KOMPARATIVISTIKA

This article examines Louisa May Alcott’s novels Little Women (1868-1869) and Little Men (1871) not as two separate works but as a single, continuous chronicle of the March family. The relevance of the study stems from the fact that most existing scholarship connects the two novels only through shared characters, without substantiating their generic unity. The aim of the article is to demonstrate that the two novels together form one chronicle unfolding the history of the March family across three generations - the elder generation of Mr. and Mrs. March, their grown daughters, and the wards of Plumfield - and to identify a distinct moral-psychological model of the family chronicle genre. The scientific novelty lies in showing, for the first time, that generational continuity in this model is transmitted not through property or a family name but through upbringing and the daily order of the home, which fundamentally distinguishes it from the property-and-lineage model found in J. F. Cooper. The methodology combines comparative-typological, structural-semantic, and biographical methods, with particular attention to the chronotope of the home as a category organizing the narrative of both books. The results show that the two novels form a compositionally integrated structure in which moral experience is consistently transmitted from one generation to the next, while the home retains its function as a moral center regardless of changes in its physical boundaries or the composition of its inhabitants.

The article systematizes the modern methodological foundations for the scientific and theoretical analysis of literary texts and substantiates a cognitive-integrative model that combines traditional poetic analysis with the principles of cognitive poetics and narratology. The research problem lies in the fact that an analysis limited merely to listing literary devices cannot reveal their role in plot and character construction, the narrative distribution of information, or their function in guiding the readerʼs perception. The novelty of the research lies in studying the structural, narrative, and cognitive layers of a literary text as a single functional system. The methodological basis draws upon the principles of cognitive poetics, conceptual metaphor theory, mental spaces theory, cognitive narratology, predictive processing theory, and affective-cognitive stylistics. The analysis was conducted using the material of Ray Bradburyʼs novel “Fahrenheit 451.” The opening sentence of the novel, the “book is a weapon” metaphor, the semantic transformation of the fire symbol, plot events, the concepts of “equality” and “slowness,” as well as its stylistic organization were examined. As a result, it was found that a poetic device simultaneously organizes a narrative event, expresses the characterʼs mental model, and manages the readerʼs expectations. Based on this, the “poetic structure – narrative function – cognitive activation – expectation – analytical direction” model was proposed. The results of the study can be utilized in teaching literary theory and literary analysis in higher education.

This article analyzes works of fiction, particularly speculative and science fiction, using the theory of ecocriticism, a field of literary studies that emerged in the late 20th century, as its methodological basis. The theoretical foundation of the research is built upon Cheryll Glotfelty and Lawrence Buellʼs definitions of ecocriticism; Greg Garrardʼs concepts of “pastoral” and “wilderness”; Darko Suvinʼs theory of “cognitive estrangement” and “novum”; Serenella Iovino and Serpil Oppermannʼs concepts of “material ecocriticism” and the Anthropocene; as well as Amitav Ghoshʼs philosophical views on the climate crisis. From American science fiction, Frank Herbertʼs “Dune”, Ursula K. Le Guinʼs “The Word for World is Forest”, and Kim Stanley Robinsonʼs “Mars Trilogy” are analyzed. From Russian literature, the Strugatsky brothersʼ“Roadside Picnic” (Пикник на обочине), Valentin Rasputinʼs “Farewell to Matyora” (Прощание с Матёрой), and Sergey Zalyginʼs “An Ecological Novel” (Экологический роман) are examined, alongside existing Uzbek, foreign, and Russian literary scholarship on these works. The research findings indicate that, through its genre features of cognitive estrangement and “novum,” science fiction possesses a unique potential for the artistic representation of ecological problems that is superior to other genres; however, the extent to which this potential has been academically explored is unevenly developed across American, Russian, and Uzbek literary studies.

