UDC 869.0 (81) (Paulo Coelho) (092) □ 808.03+809.437.5 -808.03 BBK 745.08

Mazlitdinova Dilnoza Tuigunovna

applicant, 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 work into Uzbek Three Translations of One Novel Into Uzbek

This article discusses the features of translating 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 □ A. Sharafiddinov, 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, creative method of the translator.

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 the Uzbek language. It was translated almost simultaneously by three different translators, which is of great interest both to translation scholars and to all readers of the republic. The novel first appeared in the Uzbek language in the magazine SZhakhon adabiyoti □ (analogue of ^Foreign Literature □) translated by the famous Uzbek translator A. Sharafiddinov. In the same year, the second Uzbek version of the novel was published as a separate book, performed by the experienced translator Akhmad Atabay. A year later, the book was published by another publishing house, translated by Aziz Said.

This became a unique event in the Uzbek translation industry, since not one such major work has been translated into Uzbek.

three times. Although there are works that have been translated twice, you can also count them with your 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 one and justify its superiority. To do this, first of all, it is necessary to establish the creative methods of translators, that is, the authors of various translation options. Due to the fact that each translator sees the world with his own eyes and interprets the original in his own way, there were and are not two completely identical translations of the same work. And the method he proposes for reproducing the original reflects, as in the original work, his worldview, experience and talent, not to mention the level of his knowledge of both the original language and native language. “Not seeing all this and demanding abstract impartiality from the translator □ is not only naive, but also unrealistic.

At first glance, “The Alchemist□” resembles a legend. But this philosophical parable tells about a man and his fate, his desires and dreams, his place, role and duty in this world.

All three versions of “The Alchemist” were 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 second is bad. However, after analyzing all three Uzbek translation options, we observe interesting phenomena.

First, let's talk about the title of the work. A. Sharafiddinov in the translation left the Russian version “Alchemist C” while A. Atabay and A. Said translated it into Uzbek as “AlkimyogarP We here believe that A. Sharafiddinov did the right thing by preserving the well-established modern Uzbek word “alchemist □ A two other translators used the word “alkimegar” (although it existed in ancient times), the use of which began after the Uzbek language was given the status of a state language.

In A. Sharafiddinov’s translation, the title of the Russian preface was preserved, and two other translators gave it their own. "Netyre

block the path of fulfillment of desire" (A. Atabay) and "Our destinies are in our hands" (A. Said).

About the translation of the text of the work 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 offer“Its dome collapsed long ago, and in the place where the sacristy once was, a huge sycamore tree grew” translated from A. Sharafiddinov “Bir vaktlar cherkovning ombori turgan zhoida shokhlari tarvakaylagan chinor usib turipti” (where the warehouse used to be, a huge plane tree grew ), Aziz Said “Kachonlardir ibodat ashelari saklangan joyni bakhdybat chinor egallagan edi” (the place where church utensils were once kept was occupied by a huge plane tree), and Ahmad Atabay “bir paytlar mehrob bulgan joydan kattakon tutangzhir usib chikkan” (on in the place where the altar used to be, a large fig grew).

In translating this sentence, A. Sharafiddinov followed its Russian version. In his translation it is clear that this place where Santiago stayed was once a sacristy. But in the other two translations this remains unclear. In A. Said’s translation, this is the “place” where church utensils were once kept, and in A. Atabay’s, this is the “place” where the altar used to be.

In 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 the Our Father to himself.

Translation by A. Said: “Dadillik uchun SOtamizga hamdu sanolar” duosini ukiy boshladi” (for courage I began to read “Bless Our Father”).

Translation by A. Sharafiddinov: “Kar ehtimolga karshi u ichida yana Khudog tavallo kildi” (just in case, he read a prayer).

Option by A. Atabay: “Sodikligini takidlamokchi bulib ichida duo

ukidi" (to prove his loyalty, he read a silent prayer).

“He told her everything about his travels, and her Moorish eyes either opened wide or squinted in surprise.”

