CULTURAL ETIQUETTE. ETIQUETTE OF A GUEST AND A HOST.

1. Ahmedov Azimjon Ilhomovich the teacher    of Andijan State Institute of Foreign Languages
2. Mamasharipova Shakhnoza Akhmadjon qizi 3^rd year student of Andijan State Institute of Foreign languages
3. Umaraliyeva Maftuna Zohidjon qizi 3rd year student of Andijan State Institute of Foreign languages.

Annotation: In this article cultural etiquette, politeness and good manners of guests and hosts, cultural guidelines for what is appropriate or inappropriate and polite or impolite are considered. Additionally global etiquette, cultural tips, tips for what to do and avoid, hospitality etiquette will be discussed below.

Key words: elite, occational, hospitality, balance, manners,massive arrivals.

In the course of our lives, many of us have had reasons to find ourselves as guests in other people’s homes or have had to play hosts to guests who’ve come visiting us. People have had to put up in homes of friends, colleagues or family members as a result of demands of daily activities or even holidays – work and play.
Human interactions can be as complex and as varied as there are human beings on the planet. This means that in order to maintain the acceptable level of ‘order’ that good relationships are essentially incumbent upon, certain behavioural codes must be adhered to by both guest and host. That fine balance between a considerate guest and a thoughtful host should always be aimed at.

Within the context of the text above, the goal of this paper is to present authors’ complex overview of the approaches to the issue of interaction between hosts and guests. So far, most authors have only  focused on a certain theoretical model. Therefore, they have not fully and comprehensively revealed the stages of development and changes in the ‘host-guest’ relationship, but they aspire to describe the gradual shift from negative impacts of tourism on the host community to positive ones. Tourism becomes an important element through which local communities can control and regulate the degree of power they have over a dominant group of guests. At the same time, tourism reinforces hosts’ cultural identity, stimulates their interest in the local culture, cultural  heritage, and ethnic identity. Therefore, the main research question of this paper  concerns the development of interactions between hosts and guests and tourism impacts. This descriptive case study strives to process and describe interactions between hosts and guests while summarizing the general framework for studying the host-guest encounters and impacts of tourism. In tourism anthropology, the socio-cultural impacts of tourism are necessary for monitoring and predicting changes in societal value  systems, community structures, social relationships, individual behaviour, ways and standards of living.

Many authors pointed out that the host and tourist relationships turn into commercialized hospitality, they are similar to business transactions and lack spontaneity. Mathieson and Wall (1982) described the relationship between tourists and local residents using the five-stage process. The first feature indicates transience, transitoriness, and superficiality of the relationship. Deeper relationship may only arise at destinations where tourists return to the same accommodation. The second feature is pressure on tourists who go  through a wide range of experiences over a short time. Thus, irritation increases if they  do not get the experiences they want, or only with delay. The third feature is linked to  the isolation of tourists who often separate themselves from the locals and who spend most of their time in a tourist resort and its vicinity with other tourists. Their encounters with local residents are limited to tourist personnel.

The fourth feature points out that host and tourist relationships are not spontaneous, but formalized and planned. The fifth feature describes the host-guest relationships as unequal and asymmetric in terms  of material wealth and power. In every tourist destination, there are limits to growth that are likely to cause many negative and sometimes even irreversible changes when exceeded, “there is a threshold of tolerance of tourists by hosts which varies both spatially and temporally. As long as the numbers of tourists and their cumulative impacts remain below this critical level, and economic impacts continue to be positive, the presence of tourists in destinations is usually accepted and welcomed by the majority of the host population”

Modern tourism disrupted pre-modern host-guest relationships based on agreements of protection, reciprocity and reciprocal rights and duties. Before, hosts  secured guests’ satisfaction and guests became temporary members of the family while adhering to the rules of the host’s home. Reciprocity and mutuality formed “an inevitable part of the social exchange in the host-guest relationship”  
Traditional host-guest relationships resulted in commercialization and commodification. 

