Contents of the section Books on the Uzbek language
- Uzbek language books by years
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Description of the section "Books on the Uzbek language"
In this section, you are provided with Uzbek language books. Uzbek language - Turkic language, official language Republic of Uzbekistan. In the world, according to various estimates, there are from 21 to 25 million native speakers of the Uzbek language, most of them live in Uzbekistan and consist of ethnic Uzbeks. In addition, the Uzbek language is spoken in Tajikistan, Kyrgyzstan, Kazakhstan, Afghanistan and Turkmenistan. It is dialectical, which allows it to be attributed to different subgroups.In this section you can download books on the Uzbek language and books in the Uzbek language. Offered a large number of textbooks for schoolchildren and students that will help you in learning the language.
The Uzbek language has a centuries-old written tradition in the form of the Central Asian Turkic language, which developed by the 15th century on the basis of the Karluk-Uigur dialects of Maverannahr and became official language in the empire of Timur. The Old Uzbek language was influenced by the literary language of the Karakhanid state, the Karluk-Khorezmian literary language of the Syrdarya valley and Persian literature. The heyday of Turkic-language literature in Central Asia dates back to the 16th century.; the pinnacle of poetry in the old Uzbek language is the work of Alisher Navoi.
The scientific study of the Uzbek language was started by M.A. Terentyev, who published the Turkish, Persian, Kyrgyz and Uzbek Grammar in 1875 in St. Petersburg. In the future, an important contribution to the study of the Uzbek language was made by the works of E.D. Polivanov, A.N. Kononov, V.V. Reshetov and other researchers.
Before the revolution, the Uzbeks used the Arabic alphabet, which was hardly suitable for transmitting the sounds of the language, and the Chagatai spelling, far from living pronunciation. Literacy was not high. After the revolution, when literacy was to become the property of the masses, there was a need for a reform of writing, for its democratization. At present, the Uzbek language has achieved a lot. The population has become literate. It is a beautiful and resonant language that people around the world are learning.
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UZBEK LITERATURE-works created on the territory of modern Uzbekistan in the period from the 15th to the 20th centuries, i.e. from the moment when these places were covered by a wave of movement of Uzbek tribes from the regions of South Kazakhstan.
The most ancient Uzbek literary works are over 200 epic poems, many legends, epic songs performed by folk poets - bakhshi. Heroes of folklore fight against hostile forces - evil spirits, dragons. Ancient cycle of epic poems Ker-ogly and a poem Alpamysh written around the 10th century. Alpamysh entered the folklore of all the peoples of Central Asia, it refers to courage folk heroes, courage, courage and hatred of enemies, contains many witty aphorisms, vivid metaphors, colorful descriptions. Another popular piece from the cycle Ker-ogly- a poem about the transforming power of love Ravshan Khon, many times subsequently reworked by folk poets. Satirical novels remain popular Nasreddin Afandi in which khans and bais are ridiculed. People of different nationalities appear in oral folk art - Chinese, Iranian, Turkmen, Negro, etc., female images devoid of sentimentality Farhad and Shirin, Kunduz-Yulduz).
Since later Sunni Sufism became one of the ideological foundations of literary works in the Uzbek language, one of the forerunners of Uzbek literature can be considered the figure of the founder of Sunnism Ahmed Yassawi (d. 1166), whose works of a religious and didactic nature formed the basis of a religious and mystical literary school. In his work Hikmat, as in essays Bakyrgan, Akhir Zaman Another poet of this period, Suleiman Bakyrgan (d. 1192), expounded the religious and philosophical ideas of Sufism.
After the conquest in the 13th century. In Central Asia, the Mongols most of the Persian writers and scientists left for Egypt, Asia Minor, etc. ( cm. PERSIAN LITERATURE) Mawarannahr with its capital in Samarkand became an ulug (destiny) of the son of Genghis Khan - Chagatai. The literary language of the Turkic population of Maverannahr began to be called Chagatai. He was literary language Turkic-speaking peoples of Central Asia, without being the language of any one particular tribe. Built on the basis of Turkic-Uighur roots, it included many Arabic and Persian elements.
In Maverannahr in former center Persian culture in Samarkand continued to create literary works - Kyssai Yusuf(1233,Tale of Yusuf Ali, written under the influence of Uighur literature, Kyssasul Anbiya(1310) Nasreddin Rabguzi, Muftarhul Adl unknown author. The literary tradition developed, including new cultural currents, styles and linguistic features.
Timur's conquests and the appearance of Uzbek tribes in Central Asia in the 15th century. were accompanied by intensive cultural exchange, which was facilitated by the linguistic proximity of the Chagatai and Uzbek languages. The main languages in use were Farsi (Persian), its variety - Tajik, Chagatai, which is also called Old Uzbek or Turks, Uzbek, which was a Kipchak branch of the Turkic languages. The settlement of Central Asia by Uzbek tribes coincided in the 15th century. with the conditional delimitation of these territories on a religious basis into the Shiite south (Iran) and the Sunni north (Central Asia).
Uzbek culture was formed on the basis of the preservation and development of its own, Turkic Uzbek language and the richest Persian cultural heritage. In particular, the development of Uzbek literature took place in controversy, clashes and attempts to master the genres and plots of classical Persian literature. Poetry was dominant literary genre, and the most common poetic forms are ghazals and mesnevi written in couplets. In poetic form, not only lyrical works were written, but also religious and moral sermons and chronicles. Only scientific, religious, historical works and memoirs were written in prose.
During the reign of Timur (14th-15th centuries), Uzbek literature developed intensively. Samarkand and Herat are becoming major centers of scientific and literary life. Writers who wrote in Uzbek resisted the dissolution and replacement of the Uzbek language with Persian, which was considered the main bearer of the cultural tradition. Thus, Durbek, a contemporary of Timur, was one of the first to enter into this dispute. He offered his version of the story Yusuf and Zuleikha(1409), freeing it from a religious raid and giving it the form of a secular love story. Another poet Said Ahmed gave his work Taashuk-nama(1437) a form similar to Persian counterparts Lyatofta-nami And Muhabbat-nami. The famous lyricist Lutfi lived at the court of Shah Rukh – his masterfully written ghazals are still sung by folk singers.