Translation by A. Sharafiddinov: “Santiago kizga uzining

sargardonliklarini gapirib berdi □ uni tinglar ekan, kizning Arabiyona kuzlari hairatdan gokh bakrayib kolar, gokh kisilib ketardi” (Santiago told the girl about his adventures, and her Arab eyes, listening to him, either opened wide in surprise, or shrank).

Translation by A. Atabay: “U kizga uzining jakhongashtaligidan gapirdi,

kizning mavlarnikiga uhshagan kuzlari gokh moshday ochilsa, gokh hairatdan kisilib ketardi” (he told the girl about his travels, and the girl’s Arab eyes either opened wide or squinted).

Translation by A. Said: “U uz sayokhatlari, sarguzashtlari hakida hikoya kilar, kiz mavritancha shahlo kuzlarini khairatdan gokh kisib, gokh kattaLatta ochib tinglardi” (he talked about his travels, adventures, and the girl listened to him, either widening or squeezing her Moorish eyes from surprise).

Here we are not talking about how the girl’s eyes opened or squinted, but about what they were like. In A. Sharafiddinov and U. A. Atabay’s eyes are “Arab”, while A. Said’s are “Moorish.” If “Arab” is a broad concept, then “Moorish” means one people living in Mauritania.

The national clothing of the Arabs “burnus” - a men's robe made of cloth with a hood □ was preserved only in the translation of A. Sharafiddinov, while for others it was nationalized and turned into a thin summer robe. Please note:

In Russian: “Santiago only now noticed □ the old man was dressed in an Arabic burnous.”

Translation by A. Sharafiddinov: “Fakat endigina Santiago paykadi □

kariyaning ustida arablar kiyadigan burnus bor edi."

Translation by A. Atabay: “Fakat hozir Santiago kariyaning egnida Arabcha yaktak borligini paykadi.”

Translation by A. Said: “Kariyaning egnida Arablar yaktagi borligini Santiago andi paykadi”.

However, if A. Sharafiddinov provided the “burnus” with a sub-page commentary, it would be even better.

The name of the wind “Levant” is also translated differently by Uzbek translators.

In Russian: “The wind has risen. Santiago knew: people call him

“Levantine,” for from the east, from where it blew, hordes of pagans flew in.”

Uzbek version by A. Sharafiddinov:

“Shamol turdi. Santiago bu shamolni biladi. Odamlar "Levant shamoli" deb atashadi. Negaki, u Levantdan, Urtaer dengizining sharkiy kismidan kelgan mavlarning elkanlarini shishirgan shamol" (The wind rose. Santiago knows this wind. People call it the Sever 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 sharkiy kismidan, Lavantadan kelgan mavlarning 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 lifted the sails of the Moors who came from Lavanta, the eastern part of the Mediterranean).

Translation by A. Said:

Shamol kuzgaldi. Santiago 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 sarkidagi 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, territories located on the eastern shores

Mediterranean, called "Levant" In French, "Levant" means

country rising sun. Therefore, the wind blowing from the east is called “Levant” A. Sharafiddinov correctly preserved the name, A. Atabay turned it into SLavantuTs and A. Said into “Levantine □

Having sold his sheep in the Moroccan city of Tangier, Santiago lost everything □ they were stolen by his translator companion. After this, walking around in a strange city, Santiago ended up at the Crystal Merchant:

“The Crystal Merchant watched the new day dawn, and felt the usual melancholy that tormented him in the mornings □

A hungry young stranger turns to his owner with a request:

“Do you want me to wash all these glasses for you? □ asked the young man. - And no one will buy them from you in this form □

Uzbek options:

PP Agar istasangiz, men sizga hamma staklaringizni yuvib berardim, □ dedi yigit yalingansimon ohangda. □ Bu akhvolda ularni hech kim harid kilmaydi□ .

Sh Khokhlasangiz, men mana bu idishlaringizni yuvib beraman, □ dedi buzbola. □ Bu akhvolda ularni khech kim sotib olmaydi.”

