KOMPARATIVISTIKA

This article examines the integration of linguistic and non-linguistic levels through an analysis of Sadulla Siyoyev's historical novel writing skills. The linguistic level is revealed through archaic vocabulary, religious and mystical terms, historical grammatical structure, sermons, prayers, oaths, dialogues, and forms of internal monologue, while the non-linguistic level is associated with the social environment of 12th-century Turkestan, the Yassawi’s tarikat, popular beliefs, the author's creative intent, and the reader's perception. Differences in the speech of scholars, pilgrims, dervishes, and peasants in the novel, as well as the depiction of realities in the marketplace, mosque, inn, travel, and public gatherings, reveal the social status, beliefs, mentality, and cultural level of the characters. The characters' speech served as an aesthetic tool expressing the spirit of the era, popular thinking, and religious and moral worldview. The determination, calm, and religious arguments in Akhmed Yassawi's speech contrast with the envy and hypocrisy in the speeches of Shahobiddin and Ashrafkhan Haji. The contrast between the images is an artistic device that reveals the ideological and aesthetic essence of the work. Although the sermons, prayers, oaths, and proverbs in the work are presented in linguistic form, their literary and aesthetic impact is determined by non-linguistic factors. In Yassawi's address to the people before the Hajj, religious expressions, commentary on hadith, instructions, and repetitive syntactic devices create a strong rhythm. The content of the speech reflects not only a call to worship but also social and moral values, such as responsibility for family, compassion for orphans, generosity toward the poor, non-injustice, and the pursuit of education. The religious and educational expressions on the linguistic level of the work are combined with the social way of life of the people, moral norms, and the idea of justice on a non-linguistic level. The images associated with Rukiya Bibi, Abdurauf, and ordinary people portray Akhmed Yassawi not only as a sheikh but also as a spiritual leader who understands human suffering. This suggests that the mystical idea is interpreted in relation to the suffering of the people. As a result of the literary and aesthetic integration of linguistic and non-linguistic levels in the novel, ancient words recreate the landscape of the historical period, the characters' sharp arguments and internal monologues create drama, and religious terms enhance the spiritual content. On the non-linguistic level, the historical era, the author's style, the teachings of mysticism, and the beliefs of the people determine the artistic function of linguistic means. Therefore, the aesthetic effect of the novel arises not from a single word, image, or expression of reality, but from their systematic combination. Thus, in the novel "Akhmed Yassawi", the integration of linguistic and non-linguistic levels transforms historical reality into artistic reality, and religious and educational content into an aesthetic phenomenon.

This article provides a comprehensive analysis of the history of research on the works of Yunus Emre and the development of bibliographic studies devoted to his literary heritage. It examines the scholarly contributions of prominent Turkish and international researchers, including Mehmed Fuad Köprülü, Abdülbaki Gölpınarlı, Mustafa Tatçı, Talât Sait Halman, Annemarie Schimmel, Louis Bazin, Yusuf Subaşı, Umay Günay, and Osman Horata, whose studies have significantly advanced the understanding of Yunus Emreʼs poetry and Sufi thought. Particular attention is paid to the critical editions, manuscript tradition, and textual studies of Dîvân and Risâletüʼn-Nushiyye, highlighting their importance for modern textual scholarship. The article further explores the evolution of bibliographic and bibliometric research related to Yunus Emre, focusing on the bibliographic compilations prepared by Mustafa Tatçı and Suzan Gürelli as well as the recent bibliographic and bibliometric analyses conducted by Gökhan Coşgun, Metin Yıldırım, Beytullah Karagöz, and İzzet Şeref. It argues that these studies have played a crucial role in organizing the existing body of scholarship, identifying major research trends, and establishing a solid methodological foundation for future investigations into Yunus Emreʼs literary and intellectual legacy.

This article provides a theoretical analysis of the artistic image and its nature. The manifestation of the image as an individualized generalization, in which things and events are a combination of particular features with the general aspects of the event, is explored. As tool that ensure the vitality of the artistic image, such elements of the image as the authorʼs description, portraiture, artistic psychologism and characteristic speech are studied. The article aims to study the gradual improvement of the childʼs image. In the implementation of the goal, the image of the child was treated as a theoretical problem, and the task of determining how it underwent changes in historical stages was defined as a task. According to the analysis, the image of a child as an object of artistic representation began to interest literature much later. By the 20th century, childhood began to be accepted as an independent period of human life. Childhood categories, which play an important role in psychologyʼs perception of the world, served as the foundation for the character development of individuals. According to him, the boundary of a childʼs image is the period of formation of a new personality, during which a person is formed and their place in the world is determined. This stage of human life is subject to its own special laws of development.

