Advertising and the Language of Advertising: A Powerful Tool of Modern Society
By Dinora Sodiqova, a student of Termez State University
In today’s era of globalization, advertising has become an inseparable part of our daily lives. From street banners to mobile apps, from television and radio to social networks — advertising occupies almost every corner of the information space. Yet advertising is not merely a tool for introducing a product; it is a powerful social phenomenon that shapes public opinion, influences consumer culture, and even affects social attitudes.
The main weapon of advertising is language. Effective advertising sells not just a product, but an idea. That is why the language of advertising must be persuasive, brief, clear, and memorable. A single word or slogan can determine the success of an entire brand. Phrases such as “Quality is our top priority!”, “Chosen by those who trust themselves!”, or “New convenience every day!” demonstrate the essential features of advertising language: simplicity, clarity, and emotional impact.
The language of advertising works directly on human psychology. It widely uses attention-grabbing techniques, metaphors, exaggeration, rhythm, repetition, and vivid imagery. Moreover, modern advertising is closely linked with professional psychology: the meaning of colors, the tone of voice, visual elements — all are intended to influence the consumer’s subconscious mind.
However, advertising is not limited to commercial goals alone. Social advertisements aim to promote a healthy lifestyle, raise awareness about environmental issues, encourage observance of traffic rules, and draw attention to various public concerns. The language of such advertisements is more sincere, realistic, and educational in tone.
At this point, an important issue must be addressed: advertising not only informs but also shapes consumer behavior. Therefore, its language should remain honest, free from unnecessary manipulation or deception. Advertising that earns people’s trust lasts long; advertising that loses trust quickly loses its impact.
In conclusion, advertising is the heart of the modern economy, and the language of advertising is its powerful voice. Carefully chosen words, clear ideas, creativity, and honesty reveal the true strength of advertising. The quality of today’s advertising culture plays a significant role in shaping the consumer culture of future generations.
My heart is crushed, undone by the weight of grief
but my soul is tiny blooming. Let it be key.
Let everything be where everything needs to be.
Both are real. Only one will have authority
and receive my attention, elixir formed, a trickle,
ingested.
IV
Drum beat
no beat
I raise my arms
and scream hosana.
The drawers are empty
hunger parts my soul
into quarters. Stand up
and take account, no one
is listening.
Four months of stagnant emotion,
upheaval at the roots, planted again
somewhere less familiar and less fecund.
Faith and despair overlap, cross paths, join
together as a new entity.
Who understands? There is no understanding
to be had, only the ceramic bird on the shelf, winking,
and the air, heavy and humid one minute
and cold, oxygen-free, the next.
In my mind is an argument
existential, without possible resolution.
In my core there is shock at the terror
of disintegration, and for how long?
How much more? And still there is more.
In my being, I knew God
came with mercy, with Jesus and the peace
of infinity – washing clean, a soft joy
without degrees but only flowing, showering, eternal.
In between I wake up and I cannot see forward,
I listen, but I cannot be one with what I hear.
Holy Spirit, holy, do not escape me,
be clear, re-construct my devotion,
find me my union seed, to plant and tend to
simple devotion.
V
Jesus, you let me live.
I will sit with you
hand in hand.
I know you
in my personal crisis –
faith obliterated, reseeding
in a lucky garden.
I will trust you with all my problems,
with my anxiety like a dysfunctional
city, polluting the roadway, the airway
with its violence and indifference,
I will breathe easy, knowing you are here,
that you own it because I give it to you
and reckoning is rescue, in your hands,
miracles are coming – life changing,
a kinship with your divinity.
You are sovereign, my still-point, my doorway
into perpetual redemption.
I will collect the fruit and sit beside you,
eating together – no hunger, no hurry –
You and I, I with you, you
holding my hand.
VI
When I see the unseen
in a twisted longing
death-circle fantasy,
irresistible hope,
and drive to make that hope happen
even though
I am not a citizen of that land,
not meant to come forward
and shine with those deeds,
then I fail and live for an
illusionary future, creating a
hellish now, ripe with lack
and disappointment.
