That day evening fell in the midst of the forest Like a bird, I too spread my dreamy wings near distance in the gentle breeze That winding high and low path That shadows of the trees, playing blind-man’s- buff Painted secret kisses in the eyes of the darkness The lorn fascinating oyster separated from water was in the grip of my hand. The unique pearl called Luv Shaped with layers of pain–an expression of pure, sincere love A mind yearning for union wants to be an oyster, sometimes a pearl.
Sejuty Rahman, Assistant Professor, Department of Economics in Soronjay Degree College, Tanore, Rajshahi. She writes poems and short stories. She has published three books of poems in Bangla. At present she is living at Rajshahi town, Bangladesh.
Everyone longs for love, searching far for its radiant flame. But love is not a roadside gem, nor found in sunsets or science’s name.
It hides not in beauty’s shallow face, but calls from deeper, higher grace. A rose blooms when love is near, fed by care, sunlight, and cheer.
Love is compassion, gentle and true, without which no life can renew. Beyond the fence, a rose may say: “I see love, I hear love, I love it each day.”
Its price is not wealth, nor power’s disguise, but pride surrendered, and hearts made wise. Love does not come from law or decree, It blooms within, where the soul is free.
Poet Dr. Kang, Byeong-Cheol is a Korean author and poet, born in Jeju City, South Korea, in 1964. He began writing in 1993, publishing his first short story, “Song of Shuba,” at the age of twenty-nine. He released a collection of short stories in 2005 and has since won eight literature awards and published more than twelve books. From 2009 to 2014, he served as a member of The Writers in Prison Committee (WiPC) of PEN International. Additionally, he worked as an editorial writer for JeminIlbo, a newspaper in Jeju City, Korea. He holds a PhD in Political Science and currently serves as the Vice President of The Korean Institute for Peace and Cooperation and vice president of Jeju PEN. Moreover, he holds the position of founding President of the Korean Association of World Literature.
Methods for Improving the Conceptual Foundations of Speech Act Theory in the Uzbek Language
Shamsiddinova Maftuna Hamidjon qizi
Master’s student in Uzbek Language and Literature
Namangan State Pedagogical Institute
Phone: +998-94-755-00-10
Abstract
This article analyzes the formation, development, and practical application of speech act theory in the Uzbek language. The necessity of improving the conceptual foundations of speech act theory in accordance with modern communicative needs is substantiated. Based on approaches such as intercultural pragmatics, cognitive linguistics, and communicative competence, the article proposes new methodological ways of studying speech acts in the Uzbek language. In addition, the practical application of speech act theory is examined in the context of digital communication and artificial intelligence.
Keywords
Speech act, pragmatics, illocution, perlocution, communicative competence, Uzbek language, cognitive approach, intercultural communication, digital linguistics, context.
Introduction
In the 1950s, the English philosopher J. L. Austin proposed the idea that language is not merely a means of transmitting information, but also a tool for performing actions in real life. He justified this philosophy in his well-known work “How to Do Things with Words.” While the origins of speech act theory are associated with Austin, J. Searle later significantly refined and developed this theory. During the 1960s and 1970s, the American scholar J. Searle strengthened the theory by identifying the structure and types of speech acts.
When discussing speech act theory, it becomes evident that language is not simply a collection of words or a tool for conveying information, but also performs a variety of other functions. These characteristics of language were thoroughly analyzed and studied by J. Austin and J. Searle. According to them, language performs actions in addition to transmitting information. At first glance, this idea may seem unusual, as it raises the question of how something inanimate can perform actions. However, these actions are not physical but cognitive in nature and occur through human consciousness.
A deeper understanding of this phenomenon can be achieved through the analysis of literary texts.
Main Part
According to J. L. Austin, speech acts are divided into three main types: 1. Locutionary act – the literal meaning of an utterance.2. Illocutionary act – the speaker’s intention or purpose in uttering the statement.3. Perlocutionary act – the effect of the utterance on the listener.
As can be seen, all three types of acts are closely interconnected and mutually dependent. Each speech act can be analyzed from all three perspectives. For example, consider the following sentence from Said Ahmad’s short story “Sobiq”:“Hurry up, they are waiting,” said by the chairman to a cotton worker.