If A. Sharafiddinov preserves the Russian “glasses” in translation □

A. Atabay acts neutrally □ Vessel□ then A. Said uses Uzbek “bowls □:

Sh Mana bu pieolalarni yuvib berishimni hohlaisizmi? □ deb suradi yigitcha. P Bunday akhvolda uni hech kim sotib olmaydi."

Comparing all three Uzbek translations with their Russian version, we note the adequacy and high artistry of the translation

A. Sharafiddinova. Uzbek translators P. Coello 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 artistic, stylistic search in A. Sharafiddinov and the desire not to miss a single word, almost a single comma in A. Atabay. A. Said provides comments on many terms,

presenting difficulties for the Uzbek reader to understand.

To the translator, before starting to translate this or that

works, it is necessary to study not only the work of the translated author, Vestnik ChSPU 92011 312

but also the country about which we're talking about in his work, the era, historical and everyday realities of a people or peoples □ all reality described in the original. Knowledge in the field of human history, culture and geography is also required.

Bibliography

1. Gachechiladze G. Literary translation and literary relationships. - M.: Soviet writer, 1980. □ 256 pp.

2. Coelho P. Alchemist. Translation by A. Sharafiddinov // T.: Jahon adabiyoti. 2003, No. 1. □ 208 pp.

3. Coelho P. Alkimogar. Translated by Aziz Saeed. - T.: Yangi asr avlodi, 2004. P184 p.

4. Coelho P. Alkimogar. Translation by Ahmad Atabay. - T.: Marifat-Madadkor, 2003. □ 110 pp.

5. Coelho P. Alchemist. Translation from Portuguese by A. Bogdanovsky. www.koob.ru

6. Petit Larousse illustre. - 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 rub.

3. Koelio, Paulo. Alchemist Translated from Russian into Uzbek by Aziz Said / Paulo Koelio. □ Tashkent: Generation of Good Century Publishing House, 2004. P184 r.

4. Koelio, Paulo. Alchemist Translated from Russian into Uzbek by Akhmad Atabay / Paulo Koelio. □ Tashkent: Cultural Life Publishing House, 2003. □ 110 rub.

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.

Formation Uzbek literature closely related to the ancient written monuments of the Turks dating back to the VI-VIII centuries, especially to the period of the appearance of the first literary works in Turkic languages. The earliest examples that have come down to us are "Hikmat" by Ahmad Yassawi , his non-religious lyrical-mystical works. At this time they appear works of a secular nature, such as, for example, “Sevgi Kissasi” (“Poem of Love”) by Ali and the lyrical epic “Yusuf and Zulaikha” by Durbek. In 1330-1336 poet Qutb translated the world famous dastan into Uzbek Azerbaijani classics Nizami's literature "Khisraw and Shirin", and the poet Saifi is a famous novel in verse Saadi "Guliston" .

Further development of Uzbek literature associated with the names of such famous poets like Atoi, Saifi, Ahmad Husaini, Amiri who worked in the 15th century. In their ghazals they sang high human feelings. Poet Saccochi , who created in Uzbek literature Kasida style, in his works glorifies the idea of ​​​​an enlightened, just ruler and glorifies one of the most outstanding thinkers of the Middle Ages Ulugbek .

In the middle of the 15th century literature appears genre of dialogue (munozara). So, in the wonderful works of this genre "Tanbur wa chang" by Ahmad and "Chogir wa bang" Yusuf Amiri in an allegorical form, the life and way of life of that time are revealed, in particular, the vices of individual Temurid rulers are exposed. An ardent opponent of despotism, a true singer healthy image life, lyric poet Lutfi was the creator of the most remarkable ghazals in the Uzbek language. I really appreciated his work great Navoi by calling him “The King of Poetry” (sheriyat shohi).

Undoubtedly in the Middle Ages Uzbek literature reaches the culminating point of development thanks to vigorous creative activity great Alisher Navoi . Having a huge impact on the whole world literature , especially on literature of the Near and Middle East, Alisher Navoi took its rightful place among the most outstanding writers. In his wonderful work "Muhakamatul-lughatain", especially emphasizing the richness and completeness of the Uzbek language, he pointed out the need to write works of art in this language.