Bend on your knees, bow
to the one-name of God,
feel the slap of sobriety,
the consequences of depending
on your own wit and power
which is like a gnat trying to cross through
a tornado or a choir that sings without
glorifying.
I am learning that being conceived
and being re-conceived
is the cure for fear, the fire
that watches a greater fire,
burning enough,
releasing enough
to rejoice and just burn, a light, a warmth
transient, but elementally,
in this way, everlasting.
VII
It is hard to hold purpose
when purpose no longer holds you
when the single curtain seals the window
blocking the sun and sky,
making you blind so you only touch corners
and never a door.
All things lost their ownership, just wandered
aimless, squandering energy like tossed pebbles,
no pattern, sinking.
Governance failed, was only an imagined
corridor leading to a chaotic marketplace
that doled out meals, lacking nutrients and staying power.
Each shape to take and hold and shift from each day
was hard labour, exhausting to perform,
pretending hope existed when hope had abandoned.
I was not afraid because my fears
were pushed hard into my face,
swelling my eyes so they could only see behind.
Death won out over the light, won obedience –
the middle and opposite, smelling.
Death smells bad
smells like an inevitable succumbing
to rot, betrayal, rendering
endurance useless
and even the holiest of faith debunked.
There is a string before me,
thin and golden and unbreakable.
There is something I see I never saw.
I have collided with the consuming tyranny death,
felt it swerve and twist through
every vein, enter, break my heart,
break the truths I had before.
The string dangles,
dripping down from
of my inadequate cries
and a mangled prayer,
comes shining a faint intermittent glow.
It is small and so am I, minute,
hardly there, but there.
VIII
If I talk again,
I will keep my end-mind twisted
so it cannot speak or formulate
a plan.
I have no constitution for plans
or wherewithal for achieving
human-made provisions.
If I talk again,
silence me into prayer,
conversing only with the angelic order,
strengthened by devotion and the power
of obedience.
If I try to be a player,
remind me of my meek capacity,
sting me with regret and slap me
into a state of surrender.
If I try to enter a world not my own,
laugh at me, call me out
and put me in my designated low-chair place,
a dreamer, advancing
no further.
IX
Falling away like before
launching water at the moon
then releasing it, scattering it
onto a lifeless surface.
Songs and singing are murderous,
selling the false business of a buffet
inspiration, and poetry, like a sober
prayer or pleading, blossoms in a place
where no one comes or looks or even cares.
Things that once stretched
with divine determination towards health,
now fall backwards into addiction and defeat.
Chaos always hovering at the entrance door,
violence a few footsteps away.
Idealism once trapped in my mind has sieved through
incrementally and now in my mind, a faint flow
of tainted possibility, mostly consumed by despair, mostly
non-existence, more hesitant than youthful,
more resigned than risking.
The days drive on the same,
and how I wish I was in a state
of conspiratorial superiority
or in a social bliss of nonchalance.
How I wish I could be like I used to be,
believing despite the odds,
calling for help and receiving it.
What is this weakness,
this futureless waste of now,
pressing on all my joints,
an aching misery perpetual?
What are these days
when I can find no hope
to master this tortuous doom?
I am removed. A thin slice everywhere
between me and reality. Only sorrow brings
me near enough to touch, only happiness lives
inside my dreams or in my memories,
stripping the peel from the fruit,
dropping it to rot in the mud-marsh with the rest
of my wearied hold on merciful possibilities.
X
I don’t see
the far-reaching joy
to build a future on,
just disappointment, false-starts,
isolation and how can-that be?
I don’t see
but I know the builders take their time
to make sure what needs to be aligned
is aligned, that broken hearts can
become hardened hearts
and hope is dangerous for those who are desperate,
perishing at the foot of the mirage.
But there is a noble prophesy to follow,
to stand by and wait for.
There is true love, love that alters bitter grief
that wraps your love in its healing balm until
it blooms and your dry throat is
finally soothed, your wounds are rewarded,
transformed into strengths exposed,
safe on the marriage altar.