This article examines the works of the prominent Uzbek poet Shavkat Rahmon within the context of world literature through comparative-typological and semio-poetic approaches. The study analyzes the aesthetic and artistic features of the poetʼs works, focusing on the issues of universality and national identity, the system of poetic images, and the principles underlying symbolic expression. Particular attention is given to the relationship between Shavkat Rahmonʼs poetry and the traditions of both classical and modern world literature, identifying their common and distinctive characteristics. The metaphorical representation of nature, the motifs of social and philosophical protest, the inner dialectics of the lyrical hero, and the artistic mechanisms of poetic thinking are interpreted from a semio-poetic perspective. The article also highlights the harmony between national traditions and universal human values, the artistic functions of symbols and metaphors, and the role of intertextuality in the poetʼs creative works. Based on these findings, the study substantiates Shavkat Rahmonʼs contribution to the development of Uzbek poetry and determines his place within the broader literary process of world literature.

This article examines the literary and scholarly activities of the prominent Uzbek writer Hamid Olimjon within the complex socio-cultural and ideological processes of the 1920s-1940s. The study analyzes the facets of poetry, publicism, and scholarship in the writerʼs work not as isolated domains, but as an integrated, mutually reinforcing system. Under the constraints of Soviet censorship and political pressure, Hamid Olimjonʼs scholarly courage and national preservation efforts are objectively evaluated, particularly regarding national folklore (the publication of the “Alpomish” epic) and the promotion of classical literary figures (such as Alisher Navoiy and Ahmad Yassaviy). The article addresses the writerʼs stance toward Jadidism through the prism of ideological pressures, shedding light on the methodological paradoxes of his evolution. The findings allow for a reassessment of his legacy free from Soviet dogmas, offering essential theoretical insights for contemporary literary criticism, folklore studies, and intellectual history.

This article examines the father figure in D.H. Lawrence's novel "Sons and Lovers," analyzing the character Walter Morel as a symbolic representation of English fathers in the early 20th century. The article highlights his attempts to maintain paternal authority, his emotional limitations, and the family conflicts that arise due to his alcoholism and aggression. Furthermore, the study analyzes the psychological aspects of Walter's character, revealing how social, economic, and industrial factors influence his role as a father. By depicting Walter not as a villain but as a complex and multifaceted human being, Lawrence emphasizes the fragility of traditional paternal authority and its long-term impact on family relationships and the formation of personal identity.

This article examines the artistic interpretations of the plot of Yusuf and Zulaykha in Arabic, Persian-Tajik, Ottoman Turkish, and Turkic literatures from the perspective of comparative literary studies. The theoretical framework of the research is based on the migratory plot theory developed by A.N. Veselovsky and V.M. Zhirmunsky. Using historical-comparative and comparative-typological methods, the study analyzes the poetic transformation of the plot in different literary traditions, focusing on changes in its imagery, composition, and ideological content. Particular attention is paid to the reinterpretation of the Qurʼanic narrative under the influence of national literary traditions, religious and philosophical ideas, and aesthetic principles. The article comparatively evaluates the early artistic development of the story in Arabic literature, the dominance of Sufi symbolism in Persian-Tajik literature, the didactic and moral orientation of Ottoman Turkish literature, and its integration into the national poetic traditions of Turkic literature. The findings reveal the main stages and patterns of the artistic transformation of the Yusuf and Zulaykha plot in Eastern literature and contribute to further comparative literary research.

This article analyzes unique features of English Renaissance and creative work of Christopher Marlowe, prominent playwright of this period. Influence of Canterbury and Cambridge University environment on writerʼs intellectual development is comprehensively examined in this research. Marloweʼs tragedies, “Dido, Queen of Carthage” and “The Jew of Malta” are investigated on basis of comparative-historical principles. Typological parallels of mythological characters, plots, and motifs with ancient Sumerian, Near Eastern mythology, and Quranic story of Korah are scientifically revealed. Transcultural connections, mutual cultural relations at crossroads of Western and Eastern civilizations, role of Eastern themes, and humanistic essence in authorʼs dramaturgy are fully substantiated.

