KOMPARATIVISTIKA

This article examines the role of artistic psychologism in German and Uzbek military prose, using the example of the novels of Erich Maria Remarque and Utkir Khoshimov. The novels “Three Comreades” and “Lives passed in the Dreams” are considered the objects of analysis. In these works, both writers reflected the psychological state of war participants against the background of the conflict between the hero and the environment, the problem of the era and the hero. Of particular note is the expression of the idea of pacifism put forward by the authors through the main characterʼs attitude to the war. In todayʼs literary criticism, when analyzing works of art, especially novels, special attention is paid to elements such as the depiction of the heroʻs psyche and the inner speech of the characters. Hence, the investigation of psychologismʼs influence on the concept of war novels and the authorʼs stance in them has become a pressing scholarly concern. This article examines this problem and refers to scientific sources on this subject. Additionally, throughout the analysis, examples from the literary text were provided and the concepts were supported with scientific evidence. At the end of the article, the results obtained through the analysis are summarized.

This research compares the descriptions of museum interiors in the "Russian Diaries" by American writers T.Dreiser and J.Steinbeck. The article identifies similarities in the purposes and circumstances of their two visits, characterizes the stylistic features of the descriptions, and reveals the individual characteristics of the spaces portrayed in the analyzed accounts. It has been established that the authors demonstrate their negative attitude towards absolute power in both works, both explicitly and through symbolic subtext. The historical space preserved in the museum exhibitions of Tsarskoye Selo and the Kremlin, together with its subjective assessment, helps authors identify the causes of historical events and the essence of the historically formed system of state governance. Dreiser, however, evaluates the museum exhibition solely as evidence of the past, while Steinbeck, infusing the description with psychological observations, projects his insights into the present, suggesting possible parallels between czarist and imperial power and central authority in post-war Russia.

This article examines the poetic interpretation of the image of the sun in modern Uzbek and German poetry through comparative artistic and philosophical analysis. Since ancient times, the sun has been seen in human thought as a symbol of life, light, hope and divine power. This particular image is subject to interpretation within each respective national literature, as it is influenced by a variety of cultural, aesthetic, and spiritualphilosophical criteria unique to each society. In Uzbek poetry, the sun is portrayed as a source of life, symbol of spiritual awakening, social values and national identity. In German poetry, it appears more as an artistic reflection of philosophical fear, doubt, spiritual conflict and inner experiences. The article analyzes the poetic function, symbolic aspects, and artistic-aesthetic role of the sunʼs image in the works of poets, such as Sirojiddin Sayyid, Iqbol Mirzo, Khosiyat Rustamova, Zebo Mirzo, as well as Jan Wagner, Anja Kampmann, and Monika Rink.

This study focuses on a comparative analysis of the works of F.Würtle's “Andijan Prince,” R.Goden's “Gulbadanbegim” and P.Kadyrov's “Starry Nights” and Khairiddin Sultanov's “Boburiynoma.” The aim of the study is to study the plot structure, artistic composition, as well as the similarities and differences of social, political and moral ideas in European and Uzbek prose. The main goal of the study is to determine the inextricable link between European and Uzbek literature by comparing these works, and to analyze the views of writers through artistic images and symbolic images. In the comparative analysis of the figure of Zahiriddin Muhammad Babur, these writers achieved a high artistic ability to express the social and spiritual issues of that time in their works. This study analyzes the hero system of the works, the plot of the work, artistic style and themes, and the specific and general aspects of the images. This research, through a comparative analysis of the artistic legacy and life path of the great king and poet Babur, shows how the figure of Babur is interpreted in various literary sources and historical perspectives, and serves to shed more light on his role and significance in spiritual, literary, and cultural development.