The article examines the artistic representation of historical memory and national identity in the contemporary English historical novel through landscape and local colour. The works of H. Mantel, P. Ackroyd, G. Swift, and J. Barnes are selected as the objects of study. The aim of the article is to determine the functions of space, landscape, and local colour in interpreting historical experience and shaping collective memory in postmodern historical prose. The research employs historical-literary, comparative-typological, hermeneuticanalysis methods. The theoretical framework is based on the views of P. Nora, J. de Groot, O. Lidenkova, O. Gorbunova, and other scholars on historical memory and the poetics of the historical novel. The results of the analysis show that in the contemporary English historical novel, landscape and local colour serve not only as a means of reconstructing a historical period but also as an important method for preserving and transmitting historical memory. In H. Mantel’s novels, the landscape functions as a psychological device that reveals the inner world of the protagonist; in P. Ackroyd’s works, London becomes the central space of historical memory; in G. Swift’s prose, the natural environment expresses the complex relationship between history and memory; in J. Barnes’s novels, simulative interpretations of national identity and historical heritage are critically reassessed. The conclusion states that the contemporary English historical novel depicts the past not as a single and fixed truth, but as a field of multiple interpretations. Local colour and landscape thus emerge as important artistic means that reveal the interconnection between history, memory, and national identity.

This article examines character formation in children’s literature in terms of its aesthetic, performative, and didactic functions. The research combines psychological interpretation with linguistic and stylistic analysis and explores, from the point of view of literary studies, the significance of character portrayal in the formation of children’s ethical perception, emotional and cognitive development, imagination, and psychological level. The findings reveal that constructing characters in children’s literature performs developmental, allegorical, aesthetic, cognitive, and pedagogical functions. The article uses the novel “James and the Giant Peach” by Roald Dahl to investigate the characterization techniques employed in it and the importance of the novel’s symbolically layered narrative strategies in negotiating power, morality, and identity formation in young readers. Through analytical examples from this novel, the paper illustrates that effective character formation depends on paying attention to the age characteristics and the psychological and cognitive level of children. Furthermore, the study emphasizes that character portrayal in children’s narratives is a peculiar pedagogical process involving linguistic precision, symbolic meaning, and sensitivity to the cognitive and emotional capacities of children.

This study explores the artistic representation of ecological and technological problems in dystopian literature, a topic of increasing importance in the context of contemporary environmental crises and rapid technological development. The relevance of the research lies in its examination of how dystopian literature reflects global concerns such as environmental degradation, resource depletion, technological domination, and the changing relationship between humanity and nature. Moreover, this study may provide further insights into warning function of dystopian narratives. The main aim of the study is to identify the aesthetic, symbolic, and ideological functions of ecological catastrophe and technology in dystopian narratives. To achieve this objective, a wide range of dystopian works by authors such as George Orwell, Ray Bradbury, Cormac McCarthy, Margaret Atwood, Aldous Huxley, Yevgeny Zamyatin, Octavia Butler, and others were analyzed. The research employs literary text analysis, ecocritical, narratological, comparative-typological, thematic, structural, and semiotic methods. The analysis focuses on narrative exposition, central conflicts, symbolic representations, and the evolving relationship between technology and ecology across different historical stages of dystopian literature. Particular attention is given to how ecological catastrophe functions as a narrative setting, ideological warning, and symbolic reflection of social, political, and moral decline.

The article explores the evolving portrait of nature in American literature in the first half the 20th century, a period marked by significant advancements in the field of science, economy, warcraft, transportation and oil and gas industry. The analysis identifies numerous representations of nature based on comprehensive review of literary works and theoretical ideologies including Romanticism, Naturalism, and Ecocriticism. The study identifies valid points by examining authors such as John Muir, Robinson Jeffers, Jack London, John Steinbeck and their conceptualization of nature in the middle of societal changes and two World wars. The findings reveal a shift from idealized, spiritual views of nature to emphasized depictions of environmental degradation, vulnerability of human spirituality, and ecological crises. Highly influenced by Darwinʼs theories and technological advancements, writers illustrated nature as both a force of sustenance and destruction, alongside pessimistic views of the working-class peopleʼs day-to-day life. The research underscores the role of the nature portrayal in understanding ecological and psychological dimensions of early 20th century America, highlighting the literatureʼs role in fostering ecological awareness and ethical responsibility.