The article examines the evolution of the bazaar chronotope across genres in the prose of Khurshid Dustmuhammad. The primary focus is on how the bazaar chronotope manifests in short stories as a symbolic detail, a setting for character revelation, and a space for moral testing; in novellas as a psychological space associated with memory, social control, existential concerns, and internal tension; and in the novel as a central poetic category that organizes the entire artistic system. The research material includes the short stories “Jajman” (Jajman), “Mirkomilboyʼs Missed Prayer” (Mirkomilboyning qazo boʻlgan namozi), “Tokhtaboyʼs Wealth” (Toʻxtaboyning boyliklari), “The Curse of the Harmless Bird” (Beozor qushning qargʻishi), “The Copyistʼs Heir” (Nusxakashning merosxoʻri), and “Detective Yakubʼs Trick” (Yoqub izquvarning hiylasi); the novellas “Lonely” (Yolgʻiz) and “Pitcher...” (Kuza...); and the novel “The Bazaar” (Bozor). The analysis demonstrates that the bazaar chronotope transcends mere spatial description, transforming into a complex artistic model that expresses the protagonistʼs psychology, national memory, social relations, and the authorʼs overarching concept.

This article examines one of the essential types of the mother figure in 20th-century American and Uzbek novels namely, the vulnerable and suffering mother—using a comparative-typological approach. The objects of analysis are the characters of Anney Boatwright and Qurvonbibi in Dorothy Allisonʼs novel “Bastard Out of Carolina” and Abdulhamid Cholponʼs novel “Night and Day.” Drawing on the views of A. Rich, N. Chodorow, and P. H. Collins, who interpret motherhood as a socio-cultural phenomenon, the article highlights the protagonists' maternal responsibilities, their attitudes toward their childrenʼs fates, their internal psychological experiences, and the factors that cause their vulnerability. The results of the study show that although both mothers love their children boundlessly, they are unable to fully fulfill their duty to protect them. However, the roots of this vulnerability differ: while Anneyʼs tragedy is linked to economic and emotional dependence as well as domestic violence, Qurvonbibiʼs powerlessness is determined by the patriarchal family system and national traditions. A number of differences are also observed in the authors' methods of artistic expression. While Allison reveals the protagonistʼs psyche through dialogue and explicit psychological depiction, Cholpon creates psychologism through silence, gestures, and everyday details. The article substantiates that the vulnerable mother type does not stem from a lack of affection or irresponsibility, but is rather a complex psychological state shaped under the influence of external social conditions.

This article addresses an understudied aspect of Soviet-era interethnic cultural relations: the contribution of the Russian writer, critic and translator Lydia Grigorievna Bat (1897-1980) to the popularization of Uzbek literature and culture among Russian-speaking readers. The relevance of the study stems from the need to reassess so-called “second-tier” figures of Soviet literature whose work sustained the “friendship of peoples” model at the level of concrete texts. The purpose of the article is to determine the generic specificity and functions of Batʼs historical-biographical novella The Garden of Life (1956), devoted to Alisher Navoi, and of the critical-biographical essay Oybek (co-authored with M. Koshchanov, 1966), within a comparative-literature framework. The methodology combines comparative-historical, biographical and structural-typological methods. The analysis shows that Batʼs prose combines documentary reliability with artistic invention, forming a type of biographical narrative about the “creator of culture” that was stable within Soviet literature of the 1940s-1960s. The article discusses the relationship between authorial invention and scholarly Navoi studies, as well as the role of Batʼs personal ties with Uzbek writers (Oybek, Zulfiya) in shaping her creative position. It is concluded that Batʼs work constitutes a significant yet insufficiently studied episode in twentieth-century Russian-Uzbek literary relations.

The article examines the history of studying English and Russian psychological novels in Russian and international literary scholarship. The aim is to identify the major stages in the formation of scholarly concepts of the psychological novel, compare the methodological foundations of English and Russian research traditions, and determine current tendencies in their interaction. The relevance of the study is determined by the need to approach the historiography of the psychological novel as a unified process rather than as a collection of studies devoted to individual authors and works. The methodology combines comparative-historical, historical-literary, comparative-typological, hermeneutic, and systemic methods. The research material includes works by major literary scholars and contemporary studies of psychologism, narratology, and novel theory. The findings show that the Russian tradition has predominantly developed a historical-poetic and philosophical-psychological model that connects psychologism with genre evolution and the problem of personality. The English tradition has gradually developed a narratological model focused on narrative perspective, inner speech, and the representation of consciousness. The results demonstrate an increasing integration of these approaches in contemporary literary scholarship. The scientific novelty lies in systematizing the two traditions as complementary components of a unified historiographical process.

