Reading books or listening to lectures is not enough to feel history. One must see it, experience it, walk through ancient walls, and observe historical patterns. Today, we had such a unique opportunity. We visited Mirzo Hotel, one of the historic sites in Tashkent, for a practical lesson. This place was not just a modern hotel but a magnificent complex embodying history and culture.
As we stepped into Mirzo Hotel, we felt that it was not just an ordinary hotel but a place infused with a historical atmosphere. We were told about how the hotel was built and what historical patterns were used. Every decoration and pattern reflected Uzbek national traditions, incorporating the wood carving and brickwork artistry of ancient Bukhara and Samarkand.
This place showcases the finest styles of national architecture. The wall patterns and doors resembled the decorations of the Mir Arab Madrasah in Bukhara, the Registan Square in Samarkand, and the Kukeldash Madrasah in Tashkent. The architects combined old traditions with a new style, creating a unique atmosphere.
During the lesson, we also learned interesting facts about the name of Tashkent. Historically, it was called Chach or Shash in ancient sources. Some historians believe that “Chach” meant “city” in ancient Turkic languages, later transforming into “Shash.” Arab sources also referred to Tashkent as “Madina-ush-Shash,” meaning “City of Shash.” The name Tashkent, meaning “stone city,” originated from its historic stone fortresses.
Our visit also provided valuable insights into famous historical figures who lived in the area where Mirzo Hotel is located. Khoja Ahror Vali, Gafur Gulom, Oybek, and Nabi Ganiyev were among them, each leaving a lasting legacy in literature, art, and spirituality.
Khoja Ahror Vali was a great 15th-century Sufi and Islamic scholar who contributed significantly to the development of religious education in the Mawarannahr region.
Gafur Gulom was a prominent writer, best known for his novel “Shum Bola” (The Naughty Boy). Oybek was a celebrated author whose historical and artistic works, particularly the novel “Navoiy,” remain invaluable in Uzbek literature. Nabi Ganiyev was a renowned film director who played a key role in advancing Uzbekistan’s film industry.
The neighborhood surrounding Mirzo Hotel also holds great historical significance. It was once known as Gulbozor Mahalla, which Murodjon Mirzayev describes in detail in his book “Tashkent of the Past: Gulbozor Mahalla.” The book depicts life, traditions, architecture, and the daily lifestyle of people in old Tashkent neighborhoods.
The hotel’s management warmly welcomed us and even shared their creative works. Murodjon Mirzayev recited his poetry, enriching our experience. At the end of the practical lesson, we explored the hotel rooms, each with a unique design that harmonized traditional and modern aesthetics.
Finally, we took a group photo as a memorable conclusion to our visit. This was not just an ordinary lesson but a living encounter with history and culture. We once again realized the importance of preserving our ancestors’ rich heritage.
This visit was not just a practical exercise; it was a journey into the ancient spirit of Tashkent. Every stone, every pattern, and every story connected us to our past, reminding us that history is not just written—it is lived.
Nozima G‘ofurova, a 2nd-year student of the Travel Journalism program at the University of Journalism and Mass Communications of Uzbekistan.
Hauwa’u Nasir Mukhtar, known in literary circles as “Keen Poet” or “Hawkeye,” is a burgeoning poet and writer hailing from Gombe State, Nigeria. My work is characterized by a keen observation of the world around me, weaving intricate narratives that reflect both personal and communal experiences.
EARLY LIFE AND FAMILY
Born and raised in Gombe State, I am the cherished daughter of Nasir Mukhtar and Rahama Muhammad. My upbringing in a nurturing family environment laid the foundation for my artistic pursuits. I shares a close bond with my sisters: Ummusalma, affectionately known as “Dazzle Poet,” and Zainab, dubbed “The Legend.” Together, they form a trio of creative minds, each contributing uniquely to the tapestry of Nigerian literature.
My foray into poetry began at a young age, inspired by the rich cultural heritage of Northern Nigeria and the vibrant literary community in Gombe. My pseudonyms, “Keen Poet” and “Hawkeye,” reflect my perceptive nature and my ability to capture the subtleties of human emotion and societal dynamics.
HOPE NEVER BURNS!
To that land of blue fairy where the moon smiles
I 'll go wearing my favourite suit in this green earth
Where the assembly of flowers smile sprightly
And the silver vine blooms with diamond buds
Where in a forest a golden bird brings ecstasy
In a boat made of floating clouds drifting along the sky
Where hope never burns and the lotus never cries
Life on earth full of separation and union is never a dream
Built with truth and dreams, disillusioned by the dreams only
Fooled by the deceptive truth, crush me not like a flower.
MORE THAN EVER BEFORE!