From a locutionary perspective, the sentence is grammatically and lexically correct. From an illocutionary perspective, it is not merely a statement but a command requiring action. From a perlocutionary perspective, it implies the listener’s reaction, such as haste or anxiety, following the chairman’s words.
Searle further classified illocutionary acts into several categories:Assertives – statements that convey facts or information.
Example: “The painter is still young and lacks sufficient experience.”
Directives – utterances used to give commands, requests, or advice.
Example: “Control yourself; do not embarrass yourself in front of others.” (command)
Commissives – expressions of promises, obligations, or plans.
Example: “You will go to the meeting. Your train ticket is ready; go home, get dressed, and leave.” (plan)
Expressives – utterances that express emotions such as gratitude, apology, or congratulations.
Example: “I greeted him timidly. When he saw me, his eyes lit up.”
Declaratives – utterances that bring about a change in status or situation through words themselves.
Conclusion
Speech act theory does not limit itself to studying the grammatical structure and semantic content of language, but also explains how communicative goals are achieved through speech. The locutionary act reflects the formation of meaning, the illocutionary act reveals the speaker’s intention, and the perlocutionary act demonstrates the actual effect on the listener. In particular, the classification of illocutionary acts highlights the complex and multifaceted nature of speech functions. Illocutionary types such as commands, requests, promises, advice, and statements help to deeply understand the communicative power of language.
Thus, speech act theory serves as an important methodological foundation for studying the pragmatic aspects of language and reveals the intrinsic relationship between meaning and impact in the speech process.
References
1. Abdulvokhidov, E. Pedagogical concept of writers as a means of enriching the pedagogical process. Oriental Renaissance: Innovative, Educational, Natural and Social Sciences Scientific Journal, Vol. 1, Issue 11, December 2021.2. Ibragimova, N. T. The use of interactive methods and techniques in foreign language teaching. “Ta’lim va taraqqiyot” Scientific-Methodological Journal, 2025, Issue 2.3. Tillayeva, R. The effectiveness of organizing research activities in increasing students’ engagement. Proceedings of the Young Philologists’ Society, Alisher Navoi Tashkent State University of Uzbek Language and Literature.
Shamsiddinova Maftuna Hamidjon qizi was born on April 28, 2003, in Norin District, Namangan Region. She began her education at Secondary School No. 17 in her district, then continued her studies at the Academic Lyceum of Namangan State University (NamDU). After graduating from the lyceum, she was admitted on a state-funded (grant) basis to Namangan State University, majoring in Philology and Language Teaching: Uzbek Language.She successfully completed her undergraduate studies with an honors diploma and is currently a graduating master’s student in Uzbek Language and Literature at Namangan State Pedagogical Institute.
Maftuna’s strong interest in languages, alongside her devotion to her native language, has also led her to study English. At present, she works as a teacher of Uzbek language and literature at a specialized creative school focused on languages.
Maftuna’s goal is to become a highly qualified specialist in her profession and, through her expertise, to share knowledge and contribute to the education of others.
1st-year student, Department of Uzbek Language and Literature,
Denau Teacher Training Institute
Email: qudratovanozima@gmail.com
Annotation
This article explores the linguistic features present in the works of the renowned literary figure Tog‘ay Murod, distinguished for his profound narratives and unique style. Through a comprehensive analysis, the study highlights key linguistic elements that define Murod’s writing, offering insight into his literary techniques and contributions to the cultural and artistic landscape.
Tog‘ay Murod stands as a prominent figure in modern Uzbek literature, celebrated for his captivating storytelling and innovative narrative approach. His works have long fascinated both readers and critics, prompting scholarly interest in the linguistic elements that form the foundation of his distinctive literary voice. This article examines the recurrent linguistic features within Murod’s works, revealing the craftsmanship behind his style and illuminating the essence of his literary genius.