15th c. was the heyday of Uzbek literature. It is more and more freed from religious motives and becomes truly artistic, having received its most complete and vivid embodiment in the works of Alisher Navoi.
Creativity of the "Renaissance" figure of the poet, philosopher, linguist, historian, painter, composer and patron of scientists Alisher Navoi (1441–1504) became the highest point in the development of Uzbek literature. Navoi, who wrote in Farsi and Central Asian Turki, in his famous linguistic work Mukhakamatullugatain(1499,Dispute between two languages) defends the right of the Turkic languages to a place in the literature of Central Asia along with Persian, thus speaking out against its dominance. Navoi's creativity unfolded in a creative discussion with the outstanding Persian figure Jami. Their disputes and friendship became milestone in the cultural life of Central Asia, outlining its main features - the inclusion of new Turkic languages in the cultural dialogue and the development of the creative potential of these languages through the development of forms and genres of the Persian classical heritage.
In 1469, Navoi became the keeper of the seal under the ruler of Khorasan, Sultan-Hussein Baykar, with whom he studied at the madrasah. In 1472 he was appointed vizier and received the title of emir. As a ruler, he provided assistance to scientists, artists, musicians, poets, calligraphers, supervised the construction of madrasahs, hospitals, and bridges. The literary heritage of Navoi is about 30 poetry collections, large poems, prose, scientific treatises. He wrote in Farsi (collection Sofa Fani), but mostly into Turki, a medieval version of Uzbek, although many then considered it too rough for poetry.
The pinnacle of Navoi's creativity - Hamsa(Five) - five poems - answer ( Nazira) on the “Pyateritsy” by Nizami Ganjavi and the Persian poet Amir Khosrov Dehlavi: Confusion of the righteous(1483),Leyli and Majnun(1484),Farhad and Shirin (1484),seven planets (1484),Iskandar wall (1485). Confusion of the righteous the poem of a philosophical and journalistic nature covered the most significant issues of the reality of that time. It denounced feudal civil strife and the cruelty of the nobles, the arbitrariness of the beks, the hypocrisy and hypocrisy of sheikhs and lawyers. The poem reflected Navoi's worldview - his ethical and aesthetic views. Leyli and Majnun - a poetic exposition of the well-known ancient Arabic legend about the tragic love of the shepherd Qays for the beautiful Layla from a neighboring nomadic tribe, about his madness and death due to separation from his beloved. The emotional tension and the power of the artistic impact of the poem made it one of the most famous and beloved works. Eastern literature worldwide. Farhad and Shirin - a heroic-romantic poem about the love of a hero for the Armenian beauty Shirin, which was claimed by the Iranian Shah Khosrov. Farhad, a fighter for truth and justice, is opposed to the cowardly shah. Seven planets - seven fairy tales containing critical allusive allusions to the rulers of the Tamurids and their courtiers. The main character of the poem Iskandar wall- the ideal just ruler and sage Iskander.
Another major poetic work of Navoi is a set of 4 poetry collections-divans under the common title Treasury of Thoughts(1498–1499), which included Curiosities of childhood,Rarities of youth, Curiosities of middle age, Edification of old age. This is a collection of lyrical poems of various genres, including more than 2,600 ghazals. Other works of Navoi - Five sacred(1492), dedicated to Jami; collection of refined (1491–1492) – brief characteristics writers of the Navoi era. The treatise narrates about versification and literary theory Size scales. And the aforementioned treatise Dispute between two languages(1499) substantiates the cultural and artistic significance of the Turkic language, which was considered unsuitable for belles-lettres by his contemporaries. His works and literary works contributed to the development of Turkish-language literatures - not only Uzbek, but also Uighur, Turkmen, Azerbaijani, Turkish, etc.
Historical works of Alisher Navoi History of Iranian kings And History of prophets and sages contain information about the legendary and historical figures of Central Asia and Iran, about Zoroastrian and Koranic mythology. IN last years life of Navoi were written a poem bird language(1499) and a philosophical and didactic essay Beloved of Hearts(1500) - reflection on the best social order. Navoi's worldview was characterized by optimism and life-affirming power, his work affirmed the romantic direction in oriental literature.
Another outstanding figure, who left a mark not only in Uzbek history, but also in literature, was the founder of the Great Mogul Empire in India, the last of the Timurids, Khan Zakhriddin Muhammad Babur (1483–1530). Compilation of it lyrical works refers to the best examples of Uzbek lyrics of that time. His prose memoirs Babur-nama describe the circumstances of his life in simple clear language, historical events, campaigns in Afghanistan and India, feudal civil strife.
After the transfer of power from the Timurids to the Sheibanid dynasty (16th century), devastation began in Central Asia, accompanied by a weakening of cultural and trade ties with neighboring countries. most famous literary work this period became a satirical poem Sheibani-nama Muhammad Salih(d. 1512). It exposed the shortcomings of government and described the wild life of the Timurids, praised the new ruler Sheibani.
Under the Sheibanids, khans were actively engaged in literature - Ubaidula Khan (pseudonym Ubaidi, died in 1539), Abdulla Khan (pseudonym Azizi, died in 1551). Literature was considered prestigious and appropriate for people in power. However, their work had an imitative character, it was sustained in the traditions of court poetry. In prose, the most famous in the 16th century. was the name of Majilisi, and the collection of edifying stories was considered the best example of artistic prose Gulzar(1539) Pashakhoja ibn Abdulahhaba (a pseudonym for Hodge), written by analogy with Gulistan Saadi.