This article examines the artistic and philosophical interpretation of the concept of “home” in the novels of Louisa May Alcott and its connection with family values, domestic culture, and unity. The relevance of the study lies in the fact that the image of home in American literature analyzed not merely as a physical dwelling, but as aninner support in difficulty, a center of moral development, and a foundation of family relationships. The main purpose of the research is to transmit the charactersʼ perceptions of home, their emotional experiences, and their worldview shaped by the family environment. The study represents literary analysis, comparative-typological, and interpretative methods. The novels “Little Women,” “Good Wives,” “Eight Cousins,” and “An Old-Fashioned Girl” were selected as the primary research material. The findings demonstrate that the writer portrays and associations with the concept of home as a symbol of love, inner harmony, and personal moral growths which are essential as an inner strength of soul. Particular attention is paid to the March family as an artistic model of family unity, education, and mutual support. The study concludes that in Alcottʼs novels home is depicted not simply as a domestic space, but as an essential phenomenon that shapes the individualʼs inner world and moral values.

This article presents a literary-theoretical analysis of the assimilation of Gothic literary traditions in the novels of the American writer Stephen King and the national transformation of the genre. The aim of the research is to illuminate the literary-aesthetic foundations of Kingʻs works within the context of the traditions of Horace Walpole, Ann Radcliffe, Mary Shelley, Bram Stoker, Edgar Allan Poe and Howard Phillips Lovecraft, and to identify how the system of Gothic motifs is recreated in Kingʻs novels. The formulation of the problem is grounded in the fact that the integral system of Gothic traditions in Kingʻs novels has not been sufficiently illuminated in Uzbek literary studies. The research is conducted on the basis of literary-theoretical, linguopoetic, and structural-semantic approaches. Stephen Kingʻs novels “The Shining”, “Salemʼs Lot”, “It” and “Pet Sematary” have been selected as research material; Kingʻs theoretical work “Danse Macabre” has been analysed as a primary source. The research findings demonstrate that King has democratized the genre by transferring the aristocratic European forms of the Gothic tradition into the American working-class environment, and has reinterpreted classical Gothic motifs the vampire, the ghost, the cursed building, demonic forces as artistic metaphors of contemporary social problems.

This article examines the art of memory in the works of the 2022 Nobel Prize laureate, French writer Annie Ernaux. The aim of the research is to identify the integration of personal experience with the collective past in the authorʼs writing, the literary devices that express this integration, and their aesthetic, social, and ethical foundations. Ernaux renews the traditional boundaries of the autobiographical genre by proposing new forms such as “auto-sociobiography” and “impersonal autobiography,” in which memory is interpreted not as a personal psychological phenomenon but as a socio-historical experience. The research methodology relies on comparative-typological, hermeneutic, and linguopoetic methods, as well as approaches from contemporary memory studies. The authorʼs works “La Place” (1983), “Une Femme” (1987), “La Honte” (1997), “Les Années” (2008), and her 2022 Nobel Lecture were subjected to analysis. The research identified five characteristics of the authorʼs style: the aesthetics of “flat writing,” photographic perception and ekphrasis, the linking of personal memory to the collective past, the layered unfolding of shame and class experience, and an ethical-political stance of “avenging her race.” In conclusion, it was determined that Ernauxʼs poetics offers a new artistic interpretation of the triad of memory, literature, and history, and makes a significant contribution to comparative analyses within the field of memory studies.

This article presents a comparative study of psychological characterization in the works of Thomas Hardy and Fyodor M. Dostoevsky, representing the English and Russian literary traditions of the nineteenth century. The relevance of the study is determined by the growing interest of contemporary comparative literary studies in artistic psychologism as one of the most significant means of portraying the inner world of an individual. The aim of the research is to identify the common and distinctive features of the artistic representation of psychological images in the works of these two writers. To achieve this aim, the following objectives were established: to analyze the characteristics of artistic psychologism in the novels of Thomas Hardy and Fyodor M. Dostoevsky; to compare the methods of portraying the inner world of literary characters; and to determine the influence of the social environment and moral factors on the formation of characters' personalities. The study employs comparative-typological, historical-literary, structural-semantic, and hermeneutic methods of literary analysis. The findings demonstrate that both authors regard psychologism as an essential means of exploring human personality, although they employ different artistic approaches. Thomas Hardy emphasizes the influence of the social environment and tragic circumstances on the character’s inner world, whereas Fyodor M. Dostoevsky focuses on the individual’s spiritual struggle, moral choice, and philosophical interpretation of human existence. The results confirm the effectiveness of the comparative-typological approach in the study of works belonging to different national literary traditions and contribute to a deeper understanding of the development of the psychological novel in the nineteenth century.