Murod’s literary corpus spans various genres—from prose to poetic narratives—each crafted with its own linguistic precision. His prose is characterized by rich imagery, metaphorical language, and nuanced character development, all of which create immersive storytelling experiences for the reader. Moreover, his use of symbolism, allegory, and intertextuality adds layers of depth, inviting readers to engage with multiple levels of interpretation.
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Linguistic Characteristics in Murod’s Works
Beyond his narrative mastery, Murod’s poetic works demonstrate exceptional linguistic rhythm and lyrical expression. By artistically arranging words and sounds, he captures the essence of emotion and human experience, creating a deep resonance with readers. His exploration of linguistic ambiguity and semantic complexity contributes to an intellectual dimension that encourages readers to reflect on the subtleties of language and meaning.
A systematic approach—combining close reading, stylistic analysis, and comparative research—was employed to examine Murod’s linguistic techniques. Works representing different periods of his creative activity and covering diverse themes were analyzed. Textual fragments were studied for recurring linguistic patterns, rhetorical devices, and stylistic choices, providing a comprehensive understanding of his unique writing style.
One of Murod’s most notable contributions lies in his transformation of the natural speech of ordinary people from the Surkhan region into a literary stylistic device. He was among the first to elevate this regional vernacular to the level of a refined artistic tool. Following in the footsteps of earlier creators, he developed his own perspective on literary style. Researcher M. Khidirova describes language as the foundation of literary structure, noting:
> “A literary work is like a tower. It has its own foundation. The lifespan of the work depends on this foundation. The foundation of a literary work is language. Life begins with language and ends with language.”
Thus, the linguistic worldview of Tog‘ay Murod embodies a philosophical understanding of language as both an artistic and spiritual necessity. His unique stylistic mastery continues to serve as a school of artistic skill for young writers, especially at a time when the Uzbek language is flourishing as a state language and its preservation and development are of great importance.
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Theoretical Perspectives on Style
Classical and contemporary scholars alike have offered insights into the formation of literary style. The eminent
scholar Abdurauf Fitrat emphasized that as a writer matures artistically, a distinctive style emerges:
> “As a poet or writer rises in artistic mastery, he begins to create a style peculiar to himself. When his imagination, thought, and understanding reach maturity, a unique style naturally appears.”
Literary critic O. Sharafiddinov likewise described style as an all-encompassing phenomenon permeating every aspect of a writer’s work:
> “A writer’s style is like air—we breathe it without noticing its components. Style is the spirit of creativity, the subtle fragrance present in every work.”
Accordingly, Tog‘ay Murod’s reflections on artistic language and style deserve special attention. Language, artistic vision, and literary technique interact harmoniously in his works, shaping an individual and unrepeatable style formed through philosophical perception, cultural identity, and narrative skill.
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Tog‘ay Murod’s Creative Language
Tog‘ay Murod is widely recognized for his original and vivid prose, which resembles poetic narrative in both rhythm and imagery. Even casual readers familiar with modern Uzbek literature can easily identify his works by their expressive, colorful, and deeply lyrical language. This distinctive quality sets him apart from other writers.
In works such as Otamdan qolgan dalalar (“Fields Left by My Father”) and Bu dunyoda o‘lib bo‘lmaydi (“One Cannot Die in This World”), Murod won the admiration of readers by portraying the sincere and humble people of the Surkhan region—their hardships, aspirations, and inner worlds. His language is deliberately simple, flowing, and deeply rooted in folk expression.
He skillfully incorporates proverbs, idioms, synonyms, archaic words, and dialectal expressions, enriching the artistic imagery of his narrative. Folk speech enhances the authenticity and emotional connection of his works. For example, dialectal words such as baycha, jigit, bova, iyarmoq, angnib yotmoq, and yonashtirmoq vividly illustrate the regional character of his narratives:
> “I told the boys to lie down by the river and keep watch.”
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Discussion
The linguistic features identified throughout Murod’s works emphasize his innovative approach to storytelling and his profound connection to language as a tool of artistic expression. By blending imagery, metaphor, symbolism, and intertextual references, he creates multilayered narratives that resonate deeply with readers.
Moreover, his linguistic versatility allows him to traverse different genres and thematic landscapes, demonstrating the breadth and depth of his creative vision.