During the reign of the Sheibanids, Central Asia is divided into a number of small independent feudal estates, Samarkand loses the status of the capital and cultural center, giving way to Bukhara, where Tajiks prevailed among the population and literature in the Tajik language developed. The period of cruel internecine strife - robberies, violence, duplicity and selfishness of the beks, officials and clergy - was described in the works of the satirist poet Turda (d. 1699). The Bukhara period of Uzbek literature is marked by tragic events - the murders and expulsion of some writers. The lyric poet Babarakhim Mashrab (d. 1711), who was a member of the popular in the 17th century. the order of qalandars, was known for its simple sincere verses. He was hanged in Balkh by the official clergy who fought against the qalandars. Qalandars, like the Sufis, were a kind of Protestants of the East - they criticized the orthodox clergy, calling for comprehending the secret of direct merging with the divine, not through scrupulous observance of rituals and Sharia laws, but by testing themselves in renunciation of light and worldly joys in a wandering, wandering life.
As a result of a series of internecine wars in the 17th century. the Khorezm Khanate is formed. The beginning of the scientific and literary tradition in Khorezm was laid by the famous historical work of Abulgazi Bahadurkhan (1603–1663) Pedigree tree of the Turks. At the court of the Khorezm Khanate, traditional forms court poetry - solemn odes and gazelles praising the khans (poets Vafoi, Yahya, Ravnak). The most prominent poets in the Khorezm Khanate appeared in the late 18th and 19th centuries. Among them, the name of the court poet Shermuhammed Munis, who was advanced in his views, stood out. (d. in 1829), who left behind not only many poems, but also historical works. By order of Muhammad Rakhimkhan II (Firuz), who patronized the arts, in the 19th century. collection was published Majmuatushshuara, which included the works of the best Khorezm poets Kamal, Tabibi, Mirza, Raja and others.
In the second half of the 18th century in Fergana, an independent Kokand kingdom is being organized, which has reached highest development under Alimkhan and his son Umarkhan (died in 1822). At the court of Umarkhan, known as the poet Amir, about 70 poets and writers were gathered, often writing in Uzbek and Tajik. The most prominent of them are Fazli Namangani, Khazyk, Makhmur, Mohammed Sharif, Gulkhani. For the first time in Uzbek literature, the names of female poetesses Mazkhuna, Uvaisi and Nadira appear. By order of Umarkhan, the Kokand version of the collection of local court poets was published Majmuatushshuara. Umarkhan's son Mazalikhan (1808–1843) was also a prominent poet and was influenced by the well-known Azerbaijani poet Fizuli; after him a collection of poems and an unfinished poem were preserved Layli va Majnun. Along with the generally accepted themes of court poetry - praise, mystical motifs, love lyrics- the democratic direction begins to develop: Gulkhani, Makhmur, Mujrim. In his work Zarbul-masal Gulkhani, in the past a stoker and bath attendant, for a satirical gift brought close to the palace, without deviating from the established artistic traditions, ridiculed the lifestyle of the top of the Kokand nobility.
In the 19th century strife between the three khanates (Khiva, Kokand, Bukhara) is aggravated, which leads to their weakening and makes them easy prey tsarist Russia which turned Central Asia into its colony. Culture is declining, but in the oral folk art of this period, poems were created that expressed the desire of the Uzbeks to liberate themselves from the oppression of tsarism, - Tolgan ai, Khusanabad, Nazar va Akbutabek. The national poet Khalikdod was accused of agitation against tsarism and exiled to Siberia.
The development of the national bourgeoisie intensified in the era of tsarism. In Uzbek literature, the democratic and educational orientation is intensifying - Zalbek, Mukimi, Zavki, Furkat, etc. In the poem Zalbek-nama the poet Zalbek describes the resistance of the people to the tsarist government, expresses hope for its complete release. The most talented democratic poet was the revolutionary-minded democrat Mohammed Amin Khoja Mukimi (1850-1903), the author of sharp satirical poems and lyrical songs. In satirical poetry Tanabchilar,Maskavchi bei tarifida,Avliya, Bachchagar and others describe vivid pictures of the poverty and lack of rights of the people, they sound a call to fight for liberation from all forms of exploitation. The poet-educator Iskhokhon Ibrat was also a famous traveler, publicist, linguist and one of the first publishers. Other representatives of the period of national revival are the poet-educator Furkat, the poet from Khorezm Ahmad Tabibi, known for his 5 sofas in Uzbek and Persian, the poetess and philosopher of the late 19th - early 20th centuries. Anbar Otin, who wrote on educational topics, the author of a treatise carolar falsafacy.
Uzbek epos and folklore continue to develop. in Turkestan, the names of Uzbek folk poets-bakhshi were well known - Dzhuman Khalmuradov, nicknamed bul bul (nightingale), Yuldash Mamatkulova (Yuldash-shair), Jasaka Khalmukhamedova (Jasak-bakhshi or Kichik-buran).
At the end of the 19th - beginning of the 20th centuries. in Turkestan, under the influence of the Turko-Tatar bourgeoisie and later the Turkish pan-Turkists, the nationalist movement of the liberal-bourgeois persuasion began to spread Jadidism (from Arabic usul-i-jadid - new method). At first, it pursued purely educational goals, intending to adapt the study and understanding of the Koran to the needs of the national bourgeoisie. Later, the Jadids focused more and more on the dissemination of pan-Turkic ideas, establishing ever closer ties with Tatar-Kazan and Crimean pan-Turkists. During the uprising of 1916, the Jadids took Active participation in suppressing the uprisings of the masses, demonstrating their true class essence of the bourgeois nationalists. During February Revolution The Jadids published the newspaper "Ulug Turkestan", staged separate speeches against the tsarist government and the Emir of Bukhara.