The Goddess of purity you are to me
I do hatch pain and my pleasure as well
My sleep often breaks for the first time
And I see the morn by rubbing my eyes
The sun light becomes brighter with you
My day rises from behind the thin clouds
The moonlight soothes with all the grace
My vibrant mood is hiding nearby me
If you met me, sadness would be mine
I would console you though I'm broken
My stars break to start falling nonstop
I want your novice heart more and more
It incubates in me more than ever before.
GRIEF FOR THE LIFE TIME!
Walking alone, I did come across you
It poured and you got lost somewhere
As if a dream had passed away from me
And it's a bit hard to forget you now
Just in a moment you became my life
Then you gave grief for the life time
On the rainy night my heart was broken
I remember your wet face looking great
You have never gone through memories
I feel like feeling you here this evening
As you and the very weather used to be
My journey of love caught the evil eyes
Tongue is silent though my heart breaks
You look happy and you are not mine.
IREMAINSILENT!
Even if I remain silent without any word
Your love, face, and gaze'll grow & glow
I am witness to your love, downcast eyes
And all your grace indicates the depth
Someone has stolen your heart & mind
Whenever the swirl of your hair falls
Even more beautiful you look, like a fairy
With cherubic smile I read in the books
I cherish to stay forever only in your soul
In mind and bosom, arm and embrace
And in your eyes & memories unlimited.
Biography of the Author
Dr. Prasana Kumar Dalai
(DOB 07/06/1973) is a passionate Indian Author-cum- bilingual poet, while a tremendous lecturer of English by profession in the Ganjam district of Odisha. He is an accomplished source of inspiration for the young generation of India. His free verse on romantic and melancholic poems are appreciated by everyone. He belongs to a small, typical village, Nandiagada of Ganjam District, the state of Odisha. After schooling, he studied intermediate and graduated from Kabisurjya Baladev Vigyan Mahavidyalaya, then M A in English from Berhampur University, PhD in language and literature, and D.Litt. from the Colombian Poetic House from South America. He promotes his specific writings around the world literature and trades with multiple stems related to current issues based on his observation and experiences that need urgent attention. He is an award-winning writer who has achieved various laurels from the circle of writers worldwide. His free verse poems not only inspire young readers but also the readers of the current time. His poetic symbol is right now inspiring others, some of whom are appreciated by laurels of India and across the world. Many of his poems have been translated into different Indian languages and have received global appreciation. Lots of well wishes for his upcoming writings and success in the future. He is an award-winning poet and author of many best-selling books. Recently, he was awarded the Rabindranath Tagore and the Gujarat Sahitya Academy for the year 2022 from Motivational Strips. A gold medal from the World Union of Poets, France & winner of Rahim Karim's World Literary Prize 2023. The government of Odisha's Higher Education Department appointed him as the president of the Governing body of Padmashree Dr Ghanashyam Mishra Sanskrit Degree College, Kabisurjyanagar.Winner of " HYPERPOEM " GUNIESS WORLD RECORD 2023. Recently, he was awarded from the SABDA literary Festival in Assam. The highest literary honour from Peru, for contributing to world literature, 2024.Prestigious Cesar Vallejo award 2024 & Highest literary honour from Peru.Director at Samrat Educational Charitable Trust, Berhampur, Ganjam, Odisha.
Vicedomini of the world union of poets, Italy.
Completed 248 Epistolary poetry with Kristy Raines, USA.
Books.
1. Psalm of the Soul.
2.Rise of New Dawn.
3.secret Of Torment.
4.Everything I never told you.
5.Vision Of Life National Library Kolkata.
6.100 Shadows of Dream.
7.Timeless Anguish.
8.Voice of Silence.
9.I cross my heart from east to west . Epistolary poetry with Kristy Raines
DETERMINING THE CONSISTENCY OF PHRASEOLOGICAL COMPOSITION
Xadjiyeva Nodira
Qoraqalpoq davlat universiteti
Filologiya va tillarni o’qitish:
Ingliz tili 4-bosqich talabasi
Annotation:This article looks at how stable or consistent fixed expressions—like idioms, collocations, and set phrases—are in everyday language. It explains why some expressions stay the same in form and meaning, while others can change a little without losing their sense. The paper breaks down different types of stability, such as structure, word choice, and meaning, and shows how they help these phrases keep their original form. The author uses examples from real texts (corpus linguistics) and simple tests to understand how fixed these expressions really are. The article also talks about how these phrases can be different in other languages and how culture affects them. In the end, the study shows why understanding fixed expressions is important in language learning, translation, and even computer programs that work with language.This work is useful for students, teachers, and anyone interested in how language really works.