          Therefore, tourists and travellers are no longer merely guests; tourists turned into consumers of experiences and hosts became providers of these experiences . Under these circumstances, “hosts are no longer hosts, just providers of services, while the guests are no longer guests, just customers”  

The financial agreement for goods and services replaced “the nonmaterial reciprocity  of the old covenant”  This type of commercialized hospitality is based on a ‘holy trinity’ of provision of food, drink and accommodation. Hospitality can be regarded “as a product, a process, an experience, or all three” Nevertheless, the purchase of services is much more complex than purchase of manufactured goods and artefacts. Services always include a certain form of social interaction and most frequently partial proximity between consumers and providers: “to buy the service is to buy a particular social or sociological experience”

                                                     References

1. Andrews, H. (2000). Consuming Hospitality on Holiday. In C. Lashley & A. Morrison (Eds.), In  Search of Hospitality: Theoretical Perspectives and Debates (pp. 235–254). Oxford: Butterworth Heinemann. Aramberri, J. (2001).
2. The Host Should Get Lost: Paradigms in the Tourism Theory. Annals of Tourism Research, 28(3), 738–761. DOI: 10.1016/S0160–7383(00)00075-XChambers, D. (2007).
3. An Agenda for Cutting Edge Research in Tourism. In J. Tribe & D. Airey  (Eds.), Developments in Tourism Research (pp. 233–245). London: Elsevier Science Ltd. DOI:  10.1016/B978–0-08–045328–6.50022–4.Greenwood, D. J. (1977).
4. Culture by Pound: An Anthropological Perspective on Tourism as Cultural Commoditization. In V. L. Smith (Ed.), Hosts and Guests: The Anthropology of Tourism (pp.  129–138). Philadelphia: University of Pennsylvania Press.  Greenwood, D. J. (1989).
5. 5.    Culture by Pound: An Anthropological Perspective on Tourism as Cultural Commoditization. In V. L. Smith (Ed.), Hosts and Guests: The Anthropology of Tourism (pp.  171–185). Philadelphia: University of Pennsylvania Press.

Methods of forming new words in Uzbek and English languages.
 
Moydinova Mavludakhon 
Student of Kokand State Pedagogical Institute

 Abstract: This article analyzes the ways of word formation in English and Uzbek and explains it through several examples. We know that every language has its own rules of word formation in its grammar. Therefore, the ways of forming words in Uzbek and English differ from each other.

Key words: English language, Uzbek language, word formation, affixation, composition, affix, prefix, postfix, infix

Each language has its own way of development based on word formation. After all, in order for a new word to be formed, that country must develop. Emergence of language Word formation is a separate category in grammar and is studied as a separate topic in linguistics. The emergence and development of language is definitely dependent on word-forming affixes. New words are formed with the help of word generators in the language, and the vocabulary of the language expands. The creation of new words using the existing words in the language and word generators is understood as word formation.In Uzbek, two methods of word formation are shown: affixation and composition. We know that words that do not have formative suffixes are called root words. method is called affixation method. For example, words expressing new meaning are created by adding a formative suffix to the words "cotton" and "stone". Word formation using affixes is a basic tool for many languages. In particular, the types of affixes in English and Uzbek languages ​​are formed in almost the same way. Affixes are divided into prefixes, postfixes and infixes based on their addition to the base of the word. As the name implies, a prefix comes before the root, a postfix comes after the root, and an infix is ​​added between two independent words to form a new word. 

For example, in words such as beor, noshkur, nomard, a prefix is ​​added to the words or, shukur, mard to form another independent word group, that is, adjective. In English, new words are created by adding prefixes such as "rewrite" and "rebuild" to the words "write" and "build". If a new word is formed as a result of adding a suffix, we can take as an example words such as speaker, freedom, beautiful in English. Infixed suffixes are less likely to be found in English, as they belong mainly to Arabic Arabic languages. However, since many words in the Uzbek language come from the Arabic language, they can be found in literary booksThe method of composition is characteristic of English and Uzbek languages, and this method is a method of creating a word with lexical meaning, which is formed by joining two or more independent words. In the method of composition, words are found by writing together, but also in the form of a line. For example, hardworking, mushroom (added), one hundred and twenty-five, dream (arranged). It is made in English just like Uzbek. For example, grandparents, firefighter (added), up-to-date (underlined), ice cream (lined up). In English, such words are called "compound words".

In conclusion, we can say that creating a new word in any way and by any means is called word formation. In any language, the formation of words and the ability to use them correctly is very important for us.