This article explores the translation of surprise markers in the English subtitles of the Harry Potter series into Uzbek. The study investigates if these emotional indicators preserve their original intensity and function in translation. A significant challenge in this process is that surprise markers frequently possess both linguistic and cultural peculiarities that do not always have an equivalent in another language. The article employs qualitative discourse analysis to compare subtitle excerpts from the Harry Potter series. It analyzes the most prevalent surprise expressions in English and their Uzbek translations, focusing on lexical and cultural characteristics. The findings indicate that English exclamations are typically concise and straightforward, while Uzbek versions frequently elaborate on the meaning by employing idiomatic expressions, culturally familiar phrases, as well as addition and omission in translation to preserve the same emotional impact. The study concludes that translators need to understand cultural context deeply to translate surprise markers successfully and preserve the original text's integrity, while adapting phrases to sound natural in the target language.

The article discusses the writing skills of Abdulla Qahhor and Jack London, talented authors from two different nations, in creating the image of a creative individual. Abdulla Qahhorʼs novel “Sarob” (Mirage) and Jack Londonʼs novel “Martin Eden” were chosen as the objects of study. The main goal and objectives of the article are to analyze the general similarities and proportions in the portrayal of a creative person, specifically a writer, by Abdulla Qahhor and Jack London, whose works are the focus of the study. Additionally, it aims to examine and analyze the unique features and individual skills transferred from the authorsʼ natures and experiences to their characters. The protagonists of both works, Saidiy and Martin, are portrayed as writers, revealing commonalities in the authorsʼ character creation. The authors test their main characters for true humanity in conditions of solitude, hunger, and difficult living circumstances. They realistically depict how selfish aspirations can lead a person to tragic situations. Furthermore, these characters are imbued with individual psychology, reflecting the life paths, experiences, and biographical principles of the writers. The analysis ultimately reveals that, despite individual approaches, universal themes and feelings predominate in the works of these writers: love, human relationships, personal growth, the pursuit of dreams and dedication, and the positive and negative aspects of society. These themes resonate with readers of different nationalities, making the works accessible and appealing to a global audience.

This article provides a comprehensive analysis of the influence of the Arabic language on Uzbek over various historical periods. Thoughts were also expressed about words borrowed from Arabic into French and their etymology. It highlights how Arabic loanwords were initially used mainly in religious and scientific contexts, and later gradually integrated into everyday language. In particular, the article examines the Arabic terms related to the Qurʼan, Hadith, fiqh, and scientific terminology that entered Uzbek with the spread of Islam. The article aims to highlight the role of Arabic words in enhancing the linguistic and cultural richness of the Uzbek and French languages.

This article presents new perspectives on the definition of phrases and compound words in Uzbek and English linguistics, analyzes the essence of semantic commonality from both philosophical and linguistic perspectives, and it is mentioned that the syntactic relationships of the components of these language units are present. An attempt has been made to compare Uzbek compound words with alternative English variants and to analyze the ratio of these interlingual semantic commonalities. Taking into account the diversity of semantic variations in them, the diversity of characteristics inherent in the nature of the languages of form and content relations, these linguistic units were divided into groups. In all languages of the world, word combinations have gradually changed into compound words due to certain semantic changes in their meaning. The meaning, understood as a word combination, began to be called and indicated by a third thing and phenomenon. Two (and more) words in the composition named a new object while preserving their meanings (which changed completely in cases of meaning transfer). As long as languages live, this phenomenal event of language continues. It further enriches the vocabulary of the language, and the combination of words becomes compound words and stabilizes. Hence, these linguistic phenomena have become a customary practice in the evolution and advancement of languages, and serve as an inherent means of enhancing the potency of language expression.

The article deals with the analysis of metaphorical and syntactic phraseological devices that express the concept of “anger” in fictional discourse in different languages and focus their linguacultural, ethical and national perspectives. Basing on unique national features of depicting the “anger” concept, the translation problems are thoroughly investigated. In such literary texts, not direct lexical units are used, but cognitive and conceptual metaphorical units rich in imagery designed to reflect human emotions more broadly and vividly. But it has been noticed that these units have different features of expression in different languages. Accordingly, in this article, we compare lexical and syntactic means that reflect the concept of “anger” in English and Uzbek literature from a semantic and conceptual point of view. The issues of translating linguistic units with national and cultural expressions are studied in detail. In our studies, the emotional concept was defined as the object of study, and cultures and national seme were identified as units that implement it in speech. It has been shown that these cultural themes are the priority in correct understanding of illocutionary and implicit intentions in artistic discourses. This is particularly important in the interlingual translation of an art work, and it has been shown that the most effective way is to replace a cultural seme with suitable alternatives in another language. Accordingly, the comparative, transformative, and segregation methods occupy an important place in the content of the study and allow us to determine the precedent and metaphorical features of figurative expressions of emotional concepts.

