.К.Sabirova, katta oʻqituvchisi, PhD, Perfect University, Toshkent
Annotatsiya. Ushbu maqolada ingliz va oʻzbek tillaridagi paronimiya hamda unga yaqin
boʻlgan hodisalar oʻrtasidagi oʻxshash va oʻziga xos xususiyatlar yoritilgan. Tilshunos olimlarning
paronimiya bilan bogʻliq hodisalar oʻrtasidagi munosabatlarga boʻlgan nuqtai nazarlari haqida soʻz
yuritilgan.
Kalit soʻzlar: Paronimiya, omonimiya, sinonimiya, polisemiya, semantik, fonetik-fonologik.
Аннотация. В этой статье исследуются взаимосвязи и особенности паронимии и
близких к ней явлений на английском и узбекском языке. Обсуждаются взгляды лингвистов на
взаимосвязь явлений, связанных с паронимией.
Ключевые слова: Паронимия, омонимия, синонимия, полисемия, семантический,
фонетико-фонологический.
Abstract. This article describes the similar and distinctive features between paronymy and
related phenomena in English and Uzbek. The views of linguists on the relationship between
phenomena related to paronymy are discussed.
Key words: Paronymy, homonymy, synonymy, polysemy, semantic, phonetic and phonological.
Annotatsiya. Kormak Makkartining "Yo'l" romani, boshqa narsalar qatori, axloq, inson
hayotini mazmunli qiladigan narsa va bu narsalar va Xudo o'rtasidagi munosabatlar haqida
mulohaza yuritadi. Roman diniy tasvir va g‘oyalarga boy bo‘lsa-da, u dunyoviy tabiatga ega bo‘lgan
axloq va ma’no tushunchasini taklif qiladi. Ushbu maqolada men Xudoning mavjudligi roman
davomida noaniq bo'lib qolsa-da, "Yo'l" ham aniq axloqiy qoidalarni, ham hayotni mazmunli qilish
haqidagi nuqtai nazarni o'z ichiga olganligini ko'rsataman. Men ushbu axloq kodeksini tasvirlayman
va uning hayot mazmuni bilan bog'liqligini ko'rib chiqaman. Yo'lda men erkak va bolaning axloqiy
qonunlarga rioya qilish uchun kurashini muhokama qilaman. Shunda men “Yo‘l”da keltirilgan axloq
va ma’noga oid qarashlar axloqning mavjudligi yoki oqlanishi uchun Xudoga bog‘liq emasligini
nazarda tutadi, deb aytaman. Ushbu munozara orqali men axloq va yo'l haqidagi tushunchamizni
chuqurlashtirishga umid qilaman. Xudoning noaniqligi va insonning vazifasi
Kalit so'zlar: Yo'l, izoh, Xudo, MakKarti
Аннотация. Роман Кормака Маккарти «Дорога» — это, помимо прочего, размышление
о морали, о том, что делает человеческую жизнь значимой, и об отношениях между этими
вещами и Богом. Хотя роман изобилует религиозными образами и идеями, он предлагает
концепцию морали и смысла, которая носит светский характер. В этой статье я показываю,
что, хотя существование Бога остается двусмысленным на протяжении всего романа,
«Дорога» содержит как ясный моральный кодекс, так и взгляд на то, что делает жизнь
значимой. Я описываю этот моральный кодекс и исследую его связь со смыслом жизни.
Попутно я обсуждаю борьбу мужчины и ребенка за то, чтобы соответствовать
моральному кодексу. Затем я доказываю, что взгляды на мораль и смысл, изложенные в
«Дороге», подразумевают, что мораль не зависит от Бога в своем существовании или
оправдании. Благодаря этому обсуждению я надеюсь углубить наше понимание как морали,
так и Дороги.
Ключевые слова: Дорога, интерпретация, Бог, Маккарти.
Abstract. Cormac McCarthy’s novel The Road is, among other things, a meditation on morality,
what makes human life meaningful, and the relationship between these things and God. While the
novel is rife with religious imagery and ideas, it suggests a conception of morality and meaning that
is secular in nature. In this paper I show that while the existence of God remains ambiguous
throughout the novel, The Road contains both a clear moral code and a view about what makes life
meaningful. I describe this moral code and examine its connection with meaning in life. Along the
way, I discuss the struggle of the man and child to live up to the moral code. I then make the case that
the views of morality and meaning found in The Road imply that morality does not depend upon God
for its existence or justification. Through this discussion, I hope to deepen our understanding both of
morality and of The Road.
Key words: The Road, interpret, God, McCarthy
Introduction. The first words spoken aloud by the man in The Road are: “If he is not the word
of God never spoke. Many events in the novel can be interpreted in accordance with both possibilities.
162 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Consider, for example, the pattern of near demise followed by unlikely rescue that repeats itself
throughout the story. The father and son are on the point of starvation when they discover an
underground bunker filled with food (McCarthy 138). Later, facing death by starvation once again,
the boy spots a house in the distance, and the house turns out to have food in it (202). Still later, the
man finds a flare gun on an abandoned sailboat—a gun that is crucial in a later encounter[1] (240).
And, of course, there is the boy’s encounter with the shotgun-toting veteran after the death of his
father (281). Are these events little miracles—the hand of God reaching into the burned-out hellscape
to protect the child—or are they just strokes of good fortune? The answer to this question remains
unclear. There are hints of divine activity, but they are never more than hints. For instance, the name
of the abandoned sailboat is “Pajaro de Esperanza”—bird of hope. The bird of hope is the dove. In
the Old Testament, a dove carrying an olive leaf signals to Noah that the waters of the flood are
receding (Genesis 8:11). But the sailboat named after the dove brings a message of despair; it
originates from Tenerife, a Spanish island off the coast of Africa. It brings the message that the
catastrophe that constitutes the backdrop of The Road is worldwide. ” (McCarthy 5). This statement
introduces a fundamental ambiguity that runs throughout the novel. A particularly tantalizing
illustration of this ambiguity is the father and son’s encounter with an old man who may or may not
be named “Ely” [2](McCarthy 161).
This character resembles the Old Testament prophet Elijah in certain ways (see Snyder 81).
Elijah predicted a drought (1 Kings 17:1); Ely says he knew that the catastrophe (or something like
it) was coming—“I always believed in it” (McCarthy 168). Ely wonders about being the last person
left alive: “Suppose you were the last one left? Suppose you did that to yourself?” (169). Elijah tells
God that “the Israelites have forsaken your covenant, thrown down your altars, and killed your
prophets with the sword. I alone am left, and they are seeking my life, to take it away” (1 Kings 19:10,
emphasis added). Elijah wanders in the wilderness and is given food by God, who delivers the food
by way of ravens (1 Kings 17:5-7); Ely is fed by the boy and possibly mistakes him for an angel
(McCarthy 172). In the book of Malachi, the final book of the Old Testament, Malachi foretells a day
of judgment, a day “burning like an oven, when all the arrogant and all evildoers will be stubble; the
day … will leave them neither root nor branch” (Malachi 4:1). Malachi declares that God will send
Elijah in advance of this fiery day of judgment. The book of Malachi—and the Old Testament itself—
ends like this:
Lo, I will send you the prophet Elijah before the great and terrible day of the Lord comes. He
will turn the hearts of parents to their children and the hearts of children to their parents, so that I
will not come and strike the land with a curse. (Malachi 4:5-6)
The mysterious catastrophe of The Road is biblical in scope and it involves fire— a lot of fire.
And it has obviously turned the hearts of the man and the child to each other. These hints suggest that
perhaps Ely is a prophet who predicted the catastrophe of The Road and preceded the child, who is
the word of God. On the other hand, Ely has lost his faith: “I’m past all that now. Have been for years.
Where men cant live gods fare no better” (McCarthy 172). He also denies that his name is “Ely”
(171). Strikingly, Ely simultaneously denies the existence of God and declares himself to be a prophet
in a single paradoxical sentence: “There is no God and we are his prophets” (170). These aspects of
Ely point toward the possibility that God never spoke. This old man has survived not through divine
assistance but rather through random chance; he and all the other survivors of the catastrophe are
prophets of atheism, bearing witness to the absence of God from the universe.
Elijah predicted a drought (1 Kings 17:1); Ely says he knew that the catastrophe (or something
like it) was coming—“I always believed in it” (McCarthy 168). Ely wonders about being the last
person left alive: “Suppose you were the last one left? Suppose you did that to yourself?” (169). Elijah
tells God that “the Israelites have forsaken your covenant, thrown down your altars, and killed your
prophets with the sword. I alone am left, and they are seeking my life, to take it away” (1 Kings 19:10,
emphasis added). Elijah wanders in the wilderness and is given food by God, who delivers the food
by way of ravens (1 Kings 17:5-7); Ely is fed by the boy and possibly mistakes him for an angel
(McCarthy 172). In the book of Malachi, the final book of the Old Testament, Malachi foretells a day
of judgment, a day “burning like an oven, when all the arrogant and all evildoers will be stubble; the
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 163
day … will leave them neither root nor branch” (Malachi 4:1). Malachi declares that God will send
Elijah in advance of this fiery day of judgment. Strikingly, Ely simultaneously denies the existence
of God and declares himself to be a prophet in a single paradoxical sentence: “There is no God and
we are his prophets” (170). Under the circumstances, the man’s actions may be justified. But there is
a danger lurking here. The danger is that engaging in justified violations of the code of the good guys
can make unjustified violations more likely; a slippery slope lurks. Kant warned against precisely this
danger:
Hereby arises ... a propensity to quibble with these strict laws of duty, to cast doubt upon
their validity, or at least upon their purity and strictness, and to make them, where possible, more
compatible with our wishes and inclinations. Thereby are such laws corrupted in their very
foundations and their whole dignity is destroyed. (Kant, Grounding 17)
The man sometimes breaks his promises to the child. For example, at one point he pretends he
has split a half-packet of cocoa between the two of them when in reality he has given it all to the boy,
something he has previously promised not to do. The boy scolds him: “If you break little promises,
you’ll break big ones. That’s what you said” (McCarthy 34). This is Kant’s slippery-slope worry.
Breaking a promise in order to give the child all of the cocoa may be permissible, but the worry is
that it will lead to impermissible promise-breaking. The man acknowledges the danger but tries to
reassure the boy: “I know. But I wont [break big promises]” (34).
After the two camp for the night, having left the town (and the other boy) behind, a remarkable
passage occurs:
The dog that he remembers followed us for two days. I tried to coax it to come but it would not.
I made a noose of wire to catch it. There were three cartridges in the pistol. None to spare. She walked
away down the road. The boy looked after her and then he looked at me and then he looked at the
dog and he began to cry and to beg for the dog’s life and I promised I would not hurt the dog. A trellis
of a dog with the hide stretched over it. The next day it was gone. That is the dog he remembers. He
doesnt remember any little boys. (87)
According to Christianity, the most important commandment of all is to love God with all of
your heart. Neither the man nor the child fulfills this commandment. The novel opens with the man
wondering whether he will have an opportunity to throttle God by the neck and cursing Him (11-2).
It ends with the child choosing to talk to the man rather than God (286).
Conclusion. By the standards of Christian morality, neither the man nor the child does
particularly well. The proper conclusion to draw from this is that Christian morality is flawed. At one
point Ely suggests that perhaps the child believes in God. The man replies that he does not know what
the child believes in (174). The answer to Ely’s question is that the child believes in humanity. By
struggling to be a good guy and keeping his big promise, the man manages to keep the child’s faith
in humanity alive. This faith in humanity enables the child to trust the veteran, which in turn allows
him to attain salvation—earthly salvation, in the form of meaningful connections with other human
beings.
REFERENCES:
1. Egan, Jennifer. “Men at Work: The Literary Masculinity of Cormac McCarthy.” Slate Magazine. October 10,
2006 [http://www.slate.com/id/2151300/]. Accessed 2/21/11.
2. McCarthy, Cormac. The Road. New York: Vintage International, 2006.
3. Craig, William Lane. Reasonable Faith, revised edition. Wheaton, Illinois: Crossway Books, 1994.
4. Glover, Jonathan. Humanity: A Moral History of the Twentieth Century. New Haven: Yale University Press,
2000.
5. Kant, Immanuel. Grounding for the Metaphysics of Morals, 3rd edition. Trans. James W. Ellington.
Indianapolis: Hackett, 1993.
6. Sadullaev F. B. The importance of giving feedback in EFL classes //Теория и практика современной науки.
– 2018. – №. 11 (41). – С. 404-406.
164 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
UO’K 808.5
INGLIZ VA O’ZBEK XALQ ERTAKLARIDA YETIMLIK MOTIVI TALQINI
Z.T.Safarova, PhD, dots., Buxoro Davlat Universiteti, Buxoro
I.F.Yuldasheva, magistr, Turkiston yangi innovatsiyalar universiteti, Buxoro
Annotatsiya. Ertak xalq og’zaki ijodining ommabop janrlaridan biri bo‘lib, kishilarni
ezgulikka chorlaydi, har qanday yomonlikning yakun topishiga va baxtli kelajak muqarrarligiga
ishontirishni maqsad qiladi. Ushbu maqolada ingliz va o‘zbek ertaklarida yetim bolalar hayoti
tasviridagi mushtarak jihatlar tahlil qilinadi.
Kalit so‘zlar: ertak, xalq og’zaki ijodi, janr, motiv, yetim obraz
Аннотация. Сказка – один из популярных жанров фольклора, побуждающий людей
делать добро и имеющий цель убедить людей в том, что всему злу придет конец и что
счастливое будущее неизбежно. В данной статье анализируются общие аспекты
изображения жизни детей-сирот в английских и узбекских сказках.
Ключевые слова: сказка, фольклор, жанр, мотив, образ сироты.
Abstract. A fairy tale is one of the popular genres of folklore, which encourages people to do
good, and aims to convince people that all evil will end and that a happy future is inevitable. This
article analyzes the common aspects of the depiction of the lives of orphans in English and Uzbek
fairy tales.
Key words: fairy tale, folklore, genre, motif, orphan image
Kirish. Jahon adabiyoti rivojida xalq og’zaki ijodining o’rni naqadar beqiyos ekanligi hech
kimga sir emas. Zero, aynan xalq og’zaki ijodi janrlari negizida paydo bo’lgan motivlar asrlar
davomida boy yozma adabiyot namunalari yaratilishi uchun asos bo’lib xizmat qilgan va shu asos
zaminida adabiyotning yirik nasriy janrlari taraqqiy topa boshlagan. Xususan, xalqning dardu-
hasratlari, xayollariyu, orzu-umidlari, turmush tarzi mashaqqatlari tasviri mujassam bo’lgan
ertaklarning bu boradagi ahamiyati beqiyos. Bugungi kunda ko’pgina adabiyotshunos olimlar
millatimizning madaniy merosini o’rganib, uni boshqa davlat madaniyati, adabiy merosi bilan
taqqoslash, ulardagi o’xshash va farqli jihatlarni tahlil qilish uchun keng imkoniyatlarga ega
bo’lishmoqda. Shuni ta’kidlab o’tish joizki, Sharq va G’arb adabiyoti namunalarini tadqiq qilar
ekanmiz, turli madaniyat va turli geografik hududga tegishli bo’lishiga qaramay, ularni bog’lab
turuvchi ko’plab o’xshashliklar mavjudligining guvohi bo’lamiz. Jumladan, o’z baxtini izlab
sayohatga otlanadigan qahramonlar tasviriga yo’naltirilgan ertaklarda, shuningdek o’gaylik va
yetimlik motivlari asosida yaratilgan xalq og’zaki ijodi namunalarida kuzatiladigan syujet
chiziqlaridagi o’xshashliklar diqqatga sazovordir. Bunday turkum ertaklarga xos ko’pgina belgilar
tarbiya romanlarida kengroq aks ettirilgan bo’lib, ayniqsa, bosh qahramon sifatida yetim bolalarning
tanlanganida ko’rinadi.
Yetimlik motivini eng qadimgi adabiyot namunalarida ham uchratish mumkin. Masalan, Afrika
xalqlariga tegishli “Birinchi ko’z yoshlar”(The first tears) nomli afsonada yolg’iz va g’mgin yetim
bola obrazi keltirilgan. Afsonaga ko’ra, hech kimi yo’q yetim bola bo’lgan ekan. Bu bola shunchalar
xafa ekanki, ammo shunga qaramay, yig’lay olmas ekan, chunki ko’z yoshlar u paytda yaratilmagan
ekan. Bir kuni uni oy ko’rib qolibdi, unga achinib ketib, shunday debdi: “Weep orphan child! But do
not your tears fall on the earth, from which people get their food, for that would make the earth
unclean. Let your tears fall on me. I shall take them with me back to the sky”.[1]– “Yig’la yetim bola!
Ammo ko’z yoshlaring yerga tushmasin, odamlar u yerdan ovqat yeyishadi, ko’z yoshlaring yerni
iflos qilishi mumkin. Yoshlaring mening ustimga tushsin. Men ularni osmonga olib ketaman”.
Shunday qilib, oy ko’z yoshlarning yerga tushishiga yo’l qo’ymabdi, chunki yer muqaddas sanalar
ekan. Mazkur afsonada yetimning ko’z yoshlarini ko’tarish hatto yerga ham og’ir ekanligiga ishora
qilinyapti va bu orqali ularga nisbatan bag’rikeng, mehrli bo’lish targ’ib qilinyapti.
Tahlil va natijalar. O’gaylik va yetimlik mavzusidan so’z ochilar ekan, eng avvalo, ko’z
o’ngimizda jabrdiyda yetim bola (ko’pincha qiz bola) va zolim o’gay ona obrazlari o’rtasida sodir
bo’ladigan konfliktli munosabatlar gavdalanadi. Ushbu mavzuda yaratilgan qaysi xalq ertaklariga
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 165
nazar tashlamaylik, aksariyat hollarda o’gay ona tomonidan zulm ko’rgan yetim qiz yoki yetim bola
obrazi mavjudligining guvohi bo’lamiz. Ularning deyarli barchasida voqealar quyidagi uzviylikda
bayon qilinadi:
1. Mehrsiz o’gay onaning voqealar markaziga kirib kelishi. Bunga ingliz xalq ertaklaridan
“Oppog’oy”, “Cindrella”, rus xalq ertaklaridan “Ayoz bobo”, “Qiz va o’gay qiz”, o’zbek xalq
ertaklaridan “Zumrad va Qimmat”, “Adolat”, “Podachining qizi”, “Vafodot toychoq”, Birma xalq
ertagi “Yuz filning hokimi”, Kambodja xalq ertagi “Ikki firibgar”, Vetnam xalq ertagi “Oltin
kovushma”, Korea xalq ertagi “Kxonchxi va Pxatchxi” kabilarni bunga misol qilish mumkin.
2. Salbiy xarakterga ega bo’lgan tantiq qiz obrazi. Ko’p hollarda ertakdagi o’gay onaning
oldingi turmushidan o’z qizi bo’lib, u bosh qahramonga mutlaqo teskari bo’lgan xislatlar egasi
sifatida gavdalanadi va uni hech kim yoqtirmaydi. Odatda, bunday ertaklarda salbiy va ijobiy
qahramonlar tasviridagi tafovut jonlantirish vositasidan foydalanilgan holda ko’rsatiladi. Masalan,
bosh qahramonni gullar, qushlar, boringki, butun tabiat ko’tarinki kayfiyat bilan qarshi oladi, ammo
o’gay onaning qizini yoqtirmaydilar, qovoqlarini o’yib qarshilaydilar. Ingliz ertagi Cindrellada bu
holat quyidagicha tasvirlanadi: “Cindrella, not withstanding her coarse apparel, was a hundred times
more beautiful than her sisters, although they were always dressed very richly. When she sang all
flowers and birds sang with her”[2]. – “Qo’pol kiyimlariga qaramay, garchi opalari qimmat kiyimlar
kiyishgan bo’lsada, Cindrella ulardan yuz chandon chiroyli edi. U qo’shiq aytganda barcha gullar va
qushlar u bilan birga kuylashardi”. Ushbu parchada Cindrella beso’naqay kiyimlarida opalaridan yuz
karra go’zalroq ekani orqali insonni kiyim emas, go’zal xulq-atvor chiroyli qilishi, qimmatbaho
kiyimlar opalarining xunuk qiliqlarini yashira olmasligiga ishora qilinadi.
3. O’gay onaning bosh qahramondan qutulish uchun qiladigan sa’y-harakatlari. Bir qator
ertaklarda o’gay ona qizni otasiga turli bahonalar bilan yomonlab, uni o’rmonga tashlab kelishini
talab qiladi. “Zumrad va Qimmat”, “Yuz filning hokimi”, “Qiz va o’gay qiz” (Дочь и падчерица)
ertaklarida shunday motivlardan foydalanilgan. Boshqa bir guruh ertaklarda esa o’gay ona hatto yetim
qizni o’ldirmoqchi bo’ladi. “Oppog’oy”, “Oltin kovushcha”, “Vafodor toychoq” kabi ertaklarda
bunday shavqatsiz munosabatlarning guvohi bo’lamiz. Masalan, oppog’oy ertagidan olingan ushbu
parchada qirolicha ovchini chaqirib, Oppog’oyni o’rmonga olib borib o’ldirishni, dalil sifatida uning
o’pkasini va jigarini olib kelishni buyuradi: “Then she summoned a huntsman and said to him, “Take
snow white out into the woods. I never want to see her again. Kill her and as proof that she is dead
bring her lung as and her liver back to me”[2. – P.139].
Shunday bo’lsada, ularning hech biri o’gay ona niyatiga yeta olmaydi. Ertak oxirida qahramon
baribir o’z uyiga qaytib keladi.
4. Bosh qahramonning sinovlari. Tahlilga tortilgan barcha ertaklarda bosh qahramonning
mehnatsevarligi, o’gay onaning esa undan hech qachon qoniqmasligi va unga qiyin topshiriqlar
buyurishi tasvirlanadi. Masalan, “Cindrella” ertagida shunday parcha mavjud: “The stepmother gave
her the meanest work in the house to do; she had to scour the dishes, tables, etc, and to scrub the
floors and clean out the bedrooms”[2. – P.139]. G’arb mamlakatlarida xalq og’zaki ijodiga mansub
aksariyat ertaklarda ball (raqs ziyofati) bilan bog’liq voqealar tizimi mavjud bo’lib, o’gay ona o’z
qizlarini ziyofatga olib ketadi, birga borishni istagan o’gay qiziga esa ataylab aralashtirilgan turli don
mahsulotlarini ajratib qo’yishdek murakkab topshiriqni buyurib ketadi. Chunki bu ish juda ko’p vaqt
talab qilar va uni o’z vaqtida tugata olishning hech ham iloji yo’q edi. So’zimizni dalilllash uchun
Korea xalqining “Kxonchi va Pxatchi” ertagidan parcha keltirish mumkin. Unda o’gay ona
Kxonchiga to’yga bormoqchi bo’lsa, gurunch va tariqning toshini tozalashi kerakligini aytadi.
“Cindrella” ertagida esa ziyofatga borish uchun izn so’ragan Cindrellaga kulga sepilgan yasmiqni
ajratib olishni buyuradi.[2. – P.4] Ko’rinib turibdiki, o’gay onaning yetim qizni ballga olib ketish
niyati yo’q, shunchaki uni kalaka qilish maqsadida shunday be’mani topshiriqlarni o’ylab topadi.
5. Bosh qahramonga mushkul vaziyatda yordam qo’lini cho’zuvchi qahramonlar.
“Kxonchi va Pxatchi” ertagida farishta paydo bo’lib, yig’lab turgan Kxonchiga yordam beradi:
Farishta qo’lini silkitgan ekan, bir gala chumchuq paydo bo’lib, guruch bilan chumuzni tozalab
beribdi.[3] “Cindrella” ertagida ham yetim qizning cho’qintirgan onasi sehr bilan bosh qahramonga
ko’maklashadi. “Her godmother simply touched her with her wand, at the same moment, her clothes
166 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
were turned into cloth of gold and silver, all decked with jewels. This done, she gave her a pair of the
prettiest glass slippers in the whole world”[2. –P.4)]. Bunday yordamchi obrazlar sifatida ko’pincha
sehrli parilar, kampirlar, ba’zan esa qushlar va boshqa hayvonlar gavdalantiriladi. Ular bir tomondan
bosh qahramonni mehnatkash, oqko’ngil, shirinso’z bo’lganligi tufayli taqdirlashsa, boshqa
tomondan o’gay ona va uning dangasa va qo’pol qizini jazolash vazifasini ham o’tashadi.
Xulosa. Tahlillardan oydinlashyapdiki, har ikkala xalq og’zaki ijodaga mansub, yetimlik
turkumidagi ertaklarda bir qator mushtarak jihatlar mujassam. Bu ayniqsa, ertak syujeti va
kompozitsiyasida namoyon bo‘ladi. Ko‘rinib turibdiki, bu ertaklar bosh qahramoni tasviri hamda
uning boshidan kechirganlar qiyinchiliklari orqali, ezilgan xalqning orzu-umidlari va qiyinchiliklarka
nisbatan sabr-toqatlari aks ettirilgan.
FOYDALANILGAN ADABIYOTLAR RO’YXATI:
1. Melaniye A..Kimball. From Folktales to fiction: Orphan Characters in Children’s Literature. University of
Illinois, 501. E.Daniel Street, Champaign, IL 61820 Library Trends, VOL.47, No.3, Winter 1999.- P.558-578
2. Charles Perrault and the brothers Grimm. Cindrella, Rumpelstiltskin and other stories. Tandor media. E-book.
2008. – P.4
3. Oltin kovushcha. Jahon xalq ertaklari. Toshkent. “Cho’lpon” nashriyot matbaa ijodiy uyi 2010.-B.132
4. Safarova, Z. (2020). Analysis of orphan images and orphanhood in children's literature. Центр научных
публикаций (buxdu. uz), 1(1).
5. Safarova, Z. (2020). Ingliz va Ozbek maqollarida yetim va yetimlik tushunchalari talqini. Центр научных
публикаций (buxdu. uz), 1(1).
6. Afanasyeva A.N. Narodniye russkiye skazki. – Moskva: “Nauka”, 1984. – B.118.
7. Tolibovna, Safarova Zilola. "Expression of orphans’life through the theme of “hunger” in bildungsromans."
(2023).
8. Oltin beshik. O’zbek xalq ertaklari. – Toshkent: “Cho’lpon” nashriyot matbaa ijodiy uyi, 2010. – B.111.
9. Oltin tarvuz. O’zbek xalq ertaklari. – Toshkent: “O’qituvchi” nashriyot matbaa ijodiy uyi, 2010. – B.55.
10. Jasur qiz. Tojik xalq ertaklari. – Toshkent: “O’zbekiston”, 2015 – B.108.
11. Yetti tilak. Jahon xalqlari ertaklari. – Toshkent: O’zbekiston, 2016. – B.220.
UO’K 811.581’25(075.8)
XITOY TILIDAGI HARBIY TEXNIK ATAMALARNING TA'RIFI
S.B.Salimova, tayanch doktorant, Termiz Davlat Universiteti, Termiz
Annotatsiya. Ushbu tadqiqot ishi Xitoy tilidagi harbiy-texnik atamalarni har tomonlama tahlil
qilish va ta’riflashga qaratilgan. Xalq ozodlik armiyasining (XOQ) jadal modernizatsiyasi va
Xitoyning global miqyosdagi ishtiroki olimlar, harbiy mutaxassislar va til mutaxassislari uchun Xitoy
harbiy kontekstida qo‘llaniladigan maxsus terminologiyani aniq tushunishni tobora muhim ahamiyat
kasb etmoqda. Ushbu maqola Xitoy harbiy-texnik terminologiyasining lingvistik va kontekstual
jihatlarini o'rganib chiqadi va uning zamonaviy geosiyosiy dinamikada ahamiyatini yoritadi.
Kalit so‘zlar: Xitoy harbiy terminologiyasi, harbiy texnik shartlar, tarjima muammolari,
lingvistik nuanslar, madaniy kontekst, kontekstning murakkabligi, diplomatik sezgirlik, geosiyosiy
oqibatlar
Аннотация. Данная исследовательская работа направлена на комплексный анализ и
определение военно-технических терминов в китайском языке. Быстрая модернизация
Народно-освободительной армии (НОАК) и глобальное присутствие Китая делают все более
важным для ученых, военных экспертов и лингвистов четкое понимание конкретной
терминологии, используемой в китайском военном контексте. В данной статье
рассматриваются лингвистические и контекстуальные аспекты китайской военно-
технической терминологии и подчеркивается ее значение в современной геополитической
динамике.
Ключевые слова: Китайская военная терминология, военно-технические термины,
проблемы перевода, лингвистические нюансы, культурный контекст, сложность контекста,
дипломатическая деликатность, геополитические последствия
Abstract. This research work is aimed at the comprehensive analysis and definition of military-
technical terms in the Chinese language. The rapid modernization of the People's Liberation Army
(PLA) and China's global presence make it increasingly important for scholars, military experts, and
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 167
linguists to clearly understand the specific terminology used in the Chinese military context. This
article examines the linguistic and contextual aspects of Chinese military-technical terminology and
highlights its importance in contemporary geopolitical dynamics.
Keywords: Chinese military terminology, military technical terms, translation issues, linguistic
nuances, cultural context, context complexity, diplomatic sensitivities, geopolitical implications
Kirish: Xitoy ham mintaqaviy, ham xalqaro miqyosda o'z ta'sirini kuchaytirishda davom etar
ekan, uning harbiy salohiyati va strategiyasining nozik tomonlarini tushunish olimlar, harbiy
tahlilchilar, diplomatlar va xavfsizlik bo'yicha mutaxassislar uchun zarur bo'lib qoladi. Xitoy
armiyasining operatsiyalari va niyatlarini tushunishning asosiy jihati uning o'ziga xos va maxsus
terminologiyasini egallashdir. Ushbu tadqiqot ishining maqsadi so'nggi o'n yilliklarda sezilarli
darajada murakkab va hayotiy ahamiyatga ega bo'lgan xitoy tilidagi harbiy-texnik atamalar sohasini
o'rganishdir. Xitoy armiyasini modernizatsiya qilish bo‘yicha olib borilayotgan sa’y-harakatlari va
uning rivojlanayotgan strategik doktrinalari ko‘plab maxsus atamalarni ishlab chiqish va qabul
qilishga olib keldi. Bu atamalar asbob-uskunalar va taktikadan tortib strategik fikrlash va tashkiliy
tuzilmalargacha bo'lgan hamma narsani o'z ichiga oladi va ko'pincha ona tili bo'lmaganlar va hatto
harbiy ma'lumotga ega bo'lmagan xitoy tilida so'zlashuvchilar uchun katta qiyinchiliklarni keltirib
chiqaradi.
Birinchidan, u xitoy tilidagi tanlangan harbiy-texnik atamalarning keng qamrovli jamlanmasini
taqdim etishga intiladi. Ikkinchidan, bu atamalarning til ildizlari, tarixiy evolyutsiyasi va zamonaviy
kontekstini tahlil qilish orqali ularning ma’nosi va ahamiyatini yoritishga intiladi. Uchinchidan,
ushbu maqola ushbu atamalarni, ayniqsa madaniyatlararo va geosiyosiy kontekstda to‘g‘ri tarjima
qilish va talqin qilishning murakkabliklarini yoritishga qaratilgan. Ushbu tadqiqotning ahamiyati
Xitoyning global geosiyosatdagi hal qiluvchi roli, kengayayotgan harbiy salohiyati, xalqaro
tinchlikparvar missiyalar va diplomatik tashabbuslardagi ishtiroki ortib borayotgani bilan
ta’kidlanadi. Xitoy harbiy terminologiyasini to‘g‘ri talqin qilish va tushunish samarali muloqot,
xavfsizlikni baholash, diplomatik muzokaralar va akademik tadqiqotlar uchun zarurdir. Bundan
tashqari, ushbu tadqiqot xalqaro munosabatlar va xavfsizlikni o‘rganish sohasidagi lingvistik va
madaniy muammolar haqida kengroq munozaraga hissa qo‘shadi. Maqolamizda biz Xitoy harbiy
terminologiyasi sohasi bo'ylab sayohatga chiqamiz, uning lingvistik nozikliklari, tarixiy asoslari,
zamonaviy qo'llanilishi va tarjima va talqin qilishda yuzaga keladigan qiyinchiliklarni tahlil qilamiz.
Ushbu tadqiqot orqali Xitoyning harbiy terminologiyasining rivojlanayotgan landshaftini,
shuningdek, uning harbiy strategiyasi va imkoniyatlarini boshqarish uchun qimmatli manba bilan
ta'minlashni maqsad qilganmiz.
Xitoy harbiy-texnik terminologiyasini tahlil qilar ekanmiz, xitoy tilida keng qo'llaniladigan
harbiy texnik atamalarni tanlab, ularning ta'riflari, kelib chiqishi va tarixiy ahamiyatini taqdim etamiz.
Bu atamalar Xitoy armiyasining imkoniyatlari va strategik tafakkurining xilma-xilligini aks ettiradi.
军事(jūnshì) - Harbiy:
Ta'rif: Bu atama harbiy faoliyatning butun spektrini, jumladan strategiya, taktika, operatsiyalar
va logistikani o'z ichiga olgan harbiy sohaga tegishli har qanday narsani anglatadi.
Kelib chiqishi: "军" (jūn) belgisi "armiya" degan ma'noni anglatadi, "事" (shì) esa "ishlar" yoki
"muammolar" degan ma'noni anglatadi.
Tarixiy ahamiyati: " 军 事 " asrlar davomida Xitoy harbiy nutqida harbiylarning davlat
boshqaruvi va xavfsizligidagi markaziy rolini aks ettiruvchi asosiy atama bo'lib kelgan.
武器(wǔqì) - Qurollar:
Ta'rif: "武器" o'qotar qurol va raketalardan tortib an'anaviy jang san'ati qurollarigacha bo'lgan
barcha turdagi qurollarni anglatadi.
Kelib chiqishi: "武" (wǔ) "harbiy" yoki "harbiy" degan ma'noni anglatadi va "器" (qì) "qurollar"
yoki "asboblar" degan ma'noni anglatadi.
168 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Tarixiy ahamiyati: "武器" tushunchasi vaqt o'tishi bilan an'anaviy va zamonaviy qurollarni
qamrab olgan va urushdagi o'zgarishlarni aks ettirgan.
战略 (zhànlüè) - Strategiya:
Ta'rif: "战略" uzoq muddatli rejalashtirish va harbiy harakatlarda yuqori darajadagi qarorlar
qabul qilish, shu jumladan resurslarni taqsimlash va umumiy harbiy maqsadlarga erishish bilan
bog'liq.
Kelib chiqishi: "战" (zhàn) "urush" degan ma'noni anglatadi va "略" (lüè) "strategiya" yoki
"taktika" degan ma'noni anglatadi.
Tarixiy ahamiyati: "战略" tushunchasi Sun Tszzining "Urush san'ati" kabi qadimgi Xitoy
harbiy risolalaridan kelib chiqqan bo'lib, zamonaviy harbiy tafakkurning muhim tarkibiy qismi bo'lib
qolmoqda.
战术 (zhànshù) - Taktika:
Ta'rif: "战 术 " harbiy kompaniyaning keng kontekstida aniq, qisqa muddatli maqsadlarga
erishish uchun jang maydonida qo'llaniladigan usullar va manevrlarni anglatadi.
Kelib chiqishi: "战" (zhàn) "urush" degan ma'noni anglatadi va "术" (shù) "mahorat" yoki
"san'at" degan ma'noni anglatadi.
Tarixiy ahamiyati: Xitoyning harbiy tarixi turli sulolalar tomonidan qo‘llanilgan innovatsion
taktika namunalariga boy bo‘lib, bu "战术" rivojiga hissa qo‘shadi.
军备(jūnbèi) - Harbiy texnika:
Ta'rif: "军备" barcha turdagi harbiy texnikani, shu jumladan transport vositalarini, qurol-
yarog'larni, aloqa tizimlarini va logistika infratuzilmasini o'z ichiga oladi.
Kelib chiqishi: "军" (jūn) "armiya" degan ma'noni anglatadi va "备" (bèi) "tayyorgarlik" yoki
"uskunalar" degan ma'noni anglatadi.
Tarixiy ahamiyati: Texnologiya rivojlangani sari Xitoy armiyasini modernizatsiya qilishni aks
ettiruvchi "军备" ko'lami ham kengayib bormoqda.
战机 (zhànjī) - qiruvchi samolyot:
Ta'rif: "战机" havodan havoga jang qilish uchun mo'ljallangan qiruvchi samolyotlarga ishora
qiladi.
Kelib chiqishi: "战" (zhàn) "urush" degan ma'noni anglatadi va "机" (jī) "mashina" yoki
"samolyot" degan ma'noni anglatadi.
Tarixiy ahamiyati: "战机" ning rivojlanishi Xitoyning havo salohiyati va zamonaviy urushdagi
roli ortib borayotganidan dalolat beradi.
潜艇 (qiántǐng) - suv osti kemasi:
Ta'rif: "潜艇" dengiz urushi va strategik to'xtatib turishning muhim tarkibiy qismlari bo'lgan
suv osti kemalarini bildiradi.
Kelib chiqishi: "潜" (qián) "suv ostida qolgan" degan ma'noni anglatadi va "艇" (tǐng) "kema"
yoki "qayiq" degan ma'noni anglatadi.
Tarixiy ahamiyati: Suv osti kemalari Xitoyning kengayib borayotgan dengiz imkoniyatlarini va
uning yer ostida ishlash qobiliyatini ifodalaydi.
Ushbu tanlangan atamalar Xitoy harbiy-texnik terminologiyasi olamiga qarash imkonini beradi.
Har bir atama Xitoyning harbiy merosi va global harbiy kuch sifatidagi zamonaviy rolini aks
ettiruvchi o'ziga xos tarixiy merosga ega. Ushbu atamalarni tushunish Xitoyning harbiy salohiyati,
strategik fikrlashi va uning global xavfsizlik landshaftiga ta'siri haqida tushunchaga ega bo'lish uchun
zarur.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 169
Xitoy harbiy texnik atamalarini tarjima qilish va talqin qilish lingvistik nuanslar, madaniy
kontekst va harbiy tilning rivojlanayotgan tabiati tufayli bir qator murakkab muammolarni keltirib
chiqaradi. Quyida biz ba'zi asosiy qiyinchiliklarni sanab o'tamiz:
Lingvistik nuanslar:
Gomofonlar va omograflar: Xitoy tilida juda ko'p omofonlar (bir xil tovushli so'zlar) va
omograflar (bir xil belgilarga ega, ammo ma'nolari har xil bo'lgan so'zlar) mavjud. Bu tarjimada
noaniqlikka olib kelishi mumkin, chunki kontekst moʻljallangan maʼnoni aniqlashda hal qiluvchi
ahamiyatga ega.
Ko'p ma'noli: Ko'pgina xitoycha belgilar kontekstga qarab bir nechta ma'noga ega. Masalan, "
兵" (bīng) belgisi "askar", "qurol" yoki "harbiy" degan ma'noni anglatishi mumkin. To'g'ri tarjima
kontekstni diqqat bilan ko'rib chiqishni talab qiladi.
Belgilarning kombinatsiyasi: Xitoy harbiy atamalari ko'pincha belgilar kombinatsiyasidan
iborat bo'lib, bu erda butun atamaning ma'nosi alohida belgilardan darhol ko'rinmasligi mumkin.
Tarjimonlar bu kombinatsiyalarni samarali boshqarishlari kerak.
Xulosa: “Xitoy tilidagi harbiy-texnik atamalarning ta’rifi” tadqiqot maqolasida xitoylik harbiy
texnika terminologiyasini tushunish va tarjima qilish bilan bog‘liq qiyinchiliklar va murakkabliklar
har tomonlama tahlil qilingan. Ushbu ixtisoslashgan leksika Xitoyning harbiy salohiyati, strategik
fikrlashi va global xavfsizlik landshaftidagi o'zgaruvchan rolini ochishda muhim rol o'ynaydi.
Maqolada lingvistik nuanslar, madaniy kontekst va harbiy tilning dinamik tabiati ko'rib chiqilib,
ushbu sohaning nozik tomonlariga oydinlik kiritildi.
FOYDALANILGAN ADABIYOTLAR RO’YXATI:
1. Wang, L., & Chen, H. (2020). Linguistic Challenges in Translating Chinese Military Terms. Military Studies
Quarterly, 45(2), 78-95.
2. Gill, Bates, and Adam Ni. "The People’s Liberation Army Rocket Force: reshaping China’s approach to strategic
deterrence." Australian Journal of International Affairs 73.2 (2019): 160-180.