References 

Iriskulov M., "Introduction to Linguistics" Tashkent.: 2019. (pp. 119-120)
Rahmatullayev Sh. Modern Uzbek literary language. Textbook. -Tashkent, University, 2006.
A. Abduazizov. "Introduction to Linguistic Theory" (p. 97)

Inscribed In Siltstone

Ancient the relics of thy chthonic passion
Primeval is the amygdala-saurus
Of thy unperturbèd ur-intelligence
Pristine your solicitous quickest instinct

A splendid bolus hardcoded through eons
In the original processing system
Stupendous corpus in tenebrous locus
Coffer’d miscellaneous minutalia

Neither impermanence nor transience affect
Thy everlasting sentience macadamized
Unalterable in unmoving hardness

Took up thy abode in the first guts to stay
Record uncorrupted of feral forebears
Always safe from annihilation to come




Maurizio Brancaleoni is a writer and translator. His poems/haiku/short stories/pastiches have appeared in several journals and anthologies. He has a bilingual blog where he posts literary gems, interviews and translations. ‘Inscribed In Siltstone’ is a meditation in sonnet form about fossils and their obscure antiquity.

THE INTERPRETATION OF TIME AND PERIOD IN THE WORKS OF GHAFUR GHULAM

Ibrokhimov Saidakbar
Faculty of Criminal Justice
3rd grade student

Abstract: Gafur Ghulam is a famous writer of Uzbekistan. The history of the Uzbek people found its artistic expression in the poetry and prose of Gafur Ghulam. The writer’s creativity is diverse – poems, songs, epics, odes, stories, short stories. Gafur Ghulam’s work
took an incomparable place in the development of Uzbek literature in the post-war period.
Key words: work, era, interpretation, literature, poetry, poet, work, folk, prose, writer, literature, stories, creator, examples of creativity.

“… When we talk about the personality, memory and legacy of Gafur Ghulam, we compare this great man first of all as a broad, literal poet of the people, in front of his immortal name and unfading work our boss”

Islam Karimov.

Gafur Ghulam is a unique talent who left a golden name in Uzbek literature of the 20th century. People’s poet of the Republic of Uzbekistan, an academician of the Academy of Sciences of the Republic of Uzbekistan, this great artist greatly contributed to the
development of national literature, culture and science of the Uzbek people with his unique creativity and activity. That is why his work is constantly studied and researched. While reading the works of the writer, we can understand the philosophy of that time and come to primary thoughts about the era. The works of contemporaries greatly influenced the formation of Gafur Ghulam’s world view and artistic taste. Gafur Ghulam writes in one of his articles: “I know and love Russian classical artists and have translated many of their works into my native language. But I want to say that I am a student of Mayakovsky, who “opened up the most exciting and unlimited possibilities for me in the fields of weight, vocabulary, symbols, and the melodic structure of poetry.”

In addition to anger in Mayakovsky’s satire, critical sarcasm, and the enormous power of feeling in his lyrics, I tried to gather in myself… the bold eloquence of his methods, the courage of metaphors, the expressiveness of exaggerations. I even had to use the methodical, melodious and meaningful construction of the poem in the structure of Uzbek poetry.” These are reflected in many poems of Gafur Ghulam, for example: “On the roads of Turksib”, “Motherland”, “Long live peace!”.

In one of the poetic passages written by Gafur Ghulam in 1962, we can come across such a sentence:
Time and mother
Rhyme is coming

Through this verse, as much as the poet was a son for his mother, he was as much a child of the times as a person. It is impossible to understand the creator, whose entire creative period and life path are closely connected with his time. If the period is studied in a strong
connection, both its successes and its shortcomings will be shown accordingly. Almost every poem of Gafur Ghulam, written in the spirit of belonging to the 20th century, requires special attention. The works that cover all the foundations of society and include
people’s dreams and hopes, thoughts about the past and the future, evoke a feeling in the heart of the fan. There are other works of the poet (for example, the poem “Sharaf Manuscript”, stories such as “Hasan Kaifi” and “Aliqul’s Debt”), through which it is possible to read the author’s hidden pains and deeply artistically expressed ideas of
independence. we can understand.