This article deals with the types of correspondence and documents used in the sphere of diplomacy, their differences and functions. The article collects the opinions of various scholars and specialists on the classification of different types of correspondence and documents conducted in the field of diplomacy into large and small groups. Depending on the type of document, theoretical views on its functions are presented at the same time. The linguistic features of diplomatic documents may vary depending on their specific functions and purposes, as they are tailored to effectively communicate and convey important information between different countries and governments. This article also pays attention to lexicosemantic, functional and methodological aspects of diplomatic correspondence. Any diplomatic correspondence, along with being the most important information document, has its specific structure. For this reason, we considered it appropriate to study diplomatic documents in groups, and in this article we have reflected our thoughts and views on this issue.

This article examines bahuvrihis, a specific type of attribute compound word, in English and Uzbek and examines their formation, semantics and classification through a comparative lens. Based on cognitive linguistics and construction grammar, the study examines how these compounds are constructed, focusing on their figurative and metonymic meanings, and the inherent ambiguities in distinguishing them from other word combinations, especially in Uzbek. A central argument is the lack of clear and consistent criteria for bahuvrihi classification in Uzbek lexicography, exemplified by the inconsistent treatment of forms like “ogʻiroyoq” (heavy foot/pregnant) in the “Oʻzbek tilining izohli lugʻati”. This article analyzes diverse perspectives on compound word formation in both languages, highlighting the descriptive function of bahuvrihis in characterizing human attributes, appearance, and personality, often with cultural or social connotations. In addition, the article takes into account orthographic and phonetic variations in the treatment of compound words between the two languages. By exploring the etymology and unique characteristics of bahuvrihis, this study contributes to a more nuanced understanding of Uzbek lexicology and underscores the need for further research using corpus analysis and psycholinguistic methods to establish more precise definitions and classification rules for Uzbek compound words, an area that requires further development compared to its English counterpart. Numerous examples from both languages illustrate the analysis.

This study examines the socio-pragmatic aspects of symbols and analyzes how symbols gain meaning in a social context and are used for practical purposes. Sociopragmatics is a science that examines the relationship between language and communication with social and cultural factors and enables a deeper understanding of the communicative functions of symbols. The study also analyzes their communication goals and cultural and social influence through the semantic, pragmatic and social characteristics of symbols. This study based on the theoretical and practical materials of our dissertation on the topic “Sociopragmatic and linguacultural characteristics of symbolic words in English and Uzbek.” The study discusses topics such as the variability of their meanings, contextual dependence, and similarities and differences between social groups using phytosymbols in English and Uzbek, in particular plants such as oak, maple, tulip, shamrock. In addition, the study also shows how phytosymbols are formed culturally and historically, as well as their social significance. Methods of sociopragmatic, linguacultural, etymological and comparative analysis are used to effectively organize the process of research and demonstrate the importance of the cultural and historical significance of understanding symbolic meanings.

This article explores the meaning and concept of words in Uzbek and German languages. The complex properties of words have led to their analysis from various perspectives in linguistics. Throughout the article, the views of Uzbek and German linguists on word meaning and concept are presented and analyzed. “Meaning” and “concept” are closely related phenomena, both expressing the message or information conveyed through a specific word. Information conveyed through words, that is, the meaning of the word, is fully understood. When it comes to communication, the information conveyed through “meaning” is often known for its precise and well-defined nature, while “concept” tends to be more vague and general, leaving room for interpretation and ambiguity. “Concept” refers to a lack of complete knowledge of a word or a word-named object or phenomenon, or a general (non-specific and abstract) perception or contemplation.