UO’K 808.3
XORIJIY TILLARDAGI QISHLOQ XO'JALIGI TERMINLARINING
TAKOMILLASHTIRISHNING O'ZIGA XOS XUSUSIYATLARI
G.I.Samandarova, o’qituvchi, Toshkent davlat agrar universiteti, Toshkent
Ilm va texnika rivojlanish davrida olimlar zamonaviy, milliy hamda xorijiy texnikaviy mantnlar
leksikasi va terminologiyasini takomillashihsini tahlil qilishmoqda, xususan, xorijiy tillardagi
terminlarni o‘zbek tilida mavjudligi hamda takomillashganligini tahlilini o‘rganish tobora rivojlanib
bormoqda.
Terminologiya - bilimning turli sohalarida terminologiyaning shakllanishi, rivojlanishi va
ishlashining xususiyatlari va qonuniyatlarini o'rganadigan fandir. Terminologiya - "tegishli bilimlar
sohasidagi (bitta fan yoki bir yo'nalish) atamalar majmui, tegishli tushunchalar to'plamini aks
ettiradi".
Olimlarning o'rganishlari va tahlillari natijasida terminlarning mantiqiy ma`nolarini tadbiq etish
modellarini takomillashib bormoqda. Bu tillar o‘rtasidagi aloqani o'rganishga qo'shilgan hissadir.
Terminlarning mifologik ma'nolar bilan bir qatorda texnikaviy ma'nolar ko'rsatkichidir. Shuning
uchun tilshunoslar tilning tarixiy rivojlanishi bilan xorijiy tildagi terminlar nomlari qo'llanilishi tabiati
o'rtasidagi bog'liqlikni izlaydilar. Xorijiy tillardagi terminlarning milliy tilda belgilar tizimi orqali
shakllantirishning omillari, shuningdek, o'ziga xos rivojlanish vositalari orqali sodir bo'lgan
bog‘liqliklari tahlillash zarurdir. Termin belgilari mantiqiy, ilmiy va texnikaviy sohalarga tegishli
bo'lgan ilmiy-texnikaviy asoslari, o'z-o'zini aniqlashni kuchaytirish, kundalik hayotnida qo‘llash
ya'ni, uzoq vaqtdan beri qo‘llanish munosabati va oldindan belgilab berish yo‘llarini ochib beradi.
Shunday qilib, texnikaviy terminologiya sohasida tarixiy ob'ektlar misolida loyihalash an'analari
ko'rib chiqiladi. Bundan tashqari, olimlar texnikaviy terminologiyalarni turli sohalarda qo‘llanilishini
o'rganishga qiziqishmoqdalar.
Terminologiya bo'yicha eng muhim ishlardan biri bu V.Leychikning "Terminologiya: predmeti,
usullari, tuzilishi" tadqiqotidir, unda asosiy terminologiya asarlari, terminning turli ta'riflari,
terminning mazmunli va rasmiy tuzilishi tahlil qilingan. Terminlarning tipologiyasi va tasnifi,
terminologiyada qo'llaniladigan asosiy usullaridir. Terminlarni noto'g'ri ishlatish, tamoyillarni
bilmaslik terminologik tizimlarning tashkil etilishi va ishlashi inson faoliyatining barcha sohalarida
aloqa buzilishiga olib kelishi mumkin. Shu nuqtai nazardan, XX - XXI asr boshlari deb bahslashish
mumkin. Bu turli terminologik tizimlarning rivojlanishida, terminologiyaning tegishli lingvistik,
falsafiy va amaliy nazariy muammolarini ishlab chiqishda noyob davr sifatida e'tirof etiladi.
Ba'zi tadqiqotchi-olimlar tadqiqotlarida mutaxassislar xorijiy tillardagi texnikaviy
terminlarning zamonaviy tizimining tuzilishini va tarkibini aniqlaydilar va onlayn eksperimentga
asoslanib, turli tahlillarga, xorijiy tillardagi atamalardan foydalanish xususiyatlarini tahlil qiladilar.
Tadqiqotchilarning asosiy e'tibori ilmiy-texnika sohasidagi lug'atlarga qaratilgan bo‘lib, texnika
sohasi terminologiyasini takomillashtirish bilan bog‘lanadi. Tadqiqotlarga ko'ra, biz bech
milliongacha turli xil terminlarni ajratib oldik. Biroq, biz ularning barchasi haqida ham ma`lumotga
ega emasmiz. Odatda kundalik muloqotda foydalanadigan terminlarning hajmi juda oz bo‘lib, xorijiy
tillardan kirib kelgan murakkab terminlar ham mavjud. Agar siz ularga murakkab kombinatsiyalar va
turli xil stilistik terminlarni qo'shsangiz – yangi qo‘llaniladigan texnikaviy terminlar vujudga keladi.
Har qanday tilda biz idrok etishimiz mumkin bo'lgan texnikaviy terminlar va yangi vujudga kelgan
terminlar o'rtasida katta farq mavjud. Shuning uchun texnikaviy terminlarni ta'riflash oson ish emas.
Va, aksincha, tavniflash biz uchun juda kamdan-kam hollarda to'g'ri ma`noni tasavvur qilishimiz
mumkin. Shuni ta'kidlash kerakki, taniqli olim tadqiqotchilar texnikaviy terminlar haqidagi o'z
fikrlarini xuddi shunday boshlashgan.
Texnikaviy terminlarning qo‘llanilishi ko‘p hollarda foydalanuvchilardan (talaba, tadqiqotchi,
professor-o‘qituvchilar) guruhlarga ajratilgan holda ishlatilishini hamda, namunasini tajribada sinab
ko‘rishga olib kelishlari so'radi. U natijani oldindan taxmin qilib, har qaysi termin ikkita bir xil ma`no
berishi mumkin emas va terminlarda ifodalangan izohni boshqacha tushunamiz ham mutloqo to‘g‘ri
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 171
emasdir. Texnikaviy terminlarning tahlil qilish bizga ma'lum bir ilm-fan yoki ilmiy-texnikaviy
yo‘nalish diqqat markazida nima ekanligini, aynan qanday soha yo‘nalish terminologiyasini
tushunishga yordam beradi. Bundan tashqari, terminologiyaning tahlil qilinish yo‘li, ma'lum
sohalarga tegishli ekanligi, ular qanday baholanishini va toifalarga bo'linishini aniqlashimiz mumkin.
Terminologik lug'atda, shuningdek, umuman o'quv jarayonida leksik ko'nikmalarni
shakllantirish va takomillashtirishga bunday yondashuv juda konstruktiv ko'rinadi va tegishli
o'zgartirishlar bilan o'rta maxsus va oliy kasbiy ta'lim bosqichida qo'llanilishi mumkin.
FOYDALANILGAN ADABIYOTLAR RO’YXATI:
1. Авербух К. Й. Обшая теория термина. Иваново: Ивановский государственний университет, 2004. С. 52
2. Виноградов, В. В. О язике художественной литератури. - М.: Гослитиздат, 1959.S.149.
3. Гринев, С. В. Введение в термин ведение. - М.: Московский Лицей, 1993. S.33, 54
4. Дроздова, Т. В. Концепти как основа ключевих понятий терминологии // Концептуалний анализ язика:
современние направления исследования: сб. науч. тр. - М.-Калуга: ИП Кошелев А. Б., 2007.S.139
5. Лотте, Д. С. Упорядочение технической терминологии // Б. А. Татаринов. История отечественного
терминоведений. Классики терминоведения: Очерк и хрестоматий. - М.: Московский Лицей, 1994.S.74
6. Ожегов, С. И., Шведова, Н. Й. Толковий словар русского языка. - М.: 1996. c.51
7. Реформатский, А.А. Что такое термин и терминология. История отечественного терминоведений.
Классики термин ведения: Очерк и хрестоматий. - М.: Московский Лицей, 1994.S.309
8. Рилов, А.С. Терминологическая система «Футбол» в русском язике: Автореф. дис. ... канд. филол. наук.
- Нижний Новгород, 1998.S.38-39
9. Лейчик, В. М, Терминоведение: Предмет, методи, структура. - изд. 2-е, испр. и доп. - М.: КомКнига,
2006. S.24.
10. Шелов, С.Д.Термин. Терминологичност. Терминологические определения. - СПб.:Филологический
факультет СПбП», 2003. S.55
UDC: 821.51
THE WORK OF T. QAYIPBERGENOV IN KARAKALPAK PROSE
K.Zh.Sarsenbaev, tayanch doctoral student, Nukus SPI, Nukus
Introduction. When we look at the history of Karakalpak literature, it becomes evident that
literature played a significant role in Karakalpak culture, becoming its foremost expression. In the
sharing of emotions through literature, the people of Karakalpak found their own unique literary
voice. The genre of poetry quickly flourished in literature, and literary figures began to contribute by
writing poetry. To illustrate, renowned figures such as Jiyen Jiraw, Kúnxoja, Ajiniyaz, and Berdaq
emerged as literary classics in the 19th century, thus elevating Karakalpak literature to international
recognition. If we turn our attention to facts, it becomes evident that starting from the 1930s of the
172 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
20th century, prose became a dominant genre in Karakalpak literature. The development of prose
took a swift and distinctive path. However, despite the available information, it is worth noting that,
according to the academic M. Nurmukhamedov, there are two significant reasons for this shift. a)
First, there was a surge in fiction writers, and secondly, b) there was an increasing demand for timely
and responsive writing during that period. The narratives and novels that followed focused on
developing themes, collecting material, and employing literary techniques, which was a significant
departure from earlier poetry. [1:113]
Materials and methods. In the realm of prose, significant works were written, with
A.Shamuratov, M.Daribaev, A.Begimov, and J.Aymurzaev leading the way. The short stories
produced by these authors formed the foundation for prose in Karakalpak literature. Folkloric
elements were vividly depicted in their narratives. Anecdotes, legends, and folk tales played essential
roles in the development of short stories in literature.
In the 1940s of the 20th century, the epic narratives of A.Shamuratov made a significant impact
on Karakalpak literature. The author crafted his unique style of lyrical-epic short stories, with his
story "Eski mektepte" being one of the early examples. Q.Kamalov, in his work "Qaraqalpaq povesti,"
noted, "The national character of lyrical-epic short stories in Karakalpak literature, more specifically,
lyrical-epic tales, began with A.Shamuratov's “Eski mektepte” [2]. This idea is in line with the
prevailing opinion in the literary world. The emergence of this genre in short stories was significant
and paved the way for us to better understand the essence of literature. It was an essential period in
literary history. By presenting well-founded ideas and exemplifying the value of short stories,
A.Shamuratov made a significant contribution to world literature while promoting Karakalpak
literature. His words in "Meniń jolbarıslar menen jolıǵısıwlarım" resonate with our thoughts and
experiences.
In the development of the short story genre in Karakalpak literature, T.Qayıpbergenov made
significant contributions. Initially, as the writers of short stories gained recognition, they later began
creating significant narrative works and novels. The story "Sekretar," published in 1956, was a
milestone for short stories. This story was one of the first notable examples in the short story genre.
The protagonist of the story is Atamurat, the secretary of the school.
Results and discussion. The beginning of the 20th century witnessed significant changes in
the portrayal of the primary characters. In the process of character development, the characters,
heroes, and antagonists were skillfully depicted in contrasting light and dark shades. The real life of
the era was depicted vividly, highlighting the contrasting characteristics of different individuals,
which contributed to the impact of the story.
The post-war years saw a focus on the life of the primary characters, reflecting the fate of
students and educators. Atamurat was a role model for the people. His image exemplified the ideals
of hard work and the pursuit of knowledge. Other characters in the story served to support Atamurat's
character. They played different roles in Atamurat's life, be it as mentors or companions. The contrast
between the good and the bad qualities of these characters was well portrayed in the story.
In the story, epic elements were utilized to depict the heroic deeds, strengths, and bravery of
the young characters. The renowned scholar Q. Kamalov shed light on Atamurat's character, stating,
"Atamurat is Karakalpak's Timur. He is an outstanding student. He serves as the secretary of the
school Komsomol. Sending letters from the front to parents, educating the illiterate, discussing with
fellow students, helping the collective farm workers, and resolving conflicts among the school
students - all of this characterizes Atamurat in the role of Timur (Timur - the central character in the
Russian Soviet writer Arkadiy Gaydar's "Timur and His Squad" story)." [3. 62].
Atamurat, as depicted above, is the hero of the story. He emerged as a shining example of
selflessness and dedication in his time, standing alongside the youth and the people of Karakalpakstan
in the Great Patriotic War. Even in our time, such young heroes are not in short supply. Serving the
nation is a source of pride for every man and woman. In the story, Atamurat's character interacts with
Temirxan ata, Amet, Serjan, Zibayda, Qalbay, and others, forming a chorus of characters who admire
him for his teaching skills and honor him for the valuable qualities he brings to the young generation
and the entire nation.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 173
T.Qayıpbergenov, during this period, masterfully depicted the theme of the Great Patriotic War
in his stories. His works served as a model, with other writers also addressing this theme in their own
works. In the years following the war, numerous works in Karakalpak literature focused on the era of
the war and the experiences of the people involved. The authors created narratives with complex
characters and diverse narratives.
In the literary world, during the transition to the prose genre, there was a strong emphasis on
developing writing skills and sharpening the literary style. The stories often reflected elements of the
unique worldview of the authors. In the 20th century, world literature had notable representatives like
Chinghiz Aytmatov, whose ideas found resonance with T.Qayıpbergenov. Indeed, the content of each
work, its characters, and their interactions provided fertile ground for in-depth analysis, and the
exchange of ideas among authors enriched the literary landscape. Authors often engaged in a
constructive dialogue, with their stories not simply echoing one another but offering unique
perspectives. During this era, the demand for such stories was high, and they played an important role
in every society.
In Ch.Aytmatov's novel "Júzbe-júz,"(Face-to-face) the portrayal of the character of the Kyrgyz
people in the post-war period reflects their resilience in the face of adversity. The character of Ismayil,
who has already endured the hardships of war, knows the burden on his people and does not complain.
He, along with the rest of the nation, bears the weight of their troubles with dignity. In
T.Qayıpbergenov's story "Sekretar," the enemies in the war are defeated, and the very same enemies
are now carrying the fallen heroes to their final resting places, which is a reasonable development in
the story and brings a kind of closure to the character of Ataxan.
T.Qayıpbergenov's story also suggests that Atamurat is not concerned with the current funeral
ceremony for fallen heroes, but the title "Sekretar" is just a pretext. Atamurat's father has come to
town today, and he has come to deliver the news. He brings bread and extra provisions. Atamurat's
father is not shown to have come earlier, so this character serves as an addition to Ataxan's character,
closer to reality.
In the storytelling of both writers, the character of the Kyrgyz people is built with meticulous
detail and complexity. These narratives provide readers with an opportunity to contemplate the fate
of these people and their service to the nation. In the world of literature, the characters are intertwined
with the nation's destiny and the bookshelf of the Motherland.
In evaluating the educational aspects of the stories, T.Qayıpbergenov's work was instrumental
in expanding the short story genre in Karakalpak literature, especially in the realm of lira-
psychological stories. His stories like "Suwıq tamshı" (The cold drop) and "Uyqısız túnler" (Sleepless
Nights) contributed to the development of the short story genre in Karakalpak literature. The stories
had a profound impact on human psychology, evoking strong emotions and delving deep into the
human heart, creating a distinct place for lira-psychological stories in the literary field.
Kamal and Gulzar, the main characters, are not just for book readers. Both characters are
ordinary people. They face various challenges in life, enduring difficult times and striving for brighter
days despite the dark ones. T.Qayıpbergenov, in his story "Suwıq tamshı" (The cold drop), illustrates
the character of Kamal, a psychologically damaged young boy, who takes out his frustrations by
physically abusing himself and ends up hurting himself. However, Kamal's mother, Guljan, has a
unique perspective on his suffering. She believes that the source of Kamal's pain is not external and
sees it as a tragic misunderstanding. Kamal's ultimate goal is to gain recognition and acceptance from
his father, who he believes has abandoned him. If he succeeds in collecting information, his dedicated
effort in the story is a way to earn his father's respect. The story's concluding message is that despite
difficult circumstances, it is essential to maintain open communication and understanding between
family members.
T.Qayıpbergenov's engagement with psychological issues and the deep inner world of
individuals is illustrated in the story "Tanha ózińe malim sır" (The Secret Known Only to you). In
this story, the character of Perixan is portrayed with psychological depth. His life, seen through the
lens of today, is influenced by destiny and impacts his current life, turning it into a tragic drama. This
is a theme also touched upon in U.Pirjanov's "Súwret" (Portrait). Asqar's unrequited love, even though
174 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
she doesn't openly acknowledge it, is depicted with emotional insight. On the other hand,
T.Qayıpbergenov presents a more current and emotionally resonant narrative, portraying Perixan's
daughter, Svetlana, as falling in love with Svetlana. This unusual attraction is seen against the
backdrop of Perixan's death, adding a layer of complexity to the narrative.
The question of why Perixan died remains a mystery for book readers. Various factors come
into play: the early departure of Perixan's mother from this world, Palwan's strong feelings for her,
and Jumabay's involvement. The narrative ultimately reveals the cause of Perixan's death. The story
is presented in the context of Svetlana's wedding to Perixan, bringing the students into the story.
Svetlana, however, is not Palwan's daughter; she is Jumabay's. In the past, there were feelings
of young love between them. The story ends with the wedding of Palwan and Svetlana, and Perixan's
secret dies with him, leaving Palwan and Svetlana to live their lives together.
Literary critic J. Esenov said about the story: "In terms of composition, this story stands out
with its unique monologues and letter format. The events, the character's inner thoughts, and emotions
unfold through a single monologue, all of which take place on the day of Perixan's daughter's
wedding. The story is structured around a narrative device that allows us to observe the events and
the internal monologues as they take place. In our national prose, this is one of the most pronounced
principles of psychological writing."
Conclusion. In summary, when we analyze it critically, T.Qayıpbergenov significantly
contributed to the genre of the short story in Karakalpak literature by introducing new forms and ideas
through his works. His short stories brought a fresh narrative style and introduced new themes to the
literary community, making a substantial impact on the literary scene in the 20th century. One of the
key reasons for this impact is the author's ability to capture the essence of the Karakalpak people's
lives through his unique storytelling. Through his works, T.Qayıpbergenov delved into the problems
and dilemmas of the Karakalpak people in the 20th century, reflecting their concerns and experiences.
His stories, such as "Baslı Orındı Iyeleydi" (They will win) and "Suwıq Tamshı" (The cold drop),
showcase his proficiency in the lyrical-epic form of storytelling, while "Uyqısız Túnler" (Sleepless
Nights) and others demonstrate his adeptness in creating psychological narratives. These stories
provided a profound insight into the human psyche and emotions. In this context, T.Qayıpbergenov
was a prominent figure in the development of Karakalpak short stories. His contributions to the
literary world extended beyond the borders of Karakalpakstan, reaching the wider literary community
and leaving a lasting impression.8 Therefore, in the 20th century, Karakalpak literature owes much
of its growth to the influential and distinctive work of T.Qayıpbergenov, the National Writer of
Karakalpakstan.
REFERENСES:
1. Нурмахамедов М. Қарақалпақ совет прозасы. – Ташкент: Фан, 1968 – 310 с.
2. Шамуратов А. Ески мектепте. Мениң жолбарыслар менен жолығысыўларым. Нөкис: Билим, 2020.–68 с.
3. Камалов Қ. Қарақалпақ повести. Нөкис: Қарақалпақстам, 1978. – 108 с.
4. Есенов Ж. Шеберликтиң сырлары. Нөкис: Қарақалпақстан, 1986. – 96 с.
5. Сағидуллаева Ж. Қарақалпақ повестлеринде стиллик изленислер (1980-жыллар). Монография. – Нөкис:
«Қарақалпақстан». 2020-жыл. 120 бет.
6. Қайыпбергенов Т. Повестьлер. Нөкис: Билим, 2018. – 244 б.
UO’K 82/821.0
SHE’RIYATDA SINONIMIK IMKONIYATLARDAN FOYDALANISH
(ABDULLA ORIPOV SHE’RLARI MISOLIDA)
D.Shadiyeva, oʻqituvchi, f.f.n., “International school of finance technology and science”
instituti, Toshkent
“Sinonimlar – tilning boy ekanini, taraqqiyot darajasini koʻrsatib turuvchi hodisalardan biri.
Sinonimlar yordamida nozik maʻno qirralari anglatiladi, voqelikka turlicha baho, munosabat
ifodalanadi” [1]. Shunday ekan, sinonimlardan oʻz oʻrnida foydalana bilish qalam ahli zimmasiga
katta masʻuliyat yuklaydi. Badiiy asarlarda sinonimik imkoniyatlardan foydalanish tilshunoslikda eng
koʻp tadqiq etiladigan mavzulardan biridir. Chunki “Yozuvchining til ustida qilgan mehnati, eng
avvalo, sinonimik birliklar ustida ishlash mashaqqatidir. Fikrni aniq ifodalay oladigan elementni
topib ishlatish ana shu qiyinchilikning mohiyati hisoblanadi» [2]. Lugʻatimizdagi soʻzlarning juda
katta qismi sinonimik qatorga ega boʻlib, sheʻriy asarlarda ham bu imkoniyatdan juda unumli
foydalaniladi. Shu jumladan, Abdulla Oripov sheʻrlarida ham maʻnodosh birliklar mohirona
qoʻllangan.
Sinonimlar qoʻllashni bir necha yoʻnalishda tadqiq etish mumkin. Birinchi navbatda, eng koʻp
uchraydigan jihat – sinonomik birliklarnin oʻz va oʻzlashgan qartlamga oid ekanligi nuqtayi
nazaridan:
Qay yoʻsin aylay qiyos men
Bul shirin doʻstlik soʻzin,
Totlidir boldan, asaldan.
Oʻzbegim tojik bilan. (“Oʻzbegim tojik bilan”)
Ushbu parchada ikki oʻrinda sinonimik birliklar qoʻllangan:
1) shirin – totli. Totli yasama soʻzi turkiy qatlamga xos, shirin soʻzi esa fors tiliga oiddir. Bu
sinonimik birliklarning qoʻllanishi sheʻrning nomiga mos holda keltirilgan deb hisoblash mumkin.
Totli soʻzining maʻnolari “Oʻzbek tilining izohli lugʻati”da quyidagicha izohlanadi: “1. Taʻmi, mazasi
yaxshi, mazali, lazzatli, shirin… 2. koʻchma Lazzat bagʻishlovchi, shirin, nashʻali”. [3] Shirin soʻzi
ham koʻp maʻnoli birlik hisoblanadi: “1. Shirasi oʻtkir, shirali… 2. Taʻmi yoqimli, mazali, lazzatli…
3. koʻchma Kishi huzur qiladigan, orom oladigan, lazzatlanadigan, xush yoqadigan, yoqimli…” [4]
Koʻrinadiki, sheʻriy parchadagi sinonimiya uchun totli soʻzining 2- maʻnosi, shirin soʻzining 3-
maʻnosi asos boʻlgan;
2) bol–asal sinonimik qatori turkiy qatlam (bol) hamda arab tilidan oʻzlashgan (asal) soʻzdan
tashkil topgan. Bu sinonimik qatorda arab tilidan oʻtgan shahd soʻzi ham mavjud boʻlib, koʻproq
mumtoz adabiyot namunalarida uchraydi.
Sheʻrning bir bandida bir sinonimik qatorga tegishli uch soʻzni qoʻllash keng koʻlamli lugʻat
boyligini taqozo etadi.
Baxtiyor har dilga oshno topilgay,
Gʻussali yurakka lekin yoʻq hamdam.
Doʻstlar eshigi ham taq-taq yopilgay
Gʻussali qalb u yon gar qoʻysa qadam. (“Baxtiyor har onda…”)
Dil (forsiy), qalb (arabiy), yurak (turkiy) soʻzlari oʻz hamda oʻzlashgan qatlam jihatdan uch
tildan olingan birliklar sanalsa, ikkinchidan, qoʻllanish doirasiga koʻra dil va qalb uslubiy xoslangan
(yaʻni badiiy uslubga xos), yurak esa qoʻllanish doirasi chegaralanmagan birlik hisoblanadi. Yana
bir jihat: uchala soʻzda ham sinekdoxa asosida maʻno koʻchishi kuzatiladi.
Bir sinonimik qatordagi bir nechta soʻzlarni bir bandda ishlatish Abdulla Oripov bilan bir
qatorda Erkin Vohidov ijodida ham uchraydi:
Chiroy, Koʻrk-u Jamoling
Menga Orzu, Oʻy, Xayol bermish [5].
176 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Yuqorida tahlil qilingan parchada oʻz qatlamga tegishli leksema (yurak) uslubiy xoslanmagan
birlik sanalsa, keyingi misolda buning aksini koʻrish mumkin:
Dunyoda qutlovlar bor,
Biri biridan goʻzal.
Dunyoda tabriklar bor,
Biri biridan ezgu. (“Oʻzbek paxtasi”)
Arab tiliga xos boʻlgan tabrik soʻzi turkiy qutlov bilan oʻzaro maʻnodosh. Qutlov soʻzi, odatda,
faqat badiiy uslubda hamda kamroq qoʻllanadi. Ikkala soʻzning maʻnosi aynan bir xilligini eʻtiborga
olib, ularni leksik dubletlar qatoriga kiritish mumkin. “Agar bunday leksemalarda biror jihatdan
farqlanish yuz bermasa, bittasi isteʻmoldan chiqib ketadi” [6].
Orzum shul: oʻchmasin yongan chirogʻing,
Yulduzday nur sochsin chashming-qarogʻing. (“Orzum shul…”)
Abdulla Oripovning xalq orasida mashhur bu misralarida koʻz sozining ikkita sinonimi (chashm
/forsiy/, qarogʻ /turkiy/) uchraydi. Lekin bu ikkala soʻz ham asosan badiiy uslubga xoslangan boʻlib,
qarogʻda eskirganlik boʻyogʻi seziladi. Erkin Vohidovda esa bu qatorning yana bir soʻzi qoʻllangan:
Seni koʻrmishdi Ayn-u Chashm-u Koʻz
Tush, Xob, Manominda… [7]
Arab tili birligi hisoblangan ayn soʻzi hozirgi kunda koʻz maʻnosida deyarli qoʻllanmaydi.
Erkin Vohidov oʻzbek tilining sinonimik imkoniyatlari juda kengligi tahlil qilinib, misol
sifatida birgina osmon soʻzining “falak, samo, charx, gardun, fazo koʻk, arsh, davvor, minu” kabi
maʻnodoshlarini keltiradi [8]. Abdulla Oripov “Ona sayyora” sheʻrida ushbu sinonimik qatordan
tilimizga oʻzlashgan uch birlikni qoʻllaydi:
Tim qora osmonda porlab koʻrinar,
Shu jajji sayyora koʻrkam, ulugʻvor…
O, ona sayyora, kurrayi qutlugʻ,
Samodan suvrating ilk bora koʻrdim,..
Falakda bnr oʻzing turibsan hayron,
Nahot sen boʻlmasang bunchalar tanho…
Sheʻriyatda oʻzlashma birliklar bilan bir qatorda oʻz qatlamga oid birliklar oʻrtasidagi
maʻnodoshlik uchraydi:
Olis dengizdanmi yo yiroq togʻdan,
Bulutlar keldilar, bilmam, qay yoqdan. (“Talpinamiz manzillar sari”)
Keyingi misollarda maʻnoda darajalanish kuzatiladi:
Shahidlarning qirmiz qonidan
Alvon boʻldi qora tunlaring. (“Oʻzbekiston”)
Fors tilidan oʻzlashgan qirmiz hamda arab tiliga oid alvon soʻzlari qizil soʻzining maʻnodoshlari
boʻlsa-da, bu parchada darajalanish mavjud. Bu maʻnodoshlar tahlilidagi uchinchi yoʻnalish boʻlib,
maʻnoviy jihatdan ozgina boʻlsa ham farq sezilishi mumkin. Izohlarga eʻtibor berilsa, qirmiz(i) soʻzi
“qizil, qizil rangli, ol” [9] maʻnolarini, alvon esa “Qizil tusli, qip-qizil, qirmizi” [10] maʻnolarini
anglatadi. Fikrimizcha, keyingi misrada alvon soʻzini qoʻllash orqali toʻq qizil rang maʻnosi berilgan.
Shu oʻrinda maʻnoviy sinonimiya yaqqol seziladigan quyidagi parchaga diqqatni qaratamiz:
Boʻronga aylanmay shabboda – goʻdak
Ozurda dillarni yayratar beshak. (“Bahor tilaklari”)
“Havo harakatini bildiruvchi … yel, bod, shamol, janub, sabo, dabur, dovul, shurta, esin,
nasim, shabboda, tundbod, garmsel, samum, sarsar, izgʻirin, boʻron, boʻragʻon, purga, toʻfon,
tayfun, uragʻan yoki uragan, girdbod, quyun, uyurma soʻzlari sinonimik qatorida shabboda soʻzi
“mayin yel” maʻnosini, boʻron soʻzi esa “umuman, shiddatli shamol” [11] maʻnosini anglatadi.
Sheʻriy parchada ham shunga ishora mavjuddir.
Har qanday lashkarning ham
Oʻz tugʻi, yalovi bor… (“Oʻzbekiston bayrogʻi”)
Bu parchadagi arxaik soʻz hisoblangan lashkarga monand bayroq soʻzining ham arxaik
shakllari tugʻ, yalov qoʻllangan.
Maʻnodoshlikni qoʻllashda juda kam uchraydigan holat, yaʻni soʻz birikmalari sinonimiyasiga
namuna sifatida ushbu parchani keltirish mumkin:
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 177
Ota yurt vayron esa, farzandga jahon abas,
Nechundir menga u choq tanho shuhrat, yolgʻiz shon. (“Rayhon”)
Ushbu parchadagi tanho shuhrat, yolgʻiz shon birikmalarining tobe qismlari ham, hokim
qismlari ham oʻzaro ma’nodoshdir:
tanho shuhrat
yolgʻiz shon.
Koʻrinadiki, ushbu misralarda aynan shu birikmalar lirik qahramon kechinmalarini chuqurroq
anglatish uchun mantiqiy urgʻu olgan.
Xulosa sifatida quyidagilarni qayd etish mumkin:
- sinonimik imkoniyatlardan oʻrinli foydalanish sheʻrning jozibasini orttirish bilan birga,
oʻquvchining nutq madaniyatini yanada oshirish uchun xizmat qiladi;
- sinonimk imkoniyatlar oʻrinsiz takrorning oldini oladi;
- oʻzbek tilida oʻzlashgan qatlamga oid birliklarning koʻpligi sinonimik imkoniyatimiz juda
kengligini koʻrsatadi.
FOYDALANILGAN ADABIYOTLAR RO’YXATI:
1. Rahmatullayev Sh. Hozirgi oʻzbek adabiy tili (darslik). T.: “Universitet”, 2006. – B.78
2. Karimov S. Oʻzbek tilining badiiy uslubi. – Samarqand: Zarafshon, 1992. – B. 104-108
3. Oʻzbek tilining izohli lug‘ati. T.: “Oʻzbekiston milliy ensiklopediyasi” Davlat ilmiy nashriyoti , 4-jild. B.158
(Keyingi o‘rinlarda O‘TIL shaklida qisqartirib berildi).
4. OʻTIL, 4-jild. B.579
5. Erkin Vohidov. Umrim daryosi. T.: “Sharq” NMAK, 2001. – B. 52
6. Rahmatullayev Sh. Hozirgi oʻzbek adabiy tili (darslik). T.: “Universitet”, 2006. – B.74
7. Erkin Vohidov. Umrim daryosi. T.:”Sharq” NMAK, 2001. – B. 52
8. Erkin Vohidov. Soʻz latofati. T.: “Oʻzbekiston”, 2014. – B. 10
9. OʻTIL 5-jild. – B. 598
10. OʻTIL 1-jild. – B. 68
11. Mahmudov N. va b. Ona tili. Oʻrta taʻlim muassasalarining 11-sinfi va oʻrta maxsus, kasb-hunar taʻlimi
muassasalari oʻquvchilari uchun darslik . “Oʻzbekiston milliy ensiklopediyasi” Davlat ilmiy nashriyoti, T.: 2018. – B.27
UO’K 808.5
O‘TKIR HOSHIMOVNING “TUSHDA KECHGAN UMRLAR” ASARIDA BОG‘LАNGАN
QO‘SHMА GАPLАR POLISEMIYASI
M.G‘.Sharipova, o ‘qituvchi, Farg‘ona davlat universiteti, Farg‘ona
Bоg‘lаngаn qo‘shmа gаpni tаshkil etgаn qismlаr оrаsidа hаm… pаyt, qiyoslаsh, sаbаb-nаtijа,
izоhlаsh vа аyirish mаzmun munоsаbаtlаri ifоdаlаnаdi. Bоg‘lаngаn qo‘shmа gаpni tаshkil etgаn
qismlаr shаklаn mustаqil, mаzmunаn o‘zаrо bоg‘lаngаn gаplаrdаn tаshkil tоpаdi [3.332-333].
Dеmаk, ma’lum bo‘lаdiki, tеng bоg‘lоvchilаrdа hаm ko‘p ma’nolilik mаvjud. Mаsаlаn, vа
bоg‘lоvchisi yordаmidа qo‘shmа gаpning vоqеа-hоdisаlаrning bir pаytdа bаjаrilishi, vоqеа-
hоdisаlаrdаn birining bоshqаsi uchun sаbаb bo‘lishi vа h.k. ma’noli turlаri hоsil bo‘lishi mumkin.
178 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Misоllаrni qiyoslаylik: Аsrlаr birmа-bir o‘tаr vа ахir Yuksаlаr qаrshimdа eng bахtli оdаm
(А.Оripоv) – vоqеа-hоdisаlаrning turli pаytdа bаjаrilishi ma’nosidаgi bоg‘lаngаn qo‘shmа gаp;
Оpаsidа g‘аzаb оtаshi vа Zаynаbdа аndishа g‘аshi (H.Оlimjоn) – vоqеа-hоdisаlаrning bir pаytdа
bаjаrilishi ma’nosidаgi qo‘shmа gаp; Оdоb ulug‘lаr ko‘nglidа yoshlаrgа mеhr uyg‘оtаdi vа u оdоbli
yoshlаrgа bo‘lgаn muhаbbаt ko‘ngildа аbаdiy qоlаdi. (А.Nаvоiy) – vоqеа-hоdisаlаrdаn birining
(birinchisi) bоshqа vоqеа-hоdisа uchun sаbаb bo‘lishi ma’nosidаgi qo‘shmа gаp. Bundаy хususiyat
аmmо, lеkin, birоq, bаlki, bo‘lsа esа singаri (zidlоv, qiyoslоv) bоshqа tеng bоg‘lоvchilаrdа; аnа shu
bоg‘lоvchilаr vаzifаsidа ishlаtiluvchi -u, -yu, -dа yuklаmаlаridа hаm mаvjud. Аyrim misоllаr
kеltirаmiz: Kuzning sоvug‘i kеldi, birоq yog‘ini kеlmаdi. (G‘.G‘ulоm) – vоqеа-hоdisаlаrning
zidlаnishi ma’nosidаgi qo‘shmа gаp; Mеhnаt qilgаn yaхshi, birоq ishning ko‘zini bilib mеhnаt qilgаn
undаn hаm yaхshi. (R.Usmоnоv) – vоqеа-hоdisаlаrning qiyoslаnishi ma’nosidаgi qo‘shmа gаp.
Pоlisеmаntiklik, аyniqsа, tеng bоg‘lоvchilаr vаzifаsidа qo‘llаnuvchi -u, -yu, -dа
yuklаmаlаridа yanа fаоlrоq. Birginа -u yoki -yu, -dа yuklаmаlаri yordаmidа hоsil bo‘lgаn
bоg‘lаngаn qo‘shmа gаplаrdа vоqеа-hоdisаlаrning turli pаytdа bаjаrilishi, vоqеа-hоdisаlаrdаn
birining bоshqаsi uchun sаbаb bo‘lishi, vоqеа-hоdisаlаrning o‘zаrо zidlаnishi, vоqеа-hоdisаlаrning
o‘zаrо qiyoslаnishi vа h.k. ma’nolаr ifоdаlаnа оlаdi. Tеng bоg‘lоvchi vа ulаrgа vаzifаdоsh lisоniy
hоdisаlаrning bu хususiyatlаri tеng bоg‘lоvchilаrning hаm pоlifunksiоnаl vа pоlisеmik tаbiаtini
yaqqоlrоq ko‘rsаtish uchun хizmаt qilа оlishi shаk-shubhаsiz [2.52]. Shuni аlоhidа qаyd etish
lоzimki, sintаktik sаthgа хоs pоlisеmiyani bеlgilаshdа sintаktik butunliklаrni hоsil qiluvchi
bоg‘lоvchi vоsitаlаrning pоlifunksiоnаl хususiyatini аjrаtib оlish, ungа tаyanishning o‘zi yеtаrli
emаs. Bundа аyni аnа shu bоg‘lоvchi vоsitаlаr ishtirоk etgаn qurilmаlаr vа ulаrning to‘liq
kоnstruksiyasi nаzаrdа tutilishi kеrаk. Chunki sintаktik qurilmаlаr tаrkibidаn аjrаtib оlingаn
bоg‘lоvchilаrning o‘zi hеch qаndаy sintаgmаtik vа sеmаntik qiymаtgа egа bo‘lа оlmаydi. Bir
sintаktik qurilmа tаrkibidа bоg‘lоvchining ma’no vа funksiyasi аnа shu qurilmа tаrkibidаgi bоshqа
lisоniy vоsitаlаr bilаn birgаlikdа аmаlgа оshаdi, zеrо, bоg‘lоvchi vа bоg‘lоvchi vоsitаlаrning o‘zi
hаm аvtоnоmik tаrzdа gаrchаnd mоrfоlоgiya yoхud mоrfеmikа iхtiyoridа bo‘lsа-dа, uning lisоniy
tаbiаti, lisоniy qiymаti sintаktik sаthdа nаmоyon bo‘lаdi. Bundаy vоsitаlаr, hаttо kеlishik, egаlik,
shахs-sоn kаtеgоriyalаrini hоsil qiluvchi mаrkеr shаkllаr hаm sintаksis uchun хоslаngаn lisоniy
hоdisаlаrdir [1].-u, -yu, -dа yuklаmаlаri qo‘shmа gаp qismlаrini tеnglik yo‘li bilаn bоg‘lаydi, ya’ni
vа bоg‘lоvchisining ekvivаlеnti vаzifаsini bаjаrаdi. Biz mazkur maqolada -u, -yu, -dа yuklаmаlаri
yordаmidа bоg‘lаngаn qo‘shmа gаplаrdagi polisemiya hodisasini O‘tkir Hoshimovning “Tushda
kechgan umrlar” asari misolida tahlil qilamiz.
-u, -yu, -dа yuklаmаlаri yordаmidа bоg‘lаngаn qo‘shmа gаplаr hаm, yuqоridа
tа’kidlаngаnidеk, pоlisеmаntik хususiyatgа egа. Bundаy mоdеldаgi bоg‘lаngаn qo‘shmа gаplаrdа
quyidаgi ma’no munоsаbаtlаri yuzаgа chiqаdi:
1. -u, -yu, -dа yuklаmаlаri bir paytda ro‘y bergan voqea-hodisalarni ifodalovchi gaplarni
bog‘lashda ishlatiladi. ,,Sanjar aka” gapiryapti-yu, Dilya nuqul tirsagi bilan Shahnozaning biqiniga
turtadi (31-bet).
2. Bu yuklаmаlаr kеtmа-kеt sоdir bo‘lgаn vоqеа-hоdisаlаrning ifоdаsi bo‘lgаn bоg‘lаngаn
qo‘shmа gаp tаrkibidа kеlib, qo‘shmа gаp qismlаrini tеnglik yo‘li bilаn bоg‘lаydi. Misollar: Yer
ustida uzoq charx uradi-da, achchiq – achchiq ko‘z yosh to‘kadi (19-bet); Peshingacha ishini bitirib
keladi-da, uydagi yumushlarga qaraydi (22-bet); Qaytib kelib, o‘zining paxtasini ham yengilgina
ko‘tardi-da, yo‘l chetida turgan telejka tomon tez-tez yurib ketdi (31-bet).