XI
Time does not help
to lessen the sharp scream
of amputation, or to help gain
a way to cope, maimed as I am,
lacking resilience.
Prayer does not answer
any questions or bury the emptiness
outside of my body, allowing
room that can be filled, even with only
a faint groaning microscopic creation.
Love that sits beside me,
day-after-day, holding my hand,
stays with me – miraculous devotion –
helps while it is there,
but does not stop the welling-up of sorrow,
that will not ease or be appeased
in solitude or by distraction.
Faith is a word that sparks
but cannot ignite. I sink down again
on my broken knees. I cannot rise.
I try and I try, but
I cannot overcome.
XII
God do you love me?
Everyday I fall short
of receiving your love,
blocked and stalled and wading
knee-deep in sewage mud.
I cannot take a step. I cannot
hear you anymore or
feel your mercy move the spoke
a mile, an inch, a fraction of
a way out of this criminal sleep,
arrested every day.
I try to take a breath,
try to step but I cannot
move. Please God, show yourself
to me again. I am aching all over,
joints on fire, mind – ablaze in jet-fuel burning
heat, tired all the time, cut off
from your glory.
Cut off no matter my prayers
and my pleas.
Please God, take my hand,
recognize me as one of your own.
I long for you.
I need your grace
to lift me, now,
trumpets calling,
advancing, only with you,
loved, permitted.
XIII
A hive blasted
by poison.
A blood-letting
in crave of a cure.
Two close-together cliffs
jumped across, looking
closer than they are.
In the whirlspin of a fall –
arms broken, extremities blasted,
crying out for someone from the angelic order
to swoop down and placate the pain.
But no angel-being arrives and what is broken
remains broken, deformed and starting to heal
that way, into a permanent liability.
Even then, when stuck thigh-deep in forsaken ground,
God is close, washing our cracked bodies,
cradling our defeat, saying
My Love doesn’t always answer with a clean slate
or a put-on spell so all hurt is forgotten,
not a trace left traceable. Sometimes
My Love just sits with you, beside the pain,
lets you know I am here,
here, in the empathetic love of others,
here, in your own resilience each morning to carry on,
here, in your determination to stay close to me
as you anguish and ache,
unable to walk or fully wake,
seeing that nothing turned out
the way you saw it
in your times of highest harmonic resonance
the way
you were sure it would.
XIV
Will you speak to me again
like before death cracked my windpipe
like when death still hovered thick in the air
but you were there surrounding everything
with the weight of your love?
Will you answer me again
cooling my shape, giving back force
to my petering-out flame
so I can grow again, still tied to your mercy
and the joy of having dreams?
Will I know you again
despite my mutations
and the iron that rotates sickeningly
in my core, using my energy
for lesser aspirations?
Will you love me again
and I will know that love
igniting its current through
my every predicament,
bonding me unbreakable
to your side, inside
your privileged embrace?
XV
First thing,
you are here.
I wake up and we are talking,
merged in a matter-of-fact
conversation. My need, my only way
to take a step in the morning.
More and more, without you, I can’t
exist or comprehend a thing.
Then why this endless desert, the
hard bloated boils erupting
every time I do move?
How is it, you are here, but there
is so much pain still, so much struggle
just to keep alive?
How do I feel so close to you and need
you more than I ever have, have you
more than I ever have, with such
drought and trembling-burns burning everyday,
throughout the days, echoing – no medicine, no food,
just you and I in this high heat,
where I am barely capable,
but somehow capable.
XVI
Then the bitter defeat
was burning like a sin
committed, recognized
and unforgiveable.
Then on a hill, heavy with
weighted down legs and
an injury there, debilitating but
unexplained, the challenge came
to walk.
Walk slowly at first, walk like
I can walk even though the reins
are dropped and I have lost my mother,
lost life’s victory over death and the comfort
of an unbreakable love broken,
altered, intangible now as an angel’s skin
or a hope held for decades unrealized.