The article examines, from a comparative perspective, the poetic devices of characterization in the short stories of Somerset Maugham and Abdulla Kahhor. The research problem concerns the identification of common and distinctive functions of portrait, artistic detail, and character speech in shaping the individual features of literary characters in the works of representatives of different national literatures. The study aims to reveal the artistic potential of these elements and identify the shared and distinctive principles of the two writers’ poetics. Comparative-typological, comparative, structural-semantic, and linguopoetic methods are employed in the study. The findings demonstrate that portrait, detail, and speech interact to form an integrated system that reveals a characterʼs psychological state, behaviour, worldview, and attitude towards life. In S.Maughamʼs stories, psychological conflict, hidden motives, and individual choices play a leading role, whereas A.Kahhorʼs works place greater emphasis on moral position, social environment, and contradictions in behaviour. In the works of both writers, the essence of a character is revealed gradually through artistic features rather than through direct authorial description. The findings establish that the different functional orientations of shared representational techniques contribute to the distinctive artistic vision of Maugham and Kahhor.

This article presents a comparative-typological analysis of artistic style and psychological depiction in the short stories of the prominent Uzbek satirist Neʼmat Aminov and the renowned Turkish writer Aziz Nesin. The aim of the study is to identify the internal psychological and stylistic mechanisms of comic interpretation in both authors’ works and to provide a scientifically grounded account of their similarities and differences. The research draws on psychoanalytic, formalist and dialogic theoretical frameworks, along with comparative-typological and hermeneutic methods. The short stories “The Butcherʼs Dog” (Qassob boboning iti), “The Fake Guest” (Soxta mehmon) and “The Prophecy” (Bashorat) by Nemat Aminov, “The Bearʼs Gratitude” (Ayiqning tashakkuri),”So, What Happened?” (Xoʻsh, nima boʻldi) and “Elephant Hamdi” (Fil Hamdu) by Aziz Nesin were selected as the research corpus. The findings demonstrate that Aminovʼs prose is dominated by an implicit (“closed”) comic model built on folk humor, character-based comedy, and psychological portraiture through everyday detail, whereas Nesinʼs style relies on an explicit (“open”) model grounded in logical incongruity, satirical-absurdist depiction, and sharp criticism of bureaucracy. The article provides evidence-based confirmation that the psychological foundation of the comic lies in the discrepancy between a characterʼs inner state and outward behavior; it also proves the linguopoetic nature of comedy and the varying receptive distance according to the principle of “identification and distance”. The results may serve as a methodological basis for further research in comparative literary studies and the theory of the comic.

This article examines the artistic and philosophical essence of the concept of “bilig” (knowledge) in Yusuf Khass Hajibʼs “Qutadgʻu Bilig” and Ahmad Yugnakiyʼs “Hibat al-Haqoyiq”, which are important sources of classical Turkic literature. The study interprets the concept of “bilig” not as a simple collection of knowledge or information, but as a spiritual value that leads a person towards perfection, enlightenment, and the understanding of the Creator. Through contextual, comparative-typological, hermeneutic, and conceptual analysis methods, the article reveals the aspects of “bilig” (knowledge) related to enlightenment, wisdom, morality, and human spiritual development. It is demonstrated that in “Qutadgʻu Bilig” this concept rises to the level of an integral educational-philosophical system, while in “Hibat al-Haqoyiq” it is expressed mainly through moral teachings and ethical principles. The article also substantiates that both works are based on common ideas of self-knowledge, acquiring knowledge, and achieving spiritual elevation.

This article provides a comparative analysis of the unique typological and poetic characteristics of the character of Bahram in the epic poems of Ashraf Maroghy Tabrizi and Alisher Navoiy within the context of the Eastern “Khamsa” tradition. The study thoroughly compares Maroghyʼs concept of the Sufi-inspired “gnostic and philosopher king” with Navoiyʼs portrayal of the famous ruler in “Sabʼai Sayyor”, who is initially “people-loving” but subsequently falls into oblivion. Using textual evidence from both epics, the authors’ similar and distinct artistic approaches are highlighted. Furthermore, the philosophical-artistic expression of justice and trust in God, alongside symbolic allegories like “kernel and rind” and “wrath and grace”, is profoundly investigated.