This article presents a comprehensive comparative analysis of two types of magical elements that manifest as a distinctive rivoyae phenomenon in childrenʼs literature of the second half of the twentieth century. The magical element is selected as the primary object of inquiry, functioning as a central poetic device within the boundary genres of the period, those situated between fantasy and realism. The comparative analysis is conducted along several key criteria: determining the ontological status of the magical element and its nature within the fictional world; the character of its interaction with the protagonist and the role of that interaction in rivoyae dynamics; the system of functional loads within the overall structure of the text; the scope, boundaries, and limitations of magical action; its role in the moral and existential formation of the protagonist; and, finally, the ratio of realistic and supernatural strata and their contribution to the semantic enrichment of the literary text. The study demonstrates that, despite significant differences in the cultural-historical contexts and generic traditions of the works under analysis, both artistic systems construct a structurally analogous model. Within this model, magic operates not as an absolute and boundless form of power, but as a mirror that reveals the protagonistʼs inner capacities, vulnerabilities, and moral potential, that is, as a symbolic instrument directing the hero toward self-knowledge and autonomous decision-making. This approach establishes a new methodological foundation for understanding how magic functions didactically and psychologically within childrenʼs literature.

This article offers a comparative-typological analysis of social-artistic conflict in the short prose of the English writer William Somerset Maugham (1874-1965) and the Uzbek writer Said Ahmad (1920-2007). Although the two authors belong to divergent literary traditions English critical realism and Uzbek psychological prose and cons are separated by imperial contexts, language and worldview, their short stories reveal significant typological correspondences in the construction of conflict. The study examines three interrelated dimensions: autobiographism as the experiential foundation of conflict; interpersonal clash as a vehicle for exposing moral essence; and the escape phenomenon as a model of character transformation under social pressure. Drawing on the methodology of comparative literary studies and on the theories of Bakhtin, Lukács, Bourdieu and Foucault, the article demonstrates that in both writers’ conflict operates not merely as a plot mechanism but as an ontological instrument that discloses the relationship between the individual and society. The findings establish that a shared human problematic is realised through distinct national-aesthetic strategies: Maugham’s intellectual-ironic realism and Said Ahmad’s lyrical-tragic psychologism, which illuminate the same human question in different yet mutually enriching ways.

This article examines the artistic representation of social space in the works of Theodore Dreiser and Hector Malot. The main aim of the study is to identify the function of urban and rural settings in revealing the charactersʼ lives, their social position, and the problem of economic inequality. The research problem is based on the interpretation of literary space not merely as a physical location where events take place, but as an important poetic device that conveys social meaning. The study applies comparative-typological, contextual, and literary analysis methods. The analysis shows that Dreiserʼs depiction of poor urban quarters reflects the difficult living conditions of the working class, while Malotʼs representation of rural villages reveals the hardships of peasant life. The findings demonstrate that both writers use spatial description within the tradition of realism and connect it with poverty, social stratification, and human destiny. The article concludes that literary space performs a semantic function and becomes one of the main artistic means of revealing the psychological and social condition of the characters.

This article addresses a significant and underexplored problem in comparative literary studies the universal character of the apocalyptic tradition across Western and Eastern literature. Despite extensive theological, and poetic scholarship devoted to both texts, their systematic conformity to the formal conventions of the classical apocalyptic genre has not been subjected to comparative analysis. The study aims to fill this gap by conducting a genre-typological examination of Dante Alighieriʼs “The Divine Comedy” and Abdulla Oripovʼs “Path to paradise” through the six defining criteria of the apocalyptic genre as theorized by F. Lücke and K. Koch: authoritative narrator, visionary imagery, mediating figure, cosmic dualism, numerical coding, and cognitive transformation. The theoretical framework is further informed by the contributions of J.J. Collins, P.D. Hanson, D. Hellholm, and G.L. Linton, whose refinements to genre theory allow for cross-cultural application of the apocalyptic model beyond its original biblical context. The findings establish that, despite their distinct cultural and religious frameworks both poems function as transformative revelations directed at humanityʼs moral and spiritual regeneration. These conclusions offer a theoretical basis for further genre-typological research into the relationships between Uzbek classical poetry and world literature.