Walk with my mortal burden, stumbling without
a path, a cane or a flat plane. Twist in my ankle, twist
in my knee, swollen, bloated with a hot fever, walk.
Face a direction, walk, slowly,
commit and make it my own.
XVIII
Soak the born
in their own initial conception
to remember the pure-memory-pockets,
the truth of miracles.
Underline everything that matters
and read it again until no small word
is skimmed over or taken for granted.
Open the shelter doors and let all animals
in, wild ones, broken ones, aggressive and tame.
Free with a blessing
every dream that isn’t false,
and follow your deepest duty –
both desirous and undesirous divine commands.
Under the blanket, conspiracies are made.
They grow limbs that look like light but exclude
humility and the thumb-print of surrender.
The atmosphere is big,
the button-hole is small.
I am small when I toss
my self-determination out as wisdom
and fail at every turn.
Mercy comes with obedience,
obedience comes with trust, and then finally
freedom.
The dying are trapped in their wounds.
The living, in their success at survival,
but the gift is always
open for everyone, and changing
even without core movement.
I have a boat and that is all I own.
I see flowers on the shore, rooted in the sand.
I see yellow and sometimes, I see gold.
Allison Grayhurst has been nominated for “Best of the Net” six times. She has over 1,400 poems published in over 530 international journals, including translations of her work. She has 25 published books of poetry and six chapbooks. She is an ethical vegan and lives in Toronto with her family. She also sculpts, working with clay; www.allisongrayhurst.com
Mothers are carrying young children in their arms –
looking for salvation at least for them to find.
A child is kneeling next to a woman’s corpse,
sobbing loudly – with tears cursing the war.
The mother is killed – with a torn chest and no pulse,
and he hopes she will see again – she is still alive.
They once walked the streets – holding hands.
And houses are collapsing. Wild fires are blazing.
Cities and villages disappear in a cloud of dust,
and once they were warm family homes.
Now they are collapsing with the bloody snow that has fallen.
People have long been hostile to each other –
their hearts – are mirror ice – from cold.
In their footsteps – death lurks at full speed.
From the war, their souls are drowning in deep sorrow.
Fathers have held their breath in trenches and unfurled flags.
Somewhere a machine gun bark is heard, mowing down the enemy.
War is ominous – it paints emptiness and blindness.
Black headscarves are worn by women – instead of flags.
The picture overflows with sadness – spreading sea,
from which tears roar with a powerful tidal wave.
There is no love between people, and they are brothers of the same
blood. The wind caresses the corpses of soldiers out of pity.
It collects scattered photographs of women and children –
turned into sad fallen leaves of men.
And the dust holds them in dirty red albums.
Graves sprout – like flaming crocuses,
over which a cloud of eternal sorrow and grief remains.
Weighed down on the ground – they are leaden soldiers,
forever marked with tears and flowing blood.
Hearts are orphaned. The world is left breathless.
And let there be no WAR – the black scarf!
History tells enough about it…
I want a united brotherhood to reign everywhere
and with love we sow the seeds of peace!
Let bullets never fly – instead of birds
and may the sky remain crystal clear forever!
PEACE is light – a white canvas and let us draw together
white doves in flight and create joy in the World!
Translated by Yoana Konstantinova
Peace
author: Valentina Yordanova – Accordia (Bulgaria)
The word PEACE – three letters only.
A holy word – of great love.
With a breath of sweetness and freedom –
it is happiness for people around the world.
Comparable to a mother’s, a loving word –
so gentle, warm and light-winged.
Carried in an echo – all over the world,
reaching far and wide.
May PEACE reign on earth forever!
May there be no wars – fear in tears!
Sad melodies – outpoured by weeping,
The earth soaked with pain and blood!
And may all nations be fraternal,
May their friendship – be the sun in tomorrow.
May white doves fly freely in the open air,
And may the expanse of heaven be as pure as dew.
The word PEACE encompasses the whole world –
from the blood of freedom the dawn was born,
to remain in the beautiful morning of the day.