The article examines criteria for the typological classification of political texts and the main problems arising in Uzbek-English translation. The empirical material consists of 6,428 parallel segments from an electronic corpus compiled from official https://lex.uz/ sources, including presidential resolutions, strategic programs, administrative and legal documents, and international treaties. Political texts are classified according to institutional status, communicative purpose, dominant function, genre, syntactic organization and pragmatic orientation. The proposed taxonomy distinguishes normative-legal, program-strategic, administrative-institutional, diplomatic, socio-political and hybrid text types. Comparative-typological, functional-pragmatic, discourse and corpus analyses show that the major translation difficulties concern terminological equivalence, deontic modality, performative formulae, institutional names, complex nominal structures, the representation of agency and ideologically or pragmatically marked meanings. Examples from the official corpus demonstrate that literal matching does not necessarily ensure functional or legal equivalence. The study proposes a multi-stage translation model based on the preliminary identification of text type, terminology standardization, harmonization of modal and performative patterns, and quality control through parallel-corpus comparison. The model can support the preparation, editing and evaluation of official English translations of Uzbek political and legal documents.

The aim of the present study is to identify the ways in which moral and emotional meanings associated with “shame culture” and “guilt culture”are expressed in English literary texts and to determine the specific features of their recreation in literary translation into Uzbek. The research problem focuses on determining whether the components of social evaluation, individual moral responsibility, inner experience, and emotional evaluation conveyed by the lexical units “shame” and “guilt” in literary contexts are preserved in translation or undergo semantic and pragmatic transformations. The study selected literary contexts related to “shame”and “guilt” from Nathaniel Hawthorneʼs novel “The Scarlet Letter” and identified the semantic, pragmatic, and linguocultural components actualized in these contexts. Based on these components, several alternative Uzbek translation variants of the units under consideration were developed and subjected to a comparative translation analysis. The main criteria for evaluating the translation variants were the degree to which the denotative meaning of the original, emotional intensity, social evaluation, individual moral responsibility, and communicative-pragmatic effect were recreated. The results demonstrate that, in translating the concepts of “shame”and “guilt”, conveying their denotative meanings alone is insufficient; the reproduction of social evaluation, moral responsibility, and linguocultural connotations is an essential condition for achieving semantic-pragmatic adequacy.

This article examines two French translations of Alisher Navoiʼs work “Mahbub ul-Qulub”– François-Alphonse Bélinʼs 1866 translation “Moralistes orientaux” and Alexandre Papasʼs 2018 monograph “Ainsi parlait le derviche” from a comparative translation studies perspective. The purpose of the research is to determine the selection of the workʼs content in the two editions, and how the authorʼs voice, the relationship between prose and poetry, religious-mystical terms, and social images are re-expressed in French. The study employed semantic-contextual, comparative translation, source study, and paratextual analysis methods. A direct tripartite comparative analysis was based on the segments of the introduction found in both French interpretations. In the remaining sections, the selection of chapters, the translation of titles, and the semantic function of the commentaries were examined. The results show that Bélin translated the moral-mystical chapters more extensively, explaining terms through transliteration, French equivalents, and footnotes. Papas, on the other hand, linked the social strata in the first part to the historical context, preserving more of the poetic forms interspersed within the prose. An analysis of the common passages in the introduction revealed that the tone of modesty and genre shifts are conveyed more fully by Papas, though semantic shifts occurred in certain units. The study substantiates that translation gains and losses occur not only through lexical choices but also in text selection, genre structure, and academic commentary.