This article provides a comprehensive analysis of the historical development stages, theoretical foundations, and practical achievements of Uzbek literary translation spanning more than a century. The author highlights the formation of the national school of translation in connection with the activities of the Uzbek press, in particular, such publications as “Jahon adabiyoti” and “Sharq yulduzi”. In the study, the results achieved in the field of translation during the years of independence, the activities of scientific councils and the increase in the number of dissertations on translation studies show how much the field has accelerated. The central part of the article examines the processes of translating works by Turkic literature – Turkish, Azerbaijani, Kazakh, and Kyrgyz writers into the Uzbek language. The article focuses on the philosophical works of Jalaluddin Rumi, the realism of Umar Sayfiddin, the spiritual heritage of Abai and Mukhtar Auezov, as well as the mastery of conveying the work of Chingiz Aitmatov to the Uzbek reader. In particular, the strengthening of cultural and spiritual integration between peoples through translation, the artistic expression of Turkic brotherhood ties are revealed with scientific evidence. The author specifically acknowledges the high skill of Uzbek translators in adapting masterpieces of world literature to the national language. In conclusion, the article is of great importance in determining the past, present and future prospects of Uzbek translation art and serves as a theoretical source for new research in the field of comparative literature.

This article analyzes the scientific-theoretical evolution of the concept of translation transformation on the basis of a periodized classification. The article compares two distinct scholarly traditions that have shaped how changes occurring in the translation process are designated in Western and Eastern schools of translation studies: in the English linguistic tradition, the term “translation shift” (R. Jakobson, J.-P. Vinay and J. Darbelnet, J. Catford), and in the translation studies of the former USSR and CIS countries, the concepts examined under the term “transformation” (A. Fedorov, Ya. Retsker, L. Barkhudarov, V. Komissarov, A. Shveytser). Using descriptive and historical-comparative research methods, common and distinctive features of the transformation systems proposed in different periods were identified, along with overlapping and non-repeating, novel scientific approaches found across different linguistic traditions. The article provides a detailed analysis of R. Jakobsonʼs three-part classification of translation (intralingual, interlingual, and intersemiotic), Vinay and Darbelnetʼs seven-element model (borrowing, calque, literal translation, transposition, modulation, equivalence, adaptation), and J. Catfordʼs classification of level shifts and category shifts. As a result of the study, the stages in the development of translation theory have been further clarified, and reliable types of translation transformations that can be applied to ensure high-quality translation in practice have been presented. Furthermore, the article highlights the process of formation and development of this issue in Uzbek translation studies as an independent object of research, which makes it possible to show the place of the national school of translation studies within the international theoretical landscape.

The article addresses an insufficiently studied aspect of literary translation studies the preservation of authorial style when English literary works are translated into Uzbek not directly from the source but through Russian as an intermediary language. The aim of the study is to provide a theoretical account of the mechanism by which stylistic shifts arise in indirect translation, to develop an analytical apparatus capable of distinguishing these shifts according to the stage at which they originate, and to determine the degree to which the layers of authorial style withstand such translation. The analysis draws on works belonging to three different genres and three different individual styles A.C. Doyleʼs detective novella “The Hound of the Baskervilles”, R.L. Stevensonʼs adventure novel “Treasure Island” and the novellas of R. Bradburyʼs science-fiction cycle “The Martian Chronicles” together with their Russian and Uzbek editions. Methodologically, in contrast to the conventional two-text comparison, a three-text contrastive analysis (source – intermediary Russian text – Uzbek translation) is applied, combined with linguo-stylistic, contextual-semantic and linguoculturological methods of analysis. The study substantiates, for the first time, a “two-fold transformation” model, by means of which stylistic phenomena are classified into heritage losses, secondary losses and secondary compensations. The principal scholarly conclusion is that in indirect translation stylistic shifts arise systematically not at one but at two stages, and that they can be objectively assessed only through a three-text comparison.