Let us all together preserve peace!
May war be a ship that has sailed forever,
and may PEACE be a joyful tear in the world!
Translated by Yoana Konstantinova
My name is Valentina Yordanova, pseudonym – Accordia. Born I am in Mezdra, Bulgaria. By profession I am children teacher and psychologist. My poetry is sincere and deep expression of love, pain, dreams and personal experiences. Favorite theme of mine is love – tender, beautiful, sometimes painful. My style is figurative and lyrical – I paint with words emotional landscapes – this is my soul. Publications – in Bulgaria and abroad. I know children’s soul and write children’s poems.
This article provides a comprehensive guide to modal auxiliary verbs, exploring their unique role in expressing ability, possibility, permission, and obligation in English. It explains the distinctive ways modal verbs like “can,” “could,” “may,” and “might” function to convey permission and ability, while verbs such as “must,” “have to,” “should,” and “ought to” express necessity and obligation. Common challenges, including past tense forms and question structures, are addressed with clear examples. Practical exercises help readers, from English learners to native speakers, master proper modal verb usage in both spoken and written communication.
Keywords: Modal verbs, English grammar, Auxiliary verbs.
Literature review
Modal verbs in English have been the focus of extensive research due to their intricate semantic, pragmatic, and structural characteristics. Hinkel (1995) observes that non-native speakers often use modal verbs in ways influenced by their first-language pragmatics, which leads to differences in usage compared to native speakers. In my opinion, this highlights how cultural and linguistic backgrounds shape language learning, emphasizing the need for tailored educational approaches that address such variations.
Similarly, Boyd and Thorne (2008) argue that the meaning of modal verbs is influenced by both semantics and the illocutionary force of speech acts, underscoring that effective communication requires more than mere grammatical accuracy. I find this perspective insightful, as it suggests that modals contribute subtly yet significantly to conversational intent, an essential concept for language learners to understand.
Further, Depraetere (2017) explores how contextual factors impact modal interpretation within the semantics-pragmatics interface. This complexity, in my view, underlines the importance of teaching students to consider context when using modals, rather than focusing solely on rigid grammatical rules.
Historically, the usage of modal verbs has evolved. Millar (2009), analyzing the TIME Magazine Corpus, observed a decline in traditional modal usage from the 1960s to the 1990s, with an increase in semi-modals influenced by shifts in stylistic preferences. This trend, in my opinion, mirrors broader social changes that favor informality in communication. Biber (2004) further supports this view by noting genre-specific shifts and a rise in semi-modals in modern corpora, which demonstrates the adaptability of language in response to changing communication norms.
Diver (2015) also examines historical patterns, revealing a shift in distinctions between past and non-past modal forms over time. In my opinion, these findings emphasize the fluidity of language, reminding us that grammatical constructs are not static but evolve alongside cultural shifts.
From a pedagogical perspective, Iranmanesh and Motallebikia (2015) compared task-based language teaching (TBLT) with traditional methods, discovering that TBLT enhanced learners’ understanding of specific modals, particularly can. This approach, in my opinion, aligns with modern learners’ needs, as context-based teaching tends to be more effective than rote memorization. Similarly, Kennedy (2002) utilizes the British National Corpus to advocate for contextualized strategies in teaching modals, which I believe help students grasp practical usage in real-life contexts
Cross-linguistic studies also enrich our understanding of modality. Wurmbrand (2000) challenges traditional syntactic interpretations by arguing that both epistemic and root modals could be considered raising verbs. Personally, I find Wurmbrand’s view refreshing, as it encourages a re-evaluation of conventional classifications. Kehayov and Torn-Leesik (2009), through their study of Balto-Finnic modals, illustrate the diversity of modality across languages, highlighting how other linguistic systems can provide valuable insights into English modal studies.
Additionally, Guéron (1970), in her work explores how modals interact with tense to convey complex temporal relationships. This perspective, in my opinion, is essential for understanding how modals reflect not only certainty or obligation but also specific time frames within a conversation. Guéron’s approach underscores the temporal depth of modal verbs, revealing them as versatile tools for indicating when events may or should occur.