Hostilely accepting October revolution, the Jadids continued their activities by creating the organization Chagatai Gurungi (Chagatai conversation), and participated in the organization of the Basmachi movement. The influence of the Jadids in literature was expressed in the spread of the ideas of Pan-Turkism and Pan-Islamism, in the orientation towards archaic forms of style and language. A significant part of the talented Uzbek writers of the early 20th century. was influenced by Jadid ideas, perceiving them as ideas of national revival. Thus, Abdulla Avloni opened Jadid schools and wrote textbooks, Abdurauf Fitrat, who graduated from the Mir Arab Madrasah in Istanbul, published a number of works in the spirit of Jadidism in the 1910s. In verse Tulagat Tavallo, Abdulhamid Sulaiman Chulpan, in the works of Abdulla Kadyri, the ideas of a free homeland for all Turkic peoples also sound.
Some of the Uzbek writers, carried away by the ideas of Jadidism, later revised their views and accepted the October Revolution. This is, first of all, Khamza Hakimzade Niazi (1898–1929), the founder of Uzbek Soviet literature. In his Jadid period, Hamza was a teacher, playwright, and writer. He was one of the first to accept the October Revolution. He wrote the first works in Uzbek literature depicting the life of the poorest sections of the urban population. In dramatic works Bay ilya hyzmatchi,Spruce kozgunlari, Maisaranyng ishu he analyzes the existing forms and methods of class enslavement. Niazi understood and mercilessly criticized the essence and hypocrisy of the bourgeois nationalists, was their worst enemy. In 1929 he was brutally murdered by accomplices of the counter-revolution. His work was continued by the revolutionary-minded poets Sufi-zade and Avliyani.
Despite the fact that the military resistance of the Basmachi by the Red Army was broken, the confrontation continued at the ideological level. In 1926, a new literary society, the Kzyl Kalyam, was organized in Samarkand, which continued to promote Jadid ideas in the field of culture. In the mid-1920s, in Uzbek, as in other Turkic languages, the process of replacing borrowings from Farsi and Arabic with native Turkic names and the transition to the Latin alphabet, inspired by the Young Turks, began. However, in order to better adapt the process of entry of the Central Asian republics into a single Soviet state in the Turkic Soviet republics, the Latin alphabet was soon replaced by Cyrillic.
In 1930, during the trial of a gang of Kasymovites, members of the Kzyl Kalyam society were accused of aiding bandits, spreading nationalist ideas and conducting subversive work against Soviet power. As a result, the organization was dissolved. After the release of the Decree of the All-Union Communist Party of Bolsheviks of April 23, 1932, which dealt with errors in the field of ideological work in the field of national culture, the Soviet propaganda machine was launched at full speed, and any manifestations of nationalism in the field of literature were blocked.
At the same time, the “green light” was given to works that corresponded to the principles of socialist realism and were consistent with the policy of the Soviet state in the field of culture. There was a demand for realistic novels and stories from the life of workers, describing the brutal exploitation of the beys, the struggle against centuries of oppression. The image of a liberated woman of the East throwing off the veil and the ideas of enlightenment - a rush to knowledge and an honest working life, were popular. This set of themes, which constituted the Soviet "socialist realist canon" for the literatures of all the republics of the USSR, became the basis for the creation of Soviet national literatures. Despite the ideological order, the ideas laid down in the “socialist realist canon” were new and progressive for that time and had a significant transformative impulse. Therefore, many talented Uzbek writers, not without interest, were engaged in their development and development.
But now the unenthusiastic revolutionary romantics of the first years of Soviet power were beginning to master the Soviet theme. There was a systematic, supported by the Soviet propaganda machine, the development of themes and ideas developed for all Soviet republics.
One of the most prominent representatives of Uzbek Soviet literature was Gafur Gulyam (1903-1966). In his stages creative way traced a classic career Soviet writer from the national republic. Ghulam together with Khamza Niazi laid the foundations of a new Uzbek versification. The constant theme of his works is socialist labor and the formation of a new man, criticism of the remnants of the past, the assertion of socialist reality. His pen belongs to both poetic works - poems Kukan-farm(1930), compilation Dynamo(1931), humorous autobiographical novella mischievous about the life of Tashkent people in the early 20th century, to spend Yadgar,Animated corpse,Who is guilty? During the war, his anti-fascist poems from the collection I'm coming from the east(1943), awarded the State Prize of the USSR in 1946: I am Jewish,You are not an orphan,Time,Holiday on our street and others. In the post-war period, he sang of life on Soviet soil: All is yours(1947),Communism - assalom!(1949),Lenin and the East(1961) and others. Gulyam translated into Uzbek Pushkin, Mayakovsky, Shakespeare, Saadi. Laureate of the Lenin Prize in 1970, awarded three Orders of Lenin.
Another famous Soviet prose writer Abdulla Kakhkhar (b. 1907) in his novels Otbasar And Saraab described the difficulties of collectivization in the countryside. New names appeared in Soviet Uzbek poetry - Gairati (poems Onamga hut,Ginasta), Sultan of Jura (Giordano Bruno,Canal Poem),Wudong,Aibek and others. Having overcome the influence of bourgeois-nationalist trends, Hamid Alimdzhan (b. 1909) grew into a major poet (poems Maharat,Olyum yavga,Zainab wa Aman and etc.); He was also known for his literary works. In dramaturgy, works appear that reflect new realities - plays by Yashin Nugmanov (b. 1908) Tar-mar- O civil war And Gulsara - musical drama about the emancipation of women.
In the post-war period, Uzbek Soviet literature developed in the general mainstream of Soviet national literatures, where in the second half of the 20th century. the themes of socialist construction, industrial success and the struggle for peace prevailed. In form, it was the so-called "big style", i.e. realistic prose with national flavor and stylized as national poetic forms.