This article investigates the rhetorical strategy of systematic naming avoidance in President Joe Biden’s 2024 State of the Union Address, delivered on 7 March 2024. The study focuses on the periphrastic expression “my predecessor” used thirteen times throughout the speech while Donald Trump is never named directly as a case of strategic euphemistic distancing in American political discourse. Drawing on N. Fairclough’s three-dimensional model of Critical Discourse Analysis, T. van Dijk’s theory of ideological discourse and nomination strategies, and H. P. Grice’s framework of conversational implicature, the article examines how this deliberate lexical avoidance functions simultaneously as euphemism, delegitimisation, and power assertion. A qualitative analysis of the official transcript catalogues the stylistic devices operating alongside the periphrasis antithesis, anaphora, tricolon, and conceptual metaphor and shows how they collectively construct a binary ideological framework of democratic progress versus authoritarian regression. The findings reveal that the “my predecessor” construction operates at three pragmatic levels: denial of recognition, institutional subordination, and the generation of conversational implicature through the deliberate flouting of the Gricean Maxim of Manner. The genre-comparative dimension the contrast between the name-avoiding formal address and the name-using campaign rally that followed it confirms that the omission is a calculated strategy. The article contributes to research on euphemistic and periphrastic strategies in contemporary American political rhetoric.

Fairy tales are artistic reflections of cultural codes, ancient traditions, and national worldviews imprinted in the linguistic consciousness of a particular people. This article examines culturally significant units in Italian and Uzbek folk tales from a comparative linguistic and cultural perspective. The objects of study are Italo Calvinoʻs “Italian Tales” and Giambattista Basileʼs “Pentamerones”, as well as collections of Uzbek folk tales. The article classifies culturally specific linguistic units based on four main systems: material culture (national clothing and food), social and everyday relations, religious and mythological images, and natural landscapes. Elements of urban and palace life and Christian culture (for example, the image of Malocchio or Befana) in Italian fairy tales are compared with Islamic and ancient Turkic mythology (for example, fairies, giants, and magic carpets) in Uzbek fairy tales. Although both peoples share common traits, such as the struggle between good and evil and the triumph of good, cultural units play a key role in defining the national identity of their folktales. The practical part of the study also specifically examines the problems of translating cultural units and strategies for their adaptation. This article highlights isomorphic and allomorphic aspects in the cultures of the two peoples through the lens of linguistic units.

This article presents a comparative-typological analysis of toponym-based paremias in English and Uzbek, carried out within an anthropocentric and linguo-cognitive framework. The relevance of the study lies in revealing the interrelation between language, culture, and geographical space, which remains one of the pressing issues of modern linguistics. The purpose of the article is to identify the conceptual structure, cognitive schemas, and pragmatic features of toponymic paremias in two genealogically unrelated languages and to reveal their similarities and differences. The material comprises toponym-containing units selected from lexicographic sources such as the Oxford Dictionary of Proverbs, The Dictionary of Modern Proverbs, the Paremiological Dictionary of the Uzbek Language, and Uzbek Folk Proverbs. The comparative-typological, componential, and contextual analysis methods were applied. The results demonstrate that in both languages toponyms carry a strong conceptual and symbolic load beyond their referential function, and that toponymic metonymy and distance-based hyperbole appear as universal linguo-cultural phenomena. At the same time, English paremias mostly originate from political identity discourse and advertising campaigns, whereas Uzbek paremias are rooted in trade routes and oral tradition. The findings are of practical value for comparative paremiology and cultural linguistics.

This article analyzes the role and significance of modern software tools – Praat, WaveSurfer, ELAN, and other instruments – in scientific research in experimental phonetics. The possibilities of digital technologies in studying sound waves, measuring formants, intonation, and prosodic characteristics are demonstrated. The aim of the research is to define the scientific foundations of integrating experimental phonetics methods with software in Uzbek linguistics and to determine the effectiveness of their application. Comparative-analytical, experimental, and statistical methods were employed in the study. As a result, it was established that modern software enables the analysis of speech sounds with a high degree of accuracy and opens new perspectives in studying the phonetic system of the Uzbek language. The capabilities of Praat software in researching Uzbek vowels are highlighted. In conclusion, modern software has become an integral part of experimental phonetics, fundamentally improving the quality and accuracy of linguistic research.