Famous "Khamsa" (Five) Navoi includes poems “Khairat-ul Abror”, “Leili and Majnun”, “Farhad and Shirin”, “Sabboi Sayer” and “Iskander’s Wall”. You can add his beautiful dastan to them "Lison-ut-tair" ("Language of Birds"). Great poet and thinker not only created in these works, considered examples of high art, a number beautiful images, but also provided unique ethnographic information. They contain the most relevant social problems, humanistic ideas are glorified. However Alisher Navoi offers utopian idea creating a just society led by a wise ruler, improving the situation of the people on a reasonable and humane basis.

At the end of the 15th - beginning of the 16th century literary firmament another one appears bright star – Zahiriddin Muhammad Babur . His work revealed many contradictory aspects characteristic of rulers. On the one hand, in some works he defends the feudal system, on the other hand, he condemns the vices of the same society and, contrary to the prevailing principles, preaches advanced humanistic ideas. In their lyrical collections Zahiriddin Muhammad Babur sings with his usual skill love for the Motherland, noble human qualities, subtle feelings. In his world-famous "Baburname" highly artistic and historically truthful, his biography, information about campaigns in Afghanistan and India are presented in an original way, the life and culture of the peoples living there are described, pictures of nature are given and descriptions of some historical events. "Baburname" has great value not only as a historical and ethnographic source, but also as a sample Uzbek memoir literature. This work published in many countries around the world, which indicates its uniqueness.

IN XVII-XVIII centuries in the capitals of the Uzbek khanates begin to arise literary centers. Majority writers who took part in their activities graduated from local madrassas and, according to tradition, wrote in two languages ​​- Uzbek and Tajik. At this time in Bukhara, Khiva and Kokand anthologies of poems by local poets appeared, which indicated a new the rise of Uzbek literature. For example, during the reign Muhammad Rahimkhana (1885-1910) appears at the palace in Khorezm literary center, which publishes poems by local authors collected by Tabibi in a special anthology of poetry that served as an important literary source of that time. Naturally, the khan and his officials are glorified in the works of court poets.

However, besides the courtiers poets and mystical poets, V Uzbek literature there was also a place for people who came from the people – democratically minded progressives writers and poets. In their sharply satirical prose and poetic works, they boldly expose the vices of their time, hypocrisy and hypocrisy, the insidious tricks of khans and beks. Such writers, for the most part, lived in poverty and were persecuted. One of these brave defenders of the people and opponents of their oppressors during the reign of Subhankulihan(1680-1702) was courageous Turdi (Farogi) .

Among democratically minded writers and poets, known for their deep and meaningful works, occupies a special place Babarahim Mashrab (1654-1711). Living in poverty and wandering, this great man in his satirical lines he mercilessly ridicules the oppressors of the people - feudal lords, beks and their lackeys. Mahmud and Gulkhani They also painted a true picture of the plight of the broad masses of working people in their works and boldly exposed injustice and violence.

One of the major representatives Uzbek literature during the reign of the khan there was a wonderful poet, translator and historian Muhammad Riza Ogahi (1809-1874), known for his democratic ideas and progressive views. His humanism and patriotism clearly manifested in the depiction by a merciless satirical pen of a true picture of the situation of the working people and the exposure of the injustice of the ruling circles.

In the first half of the 19th century, when ignorance and prejudices still dominated the public consciousness, the appearance in Uzbek literature such poetess, How Makhzuna, Uwaisi and Nadira , became a great event. In their lyric poems they expressed inner experiences and tender feelings. Many poems Uwaisi and Nadirs set to music and are still popular songs among the people.