This article discusses the theoretical foundations of editing synonymous units in translation on the basis of translation studies, lexical-semantic analysis and the principles of stylistic editing. The relevance of the research lies in the fact that synonymous units in the process of translation function not merely as words with similar meanings, but also as important linguistic means that convey the stylistic tone of the text, its communicative purpose, pragmatic effect and national-cultural content. The article analyzes the role of synonymy in the language system, the semantic differentiation of synonymic series, denotative and connotative layers of meaning, the degree of stylistic neutrality and expressiveness, the criteria for selecting equivalents in translation, as well as the issues of ensuring semantic accuracy and stylistic appropriateness in the editing process. In addition, the article examines such cases as semantic shifts, stylistic inconsistency, excessive repetition, narrowing or broadening of meaning that may arise as a result of the inappropriate use of synonymous units in a translated text. The study evaluates the editing of synonymous units as an important stage in ensuring the adequacy, naturalness, accuracy and communicative effectiveness of the translated text. The results of the article are of theoretical and practical significance for scientific research in the fields of translation theory, practical translation, text editing, lexicology and linguostylistics.

Digital transformation has changed the conditions of intercultural interaction, opening new opportunities for communication while producing algorithmic and cultural barriers. The aim of the article is to systematize the theoretical and methodological foundations and practical mechanisms of intercultural dialogue in the digital media space. The study employs theoretical and methodological analysis, systems modelling and comparative analysis of sociocultural practices; the media theories of M. McLuhan and M. Castells are integrated with the intercultural communication concepts of E. Hall, G. Hofstede, M. Byram and D. Deardorff. Based on A. P. Sadokhin’s three-component model, a classification of participants, tools and risks of digital interaction is proposed at three levels: institutional, professional and user. The findings show that the digital environment is ambivalent: it supports rapprochement of cultures while creating conditions for their algorithmic segregation through filter bubbles and echo chambers. The experience of Turkic-speaking states, the Azerbaijani model of multiculturalism and the role of Uzbekistan’s online media in promoting tolerance are analysed. The key role of language universities in training specialists for the media sphere is substantiated. Recommendations are formulated on integrating media literacy and intercultural competence into higher education curricula and on developing transnational media platforms of the Turkic world.

This article provides a comprehensive study of the linguopragmatic features of nonverbal means that play an important role in ensuring the effectiveness of communication in diplomatic discourse. In the process of diplomatic communication, alongside verbal units, facial expressions, gestures, eye contact, body posture, hand movements, intonation, pauses, speech rate, interpersonal distance, and other paralinguistic means carry significant communicative functions. These means serve not only to express the emotional state of the interlocutor but also to clarify communicative intentions, emphasize particular ideas, mitigate or strengthen interpersonal relations, establish an atmosphere of trust, and ensure compliance with the requirements of diplomatic etiquette. The article examines the pragmatic functions of nonverbal means in diplomatic meetings, negotiations, official receptions, international conferences, and other protocol events. It also analyzes the importance of accurately interpreting nonverbal signs in diplomatic communication between representatives of different cultures. The appropriate use of nonverbal means is regarded as an effective factor in reducing communicative barriers, enhancing mutual understanding, establishing a positive diplomatic image, and preventing conflict situations. The findings of the study are of theoretical and practical significance for gaining a deeper understanding of the pragmatic nature of diplomatic discourse and developing effective models of international communication.

The present study examines the development of metaphor theory. The relevance of the research is determined by the need for a comprehensive understanding of the evolution of metaphor theory in the context of the rapid development of cognitive linguistics and cognitive stylistics. Existing studies mainly focus on individual aspects of this phenomenon without providing an integrated theoretical perspective. The aim of the study is to examine the principal stages in the development of metaphor theory and to determine its role within the cognitive-stylistic analysis of poetic discourse. The research is based on theoretical works devoted to metaphor theory, cognitive linguistics, and cognitive stylistics. Descriptive, comparative, and cognitive-stylistic methods, together with the method of scientific generalization, were employed to systematize and interpret the major theoretical concepts of metaphor. The findings indicate that the evolution of metaphor theory is characterized by a gradual transition from viewing metaphor as a stylistic device to interpreting it as a universal mechanism of conceptualization and cognition. It has been established that contemporary theoretical approaches are not mutually exclusive but rather reflect different stages in the development of metaphor theory, complementing one another. The study concludes that the cognitive-stylistic approach makes it possible to reveal the relationship between linguistic imagery, the conceptualization of reality, and the artistic interpretation of socially significant experience, while also providing a foundation for further research in contemporary linguistics.