In conclusion, the literature demonstrates that modal verbs in English serve complex semantic and pragmatic functions, have evolved significantly over time, and are best taught through contextualized approaches. The insights from cross-linguistic research further underscore the global relevance of modality. Future studies could continue exploring how specific contexts influence modal usage, particularly in specialized and evolving language environments. For educators and learners, these findings emphasize the importance of understanding modals as both grammatically and culturally dynamic elements, enhancing the richness of language learning and communication.
Methodology
This corpus analysis is complemented by an in-depth literature review, synthesizing key research on modality’s role in cross-linguistic contexts, semantic interpretation, and evolving communicative norms. Observations were made on how modality varies between formal and informal settings and across regional dialects, with specific focus on common challenges faced by language learners, such as distinctions in formality and the use of modal verbs to express obligation, permission, and possibility. This combined methodology aims to provide a holistic understanding of the evolving function of modals in English and to highlight effective teaching approaches that contextualize modal usage for learners.
Discussion
The complex nature of modal auxiliary verbs brings us to a point where theory and practice meet. Our analysis shows that modal verbs do more than serve as grammar tools. They build vital bridges between what we intend to say and how we express it in English.
Modal verbs show remarkable flexibility in different situations. These language elements adapt to many communication needs but keep their basic grammar roles intact. This adaptability stands out in professional settings where choosing between formal and informal modal expressions can make a big difference in how well we communicate.
Modern English shows some interesting patterns in how modal verbs have changed. Here are the main developments we see today:
People ask for permission more casually
Traditional modal differences are mixing together
More people accept different ways of expression
Digital communication uses simpler patterns
Different regions have different priorities
Learning about modal verbs needs more than just memorizing rules and patterns. Context plays a big role in picking the right modal expressions. This matters even more in cross-cultural communication where modal verb choices can change how people understand messages.
Traditional boundaries between some modal categories have become more flexible. Take ‘can’ and ‘may’ for example – their formal differences are changing when people ask for permission. Language keeps changing this way, but knowing the traditional rules still matters for formal communication.
Modal verbs and their alternatives tell an interesting story. Modal auxiliaries remain basic to English expression, but other ways of saying things work better now in some situations. This change doesn’t make modal verbs less important. Instead, it gives speakers and writers more options.
People who use modal verbs strategically in professional settings communicate better. Knowing how to switch between different levels of formality through modal verbs has become a key skill in today’s workplace communication.
Modal verbs keep changing but still play their essential role in English grammar. They adapt to new communication needs, which shows how language stays dynamic, even in basic grammar.
Conclusion
Modal verbs are key building blocks of English grammar that help us express ability, possibility, permission, and obligation. These unique elements have special grammatical patterns and play a vital role in our daily communication. These versatile auxiliaries work well in both formal and informal settings and help us direct different social and professional situations.
When we use modal verbs correctly, our communication becomes more precise and clear. Our analysis of common mistakes and real-world uses shows how becoming skilled at these auxiliaries helps us express ourselves better in written and spoken English. Native speakers and language learners find these tools invaluable because they work in many different situations.
Modern language keeps changing, but modal verbs keep their basic grammatical roles. These verbs remain crucial in professional environments, academic writing, and everyday talks. Their lasting importance proves their value in English communication. Knowing how to use modal verbs properly gives us the confidence to express ourselves accurately in any situation.
Reference:
Biber D. Modal use across registers and time //Topics in English Linguistics. – 2004. – Т. 45. – С. 189-216.
Boyd J., Thorne J. P. The semantics of modal verbs //Journal of linguistics. – 1969. – Т. 5. – №. 1. – С. 57-74.
Depraetere I. On the pragmatics of modal verbs //Selected papers on theoretical and applied linguistics. – 2017. – Т. 22. – С. 14-26.
Diver W. The modal system of the English verb //Word. – 1964. – Т. 20. – №. 3. – С. 322-352.