After Russia's conquest of the Turkestan region, they found themselves under double oppression peoples of Central Asia, including Uzbeks, through poets and thinkers openly expressed their attitude to the economic and political situation. Those who lived and worked in conditions colonial system Mukimi, Furkat, Kamil Khorezmi, Zavki, Avaz Otar, Hamza Hakimzadeh Niazi, Sadriddin Aini and others boldly condemned colonial and social oppression, violence, and injustice. Democratic-minded representatives Uzbek literature under the colonial system, they sought to express the freedom-loving aspirations of the people.

With the beginning of the 20th century there appeared new talented poets and writers. Initially, under the influence "revolutionary" ideas, new galaxy of writers - Sadriddin Aini, Avaz Otar, Hamza Hakimzadeh Niazi and others - had a certain influence on the emergence of a new direction in Uzbek literature. The revolutionary spirit, the desire for a new life, and the ideas of creation were especially clearly expressed in the works of such writers, How Abdullah Kadiri, Abdullah Avloni etc. Against the backdrop of events in Kokand Khanate and Tashkent Bekstvo Abdullah Kadiri in his exciting novel "Utgan Kunlar" ("Days Past") through tragic love Atabek and Kumushbibi talentedly described the life of Uzbeks in the 19th century. In his second novel "Mehrabdan Chayan" ("Scorpion from the Altar") the oppression of soulless khans and injustice on the part of local amirs are exposed.

Since the 20s of the last century, in Uzbek literature a whole galaxy pours in talented writers - Hamid Alimdzhan, Gafur Ghulyam, Aibek, Abdullah Kakhkhar, Kamil Yashen, Uygun, Shukhrat, Gairati etc. Subsequently, its ebullient creative activity a noticeable trace in Uzbek literature left them like this writers and poets, How Zulfiya, Maksud Sheikhzade, Akmal Pulat, Sharaf Rashidov, Mirtemir, Umari, Jura etc. IN post-war period The spiritual development of the Uzbek people receives a new impetus, as a result of which dozens of new talented works appear. Significantly enriched Uzbek literature new times such poets and writers, How Said Akhmad, Shukrullo, Askad Mukhtar, Ibrahim Rahim, Sagdulla Karamatov, Adil Yakubov, Pirimkul Kadyrov, Mirmukhsin, Erkin Samandarov, Abdulla Aripov, Erkin Vakhidov and many others that have received universal recognition.

Book: Surgery (Xirurgiya), textbook in Uzbek

This textbook covers topics that are essential to nursing practice. 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 problems for the topics. This revised edition also provides an introduction to the work of nurses. The textbook is intended for students of medical colleges.

Students can use this guide secondary schools, as well as everyone interested in geography.

We remind you that the publishing and printing creative house "O'qituvchi" (IPTD "O'qituvchi") produces original and translated textbooks and teaching aids in Tashkent for secondary schools, universities, academic lyceums and vocational colleges, as well as methodological manuals for teachers, fiction and popular books.

(IPTD O`qituvchi)

In Uzbekistan, academic lyceums are of great importance in the system of lifelong learning. Providing lyceum students with teaching aids and textbooks is the primary task of today. Tutorial"General Physical Geography" is intended for students of academic lyceums and vocational colleges...

Uzbek literature is the immortal creation of the creative genius of the Uzbek people, the artistic history of their life, the brightest embodiment of their freedom-loving aspirations and aspirations, and love for their homeland. 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 united 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 everyone Turkic peoples, 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 to the historical past of the people. On its pages, in the images it created, the spiritual development of society over the centuries was captured and the national character of the Uzbek people was embodied.
The entire history of Uzbek written literature can be divided into several stages. In dividing 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 beginning of the XIV century.

During this period, Uzbek written literature began to take shape, the most prominent representatives of which are Yusuf Khas Hajib 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 was characterized by the flourishing of the so-called religious-mystical literature, which gained worldwide fame and recognition.

Literature XIV-XV centuries.

This period is characterized by the highest rise of Uzbek secular literature. The works of Mahmud Pakhlavan, Durbek, Lutfi, Yusuf Amiri, Gadoi and others are indicators of increased skill, originality of poetic thinking, and genre enrichment of Uzbek literature. It was at this time that the brilliant poet and thinker Alisher Navoi lived and worked.