This article is devoted to the study of the semantic classification of ecotourism terms in Chinese and Uzbek languages and their comparative features. The purpose of the study is to classify ecotourism terms in both languages into semantic groups, identify their semantic characteristics, and reveal the common and differential features of the terminological systems through comparative analysis. A corpus of 174 basic terms related to ecotourism was selected as the research material. Comparative, semantic classification, component analysis, descriptive, and statistical methods were applied in the study. The analysis showed that ecotourism terms can be classified into several major semantic groups, including natural resources and natural objects, ecological sustainability, socio-cultural resources, and terms related to ecological systems and environmental protection. The findings indicate that although ecotourism terminology in both languages shares a common conceptual field, differences exist in semantic grouping, terminological composition, and usage patterns. Chinese terminology demonstrates a higher degree of semantic differentiation and more active use of complex terminological models, whereas Uzbek terminology reflects a combination of national and borrowed lexical units. The results contribute to the systematization of ecotourism terminology and provide material for further comparative terminological studies.

This article is devoted to a comparative analysis of the linguistic-pragmatic characteristics of the category of objective modality in modern English and Uzbek media texts, as well as to identifying the mechanisms of neutral information transmission. To achieve this set aim, the tasks of classifying lexical and syntactic means shaping objectivity in media discourse, building a corpus database using AntConc software, and comparatively modeling similar and distinctive pragmatic aspects within both language systems were fulfilled. Corpus analysis methods using AntConc software, discursive analysis, comparative-typological, and contextual methods were applied in the course of the research. The research results determined that objectivity in English media texts is primarily manifested through modal verbs and passive constructions, whereas in Uzbek media discourse, this pragmatic function is performed by analytical terms expressing precision and syntactic structures embedded with the semantics of certainty. In conclusion, the research argues that in both languages, objective modality functions not merely as a grammatical category, but acts as a primary linguistic-pragmatic tool for gaining audience trust and shifting a journalistic text into an analytical-neutral mode.

This article analyzes the theoretical foundations of the category of modality in linguistics and logic, as well as its semantic and functional characteristics. Modality is regarded as an important linguistic category that expresses the speakerʼs attitude toward the content of an utterance and objective reality. The study examines the objective and subjective types of modality, the means of their expression, and their place within the language system. In addition, a comparative analysis is conducted of the scholarly views on modality proposed by such researchers as Ch. Bally, V. G. Gak, M. Halliday, N. A. Slyusareva, and J. Yakubov. The article explores the morphological, lexical, and syntactic means of expressing modality, with particular attention paid to the semantic potential of modal verbs. The research is carried out within the framework of the onomasiological approach, focusing on the use of the modality of possibility in simple and complex sentences in English. Furthermore, the communicative functions of modality, its significance in the process of speech activity, and its manifestations at different levels of language are discussed. The findings substantiate the importance of the category of modality in communication, its realization through various linguistic means, and the interrelationship between linguistic and logical modality.

This article comparatively examines the cognitive and pragmatic interpretation of consent in English and Uzbek fictional discourse. The research problem is that consent is often described only through explicit affirmative units such as “yes”, “I agree”, “mayli” or “roziman”, whereas literary discourse frequently constructs it through silence, pause, gesture, modality, interpersonal distance, the emotional state of a character and the narrator’s framing. The aim of the article is to describe consent as a speech act, a contextual implicature, a mental model and a culturally shaped concept. The methodological framework combines discourse analysis, pragmatic analysis, conceptual analysis and comparative interpretation. The findings show that consent in fiction may appear as direct affirmation, indirect acceptance, a politeness strategy, a mechanism of conflict avoidance and an index of social hierarchy. The article concludes that consent in fictional discourse is not a simple lexical unit of agreement but a layered cognitive-pragmatic process whose meaning is produced through intention, context, cultural norms and narrative evaluation.

Hospitality is considered one of the most important social values in both cultures, reflecting national identity, communication styles, and moral principles. Hospitality is more than the act of receiving guests, it is a complex system that maintains social trust, respect, and solidarity. Hospitality serves as a fundamental social institution that regulates interpersonal relationships and reflects deep-seated cultural values. The research is based on comparative cultural analysis and examples from everyday communication. This study compares the customs, etiquette, verbal expressions, and guest-host relationships characteristic of English and Uzbek hospitality, the hospitality norms of both cultures, identifying how “collectivistic” and “individualistic” social structures dictate different communicative strategies. Special attention is given to similarities and differences in welcoming guests, table manners, politeness strategies, and cultural expectations. Through an analysis of traditional literature, etiquette manuals, and field observations, this article highlights the “Doʻs and Donʼts” that govern guest-host interactions. Findings suggest that while Uzbek hospitality prioritizes generosity, social closeness, and overt displays of respect, English hospitality emphasizes privacy, punctuality, and the maintenance of personal boundaries. The findings suggest that intercultural competence requires a deep understanding of these divergent pragmatic mechanisms to avoid “social coldness” or unintended offense.