This article presents a comparative study of the pragmalinguistic features of English and Uzbek tourism texts. It pays particular attention to the relationship between the addressor and the addressee, speech acts, evaluative language, deixis, modality, presupposition, and culture-specific features. The study aims to identify the linguistic means through which tourism promotional texts inform readers and influence their attitudes and decisions. The research material consists of text extracts selected from English and Uzbek-language tourism portals and brochures. The materials were selected with due consideration of their thematic relevance and the balanced representation of both languages. The study employs comparative-pragmatic, contextual, speech-act, and presuppositional methods of analysis, together with qualitative description. The findings show that English tourism texts tend to use direct reader address, emphasise available opportunities, and present travel as a personal experience. Uzbek tourism texts, by contrast, rely more strongly on historical information, collective memory, and the cultural value of hospitality. In both languages, informative statements often serve an indirect persuasive function by encouraging readers to take a particular action, while positive evaluation enhances a tourist destinationʼs attractiveness. The article proposes an “information – evaluation – action” model that explains the communicative structure of tourism texts. This model may provide a practical basis for writing, editing, and translating tourism materials while preserving their meaning and pragmatic effect.

This article is devoted to a comparative-theoretical analysis of the gender and pragmalinguistic features of formal oral speech and emotional sentences in Uzbek and English. In modern comparative linguistics, the speech process is formed under the influence of socio-cultural, national-mentality and psychological factors, along with grammatical laws. The article comparatively highlights the lexical, syntactic, and intonational differences inherent in male and female speech in Uzbek and English, as well as the pragmatic functions of emotional sentences in both languages. From the perspective of gender linguistics, the similarities and differences in speech strategies, principles of politeness, and methods of expressing communicative goals in official communication situations between representatives of the two languages are examined with particular attention. In the study, the scientific views of foreign and Uzbek linguists are comparatively analyzed, and the pragmalinguistic nature of emotional sentences is deeply revealed on the example of two languages. The results clearly demonstrate that the gender factor affects speech behavior, word choice, and the level of emotional expression differently in both languages. The article makes an important theoretical contribution to research in the fields of comparative gender linguistics and pragmatics, as well as in language education, and serves as a solid foundation for future scientific research.

This article provides a contrastive analysis of the major strategies used to build euphemistic expressions in the Russian and English languages. The study relies on the theoretical works of famous linguists, and uses examples from the English and Russian dictionaries of euphemisms. The article combines quantitative and qualitative analyses, with pragmatic and contrastive approaches to compare the way of forming euphemisms in both languages. The results of the research show that methods such as circumlocution, metaphor, metonymy, substitution as well as generalization are observed in the usage of both languages at a similar level. Understatement and abbreviation, however, are used more often in the Russian language due to its derivational morphology, while overstatement and flippancy were found to be more characteristic to the English language. The findings reveal that the differences between the two languages can create difficulties in the translation process, since some types of euphemisms formed in one language do not have direct equivalent in the other one, requiring the translator to find alternative solutions.

This article examines cognitive metaphor as a mechanism of literary thinking and a means of representing knowledge structures in literary text from the perspectives of cognitive linguistics and cognitive poetics. While traditional stylistics has predominantly treated metaphor as a rhetorical device that provides imagery and expressiveness, the cognitive approach regards metaphor as a fundamental mechanism through which human beings conceptualize reality, structure abstract experience, and construct new knowledge. The study draws on selected metaphorical contexts from some English works. The methodology combines conceptual, contextual, and cognitive–semantic analysis, source–target domain mapping, and metaphor identification procedure. It is argued that cognitive metaphor does not merely verbalize pre–existing knowledge; it activates, restructures, and generates knowledge structures in the readerʼs mind. Therefore, metaphor functions as an essential cognitive instrument of literary imagination and interpretation. Alongside this, metaphor is examined as a product of human thought and as a means of creating artistic and aesthetic imagery in the mind. The role of cognitive linguistics in literary texts and the authorʼs individual style are systematically analyzed. Materials from English literature are studied within the framework of Conceptual Metaphor Theory.