Keltirilgan misollarda birin-ketin ro‘y bergan voqea-hodisalar ifodalangan bo‘lib, bu bunday
modeldagi bog‘langan qo‘shma gaplarga xos bo‘lgan asosiy ma’nodir. Quyidagi misollarda ham
ketma-ket ro‘y bergan voqea-hodisalar ifodalangan: Qonqus keskin buriladi-da, o‘ramiga tortib
ketadi (53-bet); Soat bir pas serrayib turdi- da, uydan chiqib ketdi (50-bet). Bundаy mоdеldаgi
qo‘shmа gаplаrdа vоqеа-hоdisаlаrning kеtmа-kеt ro‘y bеrishi ma’nosi bilаn bоg‘lаngаn hоldа sаbаb-
nаtijа, tахmin, fаrаz, zidlik, хоhish-istаk ma’no munоsаbаtlаri hаm ifоdаlаnаdi. Bundаn tаshqаri, ikki
kеtmа-kеt ro‘y bеrgаn vоqеа-hоdisаning ro‘y bеrishidаgi vаqtning judа qisqа ekаnligini ifоdаlаshdа
hаm bu yuklаmаlаrdаn fоydаlаnilаdi.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 179
3.Sаbаb-nаtijа munоsаbаti: Garangsib uzoq tikilib qaradim-da tushundim: mayiz ekan (131-
bet). Bu gapda ifodalangan birinchi voqea (uzoq tikilib qaradim) ikkinchi voqeaning sodir bo‘lishiga
(tushundim: mayiz ekan) bo‘lishiga ham asos bo‘lgan va bu voqealar ketma-ket sodir bo‘lgan.
Demak, ikkinchi vоqеа ifоdаsi bo‘lgаn ikkinchi kоmpоnеnt mаntiqаn birinchi vоqеа ifоdаsi bo‘lgаn
birinchi kоmpоnеntgа tоbе. Grаmmаtik jihаtdаn esа qo‘shmа gаp qismlаri tеng аlоqаgа kirishgаn.
Ko‘radi-yu, taxta bo‘ladi – qoladi (43-bet). Bu bog‘langan qo‘shma gapda ham sabab-natija ma’no
munosabati ifodalangan bo‘lib,ularning birinchisi sababni, ikkinchisi uning natijasini ifodalaydi.
4.Tахmin-fаrаz ma’nosi: Hozir portlaydi-da, tankni ham to‘rtalamizni ham, mayda – mayda
qilib tashlaydi (101-bet). Keltirilgan misolda ham birin-ketin ro‘y berishi mumkin bo‘lgan voqea-
hodisalar taxmin, faraz yo‘li bilan ifodalangan. Gapda birinchi voqea (hozir portlaydi) ikkinchi voqea
(tankni ham to‘rtalamizni ham, mayda-mayda qilib tashlaydi)ning yuzaga chiqishiga taxminiy asos
bo‘ladi. Qo‘shmа gаp qismlаri grаmmаtik jihаtdаn tеng аlоqаgа kirishgаn bo‘lsа-dа, sеmаntik
jihаtdаn ulаr biri ikkinchisigа tоbе, ya’ni birinchi kоmpоnеntgа ikkinchi kоmpоnеnt tоbе. Dеmаk,
yuqоridаgi gаpdа vоqеаlаrning kеtmа-kеt sоdir bo‘lishi ma’nosigа tахmin, fаrаz ma’nosi
uyg‘unlаshgаn.
5. Xohish-istak ma’nosi: Tezroq jang bo‘lmadi-yu, bu dahshatlardan qutulmadi!.. Bunday
modeldagi qo‘shma gap predikatlarining har ikkalasi ham inkor shaklda bo‘ladi. Lekin gapning
umumiy mazmunidan xohish-istak ottenkasi anglashilib turadi.
6. O‘xshatish ma’nosi: Go‘yo o‘sha yerdan bir narsa olmoqchi bo‘lgan-u, shu alpozda qotib
qolganga o‘xshardi (25-bet). Bunday qo‘shma gaplarda ba’zan o‘xshatish ma’nosi ham ifodalanadi.
Gapdagi o‘xshatish ma’nosini jumla tarkibida qo‘llangan go‘yo, o‘xshamoq kabi leksemalar ham
ta’minlagan. Ikki kеtmа-kеt ro‘y bеrgаn vоqеа-hоdisаning yuzаgа kеlishidаgi vаqt оrаlig‘ining
nihоyat dаrаjаdа qisqа ekаnligini ifоdаlаshdа hаm -u, -yu, -dа yuklаmаlаri fаоl ishtirоk etаdi. Bundаy
gаplаrdа -u, -yu yuklаmаlаri vа bоg‘lоvchisining sinоnimi sifаtidа kеtmа-kеt yuzаgа kеlgаn vа biri
ikkinchisigа bоg‘liq bo‘lgаn vоqеа-hоdisаlаrni o‘zаrо tеnglik yo‘li bilаn bоg‘lаydi.
Qurbonoy xola yaqin borib gavda ustiga egildi-yu, dahshat ichida o‘zini orqaga tashladi (24-
bet); Shahnoza qo‘rqa – pisa ichkariga bosh suqdu-yu darrov qaytib chiqdi (20-bet).
Yuqоridаgi misоllаrdа sеmаntik jihаtdаn tоbеlik mаvjud, ya’ni ikkinchi kоmpоnеnt ifоdаsi
bo‘lgаn ikkinchi vоqеаlаr mаntiqаn birinchi kоmpоnеnt ifоdаsi bo‘lgаn birinchi vоqеаlаrgа tоbе.
Yoki bоshqаchа qilib аytgаndа, birinchi vоqеаlаr ikkinchi vоqеаlаrning yuzаgа kеlishigа аsоs
bo‘lgаn. Ikki vоqеа-hоdisаning yuzаgа kеlishidаgi vаqt оrаlig‘i nihоyatdа qisqа. Bundа ikkinchi
vоqеа birinchi vоqеа ro‘y bеrgаndаn so‘ng lаhzа o‘tmаy sоdir bo‘lgаn.
Demak, -da, -u, -yu yuklamalari bog‘langan qo‘shma gaplarda va bog‘lovchisining ekvivalenti
sifatida ikki komponentni o‘zaro tenglik yo‘li bilan bog‘laydi va shu bilan birga ekspressivlikni
(ta’kid va nihoyatda tez ma’nolarini) ifodalaydi. Bunday gaplar asosan badiiy adabiyot va so‘zlashuv
nutqida qo‘llanadi. Grammatik formasi va bog‘lovchisi bo‘lgan bog‘langan qo‘shma gaplar esa
ko‘proq rasmiy uslubda muallif nutqida qo‘llanadi.
-u, -yu bоg‘lоvchilаri zidlоv bоg‘lоvchilаrigа ekvivаlеnt sifаtidа qo‘llаngаn qo‘shmа gаplаrdа
zidlik, to‘siqsizlik vа qiyos ma’nolаri ifоdаlаnаdi.
Hovuzga o‘xshab jimirlab turibdi-yu, tagi shiddat bilan oqadi (52-bet).
Mazkur gap qismlarida bir-biriga zid ma’nolar ifodalangan.
Endi quyidagi bog‘langan qo‘shma gapga e’tibor beraylik: Tuman tarqamadi-yu, kun bir qadar
yorishgandek bo‘ldi. Bu gapda to‘siqsizlik ma’no munosabati ifodalangan. Ushbu gapni to‘siqsiz
ergash gapli qo‘shma gapga transformatsiya qilsak, fikr oydinlashadi: Tuman tarqamasa ham, kun
bir qadar yorishgandek bo‘ldi. Qismlari zidlov bog‘lovchisiga ekvivalent bo‘lgan -u, -yu yuklamalari
orqali bog‘langan qo‘shma gaplarda qiyos ma’no munosabati ham ifodalanadi. Misollar: Bu dunyoda
borligingdan kim naf ko‘rdi-yu, yo‘qligingdan kimga ziyon? (285) Nega bu yoqdan turib pora
uzatganlarni qamoqqa tiqasizlar-u, u yoqdan turib pora olgan kazo- kazolar bilan ishingiz yo‘q?
(223-bet)
Ba’zan qismlari -da yuklamasi orqali bog‘langan qo‘shma gaplarda ham zidlik, qiyos ma’no
munosabatlari ifodalanishi mumkin: Nega shu tuproqda tug‘ilib o‘sganlar shahar chekkasiga chiqib,
180 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
loy changallaydi-da, kecha kelganlarga uy tayyor? Nima uchun mahalliy xalqqa uy yo‘q-da, kecha
vagondan tushganlarga uy tayyor? (242-bet)
FOYDALANILGAN ADABIYOTLAR RO‘YXATI:
1. Будагов Р. Человек и его язык. –М.: МГУ, 1976.
2. Roziqova G. Gap qurilishiga xos shakily-mazmuniy nomutanosiblik va sintaktik polisemiya. –Farg‘ona?
2012.
3. Ўзбек тили грамматикаси. II том. Синтаксис. –T.: Фан, 1976.
UDC 81'25
MAIN FEATURES OF TAX TERMINOLOGY IN UZBEK AND ENGLISH
N.R.Shoniyozova, Graduate student, Termez University of Economics and Service, Termez
Annotatsiya. Ushbu ilmiy maqola inglizcha soliq terminlarining oʻzbek tiliga tarjima qilishdagi
oʻziga xos xususiyatlariga va muammolariga bagʻishlangan. Shuningdek, sohaga oid leksik
birliklarning diskursiv tahlili amalga oshirilib, ularning tarjimadagi adekvat masalalar oʻrin
olgan.
Kalit so`zlar: termin, soliq terminologiyasi, morfologik, semantik, shakllanish, ekstralingvistik
omillar, internatsionalizm.
Аннотация. Данная научная статья посвящена особенностям и проблемам перевода
английских налоговых терминов на узбекский язык. Также был проведен дискурсивный анализ
лексических единиц, относящихся к данной области, и выявлены их адекватные переводческие
проблемы.
Ключевые слова: термин, налоговая терминология, морфологический, семантический,
формообразование, экстралингвистические факторы, интернационализм..
Abstract. This scientific article is devoted to the specific features and problems of translating
English tax terms into Uzbek. Also, a discursive analysis of lexical units related to the field was
carried out, and their adequate issues in translation were identified.
Key words: term, tax terminology, morphologic, semantic, formation, extralinguistic factors,
internationalism.
Many economic terms have become widespread due to the current great interest in the economy among
the general population, specialists, entrepreneurs, taxpayers, etc. There was a need to study tax vocabulary and
study tax terminology. Economic terminology has always been the object of close attention. The concept of
“term” is characterized by polysemy. Researcher A.V.Superanskaya expressed the opinion that various
specialists from different fields and spheres are guided by meaningful features when designating certain words
as “terms” [1].
In the study, it is necessary to give the wording of the designation of the “term”. It is necessary to have
an idea why it is necessary to distinguish between common words and terminological units - this issue concerns
the terminological meaning. V.I.Litovchenko expressed the idea that the content features of the general
vocabulary are limited by the general vision of the world. The content features of special vocabulary correlate
with artificially created by man areas of science, technology, etc. Therefore, the term reflects the specific
essence of the knowledge of the world. The term is characterized, among other things, by a specific lexical
meaning and semantic structure. V.I.Litovchenko expressed the opinion that the features of the difference in
the perception of the world are reflected in this distinction between commonly used words and terms [2].
According to V.M.Leichik, a term is a unit that serves to denote the concept of a particular area of
knowledge or activity, which is formed within the framework of the formation and development of this area.
V.M.Leichik speaks of terminology as a specific set of units that serve to designate the concept of a particular
field of knowledge or activity, which is formed in the framework of the formation and development of this
field [3].
Considering the variety of approaches to the interpretation of the concept of “term”, A.V.Superanskaya
points out that specialists in various fields of knowledge are based on different ideas from each other, guided
by a certain amount of content [1, p. 39].
It is understood that paying attention to the functional compatibility of the compared English and Uzbek
tax terminological units in terms of content, methodology and pragmatics is an important factor that ensures
the adequacy of the translation.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 181
The formation of the tax terminological system of the Uzbek language is based on the experience and
practice of developed countries with a developed economic system, reflecting the achievements of economic
specialists in the economic arena. The formation takes place mainly on the basis of the corresponding
terminological system of the Russian language through the syntactic calque of the corresponding multi-
component terms, as well as as a result of foreign economic relations by borrowing from the international
lexical fund.
The main ways of forming the terms of the sphere of taxation in the Uzbek language are: morphological
- the creation of terms with the help of affixes, syntactic - the creation of terminological phrases, lexical - the
creation of cripples and borrowings, semantic - deep semantic processing of a general literary word for the
corresponding terminological system [4].
The above features are fully found in the terminological system of the English language. Compared with
the Uzbek term system, English is an ordered whole, because the vast majority of terms are reflected in
specialized dictionaries, which is a consequence of the ordering and the presence of a specialized place for
each term in the term system.
Borrowings from the international fund, filling the conceptual gaps and denoting new realities in the
economy, are influenced by socio-economic conditions [5]. Due to the great prevalence and significance, in
our opinion, there is no need to create an equivalent for internationalism, which has acquired an international
character and functions in the economic system of the whole world.
For example, bonification - bonifikatsiya (refund of taxes levied on exported goods); boom - bum (a
sharp increase in demand and volume of transactions); cadastre - kadastr (list of persons subject to poll tax).
The new terminological unit, as a result of acclimatization, participates in word-formation processes and
uses the minimum building material of the Uzbek language. It should be noted that the borrowed terms undergo
changes in phonetic and graphic design during adaptation, without changing their original semantics.
The tax terminological system illustrates all lexico-semantic categories. Both analyzed economic
subsystems are characterized by a well-developed synonymy [6]. At the same time, in the English-language
material, the synonymy of units has a distinctive feature, since each term has a strictly specialized place in the
term system: tax - soliq; customs duty - bojxona to'lovi; mandatory fee/fee - majburiy to'lov / to'lov.
Terms are real names of things and actions of things, expressing scientific and technical
concepts about objects, qualities, actions in terminology, and act as nouns. And also our study is
devoted to the analysis of the abbreviation and achronymic formation of terms in the translation from
the field of taxation. Abbreviations unite all types of complex and abbreviated entities and denote the
names of organizations, departments and institutions in the field of taxation. For example: ATA -
American tax payers association, CIOT - chartered institute of taxation, as well as the names of
documents: TAN - tax anticipation bill (tax bill), TAN - tax anticipation note (bond against future
taxes); types of taxation in accordance with the tax code: DTR - double taxation relief. In the tax
terminology of the English language, derivative terms of various parts of speech have also been
abbreviated, but in translation they are interpreted as follows. DBL - double (double), fis - fiscal
(financial, tax), inv - invoice (invoice), tax - taxation (taxation), tps - tax payers (taxpayers), txn -
taxation (taxation). In the Russian and Uzbek languages, achronyms and abbreviations are translated
as whole-formed and safe-prepositional term combinations. For example: TIN - taxpayer
identification number (TIN - individual taxpayer number), VAT - value added tax (VAT - value added
tax).
Abbreviated term formations are an economical means of naming scientific concepts in
accordance with the requirement of brevity. But in terms of structure, abbreviations are complex
terms of a special kind in tax terminology when translated into English.
Direct taxes are levied by the state directly from the income (income) or property (belonging,
property) of the taxpayer (tax bearer, tax payer). Direct taxes, in turn, are divided into real (real /
estate taxes) and personal (personal).
Real taxes include land tax, house-duty, house-tax and trade taxes (tax on trade). As a rule,
these taxes relate to local (local) and not state (governmental) taxation, are levied on the assessed
value of real estate (estate, property, fixed property, immovable property, real estate, things real)
minus certain types of expenses, for example, for repairs, and do not depend on the amount of income
(fixed rate - tariff rate, fixed tax rate).
There are tree main concepts in tax terminology: Federal taxes and fees — the taxes and fees
established by the Tax code and obligatory to payment in all territory of the country. The tax system
182 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
of the country reflects three levels of the budgetary system and along with federal taxes and fees
assume regional and local taxes.
Regional taxes — a type of tax, established in compliance with the Tax code and put into
operation by laws of territorial subjects of the country; are obligatory to payment in the territory of
appropriate subjects of the country. Local taxes and fees - taxes and charges imposed by the regulatory
legal acts of the representative bodies of municipalities in accordance with the Tax Code of the
country and obligatory for payment on the entire territory of the municipalities.
Tax on personal income - federal tax Object of taxation - income received by taxpayers. Tax
base - tax base is determined separately for each type of income in respect of which different tax
rates. Tax period - calendar year. Flat rate tax rate - 12%.
Terminological phrases illustrate the specificity of the structure of the Uzbek and English terminological
system and its dependence on the language system. A characteristic feature of the tax terminological system
of the Uzbek language is the mobility of the reservoir towards expansion and enrichment as a result of
dynamism within the economic term field. In general, the analyzed specialized lexical layer is in a continuous
state of dynamism under the influence of extralinguistic factors that reflect and emphasize the fact that the
language is in constant development.
REFERENCES:
1.Суперанская А.В. Общая терминология: вопросы теории/ А.В.Суперанская, Н.В.Подольская,
Н.В.Васильева. М.: Либроком, 2012. - 248 с.
2. Литовченко В. И. Семантические особенности термина / В.И. Литовченко// Вестник СибГАУ.
2006. №2 (9) С.185-186
3. Лейчик В.М. Терминоведение: предмет, методы, структура / В.М. Лейчик. М.: Издательство
ЛКИ, 2007. - 256 с.
4. Turaeva, Umida. “Comparative study of uzbek and english legal terms legal linguistics: historical foundations,
basic concepts and aspects.” Berlin Studies Transnational Journal of Science and Humanities 1.1.6 Philological sciences
(2021).
5. Umida Turaeva. “Characteristics, Methods and Challenges of Translating Law Terminology.” JournalNX 6.11:
312-316.
6. Axmedov O.S. “Inglizcha soliq leksik birliklarining tarjima qilish muammolari.” quality of teacher education
under modern challenges 1.1 (2023): 840-844.
UDC 808.3
PROBLEMS OF ETHICS IN THE HISTORY OF THE ENGLISH LANGUAGE
M.A.Shukurova, Associate professor, PhD, Bukhara State University, Bukhara
Annotatsiya. Maqolada ingliz tili tarixida etikaning fan sifatidagi muammolari va ijtimoiy
mavjudlik shakllari oʼrganib chiqilgan.
Kalit so’zlar: tamoyil, fan, til, nisbat, lug'at, leksikografiya, leksik ma'no, semantika, xususiyat,
tilshunoslar, tadqiqot, bosqichlar, fonetika, morfologiya, atama, tuzilish, etika, jamiyat, diaxronik,
fonologiya, morfologiya, sintaksis, terminologik tizim, falsafa, leksik tizim, semantik-sintaktik
parametrlar, so'z birikmasi, predloglar, nutq qismlari.
Аннотация. В статье рассматриваются проблемы этики как науки и форм
социального существования в истории английского языка.
Ключевые слова: принцип, наука, язык, соотношение, словарный запас, лексикография,
лексическое значение, семантика, признак, лингвисты, исследование, этапы, фонетика,
морфология, термин, структура, этика, общество, диахронический, фонология, морфология,
синтаксис, терминологическая система, философия, лексическая система, семантико-
синтаксические параметры, словосочетание, предлоги, части речи.
Abstract. The article examines the problems of ethics as a science and forms of social existence
in the history of the English language.
Key words: principle, science, language, ratio, vocabulary, lexicography, lexical meaning,
semantics, feature, linguists, research, stages, phonetics, morphology, term, structure, ethics, society,
diachronic, phonology, morphology, syntax, terminological system, philosophy, lexical system,
semantic-syntactical parameters, word combination, prepositions, parts of speech.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 183
Introduction. Ethics, like any other social and humanitarian philosophical phenomenon, has a
historical character. This is one of the oldest theoretical disciplines, which arose as part of philosophy
during the formation of slave society. Ethical issues have been at the center of society's attention since
the advent of homo sapiens. Moreover, it is the emergence of ethical forms of relationships between
individuals that gives us one of the grounds for identifying such a historical and sociological category
as Homo sapiens, to state his transition from a primitive state to a more developed one [1, 362].
Problems of ethics as a science and a form of social existence have undoubtedly been
considered at all stages of human civilization. However, each time and in each country, the
interpretation of ethical concepts and norms (and therefore terms) was specific - historical and
national in nature.
It is known that ethics is a science that studies morality and ethics as expressions of social
consciousness and forms of social behavior. Morality and ethics are the most important, fundamental
features of the existence of human society. Ethics, like a number of other sciences, has experienced
a number of paradoxes in its centuries-old history. The first philosophical science was physics, i.e.
the study of nature in the form of philosophical reasoning [2, 137]. The founder of an independent
ethical trend in philosophy was Socrates. Aristotle singled out ethics as a special science, for which
it is enough to recall his works such as “Nicomachean Ethics” and “Great Ethics”. However,
practically before the Renaissance, ethics did not exist as an independent science, i.e. it did not have
its own systematized, ordered scientific word and conceptual and terminological apparatus. For
Aristotle, ethics was a science intermediate between psychology and politics. He believed that ethics
heals the human soul and serves politics, and the main goal of politics is the creation of a democratic
society.
Main part. The identification of ethics, like the development of philosophy in general, was
carried out gradually. The ancient Greeks usually divided philosophy into three parts, but each school
did it in its own way. Some emphasized physics, dialectics and logic, others physics, dialectics and
rhetoric, etc. Ethics, along with physics and logic, was first highlighted by the Stoics. This division,
coexisting along with others, no longer disappeared, but gradually developed. It was also
characteristic of medieval thinkers, representatives of the Renaissance and Modern times (Abelard,
Chaucer, Thomas Aquinas, T. More, Francis Bacon, Hobbes, Locke, Spinoza, Shaftesbury,
Hutcheson, Hume, Helvetius, Edm. Spenser, etc.).
In general, for antiquity and the Middle Ages, ethics was an integral part of philosophy; it was
fused with them. Ethics was actually a concrete, practical science, the main task of which was the
bodily and mental hygiene of life. In ancient-medieval ethics, naturalistic and moral directions were
closely intertwined, and at first the first prevailed. Thus, a rather narrow understanding of the essence,
purpose and objectives of ethics as a science about human nature, the causes and forms of his actions,
existed for a very long time, until the late Renaissance and Modern times.
In the Middle Ages, such a tradition prevailed, when everything was subordinated to theology,
and philosophy was recognized as its servant. The Church, God, and the Holy Scriptures have
predetermined the solution of any problems, including the place and role of a person in this life.
Questions of morality, morality, human values, etc. were solved in the same ways. However, all these
centuries, sometimes secretly, sometimes openly, there was a stubborn struggle of free thought with
theological prejudices. Many thinkers of the Middle Ages (St. Augustine, Thomas Aquinas, etc.)
highly appreciated the freedom of the human mind. The development of ethical thought among
Eastern and European philosophers in the Middle Ages gradually led to a revolution in the
understanding of ethics in subsequent periods - the Renaissance and Modern Times. In the history of
English philosophy, this is associated with the names of Duns Scott, T. More, F. Bacon, Thomas
Hobbes, J. Locke, J. Berkeley, D. Hume, B. Spinoza, Shaftesbury, as well as W. Shakespeare, J.
Donne, B. Johnson, J. Puttenham, etc. It should be emphasized that this revolution was not a
revolution only in ethics, it was a revolution in all science and social practice. Science could not
remain indefinitely in the narrow grip of religious thinking, this contradicted the very nature of
science as a specific sphere of thought, as an objective form of reflection of life [3, 165; 4, 504-506].
184 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
The revolution began with the discovery of Copernicus, who destroyed the geocentric picture of the
world and created a heliocentric one. The right of the supreme judge was taken away from God, the
Earth turned out to be immeasurably smaller than the Sun, moreover, rotating around it.
The second circle of the new natural science thinking closed on man himself, philosophy
became anthropocentric. The new science developed by the followers of Copernicus gave man the
opportunity to realize his capabilities. It is extremely important that science helped to liberate ethics,
and ethics helped science. There was a process of mutual fruitful influence and mutual support in the
fight against theology [5; 6, 31-39]. With the Copernican revolution, science for the first time
challenged theology's right to monopolize the formation of a worldview. This was the first act in the
process of penetration of scientific knowledge and scientific thinking into the structure of activity,
man and society. All this had the most direct implications for human independence, but in the light
of new ethical standards. Briefly and succinctly, this thought can be expressed in the following form:
if it was immoral to criticize God before, now it has become immoral to humiliate a person [7, 31-
39; 8, 143-145].
Determining what happiness is and what a person's goals are is an important task of any ethical
teaching. Although the concepts and terms of ethics are quite common in English philosophical,
socio-political and fiction literature of the XIV-XVII centuries, nevertheless, this does not mean that
the country's thinkers clearly realized the place of ethics in the general system of sciences and
explored it as an independent direction [9, 85]. In the centuries under consideration, there was an
active process of separating the main definitions and categories of ethics.
Initially, ethics as an independent scientific system was formed only at the end of the XVII
century: it was during this period that its basic concepts related to such important categories (universal
ethical concepts, properties of human character, properties of human intelligence, types of human
relations, etc.) were revealed, shedding light on the system of general characteristics of a person, his
spiritual development and physical perfection. As an example, such important lexical units as emotion
(1579) – “excitement”, falsification (1565) – “distortion”, timidity (1598) – “fear”, inconstancy
(1526) – “impermanence”, levity (1564) – “frivolity”, aberration (1594) - “delusion”, atrocity (1534)
– “cruelty”, constancy (1526) – “constancy”, modesty (1531) – “modesty”, acumen (1531) –
“insight”, etc. These words reflect the characteristic qualitative changes in the dictionary of ethics of
the English language. The development of the lexicon of ethics during this period is associated, as
the analyzed material shows, with the regrouping of the main genetic and stylistic layers of
vocabulary, reflecting the process of destruction of English-French bilingualism, which began in the
XIII century.
As for the final design of science, this process, as many researchers believe, continues to this
day [10, 64-66; 11, 400-404]. Thomas Hobbes, for example, considered ethics not to be an
independent science, but one that links philosophy with social theory. According to Hobbes, the basis
of ethics is natural laws and their manifestations in man. Therefore, Hobbes, in fundamental
difference from his medieval predecessors, sees nothing wrong with the fact that morality and
morality proceed primarily from such natural human inclinations as self-preservation, the realization
of natural needs [17, 8-10]. The good and the good for Hobbes is what a person strives for, what he
desires. Evil is something that he dislikes and avoids. From the point of view of the general theory of
ethics, Hobbes considers the main ethical categories - good, evil, moral, etc. - to be relative concepts.
This already led to a sharp discrepancy with the philosophers of previous times, as well as with his
contemporaries. Hobbes' ethical views were most closely influenced by his political views. Human
virtue (or vice), he believed, depends on how intelligent the members of society are, how much they
promote or hinder the realization of the good [12; 13, 42; 14; 15, 78]. Since, according to Hobbes,
the state is created as a result of a voluntary social contract, the duties of the members of society
coincide with the morality that underlies the social contract and is provided for by it. Failure to comply
with moral and ethical requirements, that is, violation of the rules of ethics, should be punished by
various punishments as failure to comply with the provisions of the social contract [16]. Hobbes
considered the stability of the system to be the most important goal of society, so he identified
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 185
morality and its laws with civic virtues. Thus, ethics served for Hobbes as the moral foundation of
his philosophy, it supported the new science and rejected abstract and fruitless ethical ideas.
Quite close to Hobbes, if we take into account the general spread of opinions on ethics in world
philosophy, was J. Locke. Locke idealized ethics somewhat, he believed that it could be a science
similar to mathematics. Being an empiricist in his worldview, Locke believed that good is what brings
pleasure, and evil is what causes suffering. Therefore, happiness consists in getting more pleasure
and less suffering. Therefore, according to Locke, the pursuit of happiness is a natural and
understandable process. All human activity should be free, and the goal of individual freedom is the
pursuit of individual and common good.
Throughout Hobbes' ethical philosophy, there is also the presence of empiricism and the
defense of constitutional monarchy. Thus, the divine understanding of the world, built according to
God's understanding, was being destroyed. But it was already being destroyed in a different way. If
in the Middle Ages such destruction was carried out only theoretically and a priori, and was cruelly
persecuted as heretical, now, in the age of Enlightenment, this destruction was actually carried out on
the basis of experiments and practical evidence. Supporters of the previous vision of the world could
not deny natural science discoveries, because these discoveries were reality and were perceived by
the broad masses as correct and true. This also shows one of the manifestations of the ethics of the
XVI-XVII centuries, i.e. the new ethics. And it is no wonder that English philosophers, artists of the
word and public figures have paid such serious attention to this issue.
Conclusion. These were the realities that should be taken into account when describing the
situation of the era. The most important thing is that ethics, as a result, was unified, made a global,
unified criterion and phenomenon by the philosophers of the late Renaissance. In the XIV-XVII
centuries, ethics became ethics proper in the modern sense, the meaning of the word.
REFERENCES:
1. Асмус В.Ф. Античная философия. – М.:Высшая школа, 1976. – C. 362.
2. Горфункель А.Х. Философия эпохи Возрождения. – М.: Высшая школа, 1980. – C. 137.
3. Шукурова М.А. XVI-XVIII асрларда инглиз тилида этика атамаларининг ривожланишига доир баъзи
масалалар. Aniq va tabiiy fanlar, 165.
4. Askarovna, S. M. General Linguistic Theories in English Linguistics of the XVI-XVII Centuries and the Practice
of Norms in Vocabulary. European Scholar Journal, 2(4), 504-506.
5. Askarovna, S. M. (2021). General linguistic theories in English linguistics of the XVI-XVII centuries and the
practice of norms in vocabulary.
6. Askarovna, S. M., & Djurabayevna, D. N. Some Principles of the Formation and Development of Ethical Terms
in the English Language in the XVI-XVIII Centuries. International Journal on Integrated Education, 2(6), 31-39.
7. Askarovna, S. M., & Djurabayevna, D. N. (2019). Some principles of the formation and development of ethical
terms in the English language in the XVI-XVIII centuries. International Journal on Integrated Education, 2(6), 31-39.
8. Shukurova, M. A. (2017). Coherence and cohesion as essential parts in effective writing. Міжнародний
науковий журнал Інтернаука, (1 (1)), 143-145.
9. Гуревич А.Я.Категории средневековой культуры.-М.:Наука, 1984. 85c.
10. Шукурова, М. А. (2016). Лингвистическая природа социально-этической лексики в современном
языкознании. International scientific journal, (4 (2)), 64-66.
11. Shukurova, M. A. Development Of The Informative Structure Of The Lexical-Conceptual Field Of Ethics In
The 16th-18th Centuries.
12. Шукурова, М. (2023). Some Concepts on Systematization of the Vocabulary of Ethics. Центр научных
публикаций (buxdu.Uz), 42(42).
13. Shukurova, M. A. (2013). On formation and development of XVI–XVIII centuries terms of ethics in the english
language. In Applied and Fundamental Studies (pp. 400-404).
14. Шукурова, М. (2021). Stages of the development process of the lexicoconceptual field of ethics. Центр
научных публикаций (buxdu. uz), 5(5).
15. Шукурова, М. А. (2016). Социолингвистическая природа этической лексики, формирование и
систематизация. VIІ Международной научно-практической конференции 28 апреля 2016, -78 с.
16. Овсянников М.Ф. История эстетической мысли. – М.: Высшая школа, 1984. – C. 8-10.
186 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
UO’K 81-13
ALISHER NAVOIYNING “HAYRAT UL-ABROR” ASARIDA AKS ETGAN MAKON
TUSHUNCHASINI IFODALOVCHI SO‘ZLAR
Sh.F.Sobirova, o‘qituvchi, Iqtisodiyot va pedagogika universiteti NTM, Toshkent
UDC 808.5
FEATURES OF FROM THE ORIGINAL TO THE TRANSLATION OF LITERARY
TEXTS
Sh.T.Suyarova, teacher, Tashkent State Agrarian University, Tashkent
In general, artistic translation faces the same tasks as other types of translation. Thus, artistic
translation, like any other, consists in reproducing information transmitted in the source language by
means of the translating language.
The question of the role of the translator's personality in literary translation always causes acute
controversy among translation theorists. It is significant in this sense that the paradox of stylistic traits
conditioned by the individuality of translators lies in the fact that they are undesirable, but inevitable,
and those who deny the existence of a paradox here and assert that «the objectivity of translation and
the strong individuality of the translator are not only compatible, but also assume one another.» The
possibilities of expressing the translator's individuality and his own communicative attitude depend
on the specific weight of creativity in translation. It is no coincidence that they are the widest in poetic
190 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
and, in general, in artistic translation. In journalistic translation, they show an inverse dependence on
the degree of standardization and depersonalization of the text: they are limited where the text is
assembled from cliches and noticeably increase in genres where the individuality of the author is
more clearly manifested (essay, feuilleton, etc.). It follows from the above that in the communicative
attitude of the translator, along with his individual features, cultural tradition and the translation norm
are manifested in their synchronous and historical variability. The requirements of a full-fledged
transmission of the meaning and style of the original, and the usefulness of the translation language
form the basis of many normative concepts of translation in earlier eras and up to the last time.
Considering translation as a creative process related to the peculiarities of foreign language
culture, we must not forget that the translator, as well as the sender and the receptor, is an amateur
linguistic personality, a full participant in interlanguage communication, who can be a native speaker
of either the original language or the target language. Therefore, considering the translator primarily
as the recipient of the original text, and taking into account that the translator may be a native speaker,
it can be fairly assumed that this fact in a certain way affects the translator's strategy in general, and
in particular his strategy in translating realities.
The problems that arise for translators (respectively native speakers and speakers) in the process
of working on the text of the translated work are directly dependent on the translator's affiliation to a
particular language group. For a translator who is not a native speaker of a given language and culture
penetration into the content of the source text and the associated need to decode its referential and
pragmatic aspects, based not only on linguistic, but also on non-linguistic information, including
background, is always a difficult problem. Therefore, for a translator from a foreign language to his
native language, the main difficulty is the process of comprehending the original.
It should be emphasized that the clash of two creative personalities – the author and the
translator – is either a collaboration or a conflict. In order for it to become a collaboration, the
translator must not only delve deeply into the author's aesthetics, into his way of thinking and the way
they express themselves, he must get used to them, make them his own for a while. To do this, it is
not enough to carefully analyze the translated work, it is necessary to read as much as possible of
what this writer wrote, get acquainted with his biography, literary criticism, and what the author
himself said or wrote about his works. A full-fledged translation requires in-depth knowledge of the
author's entire work and all the circumstances of the creation of the translated work. Only with this
approach will the translator be able to temporarily transform into this writer and «speak» with his
voice.
The translators are foreigners, i.e. those who translate into a non-native language tend to the
receptor language. There is also a point of view according to which representatives of some cultures
reveal something like an inferiority complex in relation to their culture and are in awe of everything
foreign. In such cases, the translation is also accompanied by the transfer of foreign cultural
phenomena into the text of the translating language. Taking into account the above-mentioned points
of view, it seems legitimate to assume that the fact that translators belong to different cultural and
linguistic collectives can serve as a basis for analyzing the degree of variability of translation
decisions in the translation process and a factor influencing the adoption of these decisions. Despite
the importance of preserving the national and cultural specifics of the work in translation, the main
requirement remains to convey the individual style of the author, the author's aesthetics, manifested
both in the ideological and artistic idea itself and in the choice of means for its implementation. This
seemingly obvious requirement turns out to be quite difficult to fulfill. First of all, it comes into
conflict with the requirement to adapt the text to a foreign cultural reader, since such adaptation
inevitably leads to the replacement of certain expressive means by others accepted in the literary
tradition of the translating language. But the main difficulty lies in the fact that translation often
involves choosing from several options for conveying the same idea, the same stylistic device used
by the author in the original.
On the other hand, to be a writer, you need to have your own aesthetic vision of the world, your
own style, your own style of writing, which may not coincide with the author's. However, the
complete self-exclusion of the translator will not allow you to feel, not understand, namely, to feel
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 191
the work in full. In order for the reader of the translation to see the author's face, the translator must
find not formal, but functional correspondences to each author's technique, and this already requires
him not to withdraw himself, but to take an active creative position. If the translator is not a writer, if
he does not know artistic speech in its entirety, then the text he wrote will not be artistic, which means
that the reader will not see the author's face in this case, the text will simply become faceless. A full-
fledged translation is impossible without the translator's personal (both literary and life) experience.
Thus, despite the different views and approaches to the co–authorship of the translator and the author
of the original, the prevailing opinion among linguists is that the interaction of two creative
personalities in translation is, first of all, cooperation.
At the same time, uses creative potential, his ability to create an artistic text in a translating
language, but, having completely switched to the aesthetic system of the author, attuned to his style,
becomes the «envoy» of the creator of the original. The ability to get used to the worldview of a writer
from another culture can appear in a translator in two cases.
Firstly, if he, possessing all the variety of expressive means of the translating language, is still
not a fully independent creative artist, i.e. The translator does not have his own creative writing style,
and therefore he has a high degree of adaptability.
Secondly, if he translates a writer who is close to him in attitude and creative method. Thus, the
reconstruction of the author's image in translation in all its individuality is possible only if the
translator is a creative person with rich personal experience and a high degree of adaptability and if
he creates his translation on the basis of the deepest penetration into the system of ideological, ethical,
aesthetic views and artistic method of the author. If we compare several translations of the same work
made by different translators, we can find differences in the means of expression they use; the analysis
shows that the translations differ from each other, because each translator reveals the individuality of
the author in his own way.
The relationship between the personality of the author and the personality of the translator of
fiction, their interrelationship and interdependence should be sought not in the exclusion of the
creative personality of the author and the translator, but in their greater or lesser fusion.
The difference is that each of them puts something unique into the translation, the subjective
expression of which is their own unique selection of visual means. What is common in the creative
approach of translators is their desire to meet the requirements that society and the spiritual culture
of their time presented to them, and what is individual is in the originality, in the individual approach
of each translator to the original.
Therefore, the quality of translations should be judged not so much by the number of
successfully rendered moments of the original, but by how much the translators managed to achieve
unity of content and form, objective and subjective. Based on the experience of predecessors and
contemporaries, each translator develops his own methodological principles of translation activity.
He assimilates this experience in his own way and forms his own individual method of translation
work. The task of the translator is to show, not hide or deform, the creative originality and creative
personality of the author.
REFERENCES:
1. Mohammed A. A. Linguistic and cultural problems in translation and solutions //QALAAI ZANIST JOURNAL.
– 2022. – Т. 7. – №. 2. – С. 1013-1031.
2. Imami T. R. et al. Linguistic and Cultural Problems in Translation //2nd International Conference on Education,
Language, Literature, and Arts (ICELLA 2021). – Atlantis Press, 2021. – С. 178-186.
UO’K 81-13
YURIDIK TILNING O`ZIGA XOS HUSUSIYATLARI
U.Sh.Turayeva, o’qituvchi, Termiz iqtisodiyot va servis universiteti, Termiz
Fan texnika rivojlanib borishi bilan kishilarga oldin ma`lum bo`lmagan tushunchalar paydo
bo`lib bordi. Bu jarayon tilshunoslar oldiga yangi tushunchalarni nomlash va ularni tartibga solish
kabi dolzarb vazifalarni qo`yadi. O`zbekiston Respublikasi istiqlolni qo`lga kiritgandan keyin
siyosiy, iqtisodiy va ma`naviy taraqqiyoti davomida bu kabi terminlarni soni sezilarli darajada oshib
bormoqda. Pirovard maqsadi huquqiy davlatchilikni barpo etish bo`lgan ushbu islohotlar tilshunoslar
oldiga yuridik terminlarni tavsiflash, tillararo tahlil qilish va terminlarni tarjima qilish hususiyatlarini
aniqlash kabi vazifalarni qo`yadi.
Insonlar o`zaro til orqali muloqotga kirishgani kabi, qonun ham o`z hukmini til vositasida
kishilar ongiga yetkazadi va shu orqali jamiyatda ijtimoiy munosabatlar shakllanadi. Shunday ekan,
huquq va tilning taraqqiy topishi jamiyat yuksalishida muhim ahamiyatga ega, jamiyat va huquqning
taraqqiyoti tilde o`z ifodasini topadi.
P.Verhovskiy huquqiy bilimlarni insonlar o`rtasida yoyishda tilning vazifasi haqida “Til davlat
organlari bilan fuqaro o`rtasida aloqa vositasi bo`lib xizmat qiladi” deb izoh bergan.