Gafur Ghulom’s prose skill is clearly visible in the short stories “Netay” (1930), “Resurrected Corpse” (1934), “Yodgor” (1936), “Shum Bola” (1936-1962). In particular, in the story “Netay”, the social era causes the fate of the main character to become tragic. In the short story, the writer covers the issue of relations between man and society. He strongly condemns any kind of unrest and draws attention to the fact that even in the “Troublesome days when fathers do not know their sons and mothers do not know their daughters”, true human qualities are preserved and the dear and delicious feelings of fatherhood do not choose a beautiful nation. Ghafur Ghulam writes about one of the great evils of society. The writer angrily exposes “the tyranny of the evil khan”, the violence of
the thousand chiefs, city judges, and governors, and protects women whose “hearts are crying, their faces are smiling, and their hearts are bleeding from insults”.

Today, Gafur Ghulam’s pedagogical views have become a component of our national pedagogic heritage. In the 20s of the last century, ideas about eliminating harmful habits in children’s behavior were discussed. Looking at the work of the writer, he suffers from the
growing number of harmful habits among children. He looks for the causes of harmful habits in the environment in which children live. In his opinion, “thousands of children are not involved in general education due to the fault of officials sitting at the top of the
educational system.”

It is known that during the last century, hundreds of thousands of children were left homeless in the former Soviet state due to national conflicts, war, and drought. As a result, child neglect has reached its peak in the country. Thousands of children who were left out
of school and family control learned harmful habits from street schools. The state and the general public are worried about the increase in child delinquency. Therefore, the poet was
worried about the fate of such orphaned children and said in the poem “I offer”:

Look at this young teenager:
“He lived from the beginning
What a shame, what a shame
He is proud like his grandfather,
You eat a lot!” – you say
…Not yet
School, study is up to him…

In a number of works of the writer, human qualities are recognized. That is, education shows a sense of respect. Respecting one’s parents, elders, and everyone else was considered a high recognition for this person. Respect and value are harmonious concepts, and a person who appreciates the country, parents, and all the circumstances in general is the owner of high education. In this way, the so-called human being becomes the possessor of high virtue. As an example, we can show the poem “Hello” by the writer on page 1.58:

Respect for a person is self-recognition.
The land where the holy term lived.
Na qulu na xo‘ja, na minnat, na zulm,
Dear Sanamak, the sweat on his forehead

Now let’s think a little about the story “Shum Bola”, the most famous example of the author’s work. We all know that the period in which this work was written, that is, the 30s of the 20th century, is a difficult period for our country. In this situation, the emergence of
a work with fundamentally opposing concepts to the politics of the time is an unprecedented event. The events of the 10th years are written in the well-known work. If we pay attention, there is no trace of class conflict, struggle, revolutionary spirit in this story. However, the events in the work are reflected in the ordinary life of the people, who are busy with their work in the market, on the streets. When you read the story, it seems that the work consists of adventures, but it creates a special mood for the people of this era, who are in a state of politics. Shum Boy, the main character in the play, is a character
who does not fit into the mold. However, the attention to the life, time, and people who left the children of the nation to fend for themselves in the events of the story is expressed through the character of a simple child. Page 2.8

In conclusion, in Gafur Ghulam’s works, we can see not only creativity, but also the harmony of time and space. Today, if we look at the past, we can see that some of the works written by a number of our writers have fallen from the history. In general, there is
no creator, writer or poet whose works cannot take place on the stage of folk and literature. Because time is sorting out their works. But there are such creators whose works created at the level of their talent still remain in the language of the people, and their name is a
symbol of pride and honor for the people and the era. Therefore, Gafur Ghulam is considered to be such a talented and great creator of the 20th century. A rare talent, an academician of the Academy of Sciences of Uzbekistan, a philosopher-poet, a poet Gafur
Ghulam will remain a scientist, poet and writer who listens to the hearts of our people and all well-intentioned humanity, and can feel the pain of fans from the heart.

Why can’t I be happy, we are finally with perfection,
With knowledge, with love, with beauty,
Our hearts are full of all humanity,
We are sitting on the road in the heart.
Excerpt from the poem “The power of one greeting”.
Gafur Ghulam

References:

1. Naim Karimov, publishing house named after Gafur G’ulam, Tashkent-2003.

2. The spiritual and educational significance of Gafur Ghulam’s work. Scientific conference. Tashkent-2003.
3. www.ziyo.net

Throwing Stones...	

The janitor sweeps the long streets, 
A pile of firecrackers one by one. 
Long live aro broom - endure, 
My heart is full of tears... 