Guéron J. On the temporal function of modal verbs //Time and modality. – 2008. – С. 143-172.
Hinkel E. The use of modal verbs as a reflection of cultural values //TESOL quarterly. – 1995. – Т. 29. – №. 2. – С. 325-343.
Iranmanesh H., Motallebikia S. M. Teaching Modal Verbs: Task-based vs. Traditional approaches //International Journal of Foreign Language Teaching and Research. – 2015. – Т. 3. – №. 11. – С. 39-46.
Kehayov P., Torn-Leesik R. 11. Modal verbs in Balto-Finnic //Modals in the languages of Europe: A reference work. – 2009. – Т. 44. – С. 363.
Kennedy G. Variation in the distribution of modal verbs in the British National Corpus //Using corpora to explore linguistic variation. – 2002. – Т. 9. – С. 73.
Millar N. Modal verbs in TIME: Frequency changes 1923–2006 //International journal of corpus linguistics. – 2009. – Т. 14. – №. 2. – С. 191-220.
Wurmbrand S. Modal verbs must be raising verbs //Proceedings of WCCFL. – 1999. – Т. 18. – №. 1.
In Rus Khomutoff’s Kaos Karma, meaning shimmers just out of sight, on the edge of a colorful, nebulous atmosphere.
The book contains a collection of under 20 poems, each presented entirely in bold capital letters. Each word thus carries equal weight and all come together to create a sonic and imagistic impression.
Certain themes and phrases recur throughout the book. We see words like “chaos” (or “kaos”), “ghostflesh,” “technoromance,” “love,” and “sacrifice” in multiple poems. This pulls out motifs of the collection: spirituality and the odd/paranormal, imagination and dreaming, emotions and the quest for human connection.
The title, Kaos Karma subverts the concept of logical cause and effect and consequences of one’s actions. Instead of tracing one’s present circumstances or future destiny to one’s own choices, human experience seems much less linear.
Yet, chaos does not imply a nihilistic void, empty of all reason or meaning. The mathematical concept of chaos theory involves self-organizing natural systems whose development seems random but which may well be tied to initial conditions we do not fully understand.
In a similar vein, Rus Khomutoff’s Kaos Karma is built around motifs that permeate its atmosphere. These suggest layers of feelings and impressions that approach meanings while intriguing and tantalizing the senses.
Avazova Diyora Alisher girl was born on July 17, 2007, in Kitob district, Kashkadarya region. She graduated from School No. 91 with a Gold Medal for her excellent academic performance, diligence, exemplary behavior, and initiative.
She is currently a member of the Kashkadarya Regional Youth Parliament’s Active Members team and a volunteer of the “Golden Wing” movement. She holds numerous international certificates and is a member of “JUNTOS POR LAS LETRAS” and the Global Friends Club. She has been awarded the “Best Promoter” certificate twice.
Her poems and articles have been published in Kenya, Uzbekistan, Egypt, Turkey, and several other international and local publishing houses. She is a graduate of the “Diamond Girls” project and won 2nd place in the “Initiator of the Year — 2024” competition. She is also a participant in the G4G program designed for girls.
She was a delegate of the “2024 Asia–Pacific Young Leaders Summit” and an official delegate of the Istanbul International Model United Nations. She serves as the Azerbaijan coordinator of the Shishu Ullash organization and is an official delegate of the “Future Office” Season 2.
She holds more than 50 international certificates. She is an official member of the “Towards Leadership” project and actively participates in various projects and competitions. She is a delegate of “ELEVATE MUN,” Deputy Head of Media Literacy at the “Yuksak Parvozim” Young Creators Movement, and coordinator of “Umid Yo‘gdusi.” She is also featured in the “Young Leaders” Encyclopedia.