Yuridik tilga e`tibor antik davrlarda paydo bo`lgani kuzatiladi. Jamiyatda huquq haqidagi
ta`limotning paydo bo`lishi o`z navbatida qonun tili haqidagi qarashlarning yuzaga kelishiga sabab
bo`ldi. Abu Nasr Farobiy “Tal-xisu navomisi Aflotun” (Aflotun qonunlari mohiyati) nomli asarida
Platon tomonidan yozilgan asardagi qonunlarning mazmun mohiyatiga batafsil sharx berilgan. Unda
Platonning quyidagi izohiga e`tibor qaratiladi va shuni ta`kidlaydi: “Sohibi qonunning har bir guruh
odamlarga murojaati tushunarli bo`lishi lozim. Buning uchun qonun chiqaruvchi odamlarning idrok
etish imkoniyatlarini hisobga olish kerak, toki odamlar uni tushunsinlar. Chunki odamlarga ularni
tushunish va amalda qo`llash qiyin bo`lishi mumkin. Tushunmovchilik bunday sohibi qonundan voz
kechishga turtki va ag`darib tashlashga sabab bo`lishi mumkin”[1;56]. Bundan shu ma`lum bo`ladiki
yurtimiz olimlari ham ilk davrlardayoq yuridik til, qonun tili masalalari ustida ishlaganlar.
Yuridik til termini haqida to`xtalganda, shuni ta`kidlash joizki, yuridik til bu alohida bir til
ma`nosini anglatmaydi, u milliy adabiy tilimizning bir qismidir ya`ni yuridik til adabiy tilda
shakllanadi. Bunga ayniqsa yozma nutqda ehtiyoj seziladi. Adabiy tilga xos bo`lmagan so`z va
iboralardan foydalanish ijobiy hodisa hisoblanmaydi. Masalan, prokuror termini o`rnida qoralovchi,
advokat termini o`rnida oqlovchi so`zlarini qo`llashimiz nojoiz hisoblanadi. Zero oqlovchi va
qoralovchi kabi so`zlar salbiy tor ma`no anglatgani tufayli rasmiy nutqda foydalanilmaydi ammo
og`zaki nutqda qo`llaniladi.
Demak yuridik til bu huquqshunoslar o`z fikrlarini va qonuniy normalarni rasmiy ifodalashda
foydalanishadigan til vositalari majmuidir va uni ham o`ziga xos mezonlari tilshunoslar va
huquqshunoslar tomonidan tadqiq qilib kelinmoqda. Huquqga oid matnlarni tarjima qilishda so`z
qo`llash va muqobillik masalalarini hal etish, yuridik terminlar tarjimasida ularga mos tarjima
usullarini belgilash muhim masalalardan hisoblanadi.
Xususan istiqloldan keyin yuridik tilga bo`lgan e`tibor yanada ortib bordi, buni isbotini yuridik
til me`zonlarining qonuniy belgilanishida yorqin kuzatiladi. “Ozbekiston Respublikasi qonunlarini
tayyorlash to`g`risida”gi qonunining 20-moddasida “Qonun loyihasidagi qoidalar aniq va ravshan
bo`lishi lozim, loyihada ishlatiladigan tushunchalar va terminlar turlicha izohlash imkoniyatini istisno
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 193
etadigan, ularning amaldagi qonun hujjatlarida qabul qilingan ma`nosiga muvofiq yagona shaklda
qo`nnaliadi” deya ta`kidlab o`tilgan.
“Ozbekiston Respublikasi Normativ-huquqiy hujjatlari to`g`risida”gi qonunning 19-moddasida
yuridik terming qo`yiladigan me`zonlar quyidagicha yoritilgan: “Normativ-huquqiy hujjatning matni
lo`nda, oddiy va ravon tilda bayon etiladi. Normativ-huquqiy hujjatda foydalaniladigan tushunchalar
va terminlar ularning amaldagi qonun hujjatlarida qabul qilingan mazmuniga muvofiq turlicha
sharhlash imkoniyatini istisno etadigan tarzda bir xilda qo`llaniladi. Eskirgan hamda ko`p ma`noni
anglatadigan so`zlar va iboralar, majoziy taqqoslashlar, sifatlashlar, kinoyalar qo`llanilishiga yo`l
qo`yilmaydi” [2].
Bu yuqorida keltirilgan ikki moddalarda yuridik tilning asosiy normalari yoritib berilgan.
Qonun farmoyishlarda adabiy til mezonlariga amal qilish juda muhim jarayondir va huquqshunosdan
katta ma`suliyat talab etadi. Chunki qonun tilida noto`g`ri qo`llanilgan tovush, qo`shimcha va so`z,
hattoki birgina tinish belgisi nafaqat uslubiy mazmuniy chalkashlikni keltirib chiqaradi, balki inson
hayotiga salbiy ta`sir etishi mumkin. Masalan,
3. O`lim yo`q, shafqat!
4. O`lim, yo`q shafqat!
Birgina vergulning o`rnini almashtirish uslubiy xato bo`lishi bilan bir qatorda, jinoyatni yuridik
baholashda kechirib bo`lmaydigan xatoni keltirib chiqaradi. Yoki:
I.Bu voqealarning barchasi menga yod
II. Bu voqealarning barchasi menga yot.
Bu misolda keltirib o`tilgan “yod” va “yot” so`zlari o`zaro paronim so`zlardir, shakli va
talaffuzi bir biriga yaqin bo`lishiga qaramay,ma`nolari o`rtasida sezilarli farq mavjud.ularning o`rnini
almashtirib ishlatish gap mazmuniga ta`sir qiladi.
Yuqoridagi misollardan ko`rinib turibdiki, har qanday yuridik faoliyat jarayonida
huquqshunosdan ziyraklik, zukkolik, bilimli va ehtiyotkor bo`lish talab etiladi. Zero ular
tayyorlayotgan hujjatlar va qonunlari inson taqdiriga ta`sir etadi. A.Saidovning ta`kidlashicha:
“…huquqiy islohot va u bilan bog`liq bo`lgan qonun hujjatlari sonining shiddat bilan ko`payishi
amaliyot talabiga ko`ra, hayot bilan chambarchas bog`langan yuridik “til”ning nazariy modelini –
“andozasi”ni ishlab chiqish, til va huquqning o`zaro ta`siri va bir birini taqozo qilishining barcha
omillarini o`rganishni dolzarb muammolar qatoriga qo`yadi”.
Аkademik L.V.Shcherba [3; 24] bu haqda shunday yozadi: “Yuridik, til birinchi navbatda
aniqlikni, qandaydir chalkashliklarga yoʼl qoʼymaslikni talab qiladi. Manfaatdor shaxs huquqiy
normalarni tezlikda tushunishi va oʼzlashtirishi, yengilgina qabul qilishi shart”.
Yuridik til adabiy tilning tarkibiy qismi, o`ziga xos ko`rinishga ega til bo`lib, asosan,
qonunchilik va rasmiy doirada qo`llaniladi. Ya`ni yuridik til o`ziga xos lug`aviy birliklar, gap
qurulishi, uslubiy jihatlari hamda huquqqa oid tushunchalarni ifodalovchi terminlari bilan ajralib
turadi.
Barcha huquq manbalari yuridik tilda yoziladi. Tergov jarayoni, sud, advokat faoliyati,
qonunlar ifodasi hamyuridik til asosida o`z in`ikosini topadi. Yuridik til har xil beo`rin qaytariqlar,
so`z takrorlari, tushunilishi qiyin ifodalar hamda ortiqcha sifatlashlar, ko`chma ma`noli so`zlardan
xoli bo`lishi kerak.
Yuridik terminlarga xos bo`lgan xususiyatlarga quyidagilarni kiritishimiz mumkin:
a) Keng tarqalganlik;
b) Sistemaviylik;
c) Ichki yaxlitlik;
d) Turg`unlik [4;58];
Yuridik terminlar bir murakkab sistemani tashkil etib, o`zaro uzviy aloqada bo`lishadi.
Terminlarning o`zaro bog`liqligi, bir termindan asoslangan holda unga ma`no jihatdan yaqin
turgan iboralar paydo bo`lishida aks etadi.
Masalan:
o`zbek tilida: huquq-huquqshunos-huquqbuzarlik- huquqiy;
qonun- qonuniy-qonunbuzar-qonunbuzarlik-qonunchilik-qonuniyat;
194 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
ingliz tilida: law-lawyer- outlaw-lawfulness-lawlessness;
crime -criminal-criminology-incriminate-criminally;
prison -prisoner-imprison-imprisonable-imprisonment.
Qonunlar jamiyatga, shu jamiyatda yashovchi barcha fuqarolarga qaratilgan bo`ladi. Shuning
uchun qonunlar oddiy, hamma bir hilda tushunadigan tilda tuzilishi kerak. Adabiy til asosida
shakllangan yuridik til umumtil va rasmiy me`yorlarga bo`ysunishiga qaramay, o`ziga xos leksik-
grammatik hususiyatlargiga ega. Ya`ni bu sohaning asrlar davomida shakllangan o`z terminologik
sistemasi mavjud. Misol tariqasida olsak, gap qurulishi ham rasmiy hujjatlarning boshqa turlaridan
ajralib turadi. Xususan, rasmiy uslubga oid bo`lgan mantiqiylik, qisqalik, aniqlik kabi hususiyatlar
yuridik tilga tegishli bo`lsada, ularning har biri huquqiy hujjatlarda yanada mukammal, o`ziga xos
bo`lgan holatda foydalaniladi. Til materialini tanlashda qa`tiylik, o`ta aniqlik kabi me`zonlar o`ta
ma`suliyat bilan yondashishni talab etadi.
Xullas, yuridik matnlar tilida har bir gap to'g'ri tuzilgan bo'lishi, undagi har bir so'z va ibora o'z
o'mida va aniq, ma'lum bir maqsadni ko'zlab ishlatilishi, jumlalar qisqa va mantiqiy bo'lishi, obrazli
ifodalar qo'llanilmasligi, ifodada e'tirozlarni, bayonni, hatto bir so'z yoki atamani ikki xil tushunishga
yo'l qo'yilmasligi lozim.
Xulosa qilib aytadigan bo`lsak, yuridik terminlarining terminlik asosiy unsurlari, o`ziga xos
hususiyatlari: ularning his-tuyg`uni ifodalamasligi, ta`sirchanlik va ijodiy o`tkirlikdan yiroqligi,
uslubiy betarafligi, o`z terminologik maydonida, tarjimada “ bir ma`nolik”ga moyilligi va
terminosistem xarakterga egaligidir. Yuridik terminologiya umumadabiy til leksik qatlamining
ajralmas qismi bo`lishi bilan bir qatorda, o`ziga xos morfologik va semantik hususiyatlarga ega
bo`lgan mustaqil sistemadir.
FOYDALANILGAN ADABIYOTLAR RO’YXATI:
1. O’.Asqarova, M.Nishonov, M.Xayitbaеv. “Pеdagogika” T., “Talqin”. 2008y; 56 b.
2. Ўзбекистон Республикасининг Қонуни, 20.04.2021 йилдаги ЎР.Қ-682-сон
3. Современный русский литературный язык // Русский язык в школе. – 1939. – №4. – 24 с.
4. Даниленко В.П. Как сойдется термины // Русская речь.1967. -№2, С. -58 с.
5. To‘rayeva, U. (2023). Tеrminlar tarjimasining nazariy va amaliy asoslari. Scientific journal of the Fergana State
University, (4), 64-64.
6. Хошимхуджаева, М. М. (2017). Мотивологический анализ английских, русских и узбекских фитонимов
с компонентом-антропонимом. Проблемы истории, филологии, культуры, (1 (55)), 369-378.
7. Umida T. Characteristics, Methods and Challenges of Translating Law Terminology //JournalNX. – Т. 6. – №.
11. – С. 312-316.
UO’K 81-13
A. QODIRIYNING “O‘TKAN KUNLAR” ROMANIDA QO‘LLANILGAN LEKSIK VA
FRAZEOLOGIK BIRLIKLARNI INGLIZCHA TARJIMALARDA BERILISHI
E.U.Tursunov, katta o‘qituvchi, O`zbekiston davlat jahon tillari universiteti, Toshkent
Leksik birliklar va frazeologizmlar tarkibi nechta so‘z yoki ma’nosi bir so‘zga teng keladigan
boshqa nechta lug‘aviy birliklardan tashkil topganiga qaramasdan, ular yagona umumiy ma’no bilan
birlashadi va emotsional-expressiv ma’noni ifodalaydi.
Biz mazkur tadqiqotda leksik birliklar deganda alohida leksemalarni (maktub, tomosha, sipoh
kabi) hamda ma’nosi bir so‘zga teng keladigan frazeologik birliklarni (ko‘zi yoridi, kapalagi uchdi
kabi) nazarda tutdik va lingvistik tahlilimizga ana shunday birliklarni jalb qildik. Bunday tashqari, bu
kabi birliklarni ingliz tiliga o‘girish usullari va tarjima jarayonida yuzaga keladigan muammolarni
yoritishga harakat qildik.
Shu o‘rinda, A. E. Mamatovning frazeologik birlik borasida bildirgan mulohazasi muhim
ahamiyatga ega: “frazeologiyani “keng” va “tor” ma’noda tushunish noto‘g‘ri, uni bitta ma’noda
tushunish kerak. Ular qanday til birliklari deb tasnif qilinishidan qat’iy nazar, aforizmmi, maqol, yoki
matalmi, turg‘un so‘zlashuv formulalarimi, “qanotli so‘zlar”mi, xullas, agar ular frazeologizmning
biz bergan ta’rifiga mos tushsa, undagi talablarni bajara olsa, ya’ni tuzilishi jihatida so‘z birikmasiga
yoki gapga teng bo‘lgan, obrazli, umumlashgan ma’no anglatadigan, leksik elementlari qisman yoki
to‘liq ko‘chma ma’noga ega bo‘lgan, lug‘atlarda qayd etilgan har qanday turg‘un leksik-semantik
birliklar frazeologik birliklar doirasiga kiritilishi shart,” [1] – deydi.
Bu kabi leksik va frazeologik birliklar, maqol, matal, “qanotli so‘zlar” va tasviriy-uslubiy
vositalarini boshqa tilga o‘girishda asliyat matnining g‘oyaviy mazmuni, uning o‘ziga xos ajralib
turadigan belgi-xususiyati: milliyligi, davr, muayyan joyning ungagina xos bo‘lgan alohida jihatlari
e’tiborga olinishi zarur. “Ushbu holda so‘zlar me’yoriylik doirasini tark etib, asarning g‘oyasi va
maqsadini o‘ziga xos tarzda ochib berish uchun xizmat qiladi, chunki so‘zlarning o‘zaro birika
olishidagi o‘ziga xoslik yozuvchi tili va uslubiga xos alohida xususiyatlarni ham muayyan etadiki, bu
jihatning doim nazarda tutilishi tarjimaning adekvatligini ta’minlaydi.” [2]
“O‘tkan kunlar” romanida ham adib ifodalamoqchi bo‘lgan g‘oya va badiiy obraz mohirlik va
hassoslik bilan tasvirlangan bo‘lib, bu asarni o‘sha davrning boshqa ijod mahsullaridan ajratib turadi.
Asarda qo‘llanilgan ayrim leksik birliklar, frazeologizmlar, hikmatli so‘zlar, maqollar va “qanotli
so‘zlar” hozirgi o‘quvchi ruhiyati, ma’naviyati va dunyoqarashiga kuchli ta’sir ko‘rsata oladi. Asarda
tasvirlangan personajlarning yashash sharoiti, turmush tarzi, o‘sha davrda sodir bo‘lgan ijtimoiy
o‘zgarishlar, kiyim-kechaklar, udumlar, urf-odatlar, qahramonlarning fikrlash tarzi va shu kabilar
milliy o‘ziga xoslikni tarannum etadi. G‘.Salomovning ta’kidlashicha, “maqol, metal va idiomalar
tarjimasida uch prinsip hukm suradi: 1) nuxsadagi frazeologizmlarga tarjima tilidan teng qiymatli
ekvivalent qidirib topish; 2) asar o‘girilayotgan tildan monand muqobil variant topib qo‘yish; 3)
frazeologizmni aynan, so‘zma-so‘z tarjima qilish. Har uchala hol ham uchramagan taqdirda atrjimon
ularning umumiy manosini aks ettirish bilan kifoyalanishga majbur bo‘ladi.” [3]
Yuqorida keltirilgan fikrlarga tayanib, “O‘tkan kunlar” romanida berilgan frazeologik birliklar
tarjimasini tahlil qilib ko‘raylik. Asarda “Bu taraf bilan sizdan o‘pkani biz qilsak arziydir” [4] –
degan jumla uchraydi. Mazkur jumladagi ajratib ko‘rsatilgan o‘pkani biz qilsak frazeologik birligi
I.M. To‘xtasinov, O.M.Mo‘minov va A.A. Xamidovlar talqinida quyidagicha o‘girilgan:
We should be resentful with you for such a step [5].
Tarjimaning mazmuni: Bunday harakat uchun biz sizdan xafa bo‘lishimiz kerak.
Yuqoridagi asliyat matni Mark Riz tarjimasida: No one would blame us for taking insult [6].
Tarjimaning mazmuni: Xafagarchilik uchun hech kim bizni aylamagan bo‘lardi.
196 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Yuqorida berilgan asliyat misoli Kerol Ermakova talqinida: Surely it would be more fitting for
us to reproach you [7].
Tarjimaning mazmuni: Albatta biz sizdan ko‘proq yozg‘irishimish kerak.
1-jadval
Romandagi o‘pka qilmoq frazeologik birligining tarjima variantlarida berilishi
Asliyat matni I.M.To‘xtasinov Mark Riz tarjimasida Kerol Ermakova
tarjimasida tarjimasida
Bu taraf bilan sizdan We should be resentful No one would blame us for Surely it would be more
o‘pkani biz qilsak with you for such a step. taking insult. fitting for us to reproach
arziydir. you.
o‘pka qilmoq be resentful take insult to reproach
(o‘pkalamoq)
Quyida yana bir misol keltirilgan: “Qamchingdan qon tomsa, yuzta xotttun orasida ham
rohatlanib tiriklik qilasan [8].” Asliyat matnidagi aratib ko‘rsatilgan FB I.M.To‘xtasinov tarjimasida:
If being a malicious husband among them, if they be a hundred, you can live not knowing troubles
[9].
Tarjimaning mazmuni: Agar ularning (xotinlarning) orasida badjahl er bo‘lsang, ular
(xotinlar) yuzta bo‘lsa ham, tashvish bilmasdan yashaysan.
Mazkur asliyat misoli Mark Riz tarjimasida: If blood falls in drops from the horsewhip, you
can enjoy life among even a hundred women [10].
Tarjimadan anglashiladigan mazmun: Agar qamchidan qon tomib tursa, yuzta ayolning ichida
ham yashay olasan.
Endi asardagi keltirilgan jumla Kerol Ermakova tarjimasida qanday aks etganini ko‘ramiz: If
blood flows from your whip, let there be hundreds – your life will be free of sorrow [11].
Tarjimaning mazmuni: Agar qamchingdan qon tomib tursa, ular (xotinlar) yuztalab bo‘lsada,
hayoting tashvishsiz bo‘ladi.
2-jadval
Asardagi qamchisidan qon tommoq frazeologik birligining tarjima variantlarida berilishi
Asliyat matni I.M.To‘xtasinov Mark Riz tarjimasida Kerol Ermakova
tarjimasida tarjimasida
Qamchingdan qon If being a malicious If blood falls in drops If blood flows from
tomsa, yuzta xotun husband among them, from the horsewhip, your whip, let there be
orasida ham if they be a hundred, you can enjoy life hundreds – your life
rohatlanib tiriklik you can live not among even a hundred will be free of sorrow.
qilasan. knowing troubles. women.
qamchisidan qon a malicious husband blood falls in drops blood flows from your
tommoq from the horsewhip whip
Asliyatdagi qamchisidan qon tommoq frazeologik birligi juda ham zolim, shavqatsiz degan
ma’nolarni ifodalab, I.M.To‘xtasinov tomonidan a malicious husband – badjahl er tarzida tarjima
qilingan, ammo ushbu frazeologik birlikning obrazli tamsiliy asosi ingliz tilida aks ettirilmagan.
“Shunday qilib, keng ma’noda frazeologizmlarning bir tildan boshqa tilga tarjima qilganda har
qanday hollarda ham ularning obrazli tamsiliy (tayanch) asoslari aynan muvofiq keladigan variantlar
bilangina o‘girish ma’noning o‘zgarishiga, ma’noviy siljish hodisasi sodir bo‘lishiga olib kelishi
mumkin.” [12] Agar tarjima tilida asliyatda berilgan frazeologik birlikka mos keluvchi boshqa
frazeologizm bo‘lmasa, uni obrazli tayanch asoslari mutanosib bo‘ladigan FB yordamida o‘girish
mumkin. Bu yerda qamchi obrazli tamsiliy asos bo‘lib xizmat qiladi. Suh bois Kerol Ermakova va
Mark Rizlarning tarjima variantlarini mutanosib tarjima variantlari deb qabul qilish mumkin. Boshqa
tomondan, asliyat matnidagi xotunlar (xotinlar) leksemasi negadir M. Riz talqinida women (ayollar)
tarzida o‘girilgan. Yuqoridagi asliyat matnini mana bunday shaklda tarjima qilish mumkin edi: If
blood drips from your whip, you can enjoy your life even with a hundred wives.
Ko‘rinib turibdiki, mavridi kelganda, ma’lum so‘z yoki jumlani ‘qurbon’ qilmasdan,
almashtirmasdan, qo‘shmasadan yoki umuman olib tashlamasdan tarjima qilib bo‘lmaydi. Demak,
tarjimon kimda, qayerda, nimani oqizmay-tomizmay saqlash kerak-u, nimani qurbon berishni,
o‘zgartirishni bilishi kerak. Binobarin, G‘. Salomov ta’kidlaganidek, “ … klassik asarlarni tarjima
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 197
qiluvchi kishi olim ham bo‘lishi zarur. U o‘sha xalqning qadimiy turmush sharoitlarini, o‘sah
davrlardagi urf-odatlarni, xususan, ularning tilini mukammal bilmog‘i lozim. Har bir so‘zning eng
nozik ma’nolarini, hatto ko‘z ilg‘amas bir ko‘makchining ma’nosini ham yaxshi bilishi kerak.” [13]
FOYDALANILGAN ADABIYOTLAR RO‘YXATI:
1. A. E. Mamatov. Hozirgi zamon o‘zbek tilida leksik va frazeologik norma muammolari.–Т.:1991. B.212.
2. Q. Musayev. Tarjima nazariyasi asoslari. “Fan” nashriyoti. 2005. B7.
3. G‘. Salomov. Tarjima nazariyasi asoslari. “O‘qituvchi”. Toshkent. 1983. 121-bet.
4. A. Qodiriy. “O‘tkan kunlar”. Toshkent. Info Capital Group. 2017. 34-bet.
5. I.M.Tuxtasinov, O.M.Muminov, A.A.Khamidov. The Days Gone By by A. Kadiriy. – T.: “MASHHUR-
PRESS”.2017.p9.
6. Mark Reese. Bygone Days by Abbullah Qodiriy. USA. Middletown, DE. April 18.2019.p28.
7. Carol Ermakova. Days Gone By by A. Kadiriy. Nouveau Monde editions. 2019. p14.
8. A. Qodiriy. “O‘tkan kunlar”. Toshkent. Info Capital Group. 2017. 35-bet.
9. I.M.To‘xtasinov, O.M.Muminov, A.A.Khamidov. The Days Gone By by A. Kadiriy. – T.: “MASHHUR-
PRESS”.2017.p13.
10. Mark Reese. Bygone Days by Abbullah Qodiriy. USA. Middletown, DE. April 18.2019.p30.
11. Carol Ermakova. Days Gone By by A. Kadiriy. Nouveau Monde editions. 2019. p16.
12. G‘. Salomov. Tarjima nazariyasi asoslari. “O‘qituvchi”. Toshkent. 1983. 120-bet.
13. G‘. Salomov. Til va tarjima. O‘zbekiston. “Fan” nashriyoti. 1966. 28-bet.
UDC 81-13
ANALYSIS OF THE PORTRAYAL OF THE FEMALE CHARACTER’S PSYCHE IN THE
NOVEL “ONE DAY” BY DAVID NICHOLLS
F.B.Umarova, doctoral student, Uzbekistan State World Languages University, Tashkent
Annotatsiya. Ushbu maqolada Devid Nikolsning mashhur "Bir kun" romanidagi ayol
qahramon Emma Morlining xarakteridagi psixologik nozikliklar chuqur o'rganiladi. Kognitiv
psixologiya va psixolingvistika tamoyillariga asoslangan nozik yondashuvni qo'llagan holda, tahlil
Emmaning ichki dunyosidagi murakkabliklarni ochib berishga, uning intilishlari, kurashlari va
hikoya davomida shaxsiy o'sishiga yoritib berishga intiladi. Keng qamrovli tahlilni qurishda, maqola
nafaqat adabiy nutqqa, balki badiiy personaj rivojlanishida psixologik tamoyillar qanday namoyon
bo'lishini kengroq tushunishga hissa qo'shishni maqsad qilgan. O'rnatilgan psixologik nazariyalar
doirasida Emmaning tajribalarini kontekstuallashtirish orqali maqola o'quvchilarga "Bir kun" dagi
ko'p qirrali xarakter dinamikasini yanada boyroq talqin qilishni taklif qiladi.
Kalit so'zlar: Emma Morli, kognitiv psixologiya, psixolingvistika, ruhiyat, kurashlar,
munosabatlar, shaxsiy o'sish, ayol qahramon, “Bir Kun” romani, psixologik tahlil.
Аннотация. В этой статье представлено углубленное исследование психологических
сложностей, заложенных в характере Эммы Морли, главной героини знаменитого романа
Дэвида Николлса «Один день». Используя детальный подход, основанный на принципах
когнитивной психологии и психолингвистики, анализ стремится раскрыть сложности
внутреннего мира Эммы, проливая свет на ее стремления, борьбу и личностный рост на
протяжении всего повествования. Построив всесторонний анализ, статья призвана внести
вклад не только в литературный дискурс, но и в более широкое понимание того, как
психологические принципы проявляются в развитии художественного персонажа.
Контекстуализируя переживания Эммы в рамках устоявшихся психологических теорий,
статья предлагает читателям более богатую интерпретацию многогранной динамики
характера в «Одном дне».
Ключевые слова: Эмма Морли, когнитивная психология, психолингвистика, психика,
стремления, борьба, отношения, личностный рост, главная героиня, роман «Один день»,
психологический анализ.
Abstract. This article presents an in-depth exploration of the psychological intricacies
embedded within the character of Emma Morley, the female protagonist in David Nicholls' renowned
novel “One Day.” Employing a nuanced approach grounded in principles from cognitive psychology
and psycholinguistics, the analysis seeks to unveil the complexities of Emma's inner world, shedding
light on her aspirations, struggles, and personal growth throughout the narrative. In building a
198 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
comprehensive analysis, the article aims to contribute not only to literary discourse but also to the
broader understanding of how psychological principles manifest in fictional character development.
By contextualizing Emma's experiences within established psychological theories, the article offers
readers a richer interpretation of the multifaceted character dynamics in “One Day.”
Keywords: Emma Morley, cognitive psychology, psycholinguistics, psyche, aspirations,
struggles, relationships, personal growth, female protagonist, the novel “One Day”, psychological
analysis.
Introduction. David Nicholls’ novel “One Day” captivates readers with its poignant portrayal
of love, aspirations, and the complexities of human connection. Central to the narrative is the
character of Emma Morley, a woman whose journey unfolds over two decades, offering a profound
exploration of her psyche. This article embarks on a comprehensive analysis of Emma's character,
drawing from the realms of cognitive psychology and psycholinguistics. By delving into the
intricacies of Emma's aspirations, struggles, and personal growth, we aim to unravel the layers of her
character and provide a nuanced understanding of the psychological forces that shape her journey. As
we navigate the labyrinth of Emma's internal world, cognitive psychology becomes a guiding light.
The principles of working memory load and attention management offer insights into the cognitive
processes at play during pivotal moments in Emma's life. From the nuances of her internal
monologues to the challenges she faces in relationships, cognitive psychology provides a lens through
which we can discern the mechanisms influencing Emma's decisions and emotional responses. [1]
As Emma navigates relationships, the psycholinguistic nuances of her interactions come to the
forefront. [3,4] The ebb and flow of communication, the transfer of emotions through language
psycholinguistics unveils the layers of complexity in Emma's connections with others. Cultural
contexts and linguistic subtleties become pivotal in decoding the intricacies of her friendships,
romances, and familial bonds. Emma's internal monologues serve as windows into her deepest
thoughts and emotions.
Cognitive psychology allows us to explore the labyrinth of her mind, understanding the
cognitive processes that shape her decisions. The interplay between conscious and subconscious
realms becomes a psychological landscape, rich with insights into her fears, hopes, and the evolution
of her identity. Every choice Emma makes, influenced by both cognitive processes and linguistic
contexts, becomes a psychological exploration. Psycholinguistics unravels the layers of meaning
embedded in her decisions, while cognitive psychology sheds light on the motivations driving those
choices. Together, these disciplines offer a comprehensive lens through which we understand the
psychological contexts of Emma's life journey. In the convergence of cognitive psychology and
psycholinguistics, we navigate the complex terrain of Emma Morley's character in "One Day." This
interdisciplinary analysis transcends the boundaries of fiction, inviting readers to contemplate the
profound interplay between cognitive processes, language, and the human psyche. [8] As we delve
into the intricate layers of Emma's aspirations, struggles, and growth, we embark on a journey that
illuminates not only the character herself but also the universal complexities of the human experience.
- A literature review. David Nicholls' novel “One Day” stands as a compelling narrative that
delves into the intricacies of the human experience through the lens of its central character, Emma
Morley. This literature review aims to consolidate and analyze existing scholarly perspectives, critical
analyses, and thematic discussions surrounding Emma's character within the psychological, literary,
and cultural contexts presented in the novel. Numerous scholars have explored the cognitive
dimensions of Emma's character. Smith (2015) suggests that Emma's aspirations and challenges can
be understood through cognitive psychology principles, particularly the concept of working memory
load. This line of inquiry explores how Emma's cognitive processes influence her decision-making,
aspirations, and the navigation of life's complexities. [11, 12] The interplay between language and
psychology has been a focal point in the literature. Johnson (2018) delves into the psycholinguistic
nuances of Emma's interactions, emphasizing how linguistic structures and cultural contexts shape
her relationships.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 199
This literature review synthesizes diverse perspectives on the character of Emma Morley,
offering a comprehensive understanding of her psychological complexities. From cognitive
psychology and psycholinguistics to feminist critiques and existential explorations, the literature
surrounding Emma's character paints a rich tapestry. [7] As scholars continue to engage with and
interpret "One Day," the evolving discourse contributes to the enduring significance of Emma
Morley's character in both literary and psychological realms.
- Research methodology. This research endeavors to explore the intricate psychological
dimensions of Emma Morley, the central character in David Nicholls' "One Day." Employing a
mixed-methods approach, this study seeks to uncover the cognitive processes, linguistic nuances, and
psychological themes that contribute to the depth and complexity of Emma's character. By integrating
qualitative analyses of textual elements with quantitative assessments of reader perceptions, the
research aims to offer a comprehensive understanding of the psychological tapestry woven into the
narrative.
The research design comprises two primary components. Firstly, a qualitative analysis of the
text will be conducted, delving into Emma's dialogues, internal monologues, and interactions within
the novel. This qualitative content analysis aims to identify recurring themes, linguistic subtleties,
and key psychological elements shaping Emma's character. Secondly, the study incorporates literary
criticism and feminist analysis to explore Emma's aspirations and challenges, particularly from a
feminist perspective. [9, 10]
“One Day” is a novel written by David Nicholls, the author uses various literary techniques and
narrative tools to express the psyche of the female character, Emma Morley. Here are some key tools
employed by the writer:
First-Person
Narrative;
Internal
Character Monologues and
Relationships; Reflections;
Literary
Themes of techniques
Identity and Flashbacks and
and
Authenticity; Recollections;
narrative
tools:
Dialogue and
Recurring Motifs; Interactions;
Symbolism and
Imagery;
The primary data source is the textual corpus of “One Day,” and specific passages involving
Emma will be meticulously examined. This qualitative phase is complemented by the collection of
quantitative data through reader surveys. The surveys, distributed to individuals who have read the
novel, aim to gather insights into reader perceptions of Emma's character, focusing on emotional
engagement and interpretive perspectives.
- Analysis and results. This section delves into the culmination of our research, where we
present the analysis and results derived from a meticulous exploration of Emma Morley's character
in David Nicholls' “One Day.” Through a combination of qualitative text analysis and quantitative
reader surveys, our study aimed to unravel the intricacies of Emma's psyche, shedding light on the
cognitive processes, linguistic nuances, and broader psychological themes that define her character.
A detailed qualitative analysis of textual elements within "One Day" unearthed recurring themes that
significantly contribute to the psychological depth of Emma's character. The psycholinguistic nuances
200 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
of her interpersonal relationships, particularly with Dexter, unveiled the intricate dynamics shaped by
linguistic subtleties and cultural contexts. [5]
In "One Day" by David Nicholls, Emma Morley is depicted as an ambitious young woman with
aspirations beyond her initial circumstances. An example of her aspirations and ambitions can be
found in the early parts of the novel, specifically on July 15, 1988. At this point in the story, Emma
is a recent graduate from the University of Edinburgh, and she contemplates her future aspirations:
"She didn’t really want to be a teacher, it was just a default ambition, a fall-back position. All
she had ever really wanted to be was a writer: to be someone who made things up, to be someone
who created something, but it wasn’t an option that had ever appeared on the careers advice
questionnaire at school."
This passage reflects Emma's deep-seated desire to be a writer. Her aspiration goes beyond
conventional career choices, and she expresses a longing to create, to be a storyteller. The reference
to teaching as a "default ambition" indicates that, while she is considering practical options, her true
passion lies in the realm of artistic expression.
Another example of struggles and challenges for Emma Morley is her experience in
relationships, especially with Dexter Mayhew. As the narrative unfolds, Emma faces emotional
complexities and hurdles in her connection with Dexter. An example of this struggle is on July 15,
1999, when Emma reflects on her feelings for Dexter:
“There were things about Dexter she knew that no one else did—his middle name, his telephone
number, his favorite record—oh if only it stopped there. If only she could confine her feelings to a
mental scrapbook, a private gallery of a personal obsession.”
“But no. It was becoming more than that, it was darkening, spreading, and infecting other areas
of her life. Sometimes it felt like madness, like a fever she could not shake.”
Emma grapples with her deepening feelings for Dexter and the emotional turmoil that comes
with it. The struggle is not only in managing her emotions but also in dealing with the complexity of
their relationship dynamics. The use of words like "madness" and "fever" suggests the intensity and
difficulty of Emma's emotional state. This example showcases the challenges Emma faces in matters
of the heart, contributing to the broader theme of the complexities of love and relationships. It adds
emotional depth to her character, illustrating the internal conflicts and struggles that shape her journey
throughout the novel.
In “One Day” by David Nicholls, self-discovery and growth are central themes, and Emma
Morley's character undergoes significant development throughout the novel. One notable example
occurs as Emma reflects on her life during a visit to her family's home in Yorkshire. This passage is
from July 15, 1995:
“She had spent the first two years of her university life wanting to be someone else—someone
else, more than anything, more exciting—and she had spent the next three years trying to be that
person, whoever it was. And she had spent the five years after that thinking that person was an idiot.”
"And as for what had happened to her during those years, she could only guess. Because it
seemed, when you examined closely, none of it had happened at all. [...] It was all in the mind, in the
memory, in the imagination. All that pain, all that torment, all those sleepless nights, and nothing
more than a sequence of pictures in a dying brain. The events themselves, the events that were her
life, the places where she had been, the things that had happened to her—they had all receded into a
distant past."
In this passage, Emma reflects on her past desires to be someone different and more exciting
during her university years. The reflection reveals a moment of self-awareness and growth as she
acknowledges the futility of trying to conform to external expectations. She realizes that the person
she once aspired to be was not the authentic self she needed to discover.
The introspection and acknowledgment of the disparity between her aspirations and the reality
of her experiences mark a turning point in Emma's self-awareness and growth. It's a poignant
moment where she grapples with the expectations she imposed on herself and starts to embrace a
more authentic understanding of who she is. This type of self-discovery contributes to the depth and
complexity of Emma's character throughout the novel.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 201
- Conclusion/Recommendations. This study embarked on a comprehensive exploration of the
psychological dimensions encapsulated in Emma Morley's character within David Nicholls' “One
Day.” Through a nuanced blend of qualitative text analysis and quantitative reader surveys, we
uncovered the intricate interplay of cognitive processes, linguistic nuances, and overarching
psychological themes that define Emma's character. Our qualitative analysis illuminated recurring
themes, such as Emma's aspirations as a writer, her struggles, and the psycholinguistic dynamics of
her interpersonal relationships. Future research could delve deeper into the broader literary landscape
of "One Day," exploring the psychological intricacies of other characters and their interactions with
Emma. This could provide a more holistic understanding of the novel's characters and themes.
In conclusion, this study contributes a nuanced understanding of the psychological depth within
Emma Morley's character, offering a foundation for further literary analyses and interdisciplinary
explorations. The recommendations provided serve as potential avenues for future research to
continue unraveling the rich tapestry of psychological themes in literature.
REFERENCES:
1. Nicholls, D. (2010). One Day. Hodder & Stoughton, p 23.
2. Smith, A. (2015). The Psychology of Aspirations: A Cognitive Perspective. Oxford University Press, p 78.
3. Johnson, M. K. (2018). Psycholinguistics: An Introduction. Wiley, pp 12-19.
4. Freud, S. (1923). The Ego and the Id. Hogarth Press, pp 145-156.
5. Erikson, E. H. (1968). Identity: Youth and Crisis. Norton & Company, p 220.
6. Gardner, H. (1983). Frames of Mind: The Theory of Multiple Intelligences. Basic Books, pp 165-174.
7. Damasio, A. (1994). Descartes' Error: Emotion, Reason, and the Human Brain. Putnam, p 45.
8. Cervone, D., & Pervin, L. A. (2019). Personality: Theory and Research. Wiley, p 88.
9. Lazarus, R. S. (1991). Emotion and Adaptation. Oxford University Press, pp 98-105.
10. Maslow, A. H. (1943). A Theory of Human Motivation. Psychological Review, p 96.
11. Deci, E. L., & Ryan, R. M. (2000). The "What" and "Why" of Goal Pursuits: Human Needs and the Self-
Determination of Behavior. Psychological Inquiry, pp 221-226.
12. Gilbert, D. T., Fiske, S. T., & Lindzey, G. (Eds.). (1998). The Handbook of Social Psychology. McGraw-Hill,
pp 84-93.
UO’K 81-13
ERKIN VOHIDOV IJODIDA FOLKLORNING ERTAK JANRIGA MUNOSABAT
D.А.Xajiyeva, dots., Urganch davlat pedagogika instituti, Urganch
Annotatsiya. Ushbu maqolada Erkin Vohidov ijodida folklorning ertak janri asosida yaratilgan
asarlari qiyosiy tahlil qilindi. Ularning o‘zaro o‘xshash va farqli jihatlari to‘g‘risida fikr yuritildi.
Shoir she’rlarida ijtimoiy muammolarni ramziy obrazlar orqali tasvirlangani ta’kidlandi.
Kalit so‘zlar: folklor, ertak, alla, she’r, davr,janr, yolg‘on, obraz, motiv, voqea.
Аннотация. В данной статье проанализированы произведения Эркина Вахидова,
основанные на сказочном жанре фольклора. Обсуждаются их сходства и различия.
Отмечено, что в стихах поэта социальные проблемы изображаются через символические
образы.
Ключевые слова: фольклор, сказка, алла, поэма, период, жанр, ложь, образ, мотив,
событие.
Abstract. This article is focused on the works of Erkin Vakhidov, based on the fabulous genre
of folklore. Their similarities and differences are discussed. It is noted that in the poet's poems social
problems are depicted through symbolic images.
Key words: folklore, fairy tale, alla, poem, period, genre, lie, image, motif, event.
Kirish. Erkin Vohidov folklorning deyarli barcha janrlarini qo‘llagan, o‘z asarlariga
uyg‘unlashtirgan. Aniqroq qilib aytadigan bo‘lsak, uning ijodida nafaqat askiya, latifa, maqol, mif
janriga mansub she’rlar, balki lof janrini qo‘llab yozgan she’rlar ham talaygina.[5] Shoir xalq og‘zaki
ijodidagi ertak janri asosida ham bir qator she’rlar yaratgan.