Mirmukhsin Mirsaidov (b. 1921), Chief Editor the most popular literary magazine in Uzbekistan "Sharq Yulduzi" ("Star of the East") in the 1950s-1960s and since 1971, was also known as the author of collections and poems glorifying the work of Soviet cotton growers ( Compatriots(1953),Usta Giyas(1947),Green village(1948), stories on historical themes – White marble(1957),Slave(1962), stories about the working class hardening, 1964,son of a caster, 1972) and the formation of the Uzbek Soviet intelligentsia – Umid(1969). Awarded with orders and medals.
Perestroika, the collapse of the USSR, to a large extent influenced the literary situation in Uzbekistan. On the one hand, the literary process continues to go by inertia - writers' organizations work, magazines are published. However, for the first time, it became possible to “make” literature that was not biased by a social order, guided by one's own free choice of topics and aesthetic preferences.
New literary trends, which took shape in the 1990s in the form of the Tashkent and Ferghana poetic schools, began to mature already in the 1980s. As a result, a cultural phenomenon unique within the CIS of this period arose - literary movements "mixed" in the Russian language, Eastern worldview and European cosmopolitan aesthetics. The works of "Tashkent" and "Ferghana" first began to appear in Tashkent on the pages of the magazine "Star of the East" in 1990-1995. Then in Moscow and Tashkent in 1999-2004 5 issues of the collection "Small Silk Road" were published. . Now their works and essays can be found on literary websites, in the capital's magazines "Friendship of Peoples", "Arion", etc.
They are characterized by a recognizable style, their own system of images and a certain focus of most of the works. For the Tashkent Poetry School (Tashkola) this is a search for “inner Tashkent”, a personal territory, which naturally includes the details of the real Tashkent, more often the Tashkent of childhood and memories. The authors write on behalf of lyrical hero trying to discover the features of his own myth in the fragments of the city's mythology. They are distinguished by a warm intonation, the desire to unobtrusively convey the search for their inner homeland, their own beginnings and a new brotherhood. In most works, there is a nostalgic note for the lost time of immediacy, integrity and simplicity. Stylistically, the poetics of the “Tashkent people” (Sanjar Yanyshev (b. 1972), Sukhbat Aflatuni (b. 1971), Vadim Muratkhanov (b. 1974) and others) is repelled from the Russian classical syllabotonics of the Golden and Silver Ages. In their essays, the authors explain that they consider themselves part of Russian literature, with the help of which they explore their unconscious - their "inner East".
For earlier education - the Ferghana Poetry School (Shamshad Abdullayev, Khamdam Zakirov, Khamid Izmailov, Sabit Madaliev) - the Russian language of the works is rather a formality "not out of love, but out of necessity"; its traditions and culture are of no particular interest to them. The authors draw their spiritual impulses from the poets of the Mediterranean Salvatore Quasimodo, Eugenio Montale, they are close to the cinema of Antonioni and Pasolini. The works of the "Ferghans" are deep, harsh and chilly existential prose-poetry (the favorite form is free breeze). It is maximally depersonalized, aloof, close in meaning and genre to philosophical revelations about the structure, disintegration and metamorphoses of the universe. The place and fate of a person are not specified, but the conclusion suggests itself that they are unenviable.
In connection with the appearance of Russians in Uzbekistan literary schools discussions about which class of literature - Russian-speaking or Russian - they can be attributed to do not cease, especially since the level of works of Uzbek Russian literature is sometimes an order of magnitude higher than the average Moscow-St. worldview problems. Despite the fact that many of the "Tashkent" and "Fergana" have left for other cities and countries, they continue to take an active part in the literary life of Moscow and Uzbekistan - for the fourth time a poetry festival organized by them is held in Tashkent.
In the 1990s, new bright names of writers writing in the Uzbek language appeared - poets Rauf Parfi, Sabit Madaliev, Khamid Ismailov, Belgi, Muhammad Salih, some of them also write in Russian. Modern Uzbek poetry in terms of mood, motifs and chosen meters in in general terms similar to the poetry of authors from Uzbekistan writing in Russian - the general worldview is conveyed in similar ways.
In general, the literary process on the territory of Uzbekistan was essentially a process of development and assimilation of cultural models - classical Persian and Arabic in the period of formation and flourishing (15-19 centuries), as well as pan-Turkic (late 19 - early 20 centuries), Russian (imperial , Soviet) (19–20 centuries) and Western (end of the 20th century). Features of Uzbek literature are largely due to its geography - remoteness from the centers European culture, the proximity of Russia, which is Eurasian in its orientations, and the genetic proximity with the Muslim East. The very fact that Bukhara and Samarkand, the world's largest centers of Persian culture in the past, were located on the territory of modern Uzbekistan imposes many obligations and can be perceived as a kind of relay race. Significant potential, rich cultural traditions, position at the crossroads of cultures - all these factors give reason to expect the emergence of new interesting works of a synthetic nature in Uzbek literature and culture in general.
Literature:
Navoi A. The legend of Leyli and Majnun from the tribe of Benu Amir. M, "Art", 1978
UDC 869.0 (81) (Paulo Coelho) (092) □ 808.03+809.437.5 -808.03 BBC 745.08
Mazlitdinova Dilnoza Tuygunovna
Competitor, Department of Foreign Literary Studies National University Uzbekistan Tashkent Mazlitdinova Dilnoza Tuygunovna Applicant for a Degree Chair of foreign literature National University of Uzbekistan Tashkent
Three Translations of One Novel Into Uzbek
This article discusses the features of the translation of one work into another language by two or more translators. This is the work of the world-famous Brazilian writer Paulo Coelho "The Alchemist"] translated into Uzbek by three translators □ Asharafiddinov, A. Atabay and A. Said.
The given article is about the translation peculiarities of one literary work by three interpreters from the Russian language into Uzbek. This is a novel "AlchemistD by a famous Brazilian writer of XX century, Paulo Koelio, translated into Uzbek by A.SharafiddinoV] A.Atabay and A.Said.