Abstract:Phraseological units are a fundamental part of any language’s lexicon, reflecting cultural values, cognitive patterns, and stylistic tendencies. This paper investigates the internal consistency of phraseological composition in the English language. It explores the criteria that govern the structure, stability, and usage of phraseological expressions, focusing on idioms, collocations, and fixed expressions. The study adopts a corpus-based approach to identify recurring phraseological patterns and their syntactic and semantic behavior in different contexts. The findings aim to enhance the theoretical understanding of phraseology and offer practical insights for language teaching and computational applications.
Introduction Phraseology is a branch of linguistics that deals with fixed or semi-fixed combinations of words, known as phraseological units (PUs). These units include idioms (e.g., kick the bucket), collocations (e.g., make a decision), proverbs, and other set expressions. Their importance lies in the way they enrich language, express abstract ideas succinctly, and reflect social and cultural norms.
However, not all phraseological units exhibit the same degree of consistency. Some are fixed and unchangeable, while others allow variation. Determining the consistency of phraseological composition helps linguists and language users understand which parts of the expression are stable and which can be modified without altering meaning. This consistency also impacts how PUs are processed cognitively, how they are learned by non-native speakers, and how they are represented in dictionaries and language technologies.
This paper explores the concept of phraseological consistency from multiple dimensions: structural (grammatical), semantic (meaning-related), and contextual (pragmatic). By examining authentic examples from corpora, the study identifies patterns that signal phraseological stability and variation. The term “phraseological unit” was first formalized in Russian and European linguistic traditions, particularly by scholars such as Vinogradov and Kunin. In English linguistics, similar concepts have been discussed under terms like “idioms,” “collocations,” and “fixed expressions.”
A phraseological unit can be broadly defined as a multi-word expression that functions as a single semantic unit. These units often have non-literal meanings, especially in idioms, and are stored in the mental lexicon as prefabricated chunks. Linguists typically categorize phraseological units into:
Idioms – expressions with non-compositional meaning (spill the beans).
Collocations – predictable word combinations (strong tea, commit a crime).
Phrasal verbs – verbs with particles whose meaning is not deducible from the parts (look after).
Clichés and fixed expressions – stereotypical phrases used in social contexts (Nice to meet you, Best regards).
Structural consistency refers to the fixedness of the grammatical structure in a phraseological unit. For example, kick the bucket cannot be changed to kick a bucket or kicked the buckets without losing its idiomatic meaning. Some collocations, however, are more flexible (make/made/makes a decision), though they still exhibit a preferred structure. This refers to the stability of the lexical components within a PU. In highly consistent units, specific words cannot be replaced without altering meaning (break the ice, not shatter the ice). In less consistent units, some variability is permitted (give/take/have a look).
Phraseological units vary in terms of how transparent their meaning is. Fully idiomatic expressions like kick the bucket are semantically opaque and highly consistent. In contrast, semi-transparent expressions such as make a choice are more flexible and their meaning is derivable from the parts. Certain phraseological units appear consistently in specific genres or registers. Legal language, for instance, uses fixed phrases like null and void, while everyday conversation prefers idioms like hit the sack. The consistency of usage across contexts also determines how recognizable and fixed a PU is perceived. To analyze phraseological consistency empirically, this study examined data from the British National Corpus (BNC) and Corpus of Contemporary American English (COCA). The method involved identifying frequently occurring phraseological units and observing their patterns of usage.
Methodology: Selection of 50 common phraseological expressions. Examination of frequency, structural variation, and lexical substitution.Categorization based on idiomatically and contextual flexibility.About 60% of the expressions were structurally fixed.Highly idiomatic units showed minimal variation.Some collocations, though semantically transparent, were preferred in particular forms.Contextual data confirmed that genre plays a role in preserving phraseological consistency. Understanding phraseological consistency has practical benefits:
Language Teaching: Teachers can prioritize fixed PUs for memorization and teach flexible ones through pattern recognition.
Lexicography: Dictionaries can mark degrees of variability to aid learners.
Computational Linguistics: NLP systems benefit from clear data on phraseological units for better parsing, machine translation, and sentiment analysis.
In conclusion, phraseological composition in English demonstrates varying degrees of consistency. Fixed idioms maintain high structural and lexical rigidity, while collocations and semi-fixed expressions allow some flexibility. Corpus analysis confirms that consistency is influenced by grammatical form, lexical selection, semantic opacity, and contextual use. Understanding these patterns not only deepens linguistic knowledge but also enhances applications in education and technology.