There exist phraseological units in various languages that contain numerical elements and convey distinct national, socio-cultural, and communicative-pragmatic significance. Therefore, their comparative study in various linguistic and speech situations and contexts is one of the current, little-studied questions of anthropocentric linguistics today. It is in the language, in its lexical and phraseological fund that the ideas, images of the inner and outer world of society, their interpretation, the assessments and attitudes reflected in them, the national character and mentality of the nation are reflected. It is worth noting that representatives of different nationalities and even ethnic groups from different social strata perceive, interpret and evaluate the world and its parts differently. This is objectified in language and speech units, including phraseological units with number components, proverbs and sayings. The identification of interlinguistic differences in the intrinsic and extrinsic content of linguistic expressions, along with an analysis of the linguistic and non-linguistic factors that contribute to these differences, presents an opportunity to acquire valuable theoretical and practical insights in order to mitigate intercultural and interlingual interference. The purpose of this article is to examine the linguocultural characteristics of phraseological units containing numerical elements.

The non-equivalent lexical units, that is, the scientific definition of realias, the problems of their classification, the opinions of scientists and specialists who have conducted research in this field, the difficulties that arise when translating them into English, and the methods of overcoming these difficulties, using examples, have been clarified in the article. The novel “Bygone Days” by A. Kadiri has been chosen as the object of the research, which is considered the crown of Uzbek romanticism, where the non-equivalent lexical units were used. These lexical unites were scientifically described, classified, and scientific and theoretical conclusions and proposals for translating them into English were presented based on examples using comparative, mixed and correlational research methods. The scientific approaches and views of foreign and domestic scientists and specialists who conducted research in this field have also been analyzed. As a result, the authorʼs scientific and theoretical proposals for translating various realities used in literary translation into English were presented, and methods for achieving equivalence and adequacy in reflecting non-equivalent lexicons in the translation text were revealed. The translations of the work into English by I. Tukhtasinov, O. Muminov, A. Khamidov, K. Ermakova, and M. Reese are analysed from an artistic and stylistic perspective. The principles of expressive and full expression of the lexicon without alternatives in literary translation are examined from a linguistic and translation studies perspective, translation options are compared, and the author offers alternative translation variants.

This article discusses the essence of individual similes used in the representation of the artistic world, the main factors influencing their application in artistic texts, and the linguistic and cultural aspects of the translation of individual similes. In individual similes, information and ideas about objective reality and its concepts are enhanced by comparing them with new knowledge. The comparison of objects helps to recognize, better understand and clarify phenomena. When translating individual similes used in the artistic depiction of the world into a foreign language, special attention must be paid to their unique national and cultural characteristics, the linguistic and cultural aspects of translation and the reexpression of cultural elements in the target text. In the artistic representation of the world, similes are used to convey abstract ideas with precision, thereby providing a deeper expression of reality. In this process, different emotional states are similar to certain objects or events. In the Uzbek language, individual similes are widely used in artistic texts to reflect the thoughts, emotional states, moods and psychological conditions of characters, as well as their external appearance. Individual similes serve to highlight both the positive and negative characteristics of a character and to make their personality more vivid. Similarly, individual similes play an important role in the vivid and effective expression of a personʼs character, appearance and emotional state in English artistic representations.

The objective of this article is to examine the scientific research and findings of English scientists who have studied sufism, and to assess their impact on the growing interest in sufism in Western countries. Although sufism and sufi literature have been present in Muslim nations for centuries, they have also garnered the interest of Western academics in the past century. Many European and American researchers, especially British scientists, have made significant contributions to the field of sufism. Through their academic articles, research and books on this subject, they have played a crucial role in spreading the understanding of sufism in Western countries and in developing appropriate notions of sufism. This article explores the concepts, studies, and artistic contributions of British academics such as Martin Lings, Devin DeWeese, and Reynold Nicholson regarding Sufism. The aim of this presentation is to present a thorough analysis and discussion of the valuable contributions and significant research outcomes achieved by these individuals. Furthermore, in this article, the author skillfully employs both analytical and comparative methods to thoroughly analyze and evaluate the findings.