Key words: original, reproduction of the original, translation through an intermediary language, translator's creative method.
Key words: original, interpreting of the original, translation by intermediate language, interpreters creative method.
The works of the famous Brazilian writer Paulo Coelho have been translated into more than a hundred languages of the world. His novel “The Alchemist □” also appeared in Uzbek. It was translated almost simultaneously by three different translators, which is of great interest both for translators and for all readers of the republic. For the first time, the novel appeared in Uzbek in the journal Szhakhon adabiyoti □ (an analogue of ^Foreign Literature □) translated by the famous Uzbek translator A. Sharafiddinov. In the same year, the second Uzbek version of the novel, performed by an experienced translator Ahmad Atabay, was published as a separate book. A year later, the book was published by another publishing house in the translation of Aziz Said.
This was a unique event in the Uzbek translation business, since not one such major work was translated into Uzbek.
thrice. Although there are works translated twice, they can also be counted with a finger.
One way to evaluate literary translation is to compare several translations of the same work. We compare and evaluate them in relation to each other, determine the best of them and justify its superiority. To do this, you first need to install creative methods translators, i.e. authors various options translation. Due to the fact that each translator sees the world with his own eyes and interprets the original in his own way, there were not and are no two completely identical translations of the same work. And in the way he proposes to reproduce the original, as in the original work, his worldview, experience and talent are reflected, not to mention the level of his knowledge of both the original language and his native language. “Not to see all this and to demand abstract impartiality from the translator □ is not only naive, but also unrealistic.
At first glance, The Alchemist□ looks like a legend. But this philosophical parable tells about a man and his destiny, his desires and dreams, his place, role and duty in this world.
All three versions of Alchemist have been translated into Uzbek from Russian. Our translators translated it according to their knowledge and experience. We are far from thinking here that one translation is good and the other is bad. However, after analyzing all three Uzbek translations, we observe interesting phenomena.
At the beginning about the title of the work. A. Sharafiddinov left the Russian version “Alchemist Ts” in the translation, while A. Atabay and A. Said translated it into Uzbek as “AlkimyogarP” two other translators used the word "alkimyogar" (although it existed in antiquity), the use of which began after the status of the state language was given to the Uzbek language.
In the translation of A. Sharafiddinov, the title of the Russian preface was also preserved, and two other translators gave it their own. "Netyre
block in the way of the fulfillment of a desire” (A.Atabay) and “Our destinies are in our hands” (A. Said).
On the translation of the text itself. At the very beginning of the novel, we are talking about an abandoned dilapidated church, where Santiago decided to spend the night. Here Russian sentence“Its dome collapsed a long time ago, and in the place where the sacristy was once there grew a huge sycamore tree” translated by A. Sharafiddinov “Bir vaktlar cherkovning ombori turgan joyda shohlari tarvakaylagan chinor usib turipti” (a huge plane tree grew where the warehouse used to be ), Aziz Said’s “Kachonlardir ibodat ashelari saklangan joini bakhdybat chinor egallagan edi” (the place where church utensils were once kept was occupied by a huge plane tree), and Ahmad Atabay’s “bir paylar mehrob bulgan joydan kattakon tutanzhir usib chikkan” (on where the altar used to be, a large fig has grown).
In the translation of this proposal, A. Sharafiddinov followed its Russian version. In his translation, it is clear that this place where Santiago stopped was once a sacristy. And in the other two translations, this remains incomprehensible. In the translation of A. Said, this is the “place” where church utensils were once kept, and in A. Atabay, this is the “place” where the altar used to be.
In the Uzbek translations of the novel, the transmission of words-realities deserves attention. If, for example, the Christian “Our Father” performed by A. Said is given as “Bless our father”, then A. Sharafiddinov and A. Atabay act neutrally.
He read to himself "Our Father".
Translation by A.Said: “Dadillik uchun Sotamizga hamdu sanolar” duosini ukiy boshladi” (for courage, he began to read “Bless our father”).
Translation by A. Sharafiddinov: "Kar ehtimolga karshi u ichida yan Khudog tavallo kildi" (just in case, he read a prayer).
A.Atabay's variant: "Sodikligini takidlamokchi bulib ichida duo
go away ”(to prove his loyalty, he silently read a prayer).
“He kept telling her about his wanderings, and her Moorish eyes widened in surprise, then squinted.”
Translation by A. Sharafiddinov: “Santiago kizga using
sargardonliklarini gapirib berdi □ uni tinglar ekan, kizning arabiyona kuzlari khairatdan goh bakrayib kolar, goh kisilib ketardi” (Santyago told the girl about his adventures, and her Arabic eyes, listening to him, either opened wide with surprise or contracted).
Translation by A.Atabay:
kisning mavrlarnikiga uhshagan kuzlari goh moshdai ochilsa, goh hairatdan kisilib ketardi” (he told the girl about his wanderings, and the girl’s Arabic eyes either opened wide or squinted).
Translation by A. Said: “Uz sayohatlari, sarguzashtlari hakida hikoya kilar, kiz mavritancha shahlo kuzlarini hairatdan goh kisib, goh kattaLatta ochib tinglardi” (he talked about his travels, adventures, and the girl listened to him either opening wide or squeezing her Mauritanian eyes from surprise).
Here we are not talking about how the girl's eyes opened or squinted, but about what they are. A. Sharafiddinov and A.Atabay's eyes are “Arabian”, while A.Said's eyes are “Moorish□ If “Arab” is a broad concept, then “Moorish” means one people living in Mauritania.
National clothes Arabs "burnus" - a men's dressing gown made of cloth with a hood □ survived only in the translation of A. Sharafiddinov, while others nationalized it and turned it into a thin summer dressing gown. Note:
In Russian: "Santiago just now noticed □ the old man was wearing an Arabic burnous".
Translation by A. Sharafiddinov: “Fakat endigin Santiago paykadi □
kariyaning ustida arablar kiyadigan burnus bor edi".