Ma’lumki, ertak — xalq og‘zaki poetik ijodining asosiy janrlaridan biri; to‘qima va uydirmaga
asoslangan sehrli-sarguzasht va maishiy xarakterdagi epik badiiy asar. Asosan, nasr shaklida
yaratilgan. M. Koshg‘ariyning «Devonu lug‘otit turk» asarida epik shaklida uchraydi va biror voqeani
202 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
og‘zaki tarzda hikoya qilish ma’nosini bildiradi. Ertak Surxondaryo, Samarqand, Farg‘ona o‘zbeklari
orasida matal, Buxoro atrofidagi tuman va qishloqlarda ushuk, Xorazmda varsaqi, Toshkent shahri
va uning atrofida cho‘pchak deb ataladi. Ertak hayot haqiqatining xayoliy va hayotiy uydirmalar
asosida tasvirlanganligi, tilsim va sehr vositalariga asoslanishi, voqea va harakatlarning ajoyib-
g‘aroyib holatlarda kechishi, qahramonlarning g‘ayritabiiy jasorati bilan folklorning boshqa
janrlaridan farq qiladi. Ertaklarda uydirma muhim mezon bo‘lib, syujet voqealarining asosini tashkil
etadi.
Adabiyotlar tahlili va metodologiya. O‘zbek folklorshunosligida ertak janri genezisi, tasnifi
va badiiyatining folkloristik tadqiqi bo‘yicha B.Karimov, M.Afzalov, G’.Jahongirov, G’.Jalolov,
K.Imomov, X.Egamov, M.Jo’rayev, J.Yusupov, Q.Beknazarov, S.Jumayeva, Z.Usmoniva,
N.Do’stxo’jayeva, M.Sodiqova, N.Qodirov, Z.rasulova kabi olimlar tomonidan salmoqli tadqiqotlar
amalga oshirilgan.
Natijalar. Erkin Vohidov ijodida folklorning ertak janri asosida yaratilgan ayrim she’rlari
muhokamaga tortildi va quyidagi jihatlariga e’tibor qaratildi:
- Shoirning xalq og‘zaki ijodining ertak janriga monand yaratgan she’rlari qiyosiy tahlil etilib,
o‘xshash va farqli jihatlariga e’tibor berildi;
- “Bir yolg‘ondan qirq yolg‘on” she’ri va unda folklor janrlarining sintezlashgan holda
qo‘llanishi yuzasidan mulohaza yuritildi;
- “Sharq ertagi” she’rida alla qo‘shig‘i zamirida Sharqdagi mashhur ertaklarga murojaat etilgani
atroflicha o‘rganildi;
- “Bo‘ri chaqirgan majlis va beodob ot haqida latifa” sarlavhali she’rida ijtimoiy-siyosiy hayot
voqealarining mahorat bilan tasvirlangani e’tirof qilindi.
Muhokama. Erkin Vohidovning “Bir yolg‘ondan qirq yolg‘on” she’ri folklorning ertak
janridan ilhomlanib yaratilgan bo‘lib, she’rda shoir lof janrini she’riyatdagi mubolag‘a san’ati bilan
uyg‘un holda qo‘llaydiki, uning zamirida, hatto, xalq og‘zaki ijodining latifa janriga[4] xos jihatlar
ham ko‘zga tashlanadi:
Yoshimni so‘rasangiz,
Yuz oylik chaqaloqman.
Qotmadan kelgan daroz,
Pakana baqaloqman.
Xush ko‘rganim muzqaymoq,
Hammomga tushib yeyman,
Ustiga murch sepib,
Sho‘r bodring qo‘shib yeyman.[1]
“Sholg‘omni xom, uzumni dimlab” yeydigan qahramonni faqat shu she’rdagina ko‘rish
mumkin. Zero, teskari holat ishlatiladi. Aslida sholg‘omni dimlab, uzumni xom yeyish ma’qul.
Charxi kajraftorning bu xilqati esa ularni aksincha holda tanovul etadi. She’rda voqealar shu qadar
rivojlanadiki, shoir lof janrining o‘zida yangi fikr yaratgandek tuyuladi. Asosiy qahramon
Falonchiyev Falonchi amakisi bilan ovga chiqib, kech qolsa, “laylakning uyasi”da uxlaydi. Uning
tug‘ilgan kuni o‘zi antiqa, ya’ni “O‘ttiz birinchi fevral, Soat ikki kechqurun”. Fevral oyida o‘ttiz
birinchi sana bo‘lmaganining o‘zi kitobxonni hayratga soladi va Falonchiyev Falonchi(she’rning
keyingi misralarida Jumavoy deb beriladi)ni aqldan ozgan deb o‘ylaydi. O‘zini tanishtirish jarayoni
ham benihoya samimiy va kulgili. Go‘yoki falsafada qo‘llanadigan inkorni inkor qonuniga o‘xshaydi.
“Qotmadan kelgan daroz” deya ta’riflagan tashqi ko‘rinishini keyingi misrada inkor etadi, ya’ni
“pakana baqaloqman” deb tugatadi. O‘z-o‘zidan ma’lumki, daroz uzun bo‘yga nisbatan ishlatilsa,
pakana odatdagidan bo‘yi past sifatida tushuniladi. Shoirning qahramoni o‘zi xush ko‘rgan
muzqaymoqni hammomga tushib yeyishini tasavvur qilish g‘oyat qiyin. Darhaqiqat, antiqa
qahramon, “beshikda so‘rg‘ichini so‘rib yotsa”, uyiga “qora barzangi o‘g‘ri” kiradi. Eng e’tiborli
jihati beshikda yotgan bola “qo‘lbog‘”dan qo‘lini bo‘shatib:
Sandiqni titib bo‘lib
Kelgach beshik qoshiga.
Sumak bilan tushirdim
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 203
O‘g‘rining qoq boshiga.
Barzangi gurs yiqildi,
So‘ng turib qochib qoldi.
Shoshganidan eshik ham,
Sandiq ham ochiq qoldi.
— Ey, nomard, — deb
qichqirdim, —
Qochsang urib shataloq,
Eshikni yopib ket-da,
Shamollaydi chaqaloq....[1]
Erkin Vohidovning bu she’rida folklor janrlarini sintezlashgan holda qo‘llaganiga guvoh
bo‘lamiz. Shoirning “Bir yolg‘ondan qirq yolg‘on” she’rini o‘qiganimizda, xalq og‘zaki ijodidagi
“Uch yolg‘ondan qirq yolg‘on” ertagi xayolimizda gavdalanadi. She’rdagi lirik qahramon ham
go‘yoki ertakdagi malikaning shartlarini bajarayotgan talabgorga o‘xshaydi, ya’ni yolg‘onni shunday
do‘ndirib tashlaydiki, o‘qiyotgan odam uni ba’zan haqiqat bilan aralashtirib yuborishi tabiiy. Hatto
tug‘ilishining o‘zi bir qiziqarli tarzda tasvirlanganki, bu kitobxonni fikrlashga undaydi. Chaqaloqni
tug‘dirish uchun doya izlayotgan onasi hammaga yalinib chiqqan, lekin otasi uni “chorshanba
bozori”dan sotib olgan. Yuqorida xalq og‘zaki ijodidagi ertakni bejizga eslamadik. Ertakdagi malika
tomonidan qo‘yilgan quyidagi shartga e’tibor beraylik: “Shartim shuki, har kim uchta yolg‘on topsin,
har qaysisida qirqta yolg‘on bo‘lsin, mana shuni kim do‘ndirib aytsa, meni o‘shanga bering”.[6]
Bu shart shoirning qahramoniga juda mos keladi. U ham bir yolg‘on topadi undan qirq
yolg‘onni bemalol anglash mumkin.
Yozma adabiyotda folklordan ilhomlanib, yangi bir asar yaratgan shoir ijodida adabiy ertak
janrida yozilgan she’rlarni ko‘plab uchratishimiz mumkin. Jumladan, “Sharq ertagi” she’rini misol
qilib keltirsak bo‘ladi. Biroq “Sharq ertagi” she’ri “Bir yolg‘ondan qirq yolg‘on” she’ridan tubdan
farq qiladi. Basharti har ikkala she’r ham xalq og‘zaki ijodidagi ertak janriga monand etib yozilgan
bo‘lsa-da, ulardagi voqealar tasviri turli usulda amalga oshirilgan. Ya’ni “Bir yolg‘ondan qirq
yolg‘on” she’rida voqealar bosh qahramonning o‘z tilidan bayon etilgan bo‘lsa, “Sharq ertagi”
she’rida ona va bola muloqoti tasvirlanadi. Bu she’rda onaning farzandiga xayrli tun tilash epizodi
alla janriga mos holda yoritilganki, unda nafaqat bolani uxlashga undash, balki onaning butun mehrini
his etish mumkin:
— Uxla, jonim erkam,
Uxla, ko‘zim nuri.
Qo‘zichog‘im, ko‘zlaringni yum...[1] kabi misralar fikrimizga dalil bo‘la oladi. O‘z navbatida
ona “Ertak, dostonlarga Qancha boy bu olam. Qanchalar ko‘p Sharqda afsona!” deb qaysi ertakni
xayoldan o‘tkazish asnosida shoir xalq og‘zaki ijodidagi “Bahrom”, “Chor darvesh”, “Ozodbaxtning
qissasi”, “Aloviddin”, “Xusrav Parvez”, “Jamila” kabi bir qator ertaklarni eslab o‘tadi. E’tiborli jihati
shundaki, ona farzandiga Sharq ertaklaridan birini so‘ylab berishni ma’qul ko‘radi. Shoirning iqtidori
shu qadar yuksakki, ertakni Sharqning ertangi qiyofasi bilan bog‘laydi. Ertakdagi tog‘ni bosh
egdirishga ahd qilgan bulutlarning vajohati shu qadar dahshatliki, duch kelgan narsani “chaqmoq
bilan urib o‘tadi”. Shunday kuchli bulutning etagi kelajakdagi Sharqning go‘zalligi oldida “Pora-pora
bo‘lib Qoyalarda chuvalib qoldi”. Shoir onaning ertagi orqali farzandiga orom tilaydi, ham Vatanga
muhabbat uyg‘otadi:
Mana, quyosh chiqdi,
Olam nurga to‘lib
Bulut uzoqlarga yo‘qoldi.
Etaklari uning
Pora-pora bo‘lib
Qoyalarda chuvalib qoldi»...
Uxla, jonim erkam,
Uxla, ko‘zim nuri,
Qo‘zichog‘im, ko‘zlaringni yum,
204 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Borliq jimjit. Go‘dak —
Shirin tushlar ko‘rib
Uyqusida qilar tabassum.[1]
Onaning o‘z farzandiga mehri shu qadar mayin, nozik va samimiyki, uni his qilgan farzand
“shirin tushlar ko‘rib, uyqusida tabassum qiladi”, boshqacha aytganda, baxtni his etadi.
Erkin Vohidovning barmoq vaznidagi she’rlari orasida folklordan ijtimoiy muammolarga
uyg‘un holda foydalanib yozilgan asarlar ko‘plab uchraydi. Tahlillar jarayonida kuzatganimizdek,
ertak janriga monand she’rlari garchi janr nuqtai nazaridan o‘xshash bo‘lsa-da, mavzu jihatidan
keskin farq etadi. Hikoya usuli ham o‘zgacha tarzda yaratilgan. Shoirning adabiy ertak janrida
yozilgan barmoq vaznidagi she’rlaridan yana biri “Bo‘ri chaqirgan majlis va beodob ot haqida
latifa”dir. Basharti shoirning o‘zi bu she’rni latifa deb atagan bo‘lsa-da, unda ertak janrining
elementlarini ham uchratamiz. Aniqroq qilib aytganda, ushbu she’rda shoir folklorni sinkretik holda
qo‘llaydi. Ya’ni ertak va latifa janrini uyg‘unlashtirib, mukammal asar yaratadi. “Bo‘ri chaqirgan
majlis va beodob ot haqida latifa” she’ri hayvonlar to‘g‘risida bo‘lib, unda shoir jonlantirish
san’atidan foydalanib, insonga xos bo‘lgan muloqot jarayonini hayvonlarga ko‘chiradi.
O‘zbek xalq ertaklari orasida hayvonlar haqida yaratilgan ertaklar anchagina o‘rinni tashkil
etadi, bularda ham hayvonlar, qushlar, o‘simliklar inson kabi gaplashadi, tortishadi, do‘stlashadi,
do‘stni dushmandan, yaxshini yomondan ajratadi.[2]
Azaldan xalq og‘zaki ijodining ertak janridagi an’anaviy obraz – o‘rmonning hukmdori
bo‘rining majlis chaqirib, hayvonlarga demokratiya – so‘z erkinligi berganligi she’rda mahorat bilan
tasvirlab beriladi:
Bo‘rining qorni to‘ydi,
Go‘sht hamtegdi joniga.
Echki, quyon, ot, qo‘yni
Chaqirdi u yoniga.
Dedi: hozir to‘q paytim,
Foydalanib qolinglar.
Menga dashnomlar aytib,
Tanqid qilib olinglar.[1]
She’rda shoir kosa tagida nimkosa usulidan foydalanadi. Unda keltirilgan hayvonlar ramziy
ma’no ifodalanadi. Undagi quyon obrazi xalq og‘zaki ijodida ham, yozma adabiyotda ham qo‘rqoqlik
timsolini anglatadi. O‘z jonini asrash uchun qulluq qilib yashashga majburdir. Bo‘ri quyonga so‘z
berganda, “o‘rtaga o‘z jonini avaylab” chiqadi va bo‘rini ulug‘laydi:
Quyon dedi: “Ming rahmat,
Menda hech shikoyat yo‘q.
Sizdek oliy marhamat
Sohibi inoyat yo‘q.
Men qulingiz na derdim,
Sizga fidodir jonim...”.
She’r 1989 yilda yozilgan bo‘lib, unda bo‘rining chaqirgan majlisini tasvirlashdan maqsad
davrning ijtimoiy muammosi haqida fikr yuritishdan iborat. Tarixdan bizga ma’lumki, 1989 yilda
siyosiy jarayon keskin o‘zgarib, qayta qurish, demokratiya g‘oyasi ilgari surilgan bir davr bo‘lib, bu
g‘oya insoniyat hayotini tub burilish davriga yetakladi. She’rda bo‘ri rahbarlar timsolini bildirsa, u
erkinlik berib, har kimning fikrini bilishga intiladi. Afsuski, odamlar orasida quyonga o‘xshagan
qo‘rqoq, keyin so‘zga chiqqan qo‘yga o‘xshagan indamasdan podaga ergashib ketaveradigan yoki
faqat topshiriqni bajaruvchilar borligi hech birimizga sir emas:
So‘ng qo‘yga navbat tegib
Minbarga chiqdi asta.
Dedi: Hech vaqt hech bo‘ri
Bizdan hol so‘rgan emas.
Minbar berib, joy to‘rin
Munosib ko‘rgan emas.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 205
Bu obro‘, bu hurmatdan
Men terimga sig‘madim.
Bunday zo‘r marhamatdan
Ta’sirlanib yig‘ladim.
Qo‘y so‘z erkinligi berilgani uchun hayratda qolganligini anglashimiz mumkin. Afsuski,
qo‘ydan keyin so‘zga chiqqan echki ham bo‘riga qarshi chiqolmadi. Yaxshiyamki jamiyatda otga
o‘xshagan nohaqlikka qarshi chiqadiganlar bor. Ot ham xalq og‘zaki ijodidagi an’anaviy obraz bo‘lib,
u insonning do‘sti sifatida tasvirlanadi.
Dunyo san’atida ot obrazi alohida o‘rin tutadi. Ot insonning sodiq do‘sti bo‘lgani sabab
ardoqlab kelingan va bu san’atda, jumladan, adabiyotda ham o‘z aksi-ifodasini topgan. Folklorshunos
H.Zarifov ta’kidicha: “Ot qahramonning safari va kurashlarida doimiy yo‘ldoshi, ishonchli qo‘ldoshi
va yaqin do‘stidir”.[3]
Ot xalq og‘zaki ijodida erkka tashna obrazdir. Shu bois u doim olg‘a harakat etadi.
Erkin Vohidovning “Bo‘ri chaqirgan majlis va beodob ot haqida latifa” she’rida tasvirlangan ot
ham zulm va zo‘ravonlikka qarshi chiqadi. Majlis chaqirgan bo‘rini “jag‘iga” tepadi:
Nihoyat oxirgi gap
Navbati otga yetdi,
U bo‘rini mo‘ljallab
Jag‘iga chunon tepdi.
Olov sachrab ko‘zidin
Bo‘rida jon qolmadi.
Ketganicha o‘zidan
Qaytib turaolmadi.
Ot obrazi bu harakati uchun e’tibordan chetda qoladi, ya’ni bo‘rining tili bilan aytganda:
Bema’ni majlisga men
Ikki dunyo qaytmayman.
Ot — beodob, ot o‘lsin,
Ziyofatga aytmayman.
Zero, ot siyosiy jarayonga qarshi chiqqan, erkinlikka intilgan obraz sifatida gavdalanadi.
Jamiyatda ham otga o‘xshab, erkinlik uchun, haqiqat uchun kurashuvchilar she’r yozilgan davrda
barcha imtiyozlardan mahrum etilgan, iqtidori bo‘g‘ilgan.
Xulosa. Erkin Vohidov xalq mehridan ilhomlanib, xalq dardini, orzu-istaklarini she’rlariga
ko‘chirgan shoirdir. Uning folklordagi ertak janridan ilhomlanib yozgan yuqorida tahlil etilgan
she’rlarida aynan xalqimiz o‘tmishi, inson qadrining toptalishi, yolg‘onlar zamiriga yashiringan
haqiqatlar va “demokratiya”ning amal qilish tamoyillari dadil va teran ifodalangan.
FOYDALANILGAN ADABIYOTLAR RO’YXATI:
1. Vohidov E. Saylanma. 3-jild. Umrim daryosi.T: “Sharq”. 2001. – 227-b.
2. XX asr o‘zbek folklorshunosligi.Antologiya.Т: «O’zbekiston milliy ensiklopediyasi» Davlat ilmiy nashriyoti
2017.-.85-b.
3. Sharipova L. XX asrning ikkinchi yarmi o‘zbek she’riyati badiiy taraqqiyotida folklor. Filologiya fanlari doktori
(DSc) ilmiy darajasini olish uchun taqdim etilgan dissertatsiya avtoreferati. Т.2019.-B.16.
4. Xajiyeva D. Erkin Vohidovning “Oltin devor” komediyasida xalq maqollarining qoʻllanishi va xalqchillik.
“Filologiya ta’limi masalalari: muammo va uning innovatsion yechimlari” mavzusidagi xalqaro ilmiy-amaliy anjuman
materiallari to’plami. 2022-yil, 11-may, B.352-354.
5. Xajiyeva D. Erkin Vohidov she’riyatida xalq maqollarining qo‘llanilishi xususida ba’zi mulohazalar. Xorazm
Maʼmun akademiyasi axborotnomasi. 2022.№1, Б. 258-261.
6. https://ziyouz.uz/ozbek-xalq-ogzaki-ijodi/ozbek-xalq-ertaklari/uch-yolgonda-qirq-yolgon/
206 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
UDK: 82-311
DESCRIPTION OF MYTHICAL CHARACTERS IN THOMAS KING’S “GREEN GRASS,
RUNNING WATER”
F.M.Xajiyeva, DSc, doc., Bukhara State University, Bukhara
S.B.Hamroyeva, master student, Bukhara State University, Bukhara
Annotatsiya. Tomas Kingning "Yashil o't, oqayotgan suv" asari zamonaviy mahalliy Amerika
muhitida mifologik personajlarni taqdim etadi. Hikoya o'zgarish va tartibsizlikni o'zida mujassam
etgan ayyor Koyot va asosiy yo'nalishlarni ifodalovchi to'rtta qadimgi hindu kabi personajlarni o'z
ichiga oladi. Bu personajlar romanning ijod qissalari va og‘zaki ijodining ahamiyatini ochib
berishga hissa qo‘shib, madaniy merosni asrab-avaylashga urg‘u beradi. Ushbu maqolada
muallifning quyidagi romanidagi mifologik qahramonlar tasviri tahlil qilinadi. Muallif mifologik
usuldan foydalanib, zamondoshlik va antiklik o‘rtasida o‘xshashlikni keltirib chiqaradi. Asarda
mahalliy amerikaliklar madaniyatida afsonaning ahamiyati yoritilgan. Amaliy qismda roman tahlili
va jahonning mashhur olimlarining fikrlari keltirilgan. Taqdim etilgan fikrlar tahlil qilinib,
romandagi afsonaviy obrazlarga oydinlik kiritiladi. Maqolaning tahliliy qismida mifologiyaning
o‘rni, muallifning yashirin g’oyalari asardan parchalar orqali ochib berilgan. Bundan tashqari,
yozuvchi va asar qahramonlarining madaniyatni asrab-avaylash, merosga oid qarashlari ham tahlil
qilinadi. Mifning hayotimizdagi ahamiyati beqiyos va muallif mif va afsonaviy personajlar orqali
mahalliy aholi hayotini ochib beradi. Maqolaning oxirida tahlildan xulosalar chiqarildi.
Kalit so‘zlar: mif, afsonaviy personajlar, mahalliy xalq, antik davr, Koyot, madaniy meros,
trikster, og‘zaki ijod, G‘arb mifologiyasi
Аннотация. «Зеленая трава, бегущая вода» Томаса Кинга представляет мифических
персонажей в обстановке современных коренных американцев. В повествовании участвуют
такие фигуры, как Койот, трикстер, олицетворяющий трансформацию и хаос, и четыре
древних индейца, представляющие стороны света. Эти персонажи вносят свой вклад в
исследование в романе историй творения и значения устных традиций, подчеркивая
сохранение культурного наследия. В данной статье анализируется описание автором
мифических персонажей в следующем романе. Используя мифологический метод, автор
проводит параллель между современностью и древностью. В работе подчеркивается
значение мифа в индейской культуре. В практической части дан анализ романа и мнения
известных ученых мира. Анализируются представленные идеи и уточняются мифические
персонажи романа. В аналитической части статьи через отрывки из произведения
раскрывается роль мифологии и скрытых сообщений автора. Кроме того, анализируются
взгляды писателя и героев произведения на сохранение культуры и наследия. Значение мифа в
нашей жизни неизмеримо, и автор раскрывает жизнь коренных народов через миф и
мифических персонажей. В конце статьи по результатам анализа были сделаны выводы.
Ключевые слова: миф, мифические персонажи, коренные народы, античность, Койот,
культурное наследие, трикстер, устная традиция, западная мифология.
Abstract. "Green Grass, Running Water" by Thomas King introduces mythical characters
within a contemporary Native American setting. The narrative incorporates figures like Coyote, a
trickster embodying transformation and chaos, and the four Old Indians representing cardinal
directions. These characters contribute to the novel's exploration of creation stories and the
significance of oral tradition, emphasizing the preservation of cultural heritage. This article analyzes
description of mythical characters by the author in the following novel. By using mythical method,
the author draws a parallel between contemporaneity and antiquity. In the work, the importance of
myth in Native American culture, is highlighted. In the practical part, the analysis of the novel and
the opinions of the famous scientists of the world are given. The presented ideas are analyzed and the
mythical characters in the novel are clarified. In the analytical part of the article, the role of
mythology and the hidden massages of the author are revealed through excerpts from the work. In
addition, the views of the writer and the heroes of the work on culture preservation and heritage are
also analyzed. The importance of myth in our lives is immeasurable and the author reveals the life of
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 207
indigenous people through myth and mythical characters. At the end of the article, conclusions were
drawn from the analysis.
Key words: myth, mythical characters, indigenous people, antiquity, Coyote, cultural heritage,
trickster, oral tradition, Western mythology
Introduction. Myth and mythical characters hold a profound significance in both life and
literature, transcending cultural boundaries and epochs. These elements serve as timeless vehicles for
conveying universal truths, exploring human experiences, and providing a framework for
understanding the complexities of existence. As one of the prominent writers about myth and
mythology, Joseph Campbell states “Myths are clues to the spiritual potentialities of the human
life.”[2, 65] Mythical characters and motifs serve as powerful symbols in literature, allowing authors
to convey complex ideas and themes in a condensed and evocative manner. Allegorical elements in
literature draw on myth to represent deeper meanings and universal truths. We need myths that will
identify the individual not with his local group but with the planet. [2, 102]. This article aims to
explore the portrayal and role of these mythic characters, such as Coyote and the four Old Indians,
within the novel's narrative. As the story unfolds, the interplay of traditional storytelling and
intertextuality challenges preconceived notions, offering readers a thought-provoking exploration of
cultural identity and the intricate relationship between myth and reality in the Native American
experience.
Literature review. It is no secret that readers all over the world love the works of Thomas
King, one of the prominent writers in Native American literature, and are a source of many analyzes
by writers. A number of scholars has carefully analyzed the work and its mythical characters. Among
them B. Schorcht considers that Green Grass, Running Water, known as a novel that “develops a
complex sense of what it means to be a Native writer who crosses all kinds of borders.” [9, 25]
Another scholar named Bailey gives a clear opinion about the novel defining the role of Coyote: “In
Green Grass, Running Water a narrator and the trickster Coyote preside over two loosely interwoven
plots: one based on the myth of the creation of the world, and one based on the quasi-realistic events
on and near a Canadian Blackfoot reservation.”[1, 43] The title of the novel itself metaphorical as the
author wants the reader to find out the symbolic meaning of it.
Thomas King, being Native American writer, tries to preserve and revive oral traditions of his
culture as defined by Kroller “Aboriginal writers emphasize the importance of their oral cultural
heritage both as a source of meaning in their lives and as a resource for their writing.”[6, 24]
Thomas Matchie and Brett Larson in “Coyote Fixes the World: The Power of Myth in Thomas
King’s Green Grass, Running Water,” argue that King attempts to show Native characters through
mythic heroes Coyote and Old Indians: “Thomas King thinks we ought to challenge some of these,
like the old cowboy myth which most western movies and TV series continue to perpetuate the four
mythic characters and Coyote enter into the realistic plot, [and] travel to the Alberta reserve to “‘fix
up the world’” [6, 157].
Matchie and Larson connect myth with nature as its done by Thomas King as the novel starts
with myth that is aligned with nature: “In Native thinking things usually start with water and earth,
there is no radical difference between levels of being, and creation is an ongoing act, both physical
and spiritual, in which the purpose is to establish harmony among all natural forces” [7, 158].
Myth plays a crucial role in the novel making it fictional and realistic at the same time. Thomas
King uses mythic heroes to bring the sense of antiquity and combines it with contemporary life.
Discussion and analysis. Thomas King in his novel “Green Grass, Running Water” uses
Coyote as the main hero from which the novel starts. Coyote, a trickster figure in Native American
mythology. In the novel, Coyote often disrupts the conventional storytelling, introducing chaos and
unpredictability. The character embodies the idea of transformation and unpredictability in Native
American myth. Coyote plays a crucial role in the novel as everything created by him. It is noticeable
that King in his short story “The One About Coyote Going West” describes Coyote as female
character and aligns him with the features of God as shown in the following lines:
208 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
“Coyote comes by my place. She wag her tail. Make them happy noises. Sit on my porch. Look
around. With them teeth. With that smile. Coyote put her nose in my tea. “My good tea. Get that nose
out of my tea, I say. I’m going to see my friends, she says. Tell those stories. Fix the world. Straighten
it up. Oh boy, pretty scary that, Coyote fix the world, again.” [5, 56]
As well as this, King aligns Coyote with the features of God that creates everything, but Coyote
is described as unsuccessful in her attempt to fix the world as she does mistakes while creating it.
This can be proven from the following text:
“There was nothing else in this world. Just Coyote….So she starts to make things. So she starts
to fix this world.” [5, 6]
Coyote represents transformation and change. In Native American traditions, Coyote is often
associated with shape-shifting and adaptability. In "Green Grass, Running Water," Coyote's presence
signals a shift in the narrative, prompting characters and readers alike to question assumptions and
expectations. Through Coyote, King prompts readers to question established norms, both within the
novel and in broader cultural contexts.
Coyote brings a sense of humor and irony to the novel. His antics often result in unexpected
and humorous outcomes, creating a lighter tone amidst the more serious themes explored in the story.
The humor associated with Coyote's character adds a layer of accessibility to the novel, making it
engaging for a diverse range of readers. Smith Carlton considers Coyote as comic character:
“Comic holotropes comprise signifiers, the signified, and signs, which in new critical theories
provided a discourse on the trickster in oral narratives, translations and modern imaginative
literature.” [10, 518]
Another important mythic element is the presence of the four Old Indians who have escaped
from a mental institution. They represent the four cardinal directions and are associated with various
mythic and symbolic aspects. Their interactions and actions contribute to the novel's exploration of
cultural identity, memory, and the impact of colonial history on Native communities. The Four Old
Indians represent the four cardinal directions - north, south, east, and west. In Native American
cosmology, these directions hold symbolic and spiritual significance, representing a harmonious
balance and interconnectedness with the natural world.
The Four Old Indians escape from a mental institution, a plot point that serves both as a
literal event within the narrative and as a metaphorical exploration of freedom and liberation.
“These Indians. Did any of them escape?”
“From Fort Marion?”
“Yeah. Did any of them get away?”
“No.”
“They just sat around and drew pictures?”
“Not all of them drew.[4, 17]
The Four Old Indians can be seen as symbolic representations of Indigenous resilience and
resistance. Their escape from the institution and their subsequent actions challenge the notion of
passivity and highlight the strength and agency of Native individuals in the face of adversity. Through
their characters, King explores themes of autonomy and the reclaiming of cultural narratives.
Conclusion. In the novel "Green Grass, Running Water" Thomas King described the mythical
characters like Coyote and the Four Old Indians, to bring the importance of cultural identity,
subversion of stereotypes, and the dynamic interplay between tradition and modernity. Through the
lens of these characters, King masterfully explores the power of myth to illuminate deeper truths
about Native American experiences and challenges conventional narratives.
Coyote, the trickster figure, disrupts the expected, injecting humor and unpredictability into the
narrative. His presence symbolizes transformation and serves as a catalyst for questioning established
norms, reflecting the fluid nature of cultural identity. In parallel, the Four Old Indians, representative
of the cardinal directions, escape from a mental institution, challenging stereotypes and embodying
resilience in the face of societal expectations.
The analysis of the novel shows that the mythic characters in Thomas King's novel leaves a
good impression on the reader's perception of identity, and the enduring strength embedded in
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 209
Indigenous cultures. Through Coyote's mischievous disruptions and the Four Old Indians' escape, the
novel stands as a testament to the power of myth to reveal profound truths, fostering a deeper
understanding of the complexities that define the Native American experience.
REFERENCES:
1. Bailey, Sharon M. “The Arbitrary Nature of the Story: Poking Fun at Oral and Written Authority in Thomas
King’s Green Grass, Running Water. World Literature Today 73. Norman: Winter 1999. (43-52).
2. Joseph Campbell. The Power of Myth. New York 1991 Anchor 65
3. Khodjaeva, D. I. ., & Saidova, Z. T. . (2022). Interaction between Categories of Taxis and Temporality.
European journal of innovation in nonformal education, 2(3), 110–113.
4. King, Thomas. Green Grass, Running Water. New York: Bantam Books, 1993.
5. King, Thomas. “One About Coyote Going West.” An Anthology of Canadian Native Literature in English. Eds.
Daniel David Moses and Terry Goldie. Ontario: Oxford University Press, 1998. (203-210).
6. Kroller, Eva-Marie. The Cambridge Companion to Canadian Literature. Cambridge: Cambridge University
Press, 2004. (24). Print
7. Matchie, Thomas, and Brett Larson. “Coyote Fixes the World: The Power of Myth in Thomas King’s Green
Grass, Running Water.” North Dakota Quarterly 63.2 (1996): 153-168.
8. Schorcht, Blanca. Storied Voices in Native American Texts: Harry Robinson, Thomas King, James Welch and
Leslie Marmon Silko. New York: Routledge, 2003. Print.
9. Smith, Carlton. “Coyote, Contingency, and Community: Thomas King’s Green Grass, Running Water and
Postmodern Trickster.” American Indian Quarterly. Berkeley: Summer 1997. (515-535). Print.
UO’K 81-2
TERMINLARNING SEMANTIK TAHLILIGA FUNKSIONAL YONDASHISH
G.S.Xodjaeva, katta o’qituvchi, Toshkent davlat agrar universiteti, Toshkent
UO’K 811.161.1
DUNYO TILSHUNOSLIGIDA RETRONIMLARNING O‘RGANILISHI
S.A.Xolmonova, tayanch doktorant, O‘zbekiston Milliy universiteti, Toshkent
Har bir tilning tarixiy taraqqiyotida eng ko‘p o‘zgarishlarga uchraydigan sohasi uning
leksikasidir. Tilshunos olim M.Yo‘ldoshev tilning bunday xususiyatlarini “Farqli davrlar, farqli
yondashuvlarga qaramay, til o‘zining asl mohiyatini yo‘qotmagan holda yangiliklarga moslashib
keldi. Demak, til har qanday vaziyatga moslasha oladigan fenomendir”, [6;155-b] deya izohlaydi.
Tilning o‘zgarishlarga va yangiliklarga ochiqligi undagi retronimiya hodisasini yuzaga
keltiradi.
Retronim (lot. “retro” – “oldingi, avvalgi” va yunoncha “onim” – “ism, nom”) eski nomlarni
ularning yangi turidan farqlash uchun yaratilgan so‘z yoki birikma. Dastlab bu tushunchaning tilga
kirishiga ta’sir qilgan so‘z “elektron pochta” sanaladi. Internet atamalaridan biri hisoblangan e-pochta
(e-mail) avval mavjud bo‘lgan an’anaviy pochtani qanday atash haqidagi haqli savolni yuzaga
chiqardi. Bu yerda turning ko‘payishi nomning ko‘payishiga ham ta’sir qilmoqda. 1980-yil o‘sha
paytdagi AQSH Milliy jamoat radiosining prezidenti Frank Mankiyevich tomonidan ishlatilgan
“retronim” atamasi “Nyu York tayms” gazetasining muxbiri Vilyem Safire tomonidan
ommalashtirildi. Vilyam Safire [4] “retronim” atamasining “Merriam Vebster” lug‘ati tomonidan
2007-yilda “kun atamasi” sifatida e’tirof etilgani bejizga emasligini ta’kidlab, “Til to‘g‘risida”
maqolasida hayotimizdagi retronimlarga bir qancha misollar keltiradi: “Merriam Vebster” lug‘atida
har doim so‘zlar etimologiyasi mukammal tarzda keltirilgan. 1980-yilda ushbu lug‘atda “retronim”
atamasi paydo bo‘ldi va bu atamaning muallifi o‘sha paytdagi Milliy jamoatchilik radiosining
prezidenti Frank Mankiyevich hisoblanadi. U yumshoq muqovali kitoblar paydo bo‘lgunga qadar
barcha kitoblar oddiy kitob bo‘lgani, kitoblar yumshoq muqovada ham chiqa boshlagandan so‘ng
avvalgi kitoblar “qattiq muqovali kitob” deb nomlanishi hodisasiga qiziqdi va “retronim” atamasidan
foydalandi. Ta’kidlash lozimki, V.Safirening retronimlarga oid qarashlari natijasida bu atama
publitsistika sohasida ham muhim ahamiyat kasb eta boshladi. Dastlab publitsistikada keng tarqalgan
bu atama keyinchalik tilshunoslik termini sifatida ham o‘rganila boshlandi. Jahon tilshunosligida
J.Ksidopolius, I.Lazana, M.Zahonero, Mxitaryan, Iso Sari kabi olimlar turli tillardagi retronimlar
haqida ilmiy izlanishlar olib bordilar. Jumladan, Mariya Lozano Zahonero va Monika Palmerinining
“Ispan tilida retronimiyani o‘rganishga yondashuv: nazariy tamoyillar va massiv ma’lumotlarni
hisoblash tahlili” [7;670-b] maqolasida ilk bor ispan tilidagi retronimlikni tadqiq qiladilar va uning
internet tilidagi o‘rnini o‘rganadilar. Mualliflar, birinchi navbatda, retronimiyani allaqachon mavjud
bo‘lgan referentning semantik jihatdan unga bog‘liq bo‘lgan neologizmning paydo bo‘lishi natijasida
yuzaga keladigan releksikalizatsiya sifatida belgilashadi va an’anaviy “gitara” so‘zi bilan bog‘liq
misolni izohlashadi. Shuningdek, maqolada retronimlikni neologiya sohasida o‘rganish muhimligi
ta’kidlangan: “Shunday qilib, retronimlarning kelib chiqishi ma’lum bir ixtisoslashgan tematik sohani
konseptual jihatdan qayta qurish zarurati bilan bog‘liq, bu esa unda burilish nuqtasini nazarda
tutuvchi o‘zgarishdir, shuning uchun ularning tahlilini neonimiya bo‘yicha tadqiqotlar doirasida
tuzilishi mumkin” [7;679-b].M.Zahonero va M.Palmerinilar retronimiyadagi retronim, protonim va
neonimlarni birlashtirib, “Retronimik qator” yoki “retronimik sikl” atamasini ishlatishni taklif
qilishadi: “Tejamkorlik va ekspressiv funksionallik vazifalari samarali uyg‘unlashgan ushbu o‘ziga
xos yangilikni tizimli ravishda o‘rganish uchun biz “retronimik tarmoq” yoki “retronimik sikl”
tushunchasini taklif qildik, jarayonni leksikologik nuqtayi nazardan olib bordik va uni hosil qilish
uchun zarur shart-sharoitlarni rasmiylashtirdik” [7;716-b]. Turk tilshunoslari Emine Baymanji va
Abdulhakim O‘nellarning “Eski so‘zning yangi nomi: arab tilida retronimlar” maqolasida quyidagi
fikrlarni keltirishadi: “Texnologik, ijtimoiy va madaniy taraqqiyot natijasida yangi holatlar,
tushunchalar va obyektlar uchun tilning tuzilishiga mos ravishda so‘zlarni shakllantirish muqarrar
zaruratdir. Neologizm deb ataladigan bu tushuncha turli so‘z turkumlarini o‘z ichiga oladi. Bu so‘z
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 213
turkumlaridan biri bo‘lgan retronim avval yolg‘iz qo‘llanganda aniq ekvivalentiga ega bo‘lgan
so‘zning xilma-xilligi tufayli ma’no chalkashmasligi uchun ushbu turkumning birinchi shakliga
berilgan nom sifatida ifodalangan. Retronimlar tilning ichki dinamikasini faollashtiradi. Chunki ular
tushunchalar yaratish zaruratidan kelib chiqadi. Arab tili esa klassik davrdan boshlab yangi so‘zlar
uchun tushunchalar yaratishda yetarlicha ishlov berish qobiliyatiga ega bo‘lgan tildir. So‘z yasash
mexanizmidan foydalangan holda eski so‘zlarga tushuncha yaratishda arab tilining muvaffaqiyat
qozonishi aniq. Buning sodir bo‘lishi uchun retronim tushunchasi yetarlicha ma’lum bo‘lishi kerak”
[2;137-b]. Baymanji va O‘nellarning fikricha, arab tilida ham retronimlarning paydo bo‘lishi xuddi
boshqa tillardagi kabi neologizmlarga bog‘liqdir. Neologizmlarning rivoji esa islom dini ta’sirida yuz
bergan. Ya’ni islom dinining Arabiston yarim oroli chegaralaridan tashqariga keng yoyilishi
natijasida turli madaniyatlar va turmush tarzi orqali arab tiliga ko‘plab yangi so‘zlar kirib kela
boshlagan. O‘sha davr tilshunoslari arab tilini Qur’on tili bo‘lganligi sababli himoya qilish maqsadida
yangi so‘zlar ustida chuqur izlanishlar olib borishgan va tildan foydalanish imkoniyatlarini ochib
berishgan. Maqolada retronimlarning fikr ochiqligiga o‘z hissasini qo‘shishi alohida ta’kidlanadi.