Literary traditions and renewal processes in Uzbek literature and world literature
Abstract: This article covers the issues of the historical development of Uzbek literature and world literature, the preservation of their literary traditions and a comparative analysis of the processes of renewal. In Uzbek literature, the role of such creators as Alisher Navoi, Zahiriddin Muhammad Babur, Abdulla Qodiriy in continuing traditions and at the same time introducing new ideas into literature is examined. From world literature, comparative aspects with the work of such great writers as William Shakespeare, Leo Tolstoy, and Franz Kafka are revealed. The article analyzes the harmony of literary heritage and modern creative innovations, the relationship between national literatures, and their contribution to global literary processes on a scientifically based basis. It also discusses the integration of Uzbek literature of the period of independence with world literature and the formation of the translation school.
Keywords: Uzbek literature, world literature, tradition, renewal, comparative analysis, creativity, modernism, realism, cultural integration, national heritage, literary process.
Literature is one of the oldest and most influential forms of human thought. The literature of each nation reflects its national thinking, psyche, socio-spiritual state. Therefore, the study of the interaction and connections between Uzbek literature and world literature, the analysis of their traditional and new aspects is a separate, relevant scientific topic today.
During the period of independence, Uzbek literature has reached a new stage of development. On the one hand, our classical literary heritage is being re-examined, and on the other hand, advanced experiences in world literature are being absorbed into Uzbek literature. This process is further enriched by the fact that the works of Uzbek writers are being translated into world languages, and examples of world literature are being published in Uzbek.
Classical literature: The traditions of classical Eastern literature were continued in the work of Alisher Navoi. However, he also initiated a stage of renewal with his approach based on the Turkic language.
Babur: a vivid example of the harmony of tradition and innovation in literature. His work “Boburnoma” combines historical, artistic and scientific features.
20th century literature: National realism and modernist movements were combined in the works of Abdulla Qodiriy and Cholpon.
Shakespeare: Continuing the traditions of the Renaissance, he created new dramatic forms.
Leo Tolstoy: through Russian realism, he interpreted humanity, morality and social issues in a new way.
Kafka: was the embodiment of modernism, depicting the conflicts between man and society.
Comparative analysis:
Navoiy and Shakespeare: although one reached the pinnacle of Eastern and one Western classical literature, both of them covered the problems of the human psyche and society.
Qodiriy and Tolstoy: there is a commonality in depicting the spiritual image of the nation and social problems through realism.
Cholpon and Kafka: both created in the spirit of modernism and tried to express the spiritual crisis of the time.
In conclusion, although Uzbek literature and world literature have their own traditions and renewal processes, through their comparative study, one can see many commonalities and harmonies. Uzbek literature, relying on its rich classical heritage, is also actively participating in modern global literary processes. Therefore, a deep study of literary traditions and the integration of innovations with the national spirit will remain one of the important tasks of future scientific research and creative activity.
References:
Navoiy A. Khamsa. – Tashkent: Fan, 1991.
Bobur Z.M. Baburnoma. – Tashkent: Gafur Ghulom Publishing House, 2008
Qodiriy A. Bygone Days.- Tashkent: Sharq, 1994
Cholpon A. Night and Day.- Tashkent: Literature and Art, 1992
Shakespeare U. Hamlet. – London, 1603
Tolstoy L. Anna Karenina – Moscow: Science 1978
Kafka F. Process. – Berlin, 1925
Karimov I. A. High spirituality is an invincible force. – Tashkent, 2021
Mirziyoyev. Sh.M. Strategy of the New Uzbekistan. – Tashkent, 2021.
History of Uzbek literature. 5 volumes – Tashkent: Science, 2010.
Saidov. A. Theory of Literary Studies. – Tashkent University, 2015
Choriyeva Go’zal Gayratjon qizi was born on February 17, 2007 in Kyzyryk district of Surkhandarya region. She is a 1st year student of the Denov Institute of Entrepreneurship and Pedagogy of Samarkand State University, Uzbek language and literature department and holder of a national certificate in native language literature. She is an international ambassador of the Indian state Iqra Foundation Organization (online) in three areas. An active member of the Argentine Association of Science and Literature Writers. The creative collection “Zukko izvlavi” -2025 of the Republic of Uzbekistan and Karakalpakstan has been published.