This article examines the socio-political activities of Babur Mirza as portrayed in the work of German writer M.Pravdin, “An Empire Born from Nothing; the Great Mughals.” Pravdin grew up, studied, and worked in Germany. Later, he moved to London, where he continued to write productively, creating his remarkable novels and fantasy works. In 1965, the author published his work “An Empire Created from Nothing, or the First Great Mughals” (Das Reich aus dem Nichts, die ersten Grossmoguln). M. Pravdinʼs work is valuable for its wealth of factual material, the historical accuracy of its sources, and the inclusion of new information about Baburʼs life in certain sections. The work is written entirely in narrative form, vividly describing Baburʼs adventures, the young princeʼs ascension to the throne, and his new campaigns and victories. In the work, the author provides fascinating details about Baburʼs personal characteristics, namely his iron will, his governance of the state, and the improvement works he carried out in the territories he conquered, including the gardens he created, the buildings he constructed, and the discipline he established in his army.

The article explores the importance of the secondary world in Ursula K. Le Guinʼs Earthsea series, which evolved significantly over the more than thirty years she spent developing it. In her effort to introduce a new kind of fantasy heroine, Le Guin found it necessary to reshape the structure of her fictional world, focusing particularly on its historical background. She employed two main approaches to constructing this history, seen in A Description of Earthsea and Tales from Earthsea. The former adopts the tone and format of an official historical record, offering a comprehensive overview of the worldʼs development. Tales from Earthsea contrast with personal narratives set against the backdrop of major historical events. Tales from Earthsea is a notable feature of its emphasis on womenʼs perspectives, contributing to a more feminized view of history. The article concludes that by reimagining the history of Earthsea, Le Guin was able to thoughtfully reconstruct the seriesʼ world in a way that aligns with contemporary themes, while still maintaining the overarching philosophical principles of the original saga.

The purpose of this article is to explore the methods of plot and imagery used to express horror in Stephen King's novels “Misery” and “The Mist,” and to identify the key techniques used by the author to create tension and fear. The research objectives include the analysis of psychological and external horror, the study of the effects of isolation, manipulation and fear of the unknown, and the social and psychological significance of the horror genre. The research problem is that horror literature is often seen as entertainment, without taking into account its potential to reflect deep social and psychological anxieties. The methodological basis of the work involves literary and hermeneutical analysis. The literary method enables the exploration of narrative structure, the dynamics of psychological states of the characters and ways of conveying fear, while the hermeneutic approach helps to reveal the symbolic meaning of images and motifs. The research results show that psychological violence induces fear, dependence, and physical captivity of the main character in “Misery”, while in “The Mist” it is formed by collective panic, isolation, and fear of the unknown. Both works illustrate the ability of horror literature to evoke emotions of fear, but also to analyze important aspects of human psychology, social dynamics, and existential anxiety. The research findings underscore the importance of horror literature as a tool for studying social fears and psychological survival mechanisms.

This article examines the short story genre, which is popular among academics worldwide and literary scholars. Identifying the stories, their unique traits, and how these traits have changed from the first short story works to the present is the studyʼs goal. The following tasks made up this goal: a theoretical assessment of the importance of the short story genre in world literature. In addition, through the evolution of the short story, it is necessary to reveal how this genre has developed over time through examples of short stories in world literature, and to highlight the specific aspects of the short story genre against the background of historical conditions, literary currents and socio-political views. To analyze the evolution of the short story, this article uses the following research methods: comparative historical and sociological methods. The results of the study include the discovery of genre characteristics, terminology and concepts. The conclusion is that the study of the conventions and characteristics of the short story genre has been echoed by literary theorists, from Geoffrey Chaucerʼs Canterbury Tales and Giovanni Baccaccioʻs “The Decameron,” to the genre requirements of contemporary short stories, to the main theme motif of short stories. To deepen and enrich the analysis, the authors include Edgar Allen Poe, Brender Matthews, V.G. Belinsky, Dilmurod Kuronov, J. F. Guimaraes, Anton Chekhov, R. and M. Shapard and W.S. It draws on the work of scholars and literary theorists such as Penn, providing valuable insights into their specific views of the genre. This article will reveal the importance of the short story genre not only in the previous era, but also in the modern literary artistic culture.