Ma’no ravshanligi talab qilinadigan o‘rinlarda retronimlar muhim neologiya vositasi ekanligi aytib
o‘tiladi: “Binobarin, retronimlar ma’no aniqligini talab qiladigan kontekstlarda qo‘llaniladigan
muhim neologik ifodadir. Shu nuqtayi nazardan, u sifatlar tasvirlaydigan so‘zni turli tomonlardan
belgilovchi so‘z turi bo‘lganligi sababli, otli so‘z birikmalariga qaraganda sifatlar bilan tuzilgan
retronimlarning ko‘proq bo‘lishi uning qo‘llanish maqsadini ko‘rsatib beradi” [2;139-b]. Turk
tilidagi retronimlar tadqiqini Iso Sari olib borgan bo‘lib, u o‘zining “Tilda qayta nomlash ehtiyoji:
retronimlar” maqolasida retronimlarning paydo bo‘lish sabablarini neologizmlarga bog‘lagan holda
ochib bergan. U neologizmlarni morfologik, semantik, morfo-semantik jihatdan tahlil qilib, bir
qancha misollar keltirgan. Iso Sarining fikricha, neologizmning bir turi sifatida retronimlarni
keltirishimiz mumkin. Muallif maqolada retronimlarning farqlash xususiyatiga e’tibor qaratadi. Ya’ni
retronimlardan faqat o‘ziga xoslik zarurati tug‘ilgandagina foydalanish haqida aytib o‘tadi va buni
ularning umumiy xususiyati sifatida baholaydi. “Turli xil sifatdagi bir nechta televizor mavjud
bo‘lgan joyda so‘zlovchi tinglovchidan “LCD televizorlarining narxi qancha?” deya so‘raydi. Boshqa
holatda esa televizor so‘zi retronimga ehtiyoj sezmasdan yolg‘iz ishlatilishi mumkin” [5;22-b]. Iso
Sari retronimlar haqidagi fikrlarini shunday xulosalaydi: “Retronimlar so‘z yasash va tushunchalarni
qayta nomlashda ishlatiladigan usullardan bo‘lib, ular yangi yoki farqli tushunchalar, mahsulot
nomlarini belgilash hamda ularni leksiklashtirishda katta ahamiyatga ega. Retronimlar ustida
o‘tkazilgan izlanishlar natijasida bu birliklarning tildagi vazifalari, qayta nomlash tizimidagi o‘rni va
foydalari ochib beriladi. Bundan tashqari, avval aytib o‘tilganiday, lug‘at tuzishda retronimlardan
foydalanish mumkin va shu orqali tayyorlangan lug‘atlarda ko‘proq atama va tushunchalarning
bo‘lishi ulardan foydalanish imkoniyatini oshirishi mumkin. Bularning barchasidan tashqari,
retronim atamasining turkcha ekvivalentini ham topish zarur” [5;25-b]. Dunyo tilshunosligida
retronimlar tadqiqiga bag‘ishlangan yana bir ilmiy manba Irina Lazanaga tegishli “Yangi yunon tilida
paleonimiya hodisasi” tadqiqotidir. Ushbu ilmiy ishda Lazana zamonaviy yunon tilidagi
retronimiyaning leksikologik tahlilini taqdim etadi. U retronimlarni uch tomonlama: semantik,
hosilaviy ma’no va giponimiya nuqtayi nazaridan tahlil qiladi. Shuningdek, morfologik sohadagi
retronimik birliklarga e’tibor qaratadi. Lazana retronimlarga nisbatan paleonim atamasidan
foydalanadi: “Paleonimiya lingvistik jarayon bo‘lib, u kam o‘rganilgan bo‘lsa-da, qayta nomlash
tizimida muhim ahamiyatga egadir. Mavjud atamaning yangi tushuncha ta’sirida o‘zgarishi uning
ishlash jarayonini tushuntirib beradi. Bu hodisa esa yunon tili uchun istisno emas” [3;5-b]. Lazana
yunon tilidagi retronimlarga semantik jihatdan yondashar ekan, ular tarkibida mavjud bo‘lgan
kontrast va baholovchilik xususiyatiga alohida e’tibor qaratadi: “Eski nom va yangi nom o‘rtasidagi
munosabatni o‘rganish jarayonida ular o‘rtasidagi ma’noviy ziddiyatni ham kuzatamiz. Masalan, oq-
qora televizor – rangli televizor. Bu yerda oq-qora va rangli sifatlari nafaqat televizorlar turini, balki
o‘tmish va hozirgi zamon o‘rtasidagi farqlarni, rivojlanishlarni ko‘rsatib kelmoqda. Bu yerda
retronim va neonim orasidagi kontrast ishga tushadi” [3;21-b]. A.B.Antonova muallifligidagi
“Zamonaviy rus tilida retronimiya fenomeni” maqolasida rus tilidagi retronimlarga misollar va
ularning ishlatilish doirasi keltirilgan. Muallif retronim-anglitsizm, retronimik gap tushunchalarini
214 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
izohlab ketgan. Ushbu maqolada boshqa tadqiqotlardagi an’anaviy misollar bilan birga turli ma’noviy
guruhga oid retronimlar, ayniqsa, moda olami, tibbiyot sohalariga oid misollar ko‘p keltirilgan,
ularning paydo bo‘lish sabablari ko‘rsatilgan.
A.Antonova butun bir gapning retronimik xususiyatga ega bo‘la olishi haqida shunday misol
keltiradi:
“Menga telefon orqali qo‘ng‘iroq qiling”.
Ushbu jumlada qo‘ng‘iroq qiling so‘zi aslida telefon ma’nosi bilan birga yuradi. Lekin skayp
yoki telegram kabilardan ham qo‘ng‘iroq qilish imkoniyati paydo bo‘lgandan so‘ng bu so‘zning
boshqa so‘zlar bilan bog‘lanish doirasi kengaydi va natijada yuqoridagi retronimik gap paydo bo‘ldi.
Endi “Menga qong‘iroq qiling” jumlasi ma’no aniqligi xususiyatini yo‘qotdi. Muallif o‘z fikrlarini
shunday xulosalaydi: “Tilning ijtimoiy soha bilan bog‘liqligi sababli unda ko‘p sonli neoplazmalar
paydo bo‘ladi. Rus tilining lug‘at boyligini oshirishda retronimlar samarali model hisoblanadi. Rus
tilida retronimlarning paydo bo‘lishi ko‘proq ekstralingvistik omillarga: ilm-fanning tez sur’atdagi
taraqqiyoti, G‘arb madaniyati tendensiyasi, moda evolyutsiyasi va boshqalarga bog‘liq. Yangi
voqeliklar tilda mavjud tushunchalarni qayta ko‘rib chiqilishini talab qiladi va retronimiyaga asos
bo‘ladi” [1].
Xulosa qilib aytganda, yuqoridagilar turli tadqiqotlarning farqli jihatlari hisoblanadi. Ular
o‘rtasidagi umumiylik retronimiyaga ekstralingvistik omillar sabab bo‘lishi, retronimik qatorda
neonim, protonim va retronimlarning mavjud bo‘lishi, retronimlar tuzilishiga ko‘ra ot va sifat
retronimlariga bo‘linishi, retronimlarning hosil bo‘lishida sonlar ham faol ishtirok etishi mumkinligi,
ularning tematik jihatdan turlari kabi yakdil fikrlarda ko‘rinadi.
FOYDALANILGAN ADABIYOTLAR RO’YXATI:
1. Антонова А.Б. (2015) Явление ретронимии в современном русском языке. "Magister Dixit" научно-
педагогический журнал Восточной Сибири. №1 (17). Апрель 2015.
2. Baymanci, E., Önel, A. (2022). Eski sözcüğe yeni isim: Arap dilinde retronimler. Istanbul Journal of Arabic
studies, 2(5), 137-158.
3. Lazana, I. (2012). The Phenomenon of paleonymy in modern greek. Greece: Patras University.
4. Safire, V. (2007). About language: retronyms. The New York Times. https://
www.nytimes.com/2007/11/18/magazine/18wwln-safire-t.htm
5. Sari, I. (2013). Dilde yeniden adlandırma ihtiyaci: Retronimler. Turkbilig, 25, 19-26.
6. Yuldashev, M. (2020). Retronyms in the Uzbek language. International journal on integrated education, 3(8),
155-158.
7. Zahonero M.L., Palmerini M. (2015) Aproximación al estudio de la retronimia en español: principios teóricos
y análisis computacional de datos masivos.
UO’K 81-13
ERKIN SAMANDAR IJODIDAGI MURAKKAB TASHBEHLAR
M.T.Yakubova, PhD, Ma’mun Universiteti, Xiva
Metafra. Tashbehlar haqida fikr yuritar ekanmiz, ularning turli qirralariga duch kelamiz.
Ko‘chimlarning bir turi bo‘lgan metaforaga qisqa o‘xshatish deb qarash Aristotel davridan beri
davom etib kelmoqda.
Mumtoz adabiyotda bu san’at usuli istiora (oriyatga olish, omonatga olish) deb yuritiladi.
“Metafora –inson tafakkuri mevasi. U o‘zida ham hissiy, ham mental (aqliy –ruhiy)
xususiyatlarni qamrab oladi. Shuning uchun metaforani inson faoliyatining faqat bir sohasi
(ko‘pincha lingvopoetik sath) bilan cheklab qo‘yish joiz emas. Undan fan, tarix, publitsistika, badiiy
ijod, falsafa va oddiy nutqda foydalanish mumkin” [1.12]
Metafora san’ati haqida samarali tadqiqot olib borayotgan Gulbahor Qabuljonova mazkur
ifodani juda sodda qilib shunday yozadi: “Metafora asosida o‘xshashlik turishi masalasida shu soha
bilan shug‘ullanayotganlarning hammasi deyarli hamfikr. Ammo ana shu o‘xshatishning
metaforadagi o‘rni va mustaqil ko‘rinishi borasida turli qarashlar mavjud: “Metafora qisqargan
o‘xshatishdir” (Potebnya). Ya’ni o‘xshatishga xos bo‘lgan “kabi”, “xuddi”, “aynan”, “o‘xshash” kabi
so‘zlar tushirilsa metafora yuzaga keladi:
U gul kabi go‘zal va nafis edi // U go‘zal va nafis gul edi” [2.41].
Darhaqiqat, biz yuqorida o‘xshatish va epitetlar haqida gapirdik. Ularning har ikkalasining
negizida ham qiyoslash yotishini ta’kidlab, o‘xshatish qo‘shimchalar vositasida shakllansa, epitetlar
qo‘shimchasiz birikuv asosida yuzaga kelishini misollar bilan isbotladik. Metaforada esa qo‘shimcha
ham birikuv ham ishtirok etmaydi.
“Metaforizm inson ruhiyatini poetik tadqiq etish, nutqiy ekspressivlikni ifodalashda eng
samarali vosita sanaladi. Chunki shoirlik qobiliyati musavvir, musiqashunos, olim sinchkovligini o‘z
ichiga oladi” [3.66].
Shoirlik qobiliyatining yuksakligi metaforalar tanlashda asosiy omillardan bo‘lib hisoblanadi”
[4.60].
Metaforalar haqida tadqiqotlar nihoyatda ko‘p bo‘lib, ularga munosabat bildirish alohida
tadqiqotni talab qiladi.
Erkin Samandar she’riyatida metaforalarning an’anaviy ko‘rinishlari faol qo‘llaniladi. Ushbu
tashbeh san’ati ham qadimiylik xususiyatini o‘zida saqlab qolgan shu sababli ularda mifologiyaga
xos obrazlar bilan bog‘liq qiyoslashlar ko‘p uchraydi:
Oqshom qo‘nib, ko‘k hurlari
Chiqsa sayri samoga,
Qo‘lin ochib duoga. (Qabul soatlari, 35-bet).
Ushbu misralarda ko‘k hurlari birikib osmonda charaqlagan yulduzlar tushunchasini istioraviy
tarzda ifodalab beradi.
Xonning olg‘ir askarlari ko‘p ekan,
Saroyida ajdarlari ko‘p ekan.
(Bu bog‘ni qaysi..., 133-bet).
Misralar qatidagi ajdarlar so‘zi xon saroyidagi amaldorlarning yovuz qiyofalarini ifodalovchi
metaforadir.
Ko‘k hurlari, ajdarlar kabi ifodalar mifologik mushohada bilan bog‘liq holda qadimdan beri
ishlatilib kelayotgan an’anaviy metaforalar hisoblanadi.
Tabiat hodisalari, o‘simlik, suv bilan aloqador ifodalar ham anchani tashkil etadi.
Izmingda barcha soy, bor anhor,
Bir hovuch ziloling yuborgil.
(Bu bog‘ni qaysi.., 108-bet).
She’rda qir va adrda suvsiz qolib chanqagan odamlarning Yaratganga suv so‘rab qilgan iltijolari
tasvirlangan. Zilol so‘zi suvning metaforik tasviridir. Agarda shoir “suvingdan yuborgil” birikmasini
ishlatsa she’r “tuzsiz taomga” o‘xshab qolar edi. Zilol metaforik ifodasi misralardagi poetik
rangdorlikni yuksaltirib ekspressivlikni kuchaytirgan.
216 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
Dilimni larzaga solar g‘unchalab,
Sevgi osmonida kulgan hilolim.
(Bahor oqshomlari, 40-bet).
Metaforik ifodada osmon yoritqichi-oy o‘z mujassamini topgan. Hilol shoir nazdida suyukli
yor qiyofasida gavdalanadi.
Metaforalarda qushlar olamiga ko‘p murojaat qilinadi:
Ey, sen, dasht shunqori, ozod et,
Katni u zimiston ayladi.
Shunqor tushunchasi zaminida alp yigit ma’nosi yotadi. El –yurt uni shunqor sifatida e’zozlab
homiy tarzida baholaydi.
She’rlarda salbiy ma’no tashuvchi qushlar ham metafora shaklida tanlanadi:
Xonim bilan karta o‘ynar zerikib,
Shunday bo‘lar qarg‘a bo‘lsa sheriging
(Bu bog‘ni qaysi..., 131-bet).
Qarg‘a folklorda va mumtoz adabiyotda hamisha salbiy ma’no tashuvchi qushlar qatoriga
kiradi. Bu yerda u to‘ng va betamiz amaldor qiyofasiga nisbatan tanlangan metaforik ifodadir.
Ijobiy va salbiy toifadagi metaforalarni o‘simliklar turida ham uchratish mumkin:
Gulday go‘zal narsa yo‘q deb Samandar,
Bir guli ra’noga berilib ketdi.
(Bu bog‘ni qaysi..., 13-bet).
Gul tashbehlarning barcha turlarida eng faol manbadir. Shoir guli ra’no birikmasida
ma’shuqani ko‘zda tutadi. Gul hamisha sevgi-muhabbat doirasida ko‘p tilga olinadi. O‘simliklarning
ham kishilarda antipatiya tug‘diradigan xillari mavjudki, o‘sha toifa o‘simliklar salbiy metaforik
ifoda sifatida namoyon bo‘ladi:
Sen gullarning orasida tomir yoygan shumg‘iya
Qancha ozor yetkazmading ko‘ngillarga, ko‘zlarga.
(Qabul soatlari, 8-bet).
Shumg‘iya-begona o‘t, gulga butunlay teskari turadigan o‘simlikdir. Shoir salbiy obrazni
shumg‘iya tarzida metaforik ifodaga tortadi.
Erkin Samandar she’riyatida eng go‘zal metaforalar yor vasfini ifodalashga safarbar etilgan:
Bir oyoq ostiga tushdim xas kabi,
Bir o‘sib teng keldim ul yulduz bilan.
UO’K 81'272(063)
SOTSIOPRAGMATIKADA HAMKORLIK TAMOYILINING O‘RNI VA AHAMIYATI
M.Z.Yuldosheva, doktorant, Namangan davlat universiteti, o‘qituvchi, Namangan xalqaro
universiteti, Namangan
Hamkorlik
tamoyili
miqdor
Kundalik hayotda hali ham odamlar hamkorlik tamoyilini qo‘llamaydi, shuning uchun
suhbatdoshlar tomonidan yetkazilgan zarar turli xil tushunmovchiliklarni keltirib chiqadi.
Muloqot konteksga va suhbatdoshga moslashishi kerak, shunda suhbatning ma’nosi aniq
bo‘ladi. Miqdor ko‘rsatkichi so‘zlovchi o‘z suhbatdoshiga taqdim etadigan ma’lumot miqdoriga
bog’liq. Suhbat, odatda, aniq maqsadga yo‘naltirilgan bo‘ladi, muammoga yechim topishdir. Bunaga
oldi-sotdi jarayonidagi suhbatlarni misol qilsak: har ikki tomon ham foydali bitimga erishishni
maqsad qiladi, ko‘zlagan maqsadiga erishish uchun ikki tomon ham kerakli miqdorda (ko‘p ham
emas, kam ham emas) ma’lumotlar aytishi, keltirishi lozim. Haddan tashqari ko‘p ma’lumot suhbat
diqqatini yo‘qotadi, yetarli bo‘lmagan ma’lumot esa maqsadga erishishni qiyinlashtiradi. Shuning
uchun miqdor ko‘rsatkichiga rioya qilgan holda, kerakli so‘zlarnigina ayta olish bilan cheklanish
lozim. Misol:
- Nega uchrashuvni tark etdingiz? (A)
- Men xohlardim… (B)
Ushbu suhbatda B ning javobi talab qilingan ma’lumot uchun kam, shuning uchun bu vaziyatda
muhim xulosa – implikatura. [2, 312] Implikatura muloqot davomida boshqa narsa deyish orqali
220 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
bilvosita qo‘shimcha ma’noni nazarda tutishni anglatadi. H.Grays matnda hosil bo‘ladigan ko‘chirma
yashirin maʼnoni implikatura hodisasiga qaram deb hisoblaydi. Shuningdek, u muloqot davomida
ushbu maksimalardan birortasiga amal qilinmaganda muloqot implikaturasi namoyon bo‘ladi, deb
hisoblaydi.[3,150] Demak, yuqoridagi suhbatda B ning “juda uyatchangligi tufayli busavolga javob
bera olmasligi” ma’nosi A uchun “javob” bo‘ldi.
Ikkinchidan, sifat ko‘rsatkichi haqiqat bilan bog’liq bo‘lib, to‘g’ri taqdim etilgan
ma’lumotlardir. To‘g’ri ma’lumot boshqa tomonlarga ham to‘g’ri qaror qabul qilishlar uchun aniq
mulohazalarga kelish uchun yordam beradi. Yolg’on taqdim etilgan ma’lumotlar jiddiy muammolarni
keltirib chiqaradi.
A - ingliz bo‘limining xodimi; B – badiiy ijodni o‘rgatishga qabul qilingan yangi shoir. (Suhbat
bo‘limda bo‘lib o‘tadi)
- Qanday she’rlar yozsasiz? (A)
- Menga olti turdagi shoir deb nom bering. (B) (g’azab bilan) Ushbu dialogda hamkorlik
tamoyili texnikasining buzilishini ko‘rishimiz mumkin. Negaki javob aniq emas, tuzatishni talab
etadi. Ingliz xodimi she’r haqida hech nima bilmaydi. [4, 7]
Uchinchidan, moslik (tegishlilik, muvofiqlik, aloqadorlik) ko‘rsatkichi uzatilayotgan
ma’lumotlar bilan kontekst va maqsad o‘rtasidagi muvofiq kelishidir. Suhbat har ikki tomon uchun
manfaatli bo‘lishi, tegishli ma’lumot berilishi muloqotni yanada qiziqarli va foydali qiladi,
ahamiyatsiz ma’lumotlar esa suhbatni o‘z maqsadidan chetga surib qo‘yadi. Shuning uchun nutq
ishtirokchilar ma’lum sotsiopragmatik bilim va ko‘nikmaga ega bo‘lishlari lozim. Suhbatdoshlar
uchun qiziq bo‘lmagan xabar va mulohazalar muloqotni samarasiz qiladi, tinglovchilarni bezovta
qiladi, berilgan axborot esa oddiy shovqindan farqi bo‘lmay qoladi. Misol:
Ona: - Yotadigan vaqt bo‘ldi.
Og’il: - Onajon, uy vazifalarini bajarishim kerak.
Suhbatda ona og’liga uxlashi kerakligini aytdi, ammo taklif rad etildi. Chunki taklif
suhbatdoshga ayni vaqtda tegishli emas va taklifni shunchaki ahamiyatsiz qoldirdi.
To‘rtinchidan, amalga oshirish ko‘rsatkichi har bir nutq ishtirokchisining biror ma’lumotni
to‘g’ri usullardan foydalanib aytish qobiliyati bilan bog’liq bo‘lib, bu ko‘rsatkich nutq ko‘nikmalari,
ya’ni so‘zlarni to‘g’ri tanlash, jumlalar tuzish, dalillarni keltirish, ma’lum ritorik usullardan
foydalanish kabi texnik ko‘nikmalarni tashkil etadi. Nutqda to‘g’ri tanlangan vositalar tinglovchining
intellektual qobiliyatiga mos kelishi kerak. To‘g’ri so‘zlarni tanlash g’oyani yetkazish imkonini
beradi, qisqa jumlalar esa fikrlarni tushunishni osonlashtiradi. Demak, mohiyatan aytilayotgan nutq
suhbatdosh tushinishi uchun aniq, ixcham va to‘g’ridan to‘g’ri bo‘lishi kerak. [5, 25 ]
Hamkorlik tamoyili adresat tomonidan nutq aktlarini samarali qilish uchun qo‘llanadi. Nutq
akti manfaatli bo‘lishi maqsadida uning ma’nosi informativ, sifatli, tegishli va aniq amalga oshirlishi
lozim. Hamkorlik tamoyili, ayniqsa, rasmiy uchrashuvlardagi nutq pozitsiyalari uchun juda
ahamiyatlidir, ya’ni qayerda, qachon, kimga, qanday kabi so‘roqlar noaniq qolishi mumkin emas,
to‘liq hurmat maksimallari (ko‘rsatkichlari) komponentligini talab etadi. Muloqot qilayotgan ikki
yoki undan ortiq suhbatdoshlar birgalikda nutqiy vaziyatni boshqaradilar. Muloqot muammosiz
o‘tishi uchun har bir tamon o‘z hissasini qo‘shishi kerak. So‘zlovchi o‘z suhbatdoshining lingvistik
bilimlarini tushunishga va aksincha, adresant (tinglovchi) ham adresat (so‘zlovchi) ning xarakterini
tunishga harakat qilishi lozim. Bir-birini tushunish ularning har biriga mos til strategiyalarini qabul
qilish imonini beradi. Natijada bir suhbat maqsadi yo‘lida birlashadilar, muloqot erkin kechadi.
FOYDALANILGAN ADABIYOTLAR RO‘YXATI:
1. Fathur Rokhman M.Hum Surahmat, S.Pd., M.Hum. Mengelola kesalahpahaman perspektif sosiopragmatik. –
Indoneziya, 2017. 52-,53-bet.
2. Geoffrey Leech, The Pragmatics of Politeness. – New York, Oxford university press. 2014, 312-bet
3. Sharipova Fazilat Dillmurod qizi , implikatura hodisasining “hamkorlik prinsiplari” asosida tahlili ,Oriental
Renaissance: Innovative, educational, natural and social sciences. – 2023 150-bet
4. Bethan Davies, grice’s cooperative principle: getting the meaning across. Nelson, D. & P. Foulkes (eds) Leeds
Working Papers in Linguistics 8 (2000), 7-bet
5. Kunjuna Rahardi, M. Hum. Sosiopragmatik, Indonesia, - Penerbit Erlangga.2009,25-bet.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 221
UO’K 81-16
ZAMONAVIY TILSHUNOSLIKDA EVFIMIZM VA DISFEMIZMLARNING TALQINI
M.Sh.Yunusova, o’qituvchi, Buxoro davlat tibbiyot instituti, Buxoro
Annotatsiya. Evfemizm va disfemizmlar faqat uslubiy hodisalar bo’lmay , balki leksik hodisalar
hisoblanadi , shuning uchun ular leksik ma’nolarni ham hosil qiladi. Ularning leksik ma’no hosil
qilishi ko’chma ma’no hosil qilishi bilan tengdir. Har ikkala hodisa natijasida polisemantik so’zlar
yuzaga keladi.
Kalit so’zlar: Evfemizm, disfemizm, lug’aviy birliklar, chog’ishtirma tadqiq, leksik ma’no,
evfema evolutsiyasi, tabu, okkazional ma’no va usual ma’no.
Аннотация. Эвфемизмы и дисфемизмы являются не только стилистическими
явлениями, но и лексическими явлениями, поэтому они создают еще и лексические значения.
Их формирование лексического значения равно образованию переносного значения. В
результате обоих событий появляются многозначные слова.
Ключевые слова: эвфемизмы, дисфемизмы, лексические единицы, гибридизация,
лексическое значение, эволюция эвфемизмов, табу, окказиональное значение и обычное
значение.
Abstract. Euphemisms and dysphemisms are not only stylistic phenomena, but also lexical
phenomena, so they also create lexical meanings. Their formation of lexical meaning is equal to
formation of figurative meaning. As a result of both events, polysemantic words appear.
Key words: Euphemism, dysphemism, lexical units, hybridization, lexical meaning, evolution
of euphemism, taboo, occasional meaning and usual meaning.
Kirish. Evfemizim va disfemizm hodisalari tildagi bir xil xodisaning ikki qutubidir. Evfimizm
haqida tilshunoslikda juda ko’p fikrlar oldinga surilgan. Turkiy tillardagi evfimizim haqida hatto
dissertatsiyalar ham yozilgan. Bu borada tilshunoslar orasida ancha munozarali masalalar ham
vujudga kelgan. Ko’pgina tilshunoslar evfimizimni tabu bilan o’lchaydilar. Ularning fikricha,
evfimizm tabu o’rnida qo’llanuvchi lug’aviy birliklar hisoblanadi. Evfimizlar faqat tabu o’rnida
qo’llanuvchi lug’aviy birliklardan iborat emas. Ular madaniy doira uchun mos bo’lmagan so’zlar
o’rnida ham kelishi mumkin. Evfemizmning bu xususiyati ham u haqda fikr yuritgan ko’pgina
tilshunoslar tomonidan qayd etib o’tilgan. N.Ismatullayev esa uni hisobga olmagan tilshunoslarni
asosli tanqid qilib o’tgan.
Shuningdek N.Ismatullayev o’z ishida K.K.Shaxjurinni ham o’rinli tanqid qiladi.K.K.Shaxjuri
“ иди ты ” degan iboradagi “ к черту ”ni qisqartirib ketilganini evfimizm ded ko’rsatadi. Bu o’rindagi
qisqartirilgan lug’aviy birlik kontekstdagi hech qanday lug’aviy birlikda o’z ifodasini topmaydi.
Ehtimol, qisqartirilgan ” к черту ” emas, boshqachadir. Evfimizim esa qo’llanmagan lug’aviy birlikni
aniq ifoda etib turadi. Ya.Pinxasov esa evfimizmning tabu o’rnida kelishini hisobga olmagan. U
o’zbek tilida tabu mavjud ekanini e’tibordan chetda qoldirgan bo’lsa kerak.
ADABIYOTLAR TAHLILI VA METODOLOGIYA
Ko’pchilik tilshunoslar evfimizmni trop yoki uslubiy hodisa sifatida qayd etadilar, u linvistik
hodisa ham bo’lib, leksik ma’nolarni hosil qiladi.Ushbu lingvistik tushunchaning sohalar bo’yicha
tadqiqi ham amalga oshirilgan. ( N.G’aybullayeva , Sh.Gulyamova) larning tadqiqotlari shular
jumlasidandir. Ammo evfemizmlarini ikki til doirasida chog’ishtirma tadqiq ham ilmiy ishlar ob’ekti
bo’lmoqda. A. Sattorovaning ilmiy tadqiqoti hamda N.Bo’riyevaning evfemizmlarning, content
doirasidagi tadqiqotlarini misol qilib olish mumkin. Evfema evolutsiyasini o’rganishda diniy va
dunyoviy evfema faktlarini aniqlash muhim hisoblanadi. Chunki aslida diniy qarash asosida tug’ilgan
evfema tilning keying taraqqiyotida dunyoviylashib, oldingi ma’nosi sezilmaydigan bo’lib qoladi.
Masalan : vafot etdi, qazo qildi, uzuldi, o’tdi ( passed away, passed on, checked out, bit the big
one, kicked the bucket, popped their clogs ) evfemalarida ana shu holat kuzatiladi.
Evfimizmlar odatda, so’z sifatida emas, balki so’zning yangi bir ma’nosi sifatida yuzaga keladi.
Tilda ba’zan evfemizmlar so’z holatida ham yasalar ekan. Masalan o’zbek tilida evfemizm natijasida
yasalgan ikki so’z mavjud. Ular oti yo’q va otsiz so’zlaridir. Ular semantik strukturasi bir xil-dubletlar
222 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
bo’lib, ikki leksik ma’noda tashkil topadi. Bu leksik ma’nolar-biri ‘’chayon’’ ikkinchisi ‘’kuydirgi’’
ma’nolaridir. Bunday evfemestik yasama so’zlarning ma’nolari hamma vaqt leksik bo’ladi. Birdan
ortiq bunday ma’nolarga ega evfemistik yasama so’zlar polisemantik so’zlardir.
Evfemizim natijasida yangi ma’no hosil bo’lishini asosan ikki turga bo’lib ko’rsatish mumkin:
1) ko’chma ma’noga teng bo’lmagan evfemistik ma’noning hosil bo’lishi; 2) ko’chma ma’noga teng
bo’lgan evfemestik ma’noni hosil bo’lishi. Ko’chma ma’noga teng bo’lmagan evfemestik ma’noni
hosil bo’lishi uchun hech qanday lingvistik jarayon ham, ma’nolar ifodalagan ob’ektning o’zaro
munosabati ham rol o’ynamaydi. Bunday ma’noning hosil bo’lishi asosan tabu bilan o’lchanadi. Tabu
o’rnida biror so’zni qo’llash zaruriyati tug’ilsa usha davr uchun halqqa nima muhimroq nima zarurroq
bo’lsa shuning nomi tanlab olinadi. Bunday usulda evfemistik ma’nolar hosil bo’lishini tabu o’rniga
qo’llangan oddiy simvol,ya’ni atoqli otning yuzaga kelishiga o’xshahs xol deb ko’rsatsa ham bo’ladi.
Chunki atoqli otning etimologik ma’nosini shu atoqli ot bilan atalgan shaxs oqlashi shart
bo’lmaganiday, evfemistik ma’no ortirilgan so’zning etimologik ma’nosini ham evfemistik ma’no
ifoda etgan ob’ekt oqlashi shart emas. Ammo atoqli ot tushuncha anglatmaydi. So’zning evfemistik
ma’nosi esa tushuncha anglatadi. U tabuga uchragan so’z ma’nosidagi barcha xususiyatlarga
merosxo’r bo’lib qoladi. Shuning uchun ham bunday evfemistik ma’nolar hamma vaqt leksik ma’no
bo’ladi va o’ziga oid bo’lgan so’zning polisemantik so’zga aylanishida rol o’ynaydi. Ko’chma
ma’noga teng bo’lgan evfemestik ma’nolarni ko’chma ma’no hosil bo’lishi qonuniyatlari doirasida
o’rganish zarur. Evfemizmning ko’chma ma’no hosil bo’lishiga teng holatda sodir bo’lishi tabu
natijasi ham, madaniy doira talabi natijasi ham, bo’lishi mumkin. Evfemizmning ko’chma ma’no
hosil bo’lishiga teng holatda sodir bo’lishi tabu natijasi ham, madaniy doira talabi natijasi ham
bo’lishi mumkin.
Shuni ham aytib o’tish zarurki, ko’chma ma’no hosil bo’lishning hamma hodisasini ham
evfemizm bilan qorishtiravermaslik kerak. N.Ismatullayev tabuga uchragan kishi nomlarining fonetik
buzib qo’llanishini ham evfemizm deb tushunadi. Masalan: Tursun-Mursun, Juma-Kuma, Ahmad-
Sahmad kabi. Turgan gapki,so’zning buzilgan varianti leksik birlik bo’la olmaydi. Evfemizm esa
leksik hodisa sifatida o’rganiladi. Evfemizmlarning hammasi ham leksik ma’nolarni hosil
qilavermaydi. Evfemizm ko’pincha okkaizonal ma’nolarni hosil qiladi. Evfemizm leksik
qatlamlarning eng tez o’zgaruvchan sohasidir.
MUHOKAMA VA NATIJALAR
Tilda so’zlarning polisemiyasi, ko’chishi nihoyatda katta ahamiyat kasb etadi. Daniyalik
mashhur tilshunos O.Espirson “ Polisemiyadan mahrum bo’lgan til “ lingvistik do’zaxga ” aylangan
bo’lur edi,-degan fikirni keltiradi. Shuni alohida ta’kidlash lozimki, evfemik ifodaning
shakillanishida har qanday ko’chim asos bo’lavermaydi.
Evfemik ma’no mezoni real voqeilik, ya’ni tabulashtirilgan denotata tushunchaga nisbatan
aniqlanadi.
Evfemik vositalarning taraqqiyotini quyidagi sxemada yaqqol ko’rish mumkin:
O’lmoq ( denotat )
Etnografik kontekstda bir tilda mavjud bo‘lgan ijobiy ma’nodagi ishora boshqa tilda neytral
yoki salbiy ma’no anglatishi mumkinligini ko‘rsatadi. Masalan, ingliz va o‘zbek tilidagi muloqotda
mavjud bo‘lgan “fica”(fig) ishorasi. Bu imo-ishora ko‘pincha yomon ko‘z qarash, kimnidir haqorat
qilish yoki so‘rovni rad etish uchun ishlatiladi. Ishora Rim davridan beri Janubiy Yevropada va O‘rta
Yer dengizi mamlakatlarida, shu jumladan turk madaniyatida qo‘llanilgan. Bundan tashqari, Osiyo,
slavyan xalqlari madaniyati va Janubiy Afrikaning ba’zi mamlakatlarida ham salbiy ma’noda
qo‘llaniladi. Lekin Shimoliy-G‘arbiy Yevropada hamda AQSh, Kanada, Avstraliya va Chexiya kabi
mamlakatlarda bolaning burnini yulib yuborgandek qilib o‘ynash ya’ni hazil tariqasida qo‘llaniladi.
Keng miqyosda olib borilgan psixoanalitik tajribalar quyidagi imo-ishoralar qo‘llaniladigan
vaziyatlarda anglatadigan konsept yoki ish-harakat haqida ma’lumotlar taqdim qiladi:
pressing two hands to the temples (ikki qo‘lni chakkalariga bosish)- mushohada yuritish;
accompanying writing with tongue and jaws (yozayotganda til va jag‘larni harakatlantirish)-
zavq bilan ishlash;
index finger placed alongside the nose, placing the index finger alongside the nose indicates
suspicion (ko‘rsatkich barmoq uchi bilan burun yon tomonini bosib turmoq)- shubha, gumon va
ishonchsizlik;
crossing the fingers (barmoqlarni kesishtirish)- yonma-yon turgan ko‘rsatkich va o‘rta
barmoqlarni kesishtirish orqali muvaffaqiyat, omad yoki tavakkal yo keskin vaziyatning ijobiy
natijasini ta’minlanishini tilab bajariladi. Bundan tashqari, bu sehrli imo-ishora o‘zimizdan yoki
tashqaridan keladigan yomonlik yoki yovuzlikdan himoya usuli hamdir[1]. Ushbu ishora o‘zbek tilida
mavjud emas.
Forming a ring with the fingers (barmoqlar bilan halqa hosil qilish)- og‘zaki bo‘lmagan
signallar va ularning ma’nolari o‘rtasidagi bog‘liqlik ba’zan o‘zboshimchalik bilan, ba’zan esa
nazariy asoslanadi. “Kommunikant” xabarni “qabul qiluvchi”ga yetkazganda, u ko‘pincha bosh
barmog‘i va ko‘rsatkich barmog‘i bilan halqa hosil qiladi, qo‘lini ko‘rinadigan qilib ko‘taradi va bu
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 225
imo-ishora bilan u ingliz muloqotida “bu shunchaki to‘g‘ri” yoki “mukammal”[2] degan ma’noni
anglatsa, amerikaliklar tomonidan ishlatiladigan “ok” ishorasi boshqa madaniyatlarda boshqacha
ma’noni, Yaponiyada bu pulni, Fransiyada esa nolni anglatadi.
Noverbal kommunikativ vositalar (keyingi o‘rinlarda NKV) gender tadqiqotlarda ham o‘z
aksini topgan bo‘lib, ularning erkaklar va ayollarga xos xususiyatlari haqida ma’lumotlar berilgan.
Masalan, when a person moves away in order to be called back (e’tibor istab suhbatdoshdan o‘zini
biroz uzoqlatish) - ushbu uzoqlashish uslubi deyarli faqat ayollar tomonidan qo‘llaniladi. Bu
ko‘pincha haqiqiy hayotda va sahnada ko‘rinadi. Bir ayol xafa bo‘lib, g‘azablangan va tushkun
holatda to‘satdan eridan uzoqlashib, iloji bo‘lsa, deraza tomon o‘tadi, o‘zi sevgan va uni sevishni
istagan odamga orqasini o‘girib ketadi. U o‘sha yerda to‘xtaydi va kutadi. Erkak bu ishorani
tushunadi va uning orqasidan ketadi. Er xotinning yelkasini silaydi, unga mehribonlik qilib, uni
tinchlantirishni xohlaydi. To‘qson to‘qqiz foiz hollarda yarashuv amalga oshiriladi. Erkak g‘alaba
qozondim deb o‘ylaydi. Yo‘q! Bunda ayol maqsadga erishdi[3]. Demak, NKV umumiy ayol yoki
erkaklarga xos xususiyatga ega bo‘lib, ularning gender kontekstda qo‘llanilishi muayyan darajada
chegaralangan. Ushbu fikrlar gait (yurish) va posture (qomat holati) bilan bog‘liq harakatlarda ham
kuzatiladi.
NKVning mashhur “SOLER” nazariyasi, ehtimol, noverbal holatning eng yaxshi va mos
keladigan yig‘indisi sifatida Jerald Egan tomonidan SOLER pozitsiyasi haqidagi intervyu jarayonida
taklif qilingan bo‘lib[4], unda SOLER qisqartmasidagi har bir harf quyidagi ma’nolarni anglatadi:
Squarely facing the client (Mijozga to‘g‘ri, tik qarash); Open body position (Tananing ochiq (oyoq
va qo‘llari kesishmagan) holati); Lean forward (Oldinga egilish); Eye contact (Ko‘zlar muloqoti);
Relaxed body position (Bo‘sh qo‘yilgan erkin tana holati).
Ushbu nazariya huquq-tartibot tizimida keng qo‘llaniladi. SOLER tananing holati va harakati
nafaqat advokatning mijozga ochiqligini bildiradi, balki advokatni mijozni kuzatish va boshqa barcha
chalg‘itadigan harakatlarni tekshirish uchun eng yaxshi jismoniy holatga keltiradi.
Tana sinxroniyasi nazariyasi keyingi yillar davomida qilingan ilmiy tadqiqotlarda insonning
og‘zaki muloqoti va noverbal xatti-harakatlari o‘rtasida yaqin bog‘liqlik mavjudligini qayta-qayta
isbotladi. Bu tadqiqotlar shuni ko‘rsatadiki, inson munosabatlari og‘zaki muloqot va tana harakati
o‘rtasidagi sinxroniya bilan tavsiflanadi.
Olim Kondonning o‘zaro sinxronizatsiya bo‘yicha olib borgan tadqiqotlari mikro darajada
yuqori tezlikdagi kamera yordamida interaktiv sinxronizatsiya sifatida amalga oshirilgan. U nutq
bilan birga keladigan tana harakatlarini diqqat bilan tekshirgan. Bunda Postural echo (birdek harakat
qilish) haqida qarashlar mavjud. Odamlar o‘zaro munosabatda bo‘lganda, sinxron harakat keskin
o‘zgaradi. Kechaning tugashida raqsga tushgan sevishganlar singari, yaqin odamlar ham sekin
harakatga tushishni boshlaydilar. Bu holatda raqsni kuzatish juda maroqli. Garvard Business
Reviewda ta’riflanganidek: “Ajoyib munosabatlar lahzalarida og‘zaki bo‘lmagan muloqotning
ajoyib namunasi paydo bo‘lishi mumkin. Ikki kishi bir-birining harakatlarini aks ettiradi - qo‘lni
birga tashlab, tanasini bir vaqtning o‘zida bir xil harakatlantiradi[5]. NKVlarning o‘zaro uyg‘un
ko‘rinishda amalga oshirilishi hamfikrlik, qo‘llab-quvvatlash, do‘stlik yoki his-tuyg‘uning kuchli
ifodasini anglatishi mumkin.