The janitor cleans the long streets, 
Put aside - the scumbags. 
I'm trying not to be sad, 
So many stones thrown at my life?!

Shamsiya Khudoynazarova Turumovna (February 15, 1973) was born in Uzbekistan. Studied at the Faculty of Journalism of Tashkent State University (1992-1998). She took first place in the competition of young republican poets (1999). Four collections of poems have been published in Uzbekistan: “Leaf of the Heart” (1998), “Roads to You” (1998), “The Sky in My Chest” (2007), “Lovely Melodies” (2013). She wrote poetry in more than ten genres. She translated some Russian and Turkish poets into Uzbek, as well as a book by Yunus Emro. She lived as a political immigrant with her family for five years in Turkey and five years in Ukraine. Currently lives in Switzerland. Married, mother of five children. It was not possible to publish poems and translations written by the poet in the next ten years.

A place where spring has turned into dreams

The white look of the morning in my window,
The sun of my heart rises from afar.
There is beauty in this world,
Spring is on such a fire.

The place where tulips bloom on the shores,
This world will be more beautiful.
Wake up early, look at the trees,
Spring is on such a fire,

Spring is quiet in the bosom of dreams,
There are moonlit nights.
When I open my eyes everything is bright
A place where spring has turned into dreams.

 

No need

I don't listen to gossip.
It's a shame now.
No unnecessary words,
For my happy living.

Dear friend and brother,
Kindness is the best friend.
share your love
Always you always always.

When I look in the mirror, I see my reflection,
He tells me only the truth.
I will not give in to the test of life,
I don't know. I will never rest again.

Zarnigor Ubaidullayeva Azizkulov, daughter of Ilhomjon, on January 29, 2005 Born in G’allaorol district, Jizzakh region. Currently a student of the 11th grade of school 54.

ROAD

The girl was waiting for a taxi at the station – in a hurry and impatiently. At that moment, a small, slightly old car stopped. The girl ignored it and asked:

– Will you move to the bright future, the city of love?

– Yes, I will pass only through the path of knowledge, sister.

– No, thank you, this road is rough, I will a have trouble.

The car left. Another small old car came after him. Disgusted, the girl turned her face away and asked:

– Will you move to the bright future, the city of love?

– Yes, I will pass, my sister, I will take you through the vocational path.

– No, no, no! Thank you, there are many difficulties in the career path, because the road is bumpy.

He waited for a long time. At that moment, a car was seen in the distance. It was a large, beautifully decorated, tall, luxurious car. The car stopped in front of the girl. Girl:

– Will you move to the bright future, the city of love? – she said, shaking her hair beautifully. Then the young man laughed and said:

“Sit down, we’ll go right there on the way of peace and happiness.” The girl shyly looked at the ground, then got into the car.

They would go down the hilly road and have a sweet conversation. the girl was very happy: “Now I will walk on a straight path and easily find my happiness.” Suddenly, the straight road in front of them turned into a crooked, bumpy, potholed, uneven road, there were more and more large stones, and the car could not move. No matter how hard they tried, they could not advance any further. Then the guy took the girl out of the car and said:

– Now we can’t go this way easily. It is late. There is only one destination waiting for us – this is the destination of travel. Now let’s go for a walk. If we endure hardships, we will surely reach the destination of happiness. otherwise, there is no going back… and moving forward is difficult.. Let us go …

: Nurmamatova Oygul

Student of the 8th “B” grade of the creative school named after Ogahi

I was born Nurmamatova Aigul in Khanka district of Khorezm region. At first, I studied at general secondary school No. 38 in this district. my desire to write poems appeared in the 5th grade, at that time my poems were published in the newspaper “Khonka Yelyti” and in the magazine “Maktab Gunchali” and in 2022

My poetry collection “Armughan” was published. After completing the 6th grade, I was accepted to the creative school named after Ogahi in Khiva district with good marks. I started participating in the “Nasr” club there. at that time, my stories and drabbles were published in many magazines, including “Gulgunchalar” magazine and “Ezgulik” newspaper. 2023 My short story collection “Book of Life” was published. Thank God, I am taking both directions together! I am currently the winner of several competitions and a student of the 8th “B” grade of the creative school named after Ogahi. I create under the pseudonym Oygul Sanat