This article analyzes theoretical approaches to the study of fairy tales as an object of linguistics. Although fairy tales have traditionally been examined within folklore studies, literary studies, and pedagogy, modern linguistics interprets them as complex textual, discursive, semantic, and linguocultural phenomena. The article discusses the narrative structure of fairy tales, their system of images, metaphorical units, symbolic meanings, evaluative vocabulary, and the expression of cultural codes. In the article discusses the study of fairy tales as an object of linguistics based on the research of D. Andonovska-Trajkovska, I. N. Chudnovskaya, M. E. Lipatova, J. Herrero Ruiz, A. G. Stamou, J. Orton, Y. Kiliç, and C. Ruini. It highlights the structural, cognitive, cultural, discursive, and linguosemiotic features of fairy-tale texts, as well as their importance in shaping childrenʼs thinking and language competence. It also examines the pragmatic, stylistic, semiotic, and linguocognitive features of fairy-tale texts based on relevant scholarly sources. Special attention is paid to the role of fairy tales in language education, translation studies, gender discourse, and intercultural communication. The study concludes that fairy tales are not merely literary texts but significant linguistic objects that reflect folk thinking, cultural memory, and social experience through language.

This study addresses the problem of insufficient comparative research on the lexicographic representation of the concept “Child/Bala” in English and Karakalpak. Despite extensive attention to conceptual analysis in cognitive linguistics, cross-linguistic differences in dictionary-based semantic structures remain underexplored, particularly in Turkic languages. The relevance of the research lies in its attempt to integrate lexicographic analysis with cognitive and linguacultural approaches in order to reveal both universal and culture-specific features of meaning. The study employs a qualitative methodology combining lexicographic, componential, comparative, and cognitive-semantic analysis. The data are drawn from authoritative English dictionaries and the from the book of “Qaraqalpaq tiliniń túsindirme sózligi”. The results demonstrate that the lexemes child and bala share a common semantic core referring to a young human being, reflecting a universal cognitive model. However, significant differences are observed in semantic extension: English exhibits broader metaphorical and abstract meanings, while Karakalpak retains stronger connections to kinship, lineage, and social identity. The findings confirm that dictionary definitions encode both linguistic and cultural knowledge.

This article examines the problem of adaptation of educational scientific texts using logistics texts as an example. The relevance of the study is determined by the increasing importance of professionally oriented communication in the context of globalization and international cooperation. Special attention is paid to educational scientific texts as an important means of developing students’ professional competence. The purpose of the study is to identify linguistic features that ensure the adaptation of educational scientific texts in the field of logistics. The research methods include linguistic analysis, descriptive analysis, and comparative analysis. The research material consists of English-language texts on transport logistics containing professional terminology and elements of scientific style. The results of the study demonstrate that the adaptation of educational and scientific texts is achieved through logical structure, consistent presentation of information, moderate syntactic complexity, and explanation of specialized terminology. It was revealed that international vocabulary, abbreviations, and the ways of their contextual explanation play a significant role in text comprehension. The study emphasizes that modern educational scientific texts on logistics tend to combine scientific accuracy with accessibility of presentation. The practical significance of the research lies in the possibility of using its results in the development of textbooks, special courses, and methodological materials for the translation of professionally oriented texts.

The article examines methodological approaches to the integrative development of studentsʼ plurilingual and sociocultural competence in higher education in Uzbekistan. The research problem is determined by the need to clarify methodological links between the use of several linguistic resources, readiness for intercultural communication, and the ability to act appropriately in professional and academic discourse. The purpose of the article is to substantiate plurilingual repertoire, sociocultural sensitivity, mediation, reflection, and assessment criteria as components of a unified linguodidactic system. The study applies theoretical analysis, comparative interpretation, linguodidactic modelling, and conceptual synthesis of local and international scholarship. The findings show that Uzbek-Russian-English multilingualism can serve as a natural communicative resource for students when supported through cross-linguistic comparison, mediation tasks, authentic texts, translanguaging, project-based activities, and reflective assessment. The article discusses systemic, competence-based, intercultural, action-oriented, translanguaging, and reflective-diagnostic approaches. It concludes that these approaches help align foreign language education in Uzbekistan with studentsʼ professional, cultural, and communicative needs while treating the local multilingual reality as an educational resource.