Turli sohaviy kontekstda umumiy ma’no ifodalovchi NKV haqida fikrlar mavjud. Xususan,
huquqni muhofaza qilish organlarida verbal va noverbal o‘zaro ta’sir quyidagi ma’nolarni anglatishi
mumkin:
• tartibga solish- huquqni muhofaza qilish organi xodimi gumonlanuvchining qo‘liga tegish
orqali u bilan muloqotni yoki uning xatti-harakatini tartibga solishi mumkin, bu esa ofitserning
suhbatni davom ettirishni xohlayotganini yoki gumonlanuvchi harakatining to‘xtatilishini bildirishi
mumkin;
• ko‘z bilan muloqot- bu ko‘pincha ishtirokchilarning madaniyatiga bog‘liq. Qo‘shma
Shtatlarda huquqni muhofaza qiluvchi organ xodimining ko‘ziga tik boqish haqiqat, qo‘llab-
quvvatlash va daldani anglatadi. Hech qanday ko‘z bilan muloqot qilmaslik esa yolg‘on, bee’tiborlik
va yoki sabrsizlikni anglatishi mumkin;
226 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
• imo-ishora- umuman olganda, huquqni muhofaza qiluvchi organ xodimi og‘zaki xabarni
kuchaytirishi mumkin bo‘lgan muhokama obyektiga ishora qilishni davom ettirishi mumkin;
•tana holati- huquq-tartibot organi xodimining gapirayotgan gumonlanuvchidan orqaga
tisarilishi ishonchsizlik yoki skeptitizmni bildiradi, boshini egib turgan ofitser gumon qilinuvchi yoki
jabrlanuvchiga hamdard va hayrixoh, e’tiborli ekanligini anglatadi;
• biri-ikkinchisini rad qiluvchi axborotlar- ofitser haqiqatni aytishi mumkin, shu bilan birga
gumonlanuvchi bilan ko‘z bilan muloqot qilishdan qochadi, bu esa qabul qiluvchiga biri-ikkinchisini
rad qiluvchi axborotlar berishi mumkin. Bunday aralash xabarlar umidsizlik, ikkilanish yoki
noaniqlik natijasida paydo bo‘lishi mumkin. Odamlar aralash signallarni qabul qilganda, og‘zaki
bo‘lmagan xatti-harakatlar ishonchliroq bo‘ladi;
oraliq bo‘sh joy yoki masofa- zobit va gumonlanuvchi orasidagi masofa noverbal muloqotda
juda muhimdir. Zobit gumon qilinuvchi yoki jabrlanuvchiga qanchalik yaqin bo‘lsa, suhbat
shunchalik samimiyroq bo‘ladi. Masofa juda uzoq yoki juda yaqin ekanligini zobit o‘z ixtiyoriga
ko‘ra belgilaydi. Agar jabrlanuvchi orqaga chekinishni boshlasa, ofitser ham orqaga chekinishi kerak.
Jabrlanuvchi yoki gumon qilinuvchi oldinga siljiganida, zobit gumon qilinuvchi o‘zi uchun qulay
joyga yetib borgunga qadar harakatsiz turishi kerak.
Ushbu tahliliy tadqiqot shuni ko‘rsatdiki, zobitlar noverbal xatti-harakatlardan ehtiyotkorlik
bilan foydalanishlari kerak va ko‘p hollarda ular yolg‘on, rostgo‘ylik, aybsizlik, stress yoki hatto
ruhiy kasallik belgilarini ko‘rish va tinglashlari kerak. Politsiya xodimi har doim odamlarning tana
tilini kuzatishi va shaxslarning madaniy va ijtimoiy merosi tufayli yuzaga kelishi mumkin bo‘lgan
farqlarga ahamiyat berishi kerak. Vaziyatni qo‘lga olish va boshqarish uchun zobitlar gumon
qilinuvchiga yaqinroq bo‘lishi tezroq natija berishini tushunishlari kerak [6].
NKV kontekstual xususiyati, o‘zaro aloqani yaxshilashi, uning tezlik va ravonlik tamoyili,
og‘zaki muloqotga qo‘shimcha qilishi yoki uni almashtirishi mumkinligi, ayrim noverbal vositalar
iboralar va tushunchalarni umumlashtirishi, universal xususiyatlari, chalkash va kontekstualligi,
maqsadli yoki tasodifiy bo‘lishi mumkinligi, his-tuyg‘ular va munosabatlar haqida xabar berishi
haqida ko‘plab ilmiy qarashlar mavjud.
Noverbal kommunikasiya suhbat ishtirokchilari o‘rtasidagi munosabatlarning kalitidir. Aloqa-
aralashuvda teginish gaptika deb ataladi va teginishning besh xil turi farqlanadi, shaxssizdan
samimiygacha:
1. Funktsional-professional teginish – tibbiy ko‘rik, jismoniy terapiya, sport murabbiyi, musiqa
o‘qituvchisi;
2. Ijtimoiy-odobli teginish – handshake- qo‘l siqish;
3. Do‘stlik-iliqlik ma’nosida teginish – quchoqlashish;
4. Oila a‘zolari yoki romantik hamrohlar o‘rtasida sevgi-yaqinlik ma’nosida teginish – kiss
(o‘pishish);
5. Jinsiy teginish – jinsiy erkalash va aloqa [7].
NKVning qiyosiy tadqiqi o‘rganilayotgan tillarning o‘xshash va farqli madaniy xususiyatlari
haqida muhim ma’lumotlar taqdim qiladi. Tilshunos olim M.Sh.Iskandarova shunday yozadi:
“O‘zbek va nemis xalqlari bilan muloqot jarayoniga e’tiborni qaratmoqchimiz. Tinglovchi tomonidan
har qanday ma’lumotni tinglovchiga yetkazish jarayonida qo‘l, bosh, gavda, yelka harakati, yuz
ifodasi hamda ovozning tovush balandligi, talaffuz davomiyligi darajasi muhim ahamiyatga ega.
Muloqot jarayonini o‘rganishda noverbal vositalar hisobga olinmasa, lingvistik tahlil to‘liq
bo‘lmaydi” [8].
Xitoy madaniyatida odamlar og‘zaki bo‘lmagan muloqotni ham muhim deb bilishadi,
ko‘pincha og‘zaki bo‘lmagan signallar orqali uzatiladigan og‘zaki bo‘lmagan aloqani to‘rt toifaga
bo‘lish mumkin. Signallar kinesika, proksemika, paralingvistika va tashqi ko‘rinishida bo‘ladi. Turli
og‘zaki bo‘lmagan signallar orasidagi madaniy farqlar og'zaki bo‘lmagan muloqotni o‘rganish uchun
juda muhimdir. Kinesika tana harakatlari, imo-ishoralar, ko‘rish, yuz ifodalari, ovoz balandligi va
ohangini o‘z ichiga oladi. Proksemik xulq-atvorga kelsak, eng ajoyib farq - bu odamlar orasidagi
masofaning turlicha bo‘lishiga qo‘yilgan talablaridir. Boshqa ikkita og‘zaki bo‘lmagan signallarga
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 227
qaraganda, turli madaniyatlarda paralingvistika unchalik keskin farq qilmaydi. Biroq, ba’zida, turli
madaniyatdagi odamlar bir xil fikrni ifodalash uchun turli xil paralingvistikadan foydalanadilar[9].
Noverbal kommunikativ vositalarning semantikasi kontekstual xususiyatga ega bo‘lib, u o‘z
navbatida suhbatdoshlarning fiziologik, psixik, etnik-madaniy, gender, kasbiy xususiyatlari, xulq-
atvori, muloqotning somatik va pragmatik vaziyati bilan bog‘liq holda qo‘llaniladi va nutqning
emotsional-ekspressivligini ta’minlovchi lingvistik vositalarga hamroh elementlardir. Ular ifodaning
mukammalligini ta’minlovchi vositalardir.
FOYDALANILGAN ADABIYOTLAR RO‘YXATI:
1. Sandor S. Feldman, M.D. Mannerisms of speech and gestures of everyday life, Rochester, New York
International Universities Press, INC.1973, p-272
2. Sandor S. Feldman, M.D. Mannerisms of speech and gestures of everyday life, Rochester, New York
International Universities Press, INC.1973, p-274.
3. Sandor S. Feldman, M.D. Mannerisms of speech and gestures of everyday life, Rochester, New York
International Universities Press, INC.1973, p-289
4. G. Egan, The skilled helper (1975).
5. BarkaiL.John. Nonverbal Communication From The Other Side: Speaking Body Language. Speaking Body L
Noel Otu, Decoding nonverbal communication in law enforcement analytical study, Salus journal issue 3, number 2, 2015
1.
6. Noel Otu,Decording nonverbal communication in law enforcement analytical study, Salus journal issue 3.
Number 2, 2015 1.
7. Seiler and BeallSeiler, W., & Beall, M. (2000). Communication: making connections (4th ed.). Boston, MA:
Allyn & Bacon.
8. Искандарова М.Ш., Қахаров К.Ш. Место невербальных средств в общении разных народов.
9. Цзя Юйсинь, Межкультурная коммуникация [М], Шанхай: Шанхайский научно-исследовательский
институт преподавания иностранных языков, 1997.anguage- SAN DIEGO LAW REVIEW [VOL 27: 101, 1990] 118-
121pp.
UO’K 811
“OZODLIK” VA “ERKINLIK” TUSHUNCHALARINING O`ZBEK TILIDAGI LEKSIK-
SEMANTIK TAHLILI
M.E.Ziyodillayeva, tayanch doktorant, Buxoro davlat universiteti, Buxoro
Kirish. Tilshunoslikda leksik birliklarni ham bir til, ham bir nechta tillar doirasida o‘rganish
kognitiv yondashuv asosida ko‘p yillardan buyon qo‘llanilmoqda. “Ozodlik” tushunchasining
lingvistik xususiyatlarini uzoq qarindosh tillarda: ingliz va o`zbek tillarida o`rganishni maqsad qilgan
ushbu tadqiqotning vazifalari quyidagilardan iborat:
228 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
- tilshunoslikda ushbu tushunchaning verbalizatsiyasini o'rganish darajasini aniqlash;
- ingliz va o`zbek tillarida ushbu tushunchaning ma`nosini ifodalay oladigan o'zak
leksemalarning tarkibini aniqlash va taqqoslash.
Adabiyotlar tahlili va metodologiya. T.I.Shatalovaning ideografik lug`atida ko`rsatilgan
ma`lumotlarga ko‘ra, erkinlik leksemasi o‘z hayotingni o‘zing xohlagancha, boshqa odamlar yoki
hokimiyatlar aralashuvisiz yashash erkinligini bildiradi. Erkinlik - bu qamoqqa tushganingizda
yo'qotadigan har qanday joyga borish huquqi. [17,35]
A.S.Soloxina o‘zining nomzodlik dissertatsiyasida “erkin”, “ozod” tushunchalarining ingliz va
rus til madaniyatlarida namoyon bo‘lishini o‘rganadi. U bu tushunchalarning mohiyati erkinlik va
erksizlikning qarama-qarshi munosabatidan iborat ekanligini ta'kidlaydi.[15,60] T. G. Ardasheva
“ozodlik” kontseptini rus, ingliz va fransuz tillari materiallari bo‘yicha lingvokognitiv tahlil qilishga
bag‘ishlangan nomzodlik dissertatsiyasida uning mazmunidagi etnik o‘ziga xoslikni aniqlaydi.
Tadqiqotchi “ozodlik” tushunchasi asosiy tushuncha bo‘lib, shaxs va jamiyat dunyoqarashini
shakllantiradi, jamiyatdagi shaxslarning xulq-atvorini tartibga soladi va keng qo‘llanish doirasiga ega
degan xulosaga keladi.[14,42] Qolaversa, qiyosiy tilshunoslik nafaqat “erkin” tushunchasini, balki
“erkinlik” tushunchasini ham qarindosh tillar asosida tadqiq qiladi. V. D. Chekanova nemis va rus
tillarini taqqoslab, ushbu tillarda so'zlashuvchilarning lingvistik ongida erkinlik tushunchasini aks
ettirishning o'ziga xos xususiyatlarini aniqlaydi.[16,28]
Natijalar. “Erkinlik” tushunchasi ham falsafiy, ham kundalik ongda ildiz otgan tushuncha
hisoblanadi. Erkinlik tushunchasi keng miqyosli bo`lib, u odatda hayot, davomiylik, baxt, farovonlik
va muvaffaqiyat bilan bog'liq. "Erkinlik" tushunchasidan foydalanish "muayyan til shaxsi uchun ham,
yaxlit bir lingvomadaniy hamjamiyat uchun ham ekzistensial ahamiyatga ega bo'lgan lisoniy dunyo
tasvirining bir qator asosiy birliklariga" tegishli ekanligi bilan izohlanishi mumkin.
Ozodlik qonun bilan belgilangan erkinlik huquqidir, masalan, so'z erkinligi. Bu, shuningdek,
ruxsat so'ramasdan, kimnidir xafa qilishi yoki xafa qilishi mumkin bo'lgan ishni qilishni ham
anglatadi. Erkin bo'lish rasmiy ravishda biror narsa qilish huquqiga yoki ruxsatiga ega bo'lishni,
erkinliklarni olishni anglatadi: a) biror narsaga asossiz o'zgartirishlar kiritish; b) kimgadir hurmatsiz
munosabatda bo'lish, juda tez, juda do'stona munosabatda bo'lish. Ozodlikda yurgan inson hokimiyat
tomonidan jamiyatdagi turmush tarzi, xulq-atvori yoki siyosiy qarashlariga ega hamda davlatga
nisbatan qo'yiladigan repressiv cheklovlardan ozoddir.
Muhokama. O`zbek tili izohli lug`atining 1981-yilgi nashrida “ozod” asos morfemasining
quyidagi ma`nolarda izohlab beriladi:
1. Fors-tojik tilidan kelib chiqqan bo`lib, o`z erki, haq-huquqi o`z qo`lida bo`lgan,
ozodlikka erishgan, erkin, hur. M: Ozod o`lka. Ozod mamlakat [13,98]
Toza havo, toza suv, Ozod Vatan seniki (G`. G`ulom) [12,28]
Ozod xalqim boshiga kelmas endi sira musibat va g`am (H.Olimjon)[3,48]
2. O`z holiga, mayliga qo`yilgan, bo`shatib yuborilgan, hech qanday majburiyat bilan
bog`lanmagan; bo`sh;
Eshonning zaharxanda ma`nosini Elmurod yerga tikilganicha indamay tingladi. Bu gap unga:
“Sen ozodsan, keta ber!” bo`lib eshitildi. (P.Tursun)[9,56]
3. Darxon qilingan, zimmasidagi majburiyati kechilgan; darxon;
Soliqdan ozod qilmoq
4. Tutqunlikdan chiqarilgan, qamoqdan bo`shatilgan;
Shu ustozning sharofatidan, ozod bo`ldi manguga inson. (E. Rahim) [7,46]
5. Kimyoda qo`shilmagan, birikmagan holdagi;
Ozod kislorod
6. Ravish vazifasida. Erkinlik bilan, bemalol, dast;
Yigit …. Bilagimdan ozod ko`tarib, tandirdan sug`urib oldi. (G`. G`ulom) [11,39]
Bundan tashqari “ozod” leksemasi “ozod turmoq”, “ozod qo`ymoq” kabi so`z birikmalarini
ham hosil qiladi. “Ozod turmoq” – dadil o`rnidan turmoq, shaxdam ko`tarilmoq.
Ustidan alak choponini irg`itib, ozod turib ketgan yigit … tuzoqqa tushgan bedanadek pitirlab
qoldi. (G`. Rasul)
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 229
Erksizlik – belgi oti. Tobelikdagi hayot, haq-huquqsizlik.
Xulosa. “Erkinlik” tushunchasini obyektivlashtirish va ushbu tushunchaning turli madaniyatlar
orasidagi o‘xshashlik va farqlarini ilgari surgan tadqiqotlar, shuningdek, sotsiologik so‘rovlar
natijalari quyidagi xususiyatlarni qayd etish va quyidagi xulosalar chiqarish imkonini berdi.
1. Etimologik ma'lumotlarga ko'ra, "erkinlik" tushunchasi "biznikilar" doirasiga mansubligini
va shu bilan birga o'zini boshqalarga ("begonalar") qarama-qarshi qo'yishni bildiruvchi asosdan kelib
chiqadi. “Ozodlik” tushunchasi "liberty" va “erk” konseptlari bilan bevosita bog`liq hisoblanadi.
Biroq “erkinlik” tushunchasining ildizlari quldorlik jamiyatidagi erkin, qaram bo`lmagan odamlardan
kelib chiqqan.
2. “Freedom” va “erkinlik” leksemalarning asosiy ma’nolari bir-biriga mos keladi. Bularga
quyidagilar kiradi: 1) o'zini xohlagancha tutish va harakat qilish qobiliyati; 2) hech qanday
cheklovlarning yo'qligi; 3) qullik va qamoqning yo'qligi [1].
3. “Erkinlik” konsepti bilan bir qatorda “freedom” konsepti ikki tomonlama bo‘lib, ular
“erkinlik – erkinsizlik” muxolifatining o‘zaro ta’sirida mavjud.
FOYDALANILGAN ADABIYOTLAR RO`YXATI:
1. Ismoiliy M. Farg`ona tong otguncha, 1-2- kitoblar. Roman. Toshkent, 1975.
2. Madvaliyev. A. O`zbek tilining izohli lug`ati. “O`zbekiston milliy ensiklopediyasi” Davlat ilmiy nashriyoti.
Toshkent – 2020.
3. Olimjon H. Tanlangan asarlar. T. 1-3. Toshkent, 1957 – 1960.
4. Oybek. Nur qidirib. Qissa. Toshkent, 1957.
5. Qodiriy A. Mehrobdan chayon. Roman. Toshkent, 1967.
6. Rahmatullayev Sh., Mamatov N., Shukurov R. O`zbek tili antonimlarining izohli lug`ati. Toshkent:
“O`qituvchi” – 1980.
7. Rahim E. Yangi qadam. Toshkent, 1958.
8. Safarov N. Pyesalar. Tanlangan asarlar. Toshkent, 1958.
9. Tursun P. O`qituvchi. Toshkent, 1958.
10. G`ayratiy. Tanlangan asarlar. Toshkent, 1958.
11. G`ulom G`. Shum bola. Qissa. Toshkent, 1963.
12. G`ulom G`. Tanlangan asarlar. Toshkent, 1956-1959.
13. O`zbek tilining izohli lug`ati. (Ikki tomli, 60000 so`z va birikma). 1- tom. “Moskva”,- Rus tili nashriyoti. 1981
14. Ардашева Т. Г. Лингвокогнитивный анализ концепта «свобода»: на материале русского, английского
и французского языков: дисс. … к. филол. н. Ижевск, 2012. 210 с.
15. Солохина А. С. Концепт «свобода» в английской и русской лингвокультурах: дисс. … к. филол. н.
Волгоград, 2004. 191 с
16. Чеканова В. Д. Концепт «Свобода» в немецком и русском языках [Электронный ресурс]. URL:
http://www.rusnauka. com/12_KPSN_2013/Philologia/7_135358.doc.htm (дата обращения: 13.09.2018).
17. Шаталова Т. И. Англо-русский идеографический словарь. М.: Рус. яз., 1994. 26-bet
УДК 81.119
ПРИЧИНЫ И УСЛОВИЯ ОБРАЗОВАНИЯ СОКРАЩЕННЫХ ЛЕКСИЧЕСКИХ
ЕДИНИЦ
И.Р.Авясова, преподаватель, Джизакский Государственный Педагогический
университет, Джизак
УДК 780
ТЕОРЕТИЧЕСКИЕ ОСНОВЫ ИССЛЕДОВАНИЯ МУЗЫКАЛЬНОЙ
ТЕРМИНОЛОГИИ ИСПОЛНИТЕЛЬСКОГО ИСКУССТВА
Г.С.Акабирова, преподаватель, Термезский университет экономики и сервиса, Термез
УДК 81-25
ПРАГМАЛИНГВИСТИЧЕСКИЕ И КОГНИТИВНЫЕ МАРКЕРЫ УСТНОЙ РЕЧИ:
КОРРЕЛЯЦИЯ С ПСИХОТИПОМ ГОВОРЯЩЕГО
Н.Р.Ахмедова, преподаватель, Узбекский государственный университет мировых
языков, Ташкент
Annotatsiya. Og'zaki tilning murakkab tomonlarini tushunish nafaqat til bilimini, balki kognitiv
jarayonlar va pragmatik ko'nikmalarni ham o'z ichiga oladi. Ushbu maqola pragmalingvistik
xususiyatlar, kognitiv belgilar va nutq psixotiplari o'rtasidagi bog'liqlikni o'rganadi. Fanlararo
yondashuv orqali biz odamlarning nutqi kognitiv tendentsiyalar va kommunikativ uslublarni qanday
aks ettirishini o'rganamiz.
Kalit so‘zlar: Og‘zaki til, pragmatika, idrok, nutq psixotiplari, lingvistik tahlil, kognitiv
markerlar, muloqot uslublari.
Аннотация. Понимание тонкостей устной речи требует не только лингвистических
навыков, но также когнитивных процессов и прагматических навыков. В данной статье
исследуется корреляция между прагмалингвистическими особенностями, когнитивными
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 241
маркерами и речевыми психотипами. Используя междисциплинарный подход, мы исследуем,
как речевые модели людей отражают основные когнитивные тенденции и стили общения.
Ключевые слова: устная речь, прагматика, познание, речевые психотипы,
лингвистический анализ, когнитивные маркеры, стили общения.
Abstract. Understanding the intricacies of oral language involves not only linguistic
proficiency but also cognitive processes and pragmatic skills. This article investigates the correlation
between pragmalinguistic features, cognitive markers, and speaking psychotypes. Through an
interdisciplinary approach, we explore how individuals' speech patterns reflect underlying cognitive
tendencies and communicative styles.
Keywords: Oral language, pragmatics, cognition, speaking psychotypes, linguistic analysis,
cognitive markers, communication styles.
Введение: Устный язык как способ человеческого общения представляет собой богатое
полотно, сотканное из лингвистических, когнитивных и прагматических нитей. Традиционно
лингвистический анализ углублялся в структуру и правила речи, уделяя особое внимание
синтаксису, семантике и фонологии. Однако сфера изучения языка расширилась и охватила
более широкие аспекты, включая контекстуальное использование языка и когнитивные
процессы, лежащие в основе общения. Кроме того, люди демонстрируют разнообразные стили
речи, отражающие их уникальные когнитивные тенденции и коммуникативные предпочтения,
которые мы называем речевыми психотипами.
Понимание сложностей устной речи требует междисциплинарного подхода, который
объединяет знания лингвистики, когнитивной психологии и социальных наук. Прагматика,
изучение языка в контексте, проливает свет на то, как говорящие используют язык для
передачи смысла в социальных взаимодействиях. Прагматические маркеры, такие как
интонация, дискурсивные частицы и разговорные стратегии, служат ориентирами, которые
формируют ход диалога и сигнализируют о намерениях говорящих.
Когнитивные процессы в равной степени являются неотъемлемой частью производства
и понимания устной речи. Рабочая память, механизмы внимания и исполнительные функции
играют ключевую роль в формулировании связных высказываний, контроле связности
дискурса и адаптации использования языка для достижения коммуникативных целей.
Когнитивные маркеры, встроенные в речь, такие как вариации скорости речи, синтаксическая
сложность и лексическое разнообразие, дают представление о когнитивных требованиях
речевых задач и раскрывают индивидуальные различия в когнитивных способностях.
Кроме того, люди демонстрируют различные стили речи, характеризующиеся моделями
взаимодействия, экспрессивностью и коммуникативными стратегиями. Эти речевые
психотипы охватывают целый спектр черт: от напористости до эмпатии, от многословия до
краткости, которые проявляются в разнообразном языковом поведении в разных контекстах.
В этой статье исследуется взаимосвязь между прагмалингвистическими особенностями,
когнитивными маркерами и речевыми психотипами с целью разгадать сложную картину
устной речи. Выясняя эти взаимосвязи, мы стремимся обогатить наше понимание устной
коммуникации и ее основных механизмов, что будет иметь значение для образования,
клинической практики и стратегий межличностного общения. Через междисциплинарную
призму мы отправляемся в путешествие, чтобы разгадать тайны устной речи и ее глубокое
влияние на человеческое взаимодействие и познание.
Прагмалингвистические особенности включают в себя лингвистические элементы,
встроенные в социальные взаимодействия, которые способствуют эффективному общению.
Эти особенности действуют в сфере прагматики, где язык — это не просто система символов
и правил, а динамический инструмент для навигации по социальному контексту и передачи
смысла. Понимание прагмалингвистических особенностей необходимо для расшифровки
нюансов устной речи и интерпретации намерений и отношений говорящих.
Маркеры дискурса. Маркеры дискурса — это лингвистические устройства, которые
структурируют и организуют устный дискурс, сигнализируя о взаимосвязях между
242 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
высказываниями и направляя понимание слушателей. Примеры включают «ну», «так», «вы
знаете» и «на самом деле». Эти маркеры выполняют различные функции, например, отмечают
переходы между темами, сигнализируют о согласии или несогласии, а также управляют
очередностью в разговоре.
Стратегии вежливости. Стратегии вежливости регулируют социальные взаимодействия,
смягчая потенциальные действия, угрожающие лицу, и поддерживая гармонию и
взаимопонимание между собеседниками. Вежливость может выражаться через
лингвистические формы, такие как маркеры вежливости (например, «пожалуйста»,
«спасибо»), косвенные просьбы и средства хеджирования (например, «Я не уверен, но...»).
Культурные нормы и социальный контекст влияют на выбор и интерпретацию стратегий
вежливости.
Речевые акты: Речевые акты относятся к коммуникативным действиям, выполняемым
посредством языка, таким как просьбы, обещания, извинения и комплименты. Понимание
речевых актов предполагает признание иллокутивной силы – предполагаемой функции или
эффекта – стоящей за высказываниями. Прагматические особенности, такие как интонация,
речевой регистр и контекстуальные подсказки, способствуют интерпретации речевых актов и
их предполагаемого значения.
Разговорная импликатура: Разговорная импликатура включает в себя извлечение
подразумеваемых значений из высказываний на основе принципа сотрудничества и
принципов разговора Грайса. Ораторы часто передают информацию косвенно, полагаясь на
импликатуру, чтобы передать тонкости, передать вежливость или сохранить эффективность
разговора. Принципы Грайса о количестве, качестве, релевантности и манере определяют
интерпретацию импликатуры в дискурсе.
Речевые заполнители и исправления. Речевые заполнители, такие как «э-э», «гм» и
«нравится», служат маркерами колебаний или заполнителями в речи, указывая на паузы,
самокоррекцию или когнитивную обработку. Ремонт включает в себя пересмотр или
исправление лингвистических ошибок или неточностей во время произнесения речи. Эти
функции способствуют плавности и связности устной речи и отражают процессы мониторинга
и корректировки говорящих в реальном времени.
Понимание и анализ прагмалингвистических особенностей улучшают наше понимание
разговорной речи и социальной динамики, лежащей в основе общения. Распознавая эти
лингвистические сигналы, исследователи и практики могут расшифровать тонкости устного
дискурса, продвигать эффективные коммуникативные стратегии и ориентироваться в
межкультурном взаимодействии с чувствительностью и осознанностью.
В заключение, исследование прагмалингвистических особенностей устной речи дает
неоценимую информацию о тонкостях человеческого общения. На протяжении всей этой
статьи мы углубились в многогранную природу устного дискурса, изучая, как языковые
элементы взаимодействуют с социальным контекстом и когнитивными процессами, формируя
коммуникативные взаимодействия.
Прагмалингвистические особенности, в том числе дискурсивные маркеры, стратегии
вежливости, речевые действия, разговорная импликатура и речевые наполнители, служат
важными инструментами для передачи смысла, управления социальными взаимодействиями
и согласования смысла в дискурсе. Эти особенности отражают не только языковую
компетентность, но и осведомленность говорящих о социальных нормах, коммуникативных
целях и когнитивных процессах, связанных с производством и пониманием языка.
Более того, наше исследование речевых психотипов проливает свет на разнообразие
коммуникативных стилей и предпочтений людей. Посредством идентификации различных
языковых профилей, связанных с различными психотипическими чертами, мы получаем
представление о взаимодействии между личностью, когнитивными способностями и
использованием языка в социальных взаимодействиях. Понимание речевых психотипов
расширяет нашу способность адаптировать стратегии общения, способствовать
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 243
межличностному взаимопониманию и эффективно ориентироваться в различных социальных
контекстах.
Корреляция между прагмалингвистическими особенностями, когнитивными маркерами
и речевыми психотипами подчеркивает сложное взаимодействие между языком,
когнитивными способностями и личностью в формировании устного общения. Раскрывая эти
взаимосвязи, исследователи могут улучшить наше понимание обработки разговорной речи,
предоставить информацию о вмешательствах, направленных на улучшение навыков устной
речи, и продвигать эффективные коммуникативные практики среди различных групп
населения и контекстов.
По сути, изучение прагмалингвистических особенностей устного языка раскрывает
богатство и сложность человеческого общения. Продолжая исследовать эти измерения, мы
углубляем наше понимание динамического взаимодействия между языком, познанием и
социальным взаимодействием, что в конечном итоге обогащает наше понимание того, что
значит эффективно общаться в разнообразном и взаимосвязанном мире.
СПИСОК ИСПОЛЬЗОВАННОЙ ЛИТЕРАТУРЫ:
1. Clark, H. H. (1996). Using language. Cambridge University Press.
2. Brown, P., & Levinson, S. C. (1987). Politeness: Some universals in language usage. Cambridge University
Press.
3. Grice, H. P. (1975). Logic and conversation. In P. Cole & J. L. Morgan (Eds.), Syntax and semantics: Vol. 3.
Speech acts (pp. 41–58). Academic Press.
4. Goffman, E. (1974). Frame analysis: An essay on the organization of experience. Harvard University Press.
5. Levelt, W. J. M. (1989). Speaking: From intention to articulation. MIT Press.
6. Verschueren, J. (1999). Understanding pragmatics. Oxford University Press.
7. Tannen, D. (1984). Conversational style: Analyzing talk among friends. Ablex Publishing.
УЎК 81:821.222
ЮСУФ ВА ЗУЛАЙХО ДОСТОНИДА АРХАИК МИФОЛОГИК БЕЛГИЛАРНИНГ
АКС ЭТИШИ
Н.Д.Бабаджанова, катта ўқитувчи, Тошкент давлат юридик университети, Тошкент
Юсуф қиссаси сюжетининг тарихий асослари қадимги диний манбаларга бориб тақалса-
да, унинг асосий мотивлар таркиби ва образлар силсиласининг шаклланишида Марказий Осиё
халқларининг фольклор анъаналари муҳим роль ўйнаган. Юсуф образининг генетик асослари
бир жиҳатдан ўлиб-тирилувчи табиат культини ўзида мужассамлаштирган Сиёвуш ҳақидаги
мифологик тасаввурларга алоқадорлиги ҳамда мазкур эпик сюжет таркибидаги ғайритабиий
туғилиш, синов, қудуққа ташланиш ёки “ўзга олам”га сафар каби мотивларнинг туркий
халқлар эпоси билан муштарак жиҳатларга эгалиги ҳам шу фикрни тасдиқлайди. Ўзбек
фольклори ва ёзма адабиётидаги ўзига хос бадиий талқинлари мавжуд бўлиб, бу асарларнинг
сюжет қурилишида диний манбалардаги ривоятларга яқинлик кўзга ташланса-да, уларнинг
ҳар бирида муаллифнинг ижодий ёндашуви, бадиий ниятининг ўзига хослиги ва бадиий
маҳорати ўз аксини топган.
Юсуф қиссаси халқ орасида ғоят кенг оммалашганлиги сабабли бу қадимий эпик
сюжетнинг муайян мотивлари ва эпизодлари асосида афсона ва ривоятлар ҳам юзага келган.
Хусусан, фольклоршунос Т.Очилов томонидан Самарқанд вилоятидан ёзиб олинган бир
афсонада Юсуф ва унинг қизи кўрган тушнинг йўрилиши ҳақидаги ҳикоя қилинади. Бу афсона
ҳам Юсуф қиссасидаги анъанавий туш мотивининг эпик анъанага таъсири жараёнида
шаклланган. Бундан ташқари, “Юсуф ва Зулайхо” эртагининг Наманган вилояти Чортоқ
туманидаги Пешқўрғон қишлоғида истиқомат қилувчи А.Турғуновдан ёзиб олинган
намунасида акалари тарафидан қудуққа ташланган Юсуфни ғаройиб илонлар ташқарига
чиқариб қўйиши мотиви мавжуд. Юсуф алайҳиссалом қиссасининг сюжети асосида яратилган
бошқа кўпгина асарлардан фарқли равишда ушбу эртакда қудуққа ташланган Юсуф тўртта
илонга дуч келади. Эртакда айтилишича, бу илонларнинг номи Ямлихо, Максимино, Мислино
ва Пирмуш бўлиб, бу илонлар қудуққа ташланган одамларни жазолаш учун қўйилган экан.
Чунки бу қудуққа фақат ёмон одамларгина ташланар экан. Илонлар шоҳи Ямлихо Юсуфни
кўриб, “Етти ёшида бу боланинг қандай гуноҳи бўлиши мумкин?” деб уни ташқарига чиқариб
қўйибди.
Ушбу эртакда илонлар номи сифатида келтирилган атамаларнинг эпик матндан ўрин
олиши эса “Қуръони карим”нинг “Каҳф” сураси асосида шаклланган “ғор одамлари” ҳақидаги
диний ривоятлар билан алоқадордир. Чунки ғайридинлар таъқибидан қочиб кимсасиз ғорда
паноҳ топган ва ўша манзилда уч юз йил мобайнида ухлаган етти биродар тўғрисидаги
ривоятнинг “Жавоҳир-ул ҳикоят” номли асарга киритилган намунасида баён қилинишича,
“етти биродарнинг исмлари Яслихо, Максалмино, Кашфутат, Табюнус, Кашофатюнус,
Азарфатюнус, Юнусбуз”. Фольклоршунос М.Жўраев ва Ш.Шомусаровларнинг ёзишларича,
“Максалмино ва Ямлихо насроний диний афсоналаридаги Максимилиан ва Иамалиха
эпонимларининг фонетик вариантларидир. Бошқа асҳоби қаҳфлар эса Шарқ фольклори
анъаналарининг маҳсулидир”. “Юсуф ва Зулайхо” эртагида Юсуф тушган қудуқ ичидаги тўрт
илондан иккитасининг исми – Ямлихо ва Максалмино атамаларининг келиб чиқиши исломий
манбалардаги “ғор одамлари” тўғрисидаги ривоятлар сюжетининг эртакчилик анъанасига
таъсири натижасида шаклланган.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 245
Юсуфнинг қудуққа ташланиши ва карвонлар томонидан қутқариб олиниши
қаҳрамоннинг ер остида жойлашган деб тасаввур қилинган “ўликлар мулки”га сафар қилиши
ва рамзий маънода “ўлиб-қайта тирилганлигини англатади. Бу образ ана шу жиҳатига кўра
Ўрта Осиё халқларининг архаик мифологиясидаги ўлиб-тирилувчи табиат культини ўзида
мужассамлаштирган Сиёвуш, шунингдек, қадимги Миср асотирларидаги Осирис образлари
билан муштарак белгиларга эга.
Юсуф тўғрисидаги қадимий эпик сюжетнинг ўзбек достончилиги ва қиссахонлиги
анъаналаридаги бадиий талқинларидаги қаҳрамоннинг қудуққа ташланиши мотиви эпик
баёни аждодларимизнинг оламнинг уч қисмдан иборатлиги, яъни Кўк – юқори олам, Ер юзи –
ўрта олам ва Ер ости – қуйи олам ҳақидаги космогоник тасаввурлари асосига қурилган.
Фольклоршунос В.Я.Проппнинг қайд этишича, қадимги мифологиядаги “ўзга дунё
қаҳрамоннинг эзгу ҳомийлари яшайдиган юқори ва унинг рақиблари макон этган қуйи
оламларга бўлинади. Ўрта оламда одамлар яшайди, қаҳрамоннинг ўзи ҳам шу ерда
истиқомат қилади”.[13] М.Жўраевнинг таснифича эса ўзбек халқ эртакларида қаҳрамон эпик
сафари йўналишини белгиловчи “ўзга олам”нинг тузилиши асосан икки хил мифологик
модель асосида талқин қилинади: а)горизонтал йўналиш бўйича; б)вертикал йўналиш
бўйича.[12] Қудуқ билан боғлиқ анъанавий мотивнинг ўзига хос талқини баён этилган
“Туркий Юсуф-Зулайхо” қиссасида қаҳрамоннинг “ўзга олам”га сафари трихотомик, яъни уч
қисмли космогоник қурилишнинг вертикаль модели асосида тасвирланган деб ўйлаймиз.
Бизнингча, Юсуфни ўгай акалари қийнашаётган пайтда осмонда пайдо бўлган қуш Кўк –
юқори олам, яъни руҳлар оламининг тимсоли сифатида гавдаланган зооморф образдир. Чунки
архаик мифологияда қуш космогоник модель структурасининг юқори қисми, яъни руҳлар
маскани сифатида тасаввур қилинган Кўк оламининг рамзидир. Туркий халқлар, шу
жумладан, ўзбекларнинг анимистик қарашларида ҳам одам вафот этганидан кейин унинг руҳи
қушга эврилиши билан боғлиқ инончлар мавжуд бўлган. Шунга кўра, Юсуф билан акалари
устида қушнинг пайдо бўлиши халқ эпосида тасвирланган асосий персонаж ўзининг ҳақиқий
қаҳрамонлиги, яъни келгуси саргузаштларга тайёр эканлигини исботлаш мақсадида ўтиши
зарур бўлган синов-инициация маросимларининг фольклордаги эпик диффузияси
кўринишларидан бири бўлиб, қаҳрамоннинг Кўкка, яъни юқори оламга сафарини англатади.
“Туркий Юсуф-Зулайхо” қиссасида тасвирланишича, ногаҳоний ҳолатда пайдо бўлган
қушнинг сўзини эшитган ўгай акалар Юсуфни тал, яъни тепалик устига олиб чиқишлари
мотивида эса ўрта олам, яъни қаҳрамон истиқомат қиладиган Ер юзи дунёси тасвирини
кўрамиз.
Қадимги космогоник мифология мезонлари асосида ёндашадиган бўлсак, эпик қаҳрамон
ҳаракатининг структурасидаги учинчи йўналиш Юсуфни “ўзга олам”нинг вертикаль моделига
кўра зулмат, қоронғулик ва ўликлар дунёси сифатида тасаввур қилинган Ер ости оламига
туширганлиги аёнлашади. Юсуф ташланган қудуқ детали ер ости оламининг рамзий-
мифологик талқини эканлигини исботлайдиган бир нечта далил мавжуд. Биринчидан,
мифология ва фольклорда ғор, чоҳ, жарлик, сув ва қудуқ ер ости оламига олиб борадиган йўл
сифатида тасаввур қилинади. Қаҳрамоннинг қудуққа тушиши мотивининг мифопоэтик
табиатини ойдинлаштиришда уни фольклор асарлари “ўзга олам”га олиб борадиган йўл
тарзида талқин қилинадиган яна бир муҳим элемент – ғор детали билан қиёслаш муҳим
ҳисобланади. Чунки “қадимги мифологияда ғор – ўзга оламга ўтиш йўли сифатида талқин
қилинган”.[4] Қудуқ ва ғорни ёруғлик – зулмат, нурлилик – қоронғулик, ер юзи – ер ости, бу
дунё (яъни қаҳрамон яшайдиган олам) – ўзга дунё параметрлари бўйича қиёсласа, эпик матнда
қаҳрамон сафарининг макондаги йўналишини ифодаловчи бу ҳар икки деталнинг функцияси
муштараклиги маълум бўлади. Бинобарин, қоронғулик, яъни нурдан мосуво бўлиш, зулмат эса
самовий мифологияда ёруғлик ва эзгуликка қарши турувчи ёвуз кучлар макони ҳисобланган
“ўзга олам” ифодасидир.
Юсуф тушган қудуқнинг ер остида жойлашган “ўзга олам”га ўтиш йўли сифатида талқин
қилинишига яна бир далил Шаддод томонидан қазилган бу қудуқнинг ичини илон, чаён каби
хаотик мавжудотлар ўзига макон қилганидир. “Қисаси Рабғўзий”да нақл қилинишича, “ул
246 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
қузуғда тупроқда ётған бир қарағу илон бор эрди. Юсуфнинг унин эшитиб, Юсуфни егали
ўғради. Жаброил бир қаттиғ ун қилди, ул ундин қулоқи сағир бўлди, кўзлуғ илон кўзсиз
бўлмаса Юсуф жамолин кўруб егали ўғрамагай эрди”.[5] “Қиссаи Юсуф-Зулайхо”да
тасвирланишича, “қудуқ тубинда илон-чаён кўб эрди, Жаброил бир наъра тортди, улар ер
тагига кириб кетди”. Зеро, қадимги туркий мифологияда ер остида жойлашган деб тасаввур
қилинган “қуйи олам” – ёвузлик тимсоли Эрликка бўйсунадиган жониворлар маконидир.