This article presents a comparative functional analysis of the pragmatic-communicative functions of hyponymic-hyperonymic relations in English and Uzbek newspaper headlines. The core problem lies in the fact that the communicative motivation behind selecting a hyponym or hyperonym – such as information compression, event specification, relevance optimization, or stylistic impact – has not been studied comparatively across these two unrelated languages. The objective is to identify the communicative roles of hyponym-hyperonym choices and reveal their linguacultural and typological foundations. The methodology integrates component, functional-pragmatic, and comparative-typological analysis. The study materials comprise eleven real headlines selected from English (Euronews, NBC News, PBS/AP) and Uzbek (Kun.uz, Spot.uz, “Xalq soʻzi”) media outlets. The results indicate that hyperonyms primarily serve information compression and relevance optimization in both languages. However, in Uzbek, hyperonyms additionally carry stylistic-expressive functions, reflected in the active use of multi-level hyponymic chains. Conversely, English headlines favor compact zero-or single-level models. In conclusion, the degree of multi-level layering in hyponymic chains emerges as a key functional-typological parameter distinguishing the two languages. The findings offer practical value for journalism education, translation studies, and foreign language teaching.

This article offers a linguocultural comparative analysis of colour terms in English, Uzbek, and Russian based on phraseological units containing a colour component. The study aims to identify value-laden meanings, emotional evaluations, and conceptual metaphors encoded in stable expressions with colour names and to explain their cultural motivation. The methodology integrates corpus-driven selection, component analysis, a conceptual metaphor framework, linguocultural commentary, and comparative semantic modelling. Color concepts can be explained by the fact that they convey important information about the hierarchy of values within a linguistic community and contribute to the concept of the “colour image of the world”. It is appropriate to study color from the perspective of cultural linguistics - specifically, its branch known as linguistic conceptology. The dataset comprises a 900-item card index compiled from explanatory and phraseological dictionaries in the three languages, media discourse, and literary prose. The scientific novelty of this research lies in describing the concepts of the “evaluative spectrum” and “cultural index” in color phraseology using operational criteria, as well as reconstructing the symbolic maps of the colors white, black, red, blue, and green across three languages in a comparative table. Findings contribute to translation practice and intercultural communication by improving the adequacy of interpreting and rendering colour-based idioms across languages.

This article examines the theoretical foundations and terminological representation of the concept of formulaic language, which has become widely used in contemporary linguistics, within Uzbek linguistics. The primary objective of the study is to elucidate the cognitive, pragmatic, and discourse-related characteristics of formulaic expressions and to apply this theoretical framework to Uzbek academic discourse. The research is grounded in the methodological principles of cognitive linguistics, corpus linguistics, frame semantics, and construction grammar. The analysis demonstrates that the term template-based expressions primarily describes the structural and formal properties of formulaic units. In contrast, the term formulaic expressions provide a broader and more comprehensive characterization, as it reflects their storage as ready-made units in the mental lexicon, their automatic retrieval during language production, and their communicative functions. Furthermore, the study identifies and systematizes frequently occurring academic formulaic expressions in Uzbek scholarly discourse and provides a detailed account of their discourse functions within academic texts. The findings indicate that incorporating the theory of formulaic language into Uzbek linguistics is significant not only from a theoretical perspective but also for practical applications. This research direction represents a promising area within contemporary cognitive and applied linguistics.

This article examines the axiological verbalization of the concept of beauty in Uzbek and German paremiology from a comparative linguocultural perspective. The study focuses on identifying the semantic and value-based features of perceptions of beauty represented in paremiological units and on revealing their common and distinctive characteristics in the two linguocultures. Comparative-typological, conceptual, semantic, linguocultural and axiological methods are applied. The analysis shows that in Uzbek paremiological units beauty is closely associated with moral and spiritual qualities, whereas in German material aesthetic evaluation is linked to individual perception, personal choice and moral qualities. In both languages, the axiological relationship between external attractiveness and inner qualities occupies an important place. The comparison demonstrates that common semantic models are realized through different linguistic means and evaluative criteria under the influence of national and cultural values. The findings contribute to revealing the national-cultural specificity of the concept of beauty at the paremiological level and are relevant to the comparative study of value systems in Uzbek and German linguocultures.