List of used literature:
1. Glaser, R. (1984). The Stylistic Potential of Phraseological Units in the Light of Genre Analysis.
2. Cowie, A. P. (1998). Phraseology: Theory, Analysis, and Applications. Oxford University Press.
3. Mel’cuk, I. A. (1995). Phrasemes in Language and Phraseology in Linguistics.
4. Fernando, C. (1996). Idioms and Idiomaticity. Oxford University Press.
5. Moon, R. (1998). Fixed Expressions and Idioms in English: A Corpus-Based Approach. Oxford University Press.
Articles:
6. Wray, A. (2002). Formulaic Language and the Lexicon. Cambridge University Press.
7. Granger, S., & Meunier, F. (2008). Phraseology: An Interdisciplinary Perspective. John Benjamins.
8. Biber, D., Conrad, S., & Cortes, V. (2004). If you look at…: Lexical Bundles in University Teaching and Textbooks. Applied Linguistics.
There was a series of balloons, three, that the wind blew in. They were black balloons w/the number seven on each. I wasn’t sure what they meant, but felt they were auspicious and on the side of positivity. Then I saw three number nines and felt the same way. But, I couldn’t tell for certain what the repeating numbers meant as I wasn’t a numerologist or highly into numbers to begin with.
I saw a lady that reminded me of another lady I had once made fun of unfairly. I was immature and words had hurt the lady’s feelings but the lady either forgot or forgave me or buried it as she didn’t act as if it happened when I heard from her much later. That and one other thing were the only two things I worried about karmically. The other was that I had injured a hockey player and he was taken away in an ambulance. But it wasn’t done intentionally though several people thought it was. I hit him, which was allowed, but it the other injury was not done on purpose as he just fell on a bad angle. He turned out to be alright. I was glad for this. Those two things had happened practically another life ago as they say, yet they had bothered me. Other than those two events I felt clean, but like the numbers, it wasn’t possible from where I was standing to know for sure.
You can’t always see the spiritual ledger. It is interesting that ledger also means a demarcation stone upon a grave because perhaps it not until we have a stone ledger that we can in the life review according to the canon of such experiences, see more accurately how our actions and words really affected others and the universe.
I was low monetarily. The group in front of me was affluent and just exuded it. You can tell through intuition and life experience those who try to come off that way versus the actual. When they left they forgot a purse leather green, the same colour as the jade some of them wore. Nobody noticed and they weren’t doubling back the way some people do when they realize they forgot something. There is about a five to ten second window you have to remember something is amiss before you have officially forgotten something. They were definitely leaving. I picked up the purse and went out the same door and called them back as they were getting into what looked like a new and definitely a tricked-up-decked-out high end SUV vehicle.
‘Someone forgot their purse,’ I said, ‘holding it up.’
They came over and thanked me and took the purse. I returned it because it was the right thing to do. I went back to my seat in a booth, for booths are perhaps one of the greatest things ever created, and looked up through the adjacent window watching them leave.
At a field there were streams cutting through like a water swath. I paused and stared at them, admiring the movement of water. I thought of Herman Hesse and his book. I had two copies of the famous work, but had given away the better, newer one. My old one was tattered and torn, plus coffee got spilled on it at some point. I didn’t know what that meant either. A large woodpecker that had been alighted in a nearby tree took off and I was frustrated that I had not had my camera out. Yet, I still admired its flight and the silhouette it made against the afternoon winter sunlight.
I kept going around there. In the distance were train tracks but a train rarely as far as I could tell went by. There were large holes in the wall, the hillside, for the water to go under. It was a fine juxtaposition of water that appeared black against the snowy white sides. And then distant parts of the stream tumbled down a few feet in two places, bragging up its bits like cold clear and white flames and also many spark look a likes as if from a some giant sparkler.
I went by a bookstore, an old used bookstore that I used to patronize. Proper gems could be found there and for inexpensive prices. Books were like treasures. But the store was gone, replaced by a work-wear store. The vests and coveralls mostly beige and black, stood looking back at me from the windows. It was as if the bookstore had never existed. Though on the outskirts of town, the perimeter purlieu, it had been a wealthy town, but didn’t have a new or used bookstore. I guess the world had changed.
So I headed back home and did chores, prosaic, mundane things, sometimes glancing out the windows as I moved about. There was nothing besides a puzzle on a dining room table, an old piano, and a painting on the wall. Also a bookshelf and coffee table by the couches beyond. The hardwood floor was weathered by time but had character and was still passable. I had never been a huge fan of the neighborhood or its dwellings, but it was clean and quiet and that counts for a lot. It was better than many other places. That view to outdoors didn’t hold a lot. A fence handsome that I had stained with a brush and roller, a good privacy fence as they called it, with lattice work up top that was not too plain and not too gaudy either. Snow was on the ground. It had been a long and cold snowy winter. I hoped the earth and sky really were pregnant with spring. A shed storing summer chairs and a table. On its door, there were two Ontario license plates and two Virginia ones. The first couple were from 1973, the year and place I was born, and the second set 1972, the year and place my beloved was born. Other than that, mostly just old barren branches waited out there, stoic and alone.
One day with some luck, spring would finally start for myself and for them.