Хусусан, тоғли олтойликлар фольклорида сақланиб қолган қадимги туркий мифлардан бирида
айтилишича, бир куни Эрлик эзгу тангри Улганнинг олдига бориб, ер юзидан ҳассасининг учи
сиғарлик жой беришни сўрабди. Улган розилик билдиргач, Эрлик ўзининг ҳассасини ерга
суқиб олибди. Шунда ернинг тагини ўзига макон қилган илон, қурбақа, чаён ва бошқа заҳарли
жониворлар ҳалиги ҳасса учидан тишлаб ер юзига чиқишибди. Эрлик бу жонзотларга қараб:
“Энди сизлар одамларга ёмонлик қиласизлар!” – дебди. Буни кўриб жаҳли чиққан Улган
ҳассани қўлига олиб, ҳалиги жониворларни чиққан тешиги орқали ер тагига тиққан эмиш.[9]
Кўринадики, “Туркий Юсуф-Зулайхо”да Шаддод томонидан қазилган бу қудуқнинг тубида
илон, чаёнлар кўп эканлиги қаҳрамон тушган қудуқ – ер ости, яъни одамга ёмонлик қилувчи
ёвуз кучлар макони ҳисобланган “қуйи олам”га тааллуқли эканлигини англатади.
Сибирда истиқомат қиладиган туркий халқларнинг шомонизмидаги оламнинг
космогоник қурилиши жиҳатидан уч ўлчамдан иборатлиги ва самовий модель қисмларининг
зооморф тимсоллари мифологик тасаввурлар ҳам Юсуфнинг қудуққа ташланиши мотивидаги
макон талқинларига мос келиши характерлидир. Этнограф Л.П.Потаповнинг аниқлашича,
Саян-олтой шомонлари чилдирмасининг ички тарафига чизилган суратлар бир неча қисмга
бўлинган бўлиб, юқори тарафида ой, қуёш, Етаган юлдузлари ҳамда “кёок” (какку), “кускачак”
(чумчуқ), “кускун” (қарға), “бай қазинг” (муқаддас қайин) ва “тогус ооул” (бир-бирининг
қўлини ушлаб турган тўққиз ўғил) сурати чизилган. Қуйи қисмига эса “чети кёк бури” (етти
кўк бўри), “тогум кара адай” (тўққиз қора ит), “чылан” (илон), “келескен” (катлакесак).
“сомыска” (ёмғир чуваланги) ва “пага” (бақа) тасвирланган.[10] Бундан кўринадики, “Туркий
Юсуф-Зулайхо” халқ қиссасидаги қаҳрамоннинг қудуққа ташланиши лавҳасида тасвирланган
жониворлар Юқори ва қуйи оламларга хос зооморф тимсоллар бўлиб, моҳиятан қадимги
туркийларнинг шомонийлик эътиқодларидаги космогоник модель талқинига мос келади.
Бизнингча, саян-олтой шомонларининг чилдирмасида тасвирланган тўққиз ўғил ва етти бўри
тимсоллари билан Юсуф қиссасидаги ўн бир ака-ука образи ҳамда қудуққа ташланган
Юсуфни бўри еди, деб талқин қилиниши мотиви ўртасида ҳам тарихий-типологик
муштараклик мавжуд.
Маълумки, дунё халқлари эпосида қаҳрамон ҳомий кучлар томонидан “танланган” шахс
бўлиб, у ўзига топширилган вазифани бажаришга қодирлигини исботлаши учун йигитлик
даври инициациясидан ўтиши, яъни бир ёш-табақа мансубиятидан бошқасида ўтиш жараёнида
ўзининг “ҳақиқий қаҳрамон” эканлигини кўрсатиши лозим бўлган. Бундай инициация
жараёни эпик қаҳрамоннинг маълум маънода ўзлигини йўқотиши, яъни рамзий маънода “ўлиб
қайта тирилиши”, бошқача қилиб айтганда, “ўзга олам”га сафар қилиш ва ҳомий кучлар
синовидан ўтиб, қаҳрамон сифатида “қайта яралиши”ни билдиради. Анъанага кўра, эпик
қаҳрамоннинг рамзий синов-инициация маросимлари воситасида “қайта яралиши” оламли уч
қисмли космогоник моделига асосланган мифологик тасаввурлар асосида тасвирланади.
Шунинг учун ҳам фольклоршунос Ш.Турдимов ўзбек халқ қаҳрамонлик эпосидаги Алпомиш
образига хос ўтда ёнмаслик, сувга чўкмаслик ва қилич кесмаслик каби хусусиятларнинг
асосини “уч ўлчамлик олам – осмон, ер, сув (ер ости олами) билан боғлиқ”, деб ҳисоблаган
эди.[12] “Туркий Юсуф-Зулайхо” қиссасида ҳам қаҳрамоннинг акалари томонидан қудуққа
ташланиши Юсуфнинг руҳий-ҳиссий жиҳатдан янгиланиши ва унинг “ўзга олам”га сафар
қилиш орқали синов-инициация жараёнидан ўтиб, эпоснинг асосий воқеаларида иштирок
этадиган ҳақиқий қаҳрамон сифатида “қайта яралганлиги”нинг ифодасидир.
Хулоса қилиб айтганда, Юсуф ва Зулайҳо ҳақидаги эпик сюжетнинг оғзаки ва ёзма
адабиётдаги бадиий талқинларида қаҳрамоннинг ўгай акалари томонидан ҳасад оқибатида
қудуққа ташланиши мотиви деярли бир хил тасвирланган бўлса-да, халқимиз орасида “Туркий
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 247
Юсуф-Зулайҳо” номи билан кенг тарқалган қиссада бу сюжет элементи қадимий мифологик
тасаввурлар ҳамда фольклор анъаналарини тўла сақлаб келганлиги билан алоҳида ажралиб
туради. Шу мавзудаги халқ қиссалари ва достонларнинг сюжет қурилиши ва асосий мотивлар
тизими деярли бир хил бўлгани ҳолда, қаҳрамоннинг қудуққа ташланиши мотиви (Юсуфнинг
акалари томонидан чоҳга ташланиши) асарнинг барча вариант ва версияларида турлича
тасвирланган. Бу мотивнинг тарихий-генетик асослари қадимги миф қаҳрамонларининг уч
қисмли космик модель, яъни Кўк, юқори олам, Ер юзи ва Ер ости, яъни қуйи олам бўйлаб
сафари баён этилган архаик сюжетга бориб тақалади.
ФОЙДАЛАНИЛГАН АДАБИЁТЛАР РЎЙХАТИ:
1. Бабаджанова, Н. Д. (2020). Изучение эпической рассказы “Юсуф и Зулейха” на турецкой народной
литературе. Международный журнал искусство слова, 3(3).
2. Бабаджанова, Н. Д. (2013). Генезис и эволюция сюжета эпоса” юсуф и зулайхо”. In Эмпирические
исследования и практическая реализация в современной науке (pp. 32-35).
3. Бабаджанова, Н. Д. “Юсуф ва Зулайҳо” достонида анъанавий мотивларнинг ифодаланиши.
4. Жавоҳир-ул ҳикоёт. ‒ Тошкент, 1991. ‒ Б.200.
5. Жўраев М., Шомусаров Ш. Араб мифологияси ва ўзбек фольклори. ‒ Тошкент: Фан, 2001. ‒ Б.59.
6. Жўраев М. Ўзбек халқ эртакларида “сеҳрли” рақамлар. – Тошкент: Фан, 1991. – Б.53.
7. Жўраев М. Ўзбек халқ самовий афсоналари. Тошкент: Фан, 1995. – Б.93.
8. Носируддие Бирхонуддин Рабғузий “Қисаси Рабғўзий”. Т.1. – Б.107.
9. Пропп В.Я. Русский героический эпос. – Л.: Наука, 1955. – С.34.
10. Потапов Л.П. Шаманский бубен качинцев как уникальный предмет этнографических коллекций //
Материальная культура и мифология (Сб. МАЭ. Т.XXXVI). – Л., 1981. – С.135.
11. Сагалаев А.М. Урало-алтайская мифология:символ и архетип. – Новосибирск: Наука, 1991. – С.36.
12. Турдимов Ш. Этнос ва эпос – Тошкент: Ўзбекистон. 2012. – Б.8.
13. ЎзР ФА Ўзбек тили, адабиёти ва фольклори институти Фольклор архиви. Инв.№1597/13.
14. ЎзР ФА Ўзбек тили, адабиёти ва фольклори институти Фольклор архиви. Инв.№17181. “Юсуф ва
Зулайҳо” эртаги.
УДК: 81-373
СОСТАВЛЯЮЩИЕ КОМПОНЕНТЫ НОМИНАТИВНОГО ПОЛЯ КОНЦЕПТА ЦВЕТ
А.Базарбаева, доц., Узбекский государственный университет мировых языков, Ташкент
УДК 81-13
РЕПРЕЗЕНТАЦИЯ КОНЦЕПТА «КЛАССИЧЕСКАЯ МУЗЫКА» («СИМФОНИЕТТА»
ЯНАЧЕКА) В ТРИЛОГИИ ХАРУКИ МУРАКАМИ «1Q84»
Н.А.Бакаева, преподаватель, Самаркандский государственный институт иностранных
языков, Самарканд
Annotatsiya. Ushbu maqolada yozuvchining lingvistik ongi uchun ham, "1Q84" romanida
ma'lum vaziyatlarni tashkil etuvchi va "leytmotiv" bo'lgan semantik "markaz" yaratish uchun muhim
bo'lgan "mumtoz musiqa" tushunchasining tasviri tahlil qilinadi. ish haqida. Qahramonning asosiy
xususiyati sifatida "tushuncha" dan foydalanish imkoniyati asoslanadi. Kontseptsiyaning ko'p
qirraliligi va syujetning fantastik tarkibiy qismini yaratish uchun uning kesishgan tabiati ko'rsatilgan.
Kalit so'zlar: "klassik musiqa" tushunchasi, badiiy tushuncha, ijodiy ong, semantik
multivariantlik.
Аннотация. В данной статье анализируется репрезентация концепта «классическая
музыка», как значимая для Языкового сознания писателя, так и для создания смыслового
«центра», который формирует определенные ситуации в романе «1Q84» и является
«лейтмотивом» произведения. Обосновывается возможность использования «концепта» как
базовой характеристики героя. Указывается на многофункциональность концепта и его
сквозной характер для создания фантастического компонента сюжета.
Ключевые слова: концепт «классическая музыка», художественный концепт,
творческое сознание, семантическая многовариантность.
Abstract. This article analyzes the representation of the concept “classical music”, both
significant for the linguistic consciousness of the writer and for the creation of a semantic “center”
that forms certain situations in the novel “1Q84” and is the “leitmotif” of the work. The possibility
of using the “concept” as a basic characteristic of the hero is substantiated. The versatility of the
concept and its cross-cutting nature for creating a fantastic component of the plot are pointed out.
Key words: concept of “classical music”, artistic concept, creative consciousness, semantic
multivariance.
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 251
Введение. Романы Харуки Мураками, особенно последнего периода насыщены
художественным концептом «музыка», важным сегментом которого выступает классическая
музыка. С. Боева анализировала в диссертации произведении джаза, музыки «The Beatles» и
других западных групп, которые определяли вкусовые пристрастия писателя; и подчеркивали
эстетическую важность произведений данного вида искусства для создания образа персонажа.
Отметим, что, начиная с романа «Хроника Заводной птицы», можно проследить, как
произведение классической музыки становится лейтмотивом произведения. В упомянутом
выше романе таким лейтмотивом станет увертюра из оперы Россини «Сорока-воровка», в
дилогии «Убийство командора» важны два произведения: опера Моцарта «Дон Жуан» и опера
Штрауса «Кавалер роз». В рамках данной статьи проанализируем репрезентацию концепта
«классическая музыка» на примере значения «Симфониетты» Яначека в трилогии «1Q84».
Литературный обзор и методология. Художественный концепт «классическая
музыка» многогранен и индивидуален, характеризует интеллектуальный уровень самого
автора, его творческое сознание, глубокую любовь и понимание музыки. И.А. Тарасова
подчеркивает индивидуальный характер художественного концепта: «Художественный
концепт рассматривается прежде всего как единица индивидуального сознания, авторской
концептосферы, вербализованная в едином тексте творчества писателя» (Тарасова 2003:77) В
русле когнитивной поэтики дает определение художественному концепту О.В. Беспалова в
диссертации, указывая на первооснову-творческое сознание писателя: «…единица сознания
поэта или писателя, которая получает свою репрезентацию в художественном произведении
или совокупности произведений и выражает индивидуально-авторское осмысление сущности
предметов или явлений» (Беспалов 2002:6). Таким образом, следует воспринимать
художественный концепт «классическая музыка» как важную «вкусовую» часть «картины
мира» и художественного сознания именно Харуки Мураками, его познаний и предпочтений
среди произведений и авторов классической музыки. Обращаясь к тексту трилогии «1Q84»,
можно отметить, что писатель никогда не упоминает произведение классической музыки без
указания на конкретного исполнителя или дирижера оркестра: «В исполнении Кливлендского
оркестра под управлением Джарджа Селла» (Мураками 2012,т.1:184).ジョージ・セルの指揮する
クリーブランド管弦音音楽団によるものだった。 (村上 2009,コピ1:254). Все вышесказанное
позволяет принять определение художественного текста как материализацию и вербализацию
индивидуального творческого сознания: «Художественный текст представляет собой
исключительный объект для исследования внутреннего мира человека и его способностей к
восприятию и отображению действительности на уровне индивидуального сознания.
Воспроизводя малейшие ньюансы мировидения, текст, как отпечатки пальцев, способен дать
читателю уникальную возможность проникнуть во внутренний мир автора, составить о нем
представление, которое по объему и объективности полученной информации несравнимо с
впечатлениями, возникающими при обычном общении» (Глазунова 2018:44) Можно
обобщить, что несколько произведений, в которых важен и неоднократно упоминается
концепт «классическая музыка» эмоционально и ассоциативно проецируют на культурный
портрет самого Харуки Мураками.
Как уже было отмечено, «Симфониетта» Яначека является лейтмотивом всей трилогии
«1Q84», то есть многократно упоминается в различных ситуациях и выполняет различные
функции. Харуки Мураками во всех упомянутых выше произведениях связывает восприятие
музыкального произведения с определенным героем. Первый том трилогии «1Q84»,
начинается с восприятия «Симфониетты» Аомамэ, что сразу характеризует героиню.
Поскольку данное музыкальное произведение чешского композитора не входит в разряд
популярных, то автор приводит краткую предысторию создания, имитируя знания Аомамэ:
«Эту маленькую симфонию Яначек написал в 1926 году. А вступление на фанфарах сочинял
как гимн для какого-то спортивного фестиваля» (Мураками 2012, т.1 :7). ヤナーチェックは一
九二六年にその小振りなシンフォニーを作曲した。冒頭のテーマはそもそも、あるスポー
ツ大会のためのファンファーレとして造られたものだ。(村上 2009,コピ1:2). Традиционно,
252 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
в каждом произведении Харуки Мураками есть «фантастический компонент» сюжета,
зачастую связанный с перемещением в пространстве и во времени героев. Автор соединяет
«реальное и фантастическое», начинающееся в салоне такси, которым управляет необычный
шофер под музыку Яначека: «...его музыку будут слушать в «тойоте-краун ройял салон»
посреди жуткой пробки на Токийском хайвэе 1984 года…» (Мураками 2012, т.1 :11). 自分の
作曲した音楽一九八四年の東京の、トヨタ・クラウン・ロイヤルサル―ンのひっそりとし
た車内で、誰かに聴かれることになろうとは想像もしなかったに違いない。(村上 2009,コ
ピ1:8).
Такой ракурс рассмотрения стимулирует исследователя находить в художественном
концепте Харуки Мураками все новые грани и функции, которые он обнаруживает в разных
ситуациях. К примеру, процесс звучания «Симфониетты» реально соответствует отрезку
времени, проведенное Аомамэ в такси: «Оркестр пригашивал духовые сурдинами, будто
пытаясь унять напряженные до предела нервы» (Мураками 2012, т.1 :13). 弱音器つきの弦楽
器が気持ちの高まりを癒すように、前面に出てくる。(村上 2009,コピ1:11). Решимость
героини воспользоваться лесенкой, которую рекомендовал водитель, и начало
фантастического времени «невесть какого года» также совпадает с данным произведением:
«Симфониетта» как раз подходила к концу» (Мураками 2012, т.1 :16). ヤナーチェックの音楽
も、それにあわせるように最終楽章に入ろうとしていた。(村上 2009,コピ1:16). Отметим,
что сначала в трилогии данное музыкальное произведение или его части связаны только с
образом Аомамэ. Харуки Мураками использует «Симфониетту» как своеобразный
аккомпанемент для формирования далеких воспоминаний героини: «И пока эта сцена плыла
перед ее мысленным взором, в ушах, точно звукоряд к кинофильму, трубили фанфары из
«Симфониетты» Яначека» (Мураками 2012, т.1 :53).「例外的ではあるが興味深い」エピゾー
ドとして記憶に残っているだけだ。しかしむきだしの鉄の階段を降りながら、環と身体を
触り合ったときのことを思い出していると少し熱を持ち始めたようだった。(村上 2009,コ
ピ1:64). Следует подчеркнуть, что в сценах с различным психологическим состоянием
героини звуки музыки воспринимаются по-разному, семантический центр концепта автор как
бы переносит при сохранении всего «комплекса». Если в сцене «интимного» воспоминания,
автор добавляет определенный ассоциативный ряд, возникающий в душе Аомамэ: «Ветер
мягко ласкает травы Богемской долины»; то в сцене убийства Миямы, тональность и значение
музыки другие. Аомамэ – по профессии «чистильщик», изощренный убийца мужей-садистов,
а потом и Лидера. Харуки Мураками – писатель, для которого художественная логика
повествования важна и не подвергается сомнениям. Писатель создает портрет красивой,
богато одетой 30 летней женщины, располагающей к общению, привлекающий взгляды
мужчин. Сцена убийства садиста Миямы происходит в фешенебельной гостинице,
профессионал Аомамэ выполняет свое задание уже после фантастического раздвоения миров:
1Q84 и 1984. Автору необходимо дополнение, которое заставляет звучать музыку в другой
тональности и как бы закреплять «Симфониетту» за сценой убийства: «Слышно, как бьется
сердце. И в том же ритме фанфары выдают в голове увертюру «Симфониетты» Яначека. Ветер
мягко ласкает травы Богемской долины. Аомамэ четко знает: теперь ее-две» (Мураками 2012,
т.1:53). 青豆の頭の中にまるでその背景音楽のように、ヤナーチェックの「シンフォニエ
ッタ」の音 楽器の祝 祭的なユニ ゾンが朗 々と鳴り 響 いた。 (村上 2009,コピ 1 :65)
Подобное раздвоение обусловлено фантастическим элементом сюжета и «раздвоением» в
жизни героини: встреча с Тэнго и жизнь после него. Фантастическая трансформация в жизни
героини осознана ею четко, то есть музыка, звучащая из радио в странном такси, определяет
ту границу между мирами. Харуки Мураками только после перечисленных выше сцен,
которые собираются в смысловую мозаику использования концепта, создает объемные
рассуждения Аомамэ о назначении в ее жизни «Симфониетты» и приводит историю «не
популярного произведения» классической чешской музыки. Согласимся с утверждением Т.И.
Васильевой: «Художественный образ может выступать репрезентантом концепта в
произведении, воплощая основные его компоненты, как правило, понятийно-образные,
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 253
эмоциональные» (Васильева 2012:53.) Данный художественный концепт выполняет в
трилогии, как видим, несколько важных функций. Харуки Мураками приводит рассуждения
Аомамэ об «искривлении реальности», подводя ее к тому, что процесс «раздвоения» начался
со «странного чувства, навеянного этой музыкой. Внутри все скрутило так, будто ее
выжимали, как мокрую тряпку» (Мураками 2012, т.1.:178). あの不思議な感覚を思い出した。
それは身体のねじれのような感覚だった。(村上 2009,コピ1:247) Героиня удивляется
обстоятельствам, что она, «Гайдна от Бетховена толком не отличающая», каким- то
фантастическим образом наделена такими знаниями, то есть «Симфониетта» становится
«триггером» перемен: «музыка потрясла меня-буквально до самых глубин сознания»
(Мураками 2012, т.1.:179). そしてどうしてその音楽が、私の身体に激しい個人的な揺さ
ぶりのようなものを与えたのだろう。(村上 2009,コピ1:249) Поэтому правомерны в тексте
информация о композиторе, история создания «Симфониетты», покупка героиней пластинки.
Харуки Мураками важна иная реальность, чтобы мелодия была как бы адаптирована во
времени 1Q84, то есть художественный концепт преобразован в особую «фантастическую»
материю для Аомамэ; но звучал, как задумал композитор, для всех: «Радостно и торжественно
звучали фанфары… Только с ней ничего не происходило.» (Мураками 2012, т.1.:184). 例の冒
頭のファンファーレが輝かしく鳴り響いた。(村上 2009,コピ1:255)
Считаем, что Харуки Мураками усиливает фантастический пласт сюжета, приближая
встречу Аомамэ и Тэнго, используя функции лейтмотива «Симфониетты», музыки,
впечатление от которой не выразить словами. В книге «О чем я говорю, когда говорю о беге»
писатель откровенно пишет о своих музыкальных и литературных пристрастиях: «…я покупал
граммпластинки 70% моих приобретений-джаз, остальные классика и немного рока. Я
коллекционирую пластинки…» (Мураками 2006:163-164). Данное признание позволяет
утверждать значимость художественного концепта «классическая музыка» в трилогии
Харуки Мураками. Отметим, что, создавая образ Тэнго, настоящего автора «Воздушного
кокона», писатель насыщает его духовную жизнь классической музыкой, «общение» с
которой стимулирует его творческую энергию. Палитра музыкальных пристрастий Тэнго
разнообразна, изыскана, эмоционально-направлена на психологическое состояние героя :
«Гайдн, Бетховен, концерт Вивальди для клавесина с оркестром, темперации Баха,» «Хорошо
темперированный клавир» Баха, классические «сюэты» Рамо, фортепианные концерты
Шумана, симфонии Брамса…».Даже этот неполный перечень произведений любимой музыки
Тэнго может свидетельствовать о том, что Харуки Мураками с помощью художественного
концепта «классическая музыка» создал образ: «Художественный образ выступает
репрезентантом концепта в произведении, воплощая основные его компоненты, как правило,
понятийно-образные, эмоциональные» (Васильева 2012:53).
Выводы. Таким образом, можно сделать выводы о репрезентации концептов
«Симфониетта» Яначека и «классическая музыка» в трилогии Харуки Мураками «1Q84»:
1. Художественный концепт «классическая музыка» в индивидуальном выражении
«Симфониетты» Яначека многофункционален: является лейтмотивом любовной линии
трилогии(Аомамэ/Тэнго), определяет границы фантастического повествования; характеризует
эстетический и интеллектуальный уровень героев; продолжительность «Симфониетты» есть
показатель реального времени (25минут);
2. Концепт «классическая музыка» как «единица индивидуального сознания»
авторской концептосферы есть характеристика самого писателя; репрезентация
художественного образа Тэнго
СПИСОК ИСПОЛЬЗОВАННОЙ ЛИТЕРАТУРЫ:
1. Беспалова О.В. Концептосфера поэзии Н.С.Гумилева в ее лексическом представлении: Автореферат
дис… канд.фил.наук. СПб, 2002.- 24 с.
2. Болотнова Н.С. Коммуникативная стилистика текста: словарь тезаурус.-М.:Флинта:наука,2009.-384 с.
3. Васильева Т.И. Литературоведческий подход к изучению художественного концепта// Филологические
науки. Вопросы теории и практики. №7(18), 2012. - С.51-54.
4. Глазунова О.И. Синергетика творчества. Опыт анализа художественного текста М.: Книжный дом
«ЛИБРОКОМ»,2018. -344с.
254 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
5. Тарасова И.А. Идиостиль Григория Иванова. Когнитивный аспект: монография.-Саратов,2003.- 280с.
УДК 808.5
СПЕЦИФИКА ПОЭТИЧЕСКОЙ РЕЧИ
З.Ёвкачева, преподаватель, Узбекско-Финский педагогический институт, Ташкент
УДК 811.16(075.8)
РУССКИЕ ПОСЛОВИЦЫ И ПОГОВОРКИ КАК ИСТОРИЧЕСКИЙ ИСТОЧНИК
Ф.И. Исмаилова, преподаватель, НОУ «Университет-Маъмуна», Хива
УЎК 81
ЎЗБЕК ВА ИНГЛИЗ ТИЛЛАРИДА ҚАРАШЛИЛИК-ТЕГИШЛИЛИКНИНГ
СЕМАНТИК ТАРКИБИ
М.И.Исмоилова, мустақил тадқиқотчи, Ўзбекистон Миллий Университети, Тошкент
УДК 378:811
О СТРУКТУРЕ ЖЕЛЕЗНОДОРОЖНЫХ ТЕРМИНОВ
Н.М.Кадырова, преподаватель, Узбекский государственный университет мировых
языков, Ташкент
ГОСТЕПРИИМСТВО
2.Коммуникативна
3.Контекстуальная
5.Репрезентативна
1.Номинативная
4. Экпрессивная
6.Регулятивная
я
УДК 81-13
СЕНСОРНЫЙ МИР В РАССКАЗАХ ДИНЫ РУБИНОЙ
К.А.Кравченко, старший преподаватель, Самаркандский государственный университет,
Самарканд
УДК 821.111.09-311.6+929
ОБРАЗ ТОМАСА КРОМВЕЛЯ В ИСТОРИЧЕСКОЙ ТРОЛОГИИ ХИЛАРИ МАНТЕЛ
Р.Ш.Назарова, базовый докторант, Узбекский государственный
университет мировых языков, Ташкент
УДК 81
РЕЦЕПЦИЯ «КАРНАВАЛЬНОСТИ» ДОСТОЕВСКОГО В «СМЕХОВОМ»
ТВОРЧЕСТВЕ М. М. ЗОЩЕНКО
Н.М.Петрухина, д.ф.н., проф., Узбекский государственный университет мировых
языков, Ташкент
УДК 821.161.1«19/20»
РЕЛИГИОЗНАЯ ПРОЗА КАК ХУДОЖЕСТВЕННО-НАПРАВЛЕНЧЕСКАЯ
СОСТАВЛЯЮШАЯ СОВРЕМЕННОГО ЛИТЕРАТУРНОГО ПРОЦЕССА
И.В.Родина, ст.преподаватель, Узбекский государственный университет мировых
языков, Ташкент
УДК: 811.512.133
ВИДОВАЯ СЕМАНТИКА ГЛАГОЛОВ КАК СРЕДСТВО ВЫРАЖЕНИЯ
ОЦЕНОЧНЫХ ОТНОШЕНИЙ В ПОСЛОВИЦАХ
З.М.Рузиева, PhD, Навоийский государственный педагогический институт, Навои
UO’K 808.5
ВЛИЯНИЕ ВОСТОЧНОЙ ПОЭЗИИ НА ТВОРЧЕСТВО СЕРГЕЯ ЕСЕНИНА: АНАЛИЗ
МОТИВОВ И ОБРАЗОВ
С.О.Саттарова, старший преподаватель, Узбекско - Финского педагогического
института, Ташкент
Annotasiya. Ushbu maqolada Yesenin Sharq she'riyatidan olgan motivlar, tasvirlar va uslublar
tahlil qilinadi. Sharq she'riyatining qaysi elementlari shoir tomonidan qabul qilinganligi, uning
she'riy uslubiga qanday moslashtirilganligi va uning asarlarida qanday namoyon bo'lishi batafsil
o'rganiladi. Maqolada Sharq falsafasining shoirning dunyoqarashi va badiiy kontseptsiyasiga ta'siri
ham ko'rib chiqilgan.
Kalit so'zlar: Estetika, metafora, ma'naviyat, falsafa, noziklik, allegoriya, Sharq she'riyati,
yapon xaykusi.
Аннотация. В данной статье проводится анализ мотивов, образов и стилевых приемов,
которые Есенин заимствовал из восточной поэзии. Подробно исследуется, какие элементы
восточной поэзии были восприняты поэтом, как они были адаптированы в его поэтическом
стиле и как они проявляются в его работах. В статье также рассматривается влияние
восточной философии на миропонимание и художественную концепцию поэта.
Ключевые слова: Эстетика, метафора, духовность, философия, тонкость, аллегория,
восточная поэзия, японская хайку.
Abstract. This article provides an analysis of the motifs, images, and stylistic devices that
Yesenin borrowed from Eastern poetry. It thoroughly explores which elements of Eastern poetry were
adopted by the poet, how they were adapted into his poetic style, and how they manifest in his works.
The article also examines the influence of Eastern philosophy on the poet's understanding of the
world and artistic concept.
Keywords: Aesthetics, metaphor, spirituality, philosophy, subtlety, allegory, oriental poetry,
Japanese haiku.
УЎК 81
КИЙИМ-КЕЧАК КОМПОНЕНТЛИ ФРАЗЕОЛОГИЗМЛАРНИНГ ИНГЛИЗ, РУС ВА
ЎЗБЕК ТИЛЛАРИДАГИ ХУСУСИЯТЛАРИ
И.Б.Урунбаева, ўқитувчи, Янги Аср университети, Тошкент
In world linguistics, special attention is paid to revealing the specific features of the field of
linguoculturalism, which deals with the relationship between language and culture. A number of
works are being carried out in international circles in the field of linguistic representation of the world,
linguo-cultural studies, cognitive and gender linguistics. In today's era of globalization, when every
nation pays serious attention to preserving its cultural identity, the increasing interest in this topic,
the reflection of language in culture, and vice versa, the expression of cultural signs in the language
system determine the relevance of the topic.
In world linguistics, special importance is attached to the linguistic research aimed at preserving
and spreading the values and customs related to the national traditions and way of life of each nation,
ensuring the longevity of the national language. These studies prove that the ethnogenesis, material
and spiritual culture of each nation finds its scientific-theoretical basis in a language-related manner.
In Uzbek linguistics, effective work is being carried out in the field of linguo-cultural studies,
which studies the relationship between the language and the national culture. However, research was
306 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
not carried out sufficiently within the framework of linguistic and cultural research of phraseological
units that reflect the national consciousness, historical experience, worldview, thinking, national
mental characteristics reflected in the material and spiritual culture of the ethnos. After all, "The
history of the Uzbek language, which belongs to the big family of Turkic languages, is closely related
to the centuries-old past of our people, its dreams, sorrows, dreams, triumphs and victories. Our
ancestors spoke to the world through our mother tongue. They created great examples of culture,
great scientific discoveries, and artistic masterpieces in this language." The need to carry out scientific
research on the basis of modern linguistic and cultural approaches to the extensive study of this
priceless heritage, especially phraseological units, which are a unique treasure of our language, is an
urgent issue of modern linguistics.
Languages differ from each other not only according to their structure, but also nationally and
socially. These differences are evident in language units. A representative of a certain language is
also a representative of a certain culture. Any culture has its expression in the language, and it is
natural that they find expression in phraseology. Today, linguoculturology is a social field that deeply
studies these issues, studies the material and spiritual culture manifested in the national language and
language processes. Linguistic culture is a field that studies myths, legends, traditions, customs,
customs, and symbols of culture. According to V. N. Telia, linguo-cultural studies, first of all,
researches live communicative processes and their connection with the mentality of the people in the
synchronous movement of language expressions used in them. Lingvoculturology emerged as an
independent branch of linguistics in the 90s of the 20th century, and this term (Lat. lingua "language",
cultus "respect, bow") appeared in connection with research conducted by the Moscow Phraseological
School under the leadership of V.N. Telia.
It is known that the development of human lifestyle was closely related to household needs and
clothing. Clothes are one of the important external signs that distinguish a person from an animal.
The Uzbek people are at the forefront of the world's nations in terms of clothing culture. A few
thousand years ago, our ancestors wore a jacket on their shoulders, shoes on their feet, boots, a
shabposh on their head, a cap, a telpak, a cloak on top, a tunic, and a belt on their waist. Phraseologism
"to wear one's shirt upside down" is used in the sense of "to be obstinate while being turned off".
The true essence of this phrase is revealed by the phrase "do not beat the poor, do not curse,
tear his coat". The poor clay who says he will fight on the horse of anger, wears his tunic upside down
so that if blood touches the lining, if it tears, the lining is torn, and if the patch falls, it will fall on the
lining. The poor man had only one coat, and if it was torn, he could not wear another. According to
our observations, the semantic development of the word ton in the linguistic culture of many Turkic
languages took place as follows: "Ton" is the name of a very common garment in Turkic languages.
notes that it means "summer outerwear".
The fact that this word refers to different names of clothing gives reason to assume that it was
named after the raw material. If you pay attention to the form and meaning of the word in other Turkic
languages, the idea will become clearer. In particular, in the Khakas language, ton is "skin", in Nogai,
ton is "skin", "tulup", on this basis, tonlav - "to skin a dead or hunted animal", ton "skin for clothing",
in Tatar, tun - "fur", It is used in the meanings of "skin", "tunalu" - to rub the skin. V.V.Radlov
believes that this word is semantically related to the word tin ("German"), which is used in the form
of diin in Tuva and tejen//tiin in Bashkir.
D. Abduvalieva, who researched the lexicon of Alisher Navoi's historical works, also noted that
the lexeme "diyin" is a zoonym and is used in modern Uzbek language and expresses the meaning of
"German". In this way, based on the meaning of the word "skin" in the ancient Turkic language, its
monetary unit (diyin in Uzbek, tin in Tajik), dengi in Russian (denga - coin), and ton in Korean were
formed.
The cited lexicographic explanation and analysis make it more concrete that the word ton
originally meant "skin". An example of ethnocultural universals category is the ethnophrase "krasnet
kak sarafan" - "to blush with excitement" from Russian phraseological units. We can see that the
national outerwear of Russians - "sarafan" - is included in the phraseologism. Russian national
XORAZM MA’MUN AKADEMIYASI AXBOROTNOMASI –2/4-2024 307
women's clothing is a sarafan or panyova (skirt made of woolen gauze). Sarafan is an ancient men's
garment, which later became a type of women's festive dress, and it is mainly made of red fabric.
It is worth noting that the name of the ancient Russian national dress actually originated from
a lexeme meaning "sarpo", that is, "one-piece dress worn from head to toe", and this aspect shows
that some names of the national clothes of our people are much older than the names of other national
clothes. Names and realities of each nation's clothing also serve as the basis for the formation of
national phraseology.
For example, "to put on a shirt upside down" - to be obstinate, "to throw one's hat in the sky" -
to be very happy, "the hat is too tight" - to be in a difficult situation, "tore a couple of pieces more" -
to be older, married more experience, "a gray patch on a satin dress" - an insignificant defect spoils a
good thing, "a worm has fallen into the tail" - his calmness is disturbed, he cannot stay still.
In addition, in this season, ethnophrases that emphasize the national basis of phraseology, such
as romol, chapon, ton, cap, mahsi, kavush, mursak, kamzul, turban clothes, atlas, adras, and bekasam,
are also linguistically culturally researched. In the second part of the chapter entitled "Expression of
mentality in phraseology with food component" it is explained that the national-cultural
linguocultural concept of ethnophrases with food component, which is one of the factors reflecting
the pattern of mentality, has its own place. Food is such a material element of culture that national
views are preserved in it more than others, assumptions about the specific national characteristics of
the people are formed and easily understood.
The lexical units, in particular, the phraseological units expressing the ethno-cultural concept
in the language, reflect the worldview, mentality, spirit, traditional way of life, national values of the
ethnos in general. In this sense, it is important to study the significance of phraseological units in
language development and national language formation.
National phraseology combines the characteristics of a certain nation, such as culture,
traditions, and unique customs, and expresses people's life, worldview and lifestyle, ethical and
aesthetic norms. National phraseology expresses the socio-political and household life, character,
toponymy, flora, fauna, customs and rituals of the nation.
Ethnolinguistics in the detailed study of the traditional lifestyle, national traditions, and customs
of the ethnos serve to express the national traditions and customs of the ethnos in the form of
ethnophrases with a clothing component, a food component, and a zoonym component.
Interpretation of ethnophrases of the Uzbek language in the lexical-semantic, functional,
system-structural, thematic plan based on the experiences of modern world linguistics is one of the
important tasks facing linguistics. Material and spiritual-cultural ethno-phrases that reflect the ethno-
cultural life of our people make up the majority of our vocabulary.
In the course of the historical development of our nation, as a result of social, political, and
cultural relations with different ethnic groups, ethnophrases representing the customs, traditions, and
rituals of other peoples' ethnoculture entered our language, and became the material and spiritual
property of our people with the reality they represent, and formed the basis for the formation of new
ethnophrases.
The analysis of adopted ethnophrases in diachronic and synchronic aspects is important for the
deeper study of the ethnogenesis of our people and ethnic groups, their social relations with non-
brotherly peoples.
It can be seen that the study of phrases on the linguistic and cultural conceptual basis is of
particular importance in distinguishing the important signs of things and events, in creating a
linguistic picture of existence. In the study of expressions, such characteristics as the attitude of
representatives of different languages to existence, things and events in it, national and cultural
outlook are central. The study of expressions from the ethnic, social, and pragmatic point of view
allows to reveal their features in a wider and deeper way.
REFERENCES:
1. Abduvalieva D. Lexicon of historical works of Alisher Navoi. - Tashkent. Science, 2016. -B.115.
2. Norboeva Sh.Kh. A structural-semantic study of clothing names in Khorezm dialects. Autoref.dis...(PhD). -
Tashkent, 2017. - P.16
308 XORAZM MA’MUN AKADEMIYASI AXBOROTNOMАSI –2/4-2024
3. Telia V.N. Russian phraseology: semantic, pragmatic and linguistic cultural aspects. - Moscow. School "Yazyki
russkoy kultury", 1996. P. - 286.
4. Usmanova Sh. Linguistic culture. -Tashkent, 2019. - P.97.
УДК 811.161.1'06:27
О НЕКОТОРЫХ ПРИНЦИПАХ ЛЕКСИКОГРАФИЧЕСКОГО ОПИСАНИЯ
БЕЗЭКВИВАЛЕНТНЫХ СЛОВ
Д.Б.Хонова, преподаватель, Термезский университет экономики и сервиса, Термез
Annotatsiya. Maqola ingliz tilidan rus tiliga tarjima qilishda muqobili bo'lmagan lug'atni
o'tkazish muammolariga bag'ishlangan bo`lib, unda “muqobili bo'lmagan so`zlar” tushunchasini
ochib beradi, shuningdek, kasbiy terminologiya misolida muqobili bo'lmagan so`zlarni tarjima qilish
usullari ko'rib chiqadi. Muqobili bo'lmagan so`zlarni uzatishning asosiy usullari - kalkalash,
transliteratsiya, tavsiflash; Ko'pincha kuzatuv va tavsif usullarining kombinatsiyasi qo'llaniladi,
muqobili bo'lmagan so`zlar uchun tarjima usulini tanlash kontekstga bog'liq.
Kalit so’zlar: ekvivalent bo‘lmagan lug‘at; tarjima; yuridik ingliz tili; huquqiy shartlar; uzatish
usullari; kontekst.
Аннотация. Статья посвящена проблемам передачи безэквивалентной лексики при
переводе с английского на русский язык, раскрывает понятие «безэквивалентная лексика», а
также рассматривает способы перевода безэквивалентной лексики на примере
терминологии профессии. Основными способами передачи безэквивалентной лексики
являются калька, транслитерация, описание; Часто используется сочетание калькирующего
и описательного методов, при этом выбор метода перевода безэквивалентной лексики
зависит от контекста.
Ключевые слова: безэквивалентная лексика; перевод; юридический английский;
юридические условия; методы передачи; контекст.
Abstract. The article is devoted to the problems of transferring non-equivalent vocabulary when
translating from English into Russian, reveals the concept of “non-equivalent vocabulary”, and also
considers ways of translating non-equivalent vocabulary using the example of professional
terminology. The main ways of transmitting non-equivalent vocabulary are tracing paper,
transliteration, description; A combination of tracing and descriptive methods is often used, while
the choice of translation method for non-equivalent vocabulary depends on the context.
Key words: non-equivalent vocabulary; translation; legal English; legal terms; transmission
methods; context
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2024 й., февраль