Translation by A.Atabay: “Fakat Khozir Santyago Kariyaning Egnida Arabcha Yaktak Borligini Paykadi”.
Translation by A. Said: “Kariyaning agnida arablar yaktagi borligini Santyago andy paykadi”.
However, if A. Sharafiddinov provided the “burnous” with a subpage commentary, it would be even better.
The name of the wind "Levant" is also translated differently by Uzbek translators.
In English: “The wind has risen. Santiago knew: people call him
"Levantine", for from the east, from the same place where he blew, hordes of pagans flew in.
Uzbek version of A. Sharafiddinov:
"Shamol turdi. Santiago bu shamolni biladi. Odamlar "Levant Chamoli" deb atashadi. Negaki, near Levantdan, Urtaer dengizining sharky kismidan kelgan mavrlarning elkanlarini shishirgan shamol "(The wind has risen. Santiago knows this wind. People call it the Setr of the Levant □ Because this wind pushed the sails of the ships of the Moors who came from the Levant, the eastern part of the Mediterranean).
Translation by A.Atabay:
"Shamol turdi. Bu shamol unga tanish edi □ odamlar buni “lavanta shamoli” deyishardi, chunki Urtaer dengizining sharky kismidan, Lavantadan kelgan mavrlarning elkanlarini kutargan shu shamol edi” (p. 24). (The wind rose. This wind was familiar to him □ people called it “the wind of Lavanta” because it was this wind that raised the sails of the Moors who came from Lavanta, the eastern part of the Mediterranean).
Translation by A. Said:
Shamol Kuzgaldi. Santyago bu shamolni yakhshi bilardi □ odamlar uni “levantin shamoli” deb atashar, chunki mavrlar kemalari elkanlariga huddi ana shu shamol kuch^udrat bilan ufurib, ularni Urta Er dengizi sharkidagi Levantdan olib kelgan edi” (The wind rose. Santiago knew this wind well □ people they called him the "Levantine" because it was this strong wind that drove the ships of the Moors from the Levant, the eastern part of the Mediterranean).
In Europe, the territories located on eastern shores
Mediterranean, are called "Levant" In French, "Levant" means
land of the rising sun. Therefore, the wind blowing from the east is called the “levant” A. Sharafiddinov correctly retained the name, A. Atabay turned it into SlavantuTs and A. Said into “Levantin □
Having sold his sheep in the Moroccan city of Tangier, Santiago lost everything □ they were stolen by his interpreter companion. After that, having walked in a foreign city, Santiago ended up at the Crystal Merchant:
“The Crystal Merchant watched the new day break and felt the usual longing that tormented him in the morning □
A hungry young stranger with a request turns to the owner:
“Do you want me to wash all these glasses for you? □ asked the young man. - And in this form, no one will buy them from you □
Uzbek variants:
PP Agar istasangiz, men sizga hamma staklaringizni yuvib berardim, □ dedi yigit yalingansimon ohangda. □ Bu ahvolda ularni hech kim harid kilmaidi□ .
Sh Khokhlasangiz, men mana bu Yidishlaringizni yuvib beraman, □ dedi buzbola. □ Bu ahvolda ularni hech kim sotib olmaydi” .
If A. Sharafiddinov in translation preserves the Russian “glasses □
A. Atabay acts neutrally □ Vessels □ then A. Said uses Uzbek “bowls □:
Sh Mana bu piyolalarni yuvib berishimni khohlaisizmi? □ deb suradi yigitcha. P Bundai ahvolda uni hech kim sotib olmaidi".
Comparing all three Uzbek translations with their Russian version, we note the adequacy and high artistry of the translation.
A. Sharafiddinova. The Uzbek translators P. Koello tried each in their own way to re-express the □ original. From a comparison of three texts of the Uzbek translation, we get the impression of A. Sharafiddinov's artistic, stylistic search and the desire not to miss a single word, almost not a single comma from A. Atabay. A. Said provides comments on many terms,
presenting difficulty for the perception of the Uzbek reader.
To the translator, before proceeding with the translation of one or another
works, it is necessary to study not only the work of the translated author, Vestnik ChGPU 92011 312
but also the country referred to in his work, the era, the historical and everyday realities of the people or peoples □ all the reality described in the original. It also requires knowledge in the field of human history, culture and geography.
Bibliographic list
1. Gachechiladze G. Artistic translation and literary relationships.- M.: Soviet writer, 1980. □ 256 pages
2. Coelho P. Alchemist. Translation by A.Sharafiddinov // T.: Jahon adabiyoti. 2003, No. 1. □ 208 pages
3. Coelho P. Alkimegar. Translation by Aziz Saeed. - T .: Yangi asr avlodi, 2004. P184 p.
4. Coelho P. Alkimegar. Translation by Ahmad Atabay. - T .: Marifat-Madadkor, 2003. □ 110 p.
5. Coelho P. Alchemist. Translation from Portuguese by A. Bogdanovsky. www.koob.ru
6. Petit Larousse illustration. - Paris, 2005. □ 1800 pages.
1. Gachechiladze, G. Literary Translation and Literary Relations / G. Gachechiladze. □ Moscow: Soviet Writer Publishing House, 1980. □ 256 p.
2. Koelio, Paulo. Alchemist. Translated from Russian into Uzbek by Azad Sharafiddinov / Paulo Koelio // The World Literature. - Tashkent, 2003. - No. 1. □208 p.
3. Koelio, Paulo. Alchemist. Translated from Russian into Uzbek by Aziz Said / Paulo Koelio. □ Tashkent: Generation of Good Century Publishing House, 2004. P184 p.
4. Koelio, Paulo. Alchemist. Translated from Russian into Uzbek by Akhmad Atabay / Paulo Koelio. □ Tashkent: Cultural Life Publishing House, 2003. □ 110 rubles.