This article is devoted to the history and development of the animalistic genre, including its representation of animal imagery in literary works, the complex relationship between humans and animals, its symbolic significance, and the genreʼs role in literature and its historical origins. The author posits a scientific and theoretical perspective regarding the animalistic genre in literature, which portrays animals not only as a component of the natural world but also as a vehicle for exploring human concerns and a useful tool for social commentary. The article examines the literary works of English authors who wrote in the animalistic genre, including Jonathan Swift, William Roscoe, Charles Dickens, Lewis Carroll, Edward Lear, Herbert Carpenter, and Michael Morpurgo. The focus is on identifying the unique characteristics of their works in this genre. It also highlights the role of animal images in reflected human character traits and social problems, as well as the symbolic meaning of animals. In addition, the article employs comparative and cultural-historical analysis methods to investigate the proliferation of animal depictions in English literature and their distinct stylistic characteristics. The examination of the elements of the animalistic genre in English literature, the representation of interactions between animals and humans, its gradual evolution and the continued representation of this genre are also examined from a scientific-theoretical point of view.

Ushbu tadqiqot Syuzan Xilning badiiy asarlarida hikoya usullari va texnikalarning mohirona qoʻllanilishini oʻrganadi. Xususan, erkin bilvosita nutq, dialogdagi tagmaʼno va oneyrik rivoyaga eʼtibor qaratiladi. Tadqiqot ushbu hikoya vositalar Xil qahramonlarining, ayniqsa bolalarning psixologik teranligini qanday ochib berishini va hokimiyat, qoʻrquv va emotsional zaiflik mavzularini qanday yoritishini oʻrganadi. Xilning asarlari, jumladan “Qasr qiroliman” va hikoyalari matnini atroflicha tahlil qilish orqali, ushbu maqola erkin bilvosita nutq hikoyachi va personaj nuqtayi nazarlari oʻrtasidagi chegaralarni qanday yoʻq qilishi, personajlar ruhiyatiga chuqur darajada kirish imkonini berishini koʻrsatadi. Tadqiqot, shuningdek, dialogdagi tagmaʼno murakkab munosabatlar dinamikasini va asosiy emotsional holatlarni qanday ochib berishini, oneyrik hikoya epizodlari esa personajlarning ong osti qoʻrquvlari va istaklariga oyna vazifasini oʻtashini tahlil qiladi. Natijalar shuni koʻrsatadiki, Xilning hikoya texnikalari bolalar psixologiyasining koʻp qirrali tasvirini yaratadi, bu kognitiv rivojlanish va emotsional murakkablik haqidagi zamonaviy tushunchani aks ettiradi. Ushbu tadqiqot zamonaviy adabiyotshunoslikdagi narrativ texnikalar haqidagi ilmiy munozara uchun asos bo‘ladi va bolalar tajribasining adabiy tasvirini tushunishga ko‘mak beradi.

This article examines the emergence, evolution, and literary significance of the I-novel as a distinct genre in Japanese literature. The Inovel genre, which originated in the early 20th century, is a deeply personal and confessional literary form that emphasizes autobiographical elements, psychological introspection, and self-exploration. Initially criticized for its excessive realism and lack of artistic distance, the genre gradually gained literary recognition, becoming a central part of Japanʼs modern literary tradition. Early I-novels focused on the truthful depiction of the authorʼs life experiences, but over time, they developed into works that delve into themes of identity, existential dilemmas, and social alienation. This study employs a comparative literary and historical approach to analyze the genreʼs transformation across different periods. By the mid-20th century, the Inovel had solidified its influence, inspiring contemporary authors and shaping narrative techniques in Japanese literature. Ultimately, the I-novel remains a powerful medium for exploring the complexities of personal identity, individual struggles, and societal expectations, making it a significant contribution to world literature.