Second stage

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 XVI – early XVII centuries

Among the most prominent representatives of this period are Zahiriddin Muhammad Babur, Muhammad Salih and Babarahim Mashrab. It was they who first depicted realistic paintings of that time, which significantly contributed to the development of realistic trends in subsequent classical Uzbek literature.

Literature XVIII - first half of the 19th century centuries

This period is notable for the appearance of the remarkable poetesses Uwaisi, Nadira and Makhzuna. They, along with male poets, began to actively develop realistic trends in Uzbek literature. At the same time, for the first time, women's love lyrics. The most notable poets of that time were Muhammad Sharif Gulkhani, Makhmur, Munis Khorezmi, Agakhi.

Literature of the second half of the 19th century. - beginning of the 20th century

During this period, wonderful Uzbek writers worked, the most prominent of whom were Mukimi, Furkat, Zavki, Muhammadniyaz Kamil, Avaz Otar-ogly. They played an exceptional role in the formation of all subsequent Uzbek literature of the modern period. Their works were innovative in many ways and served as the basis for the formation of a new democratic direction in Russian literature. They were the first to create sharply satirical and humorous works that were popular and have not lost their relevance to this day.

Third stage

– 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, Hamza, Abdullah Kadiri, Gafur Ghulyam, 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 previously achieved in Russian literature. It was their works that laid the foundation for Uzbek literature of modern times.

Literature of the 60-90s of the XX century.

This historical period was key 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, who began to create works that meet all the requirements of modern literary process. Uzbek literature did not get lost in the powerful flow of development of world literature; rather, on the contrary: its uniqueness and originality became obvious. Said Akhmad, Askad Mukhtar, Adil Yakubov, Primkul Kadyrov, Erkin Vakhidov, Abdulla Aripov and many others gained not only wide fame and recognition, but created works worthy of the modern era.

Literature of independent Uzbekistan.

The current period of development of literature is characterized by both genre and thematic diversity. However, modernity has not yet found proper embodiment in Russian literature. The birth of new writers and worthy works is still waiting in the wings. We sought 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.

Section description

Contents of the section Books on the Uzbek language

• Books on the Uzbek language by year

Below you can download for free e-books and textbooks and read articles and lessons for the section Books on the Uzbek language:

Section Contents Section Description

Description of the section “Books on the Uzbek language”

In this section we present to your attention Books on the Uzbek language. Uzbek language is a Turkic language, state language Republic of Uzbekistan. There are, according to various estimates, from 21 to 25 million speakers of the Uzbek language in the world, most of them live in Uzbekistan and consist of ethnic Uzbeks. In addition, the Uzbek language is widespread in Tajikistan, Kyrgyzstan, Kazakhstan, Afghanistan and Turkmenistan. It is dialectical, which allows it to be classified into different subgroups.

In this section you can download books on the Uzbek language and books in the Uzbek language. A large number of textbooks for schoolchildren and students are offered to help you learn the language.

The Uzbek language has a centuries-old written tradition in the form of Central Asian Turkic language, which developed by the 15th century on the basis of the Karluk-Uyghur dialects of Maverannahr and became official language in Timur's power. Old Uzbek language was influenced literary language Karakhanid state, Karluk-Khorezm literary language of the Syr Darya valley and Persian literature. The flourishing 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 Turkish, Persian, Kyrgyz and Uzbek Grammar in 1875 in St. Petersburg. In the future important contribution The work of E.D. Polivanov, A.N. Kononov, V.V. Reshetov and other researchers contributed to the study of the Uzbek language.

Before the revolution, Uzbeks used Arabic alphabet, little suitable for conveying the sounds of the language, and Chagatai orthography far from real pronunciation. Literacy of the population was not high. After the revolution, when literacy was supposed to become the property of the masses, there was a need for a reform of writing, for its democratization. Currently, the Uzbek language has achieved a lot. The population became literate. It is a beautiful and sonorous language that is learned by people all over the world.

Download all materials in this section for free and without registration.