5. Koelio, Paulo. Alchemist. Translated from Portugal into Russian by A. Bogdanovsky / Paulo Koelio. □ Access Mode: www.koob.ru
6. Petit Larousse Illustre. - Paris, 2005. □ 1800 p.
Book: Surgery (Xirurgiya), textbook in Uzbek
This textbook covers the topics that are most necessary in the practice of nursing. It also draws attention to the subject of surgery and the history of its development in Uzbekistan. At the end of each chapter, tests are given to assess students' knowledge and sample tasks for topics. In this revised edition, the concept of the work of nurses is also given. The textbook is intended for students of medical colleges.
Students can use this general education schools and anyone interested in geography.
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In Uzbekistan in the system of lifelong learning great importance have academic lyceums. Providing students of lyceums with teaching aids and textbooks is the primary task of today. Tutorial"General physical geography" is designed for students of academic lyceums and professional colleges...
Uzbek literature is the immortal creation of the creative genius of the Uzbek people, the artistic history of his life, the brightest embodiment of his freedom-loving aspirations and aspirations, love for the motherland. By “Uzbek literature” we mean the literature of the Uzbek people, written primarily in the Uzbek language. However, for a long time the literature of the Turkic peoples who inhabited Central Asia was unified and written in the so-called Turkic language, or, as is commonly believed in domestic science, in the Chagatai (Old Uzbek) language. Consequently, that ancient Turkic literature, starting from the first monuments of ancient Turkic writing, belongs to almost all Turkic peoples that inhabited this vast region, and is an integral part of Uzbek literature, although it was not written in the Uzbek language itself.
Uzbek literature is a life-giving monument of the historical past of the people. On its pages, in the images created by it, the spiritual development of society over the centuries is imprinted, national character Uzbek people.
The entire history of Uzbek written literature can be conditionally divided into several stages. In the division into stages, although there are several points of view, we adhere to the point of view of F. Khamraev, who schematically divides the history of Uzbek literature into the following stages:
First stage
This was the heyday of romantic-philosophical and moral-educational literature. Historically, it covers the period up to the 16th century. This stage, in turn, is divided into two historical periods:
From ancient times to the beginning of the XIV century.
During this period, Uzbek written literature began to take shape, the most prominent representatives of which are Yusuf Khas Khadzhib Balasaguni and Mahmud Kashgari. It was their works that played a decisive role in the formation of secular literature of the subsequent period. In addition, this period is characterized by the flourishing of the so-called religious-mystical literature, which gained worldwide fame and recognition.
Literature of the XIV-XV centuries.
This period is characterized by the highest rise of Uzbek secular literature. The work of Mahmud Pakhlavan, Durbek, Lutfi, Yusuf Amiri, Gadoi and other indicators of increased skill, originality of poetic thinking, genre enrichment of Uzbek literature. It was during this time that he lived and worked brilliant poet and thinker Alisher Navoi.
Second phase
This stage is characterized by the transition to realistic literature. It is characterized, first of all, by a more truthful and holistic reflection of pictures of reality. This stage can be divided into three periods:
Literature of the 16th - early 17th centuries.
Among the most prominent representatives of this period are Zahiriddin Muhammad Babur, Muhammad Salih and Babarakhim Mashrab. It was they who first depicted realistic paintings of that time, which greatly contributed to the development of realistic trends in subsequent classical Uzbek literature.
Literature XVIII - first half of XIX centuries
This period is notable for the appearance of the remarkable poetesses Uvaisi, Nadira and Makhzuna. They, along with male poets, began to actively develop realistic tendencies in Uzbek literature. At the same time, women's love lyrics appeared for the first time. The most prominent poets of that time were Muhammad Sharif Gulkhani, Makhmur, Munis Khorezmi, Agakhi.
Literature of the second half of the XIX century. - beginning of XX century.
Remarkable Uzbek writers worked during this period, the most prominent of which were Mukimi, Furkat, Zavki, Muhammadniyaz Kamil, Avaz Otar-ogly. They played an exceptional role in the formation of all subsequent Uzbek literature. recent period. Their works were innovative in many ways and served as the basis for the formation of a new democratic trend in Russian literature. They were the first to create poignantly satirical and humorous works that were popular and have not lost their relevance to this day.
Third stage
- The history of Uzbek literature of modern times. It covers almost the entire twentieth century. This stage is characterized by ups and downs, creative searches and the emergence of new genres of Uzbek literature. In this stage, three historical periods can also be distinguished:
Literature of the 20-50s of the XX century.
The largest representatives of this period are Abdurauf Fitrat, Khamza, Abdulla Kadiri, Gafur Ghulam, Aibek, Hamid Alimzhan. It was their work that became the link between classical Uzbek literature and modern times. They managed not only to create worthy works that meet the requirements of the new time, but also did not lose the best that was achieved earlier in domestic literature. It was their works that laid the foundation for the Uzbek literature of modern times.
Literature of the 60-90s of the XX century.
This historical period was a key one in the history of Uzbek literature. It was no less complex and responsible than the previous one. At the same time, the skill of writers has noticeably increased, and they began to create works that meet all the requirements of the modern literary process. Uzbek literature did not get lost in the powerful stream of development of world literature, rather the opposite: its uniqueness and originality became obvious. Said Akhmad, Askad Mukhtar, Adyl Yakubov, Primkul Kadyrov, Erkin Vakhidov, Abdulla Aripov and many others not only gained wide popularity and recognition, but created works worthy of the modern era.
Literature of independent Uzbekistan.
The present period of development of literature is characterized by both genre and thematic diversity. However, modernity has not yet found a proper embodiment in Russian literature. The birth of new writers and worthy works is still waiting in the wings. We tried to consider Uzbek literature not in isolation from the general world literary process, but in connection with it. Especially such issues as the relationship and mutual influence of literatures and genre enrichment.