This article provides a comprehensive analysis of Alp Jamol's creative work and his significant contributions to the genre of dramaturgy. Extensive information is presented regarding his life trajectory, the artistic qualities of his pieces, his impact on national literature, and the uniqueness of his comedic narratives. Alp Jamolʼs contributions hold a significant position in the realms of Uzbek literature, dramaturgy, and television journalism. Works written by the writer, such as “Toshteshar”, “Jafoga vafo”, “Kuvgin”, “Toydagi tugun”, “Mehribonlar”, “Gizgizon” were performed on stage and made a huge contribution to the development of comic performances in theater and television. In this article, we will be examining the profound influence of the writer's works on society, his remarkable ability to create vivid and captivating imagery, and the insightful literary analysis that supports these claims. The writer's impact on literary studies and scientific research surrounding him is also highly regarded.

The word “memoir” comes from the French words “memories”, “recollections” and can be found in different sources under different names: memoirs, recollections, memoirs, notes, etc. The main task of memoirs is to reflect past events based on the author's memoirs or historical documents. Literary scholars have been discussing the artistry of examples of this genre for many years, and research has been conducted on the harmony of artistic and historical aspects. The issue was theoretically substantiated, specifically by Vissarion Belinsky, who viewed memoirs not only as a compilation of historical records, but also as a medium for artistic expression of human emotional experiences and the social environment of the era. Later, literary scholars who continued his traditions further analyzed the uniqueness of the genre of memoirs. Within the context of this article, the distinct characteristics of the memoir genre are tentatively outlined, with an emphasis on how they differ from other forms of autobiographical literature, such as documentaryhistorical essays or personal diaries. Works created in the genre of memoir are also divided into groups based on their distinctive features.

This article is dedicated to the prose works of Nazar Eshonqul, a writer who laid the foundation for modern stylistic explorations in Uzbek literature and fully demonstrated the multifaceted possibilities of the short story genre. The research focuses on analyzing the authorʼs individual approach to literary language, particularly his use of stylistic and syntactic devices. The artistic appeal of Nazar Eshonqulʼs prose is primarily manifested in his style of expression created through language. This article scientifically explores the writerʼs effective use of linguistic tools, namely syntactic and stylistic figures such as inversion, rhetorical questions, ellipsis, emotive sentences, antithesis, antonyms, similes, and stylistic repetitions. Text passages from the writerʼs stories “The Scent of Mint,” “The Man Led by a Monkey,” and “You Canʼt Catch the Wind” are subjected to linguopoetic analysis. Their syntactic structure, stylistic function, significance in revealing character, and role in enhancing the semantic and expressive layers of the text are examined. The analysis reveals that the uniqueness of Nazar Eshonqulʼs prose lies in his selection of each linguistic device in accordance with his creative intent and artistic purpose, integrating them with psychological and philosophical thinking. Notably, the charactersʼ internal monologues, inner turmoil, life perspectives, and contradictory concepts such as faith, good and evil, justice and tyranny are profoundly expressed through the authorʼs syntactic choices. The article also emphasizes how the writer created a new aesthetic space by organically combining elements of realism and modernism, forming a distinctive prose style by harmonizing national literary thought with world literature experiences. The stylistic and syntactic devices in Nazar Eshonqulʼs prose not only enhance its artistic appeal, but also form the primary layer that provides aesthetic evaluation, emotional impact, and spiritual depth. Each syntactic unit employed by the author serves to create imagery, convey psychological states, and expand context. In conclusion, Nazar Eshonqul is recognized as a possessor of artistic thinking who successfully reveals aesthetic ideas through language and layers of inner meaning through syntax. This article scientifically analyzes the writerʼs syntactic mastery in crafting literary text, his stylistic innovation, and aesthetic advancements, acknowledging them as one of the developmental paths of modern Uzbek prose.