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Conclusion and Recommendations
In conclusion, the study of Tog‘ay Murod’s linguistic features reveals a writer of exceptional talent and intellectual depth whose works continue to captivate and inspire audiences worldwide. Future research may further explore specific aspects of his linguistic style—such as dialect usage, narrative voice, or linguistic innovation. Comparative analyses with other literary traditions may also offer valuable insights into the evolution of literary language and expression.
Ultimately, the linguistic richness of Tog‘ay Murod’s works serves as a testament to the enduring power of language to illuminate human experience and provoke thought. As readers engage with his texts, they embark on a journey of linguistic discovery, uncovering layers of meaning and developing a deeper appreciation for the art of storytelling.
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References
1. Oydinda yurgan odamlar. G‘. G‘ulom Literature and Art Publishing House, Tashkent, 1985.
2. U. Jo‘raqulov. Nazariy poetika masalalari: Muallif, Janr, Xronotop. G‘. G‘ulom Publishing, Tashkent, 2015, pp. 148–150.
3. U. Faulkner. Qora musiqa. Yangi Asr Avlodi Publishing, Tashkent, 2018.
4. A. Fitrat. Adabiyot qoidalari. Tashkent: O‘qituvchi, 1995.
5. O. Sharafiddinov. Iste’dod jilolari. Tashkent.
Qudratova Nozima Bahrom qizi. 2006.11.12.
Surxondaryo viloyati Shurchi tumani Oynako’l mahallasi Amir Temur ko’chasi 160 uy.
+998 90 071 06 11.
Denov Tadbirkorlik va pedagogika instituti 1 kurs talabasi. Filologiya fakulteti o’zbek tili va adabiyoti guruhi.
An Immigrant’s Letter Home: They Say I’m the Problem
Fresh off the boat Plank splinters sticking in my bottom Foreign words coating my throat Accented with spices smuggled in my breath
I am here by mule train and burnt gasoline Aero plane and broken shoestrings Paid for everything by commercializing My entire life into round metal beads Covered in ghost heads and iconic scenes I’ve not yet had the chance to see The way they haunt my pockets
Exchanging, “for an excellent rate,” he says to me An Uzi armed sentry stamps my history Of entry in passport holograms The picture shivers between two sheets of paper While I wait on a bench to claim a meal voucher waiver For my wife and two Because where I come from, that’s just what we do If there’s enough left over, I might eat too
We spend most of our time here in a whole-way shelter Rust-stained gate and chain-linked containers Thankful we’ve earned this destination Instead of the alternative Where we can cash out our dream banks for the hopes of better gold Even though we’re not sure of the accounts we’ve been sold
Everyone here sleeps, eyes clinched into folds But awake in mind sweat Soaking in the nightmares of regret When barreled crabs said, “you all won’t get past” And, “you’ll never last” And, “we’ll be seeing you when you come crawling back”
But this was never intended to be a round trip We have a new home here even though We’re not aware where exactly here is Or if it’s built real in stick or brick But in the hope of the memories We haven’t started remembering yet
So, I try not to be a burden At nine o’clock, I walk across the parking lot To start the job that I’ve created Washing windshields for tips And trotting across traffic to get Another car clean to cover business expenses Incorporating my skills from an era gone by Of staying organized To capitalize my homeland’s handouts Before they were demoralized
At eleven o’clock, I beat down the tracks To bus restaurant tables and bust my back Below minimum wage reimbursement Where it’s a fact that taxes get held back In snide murmurs and slant glances Carving contempt on my appearances I absorb this as a symbol of respect As I did before, our towers were wrecked.
At the other eleven o’clock, I slip through the cracks Of the shelter’s back door slats And immerse my mind In language and cultural contexts Of the people and places I didn’t know existed In this new condition set
I often wonder why we worried and hesitated And held our expectations on presidential level aspirations Instead of holding ourselves as the democratic inspiration In the nation our ancestors created We eroded through horror and hatred Where we poked one another’s eyes Bled ourselves to death then painted Our remnants onto dust bound, thin air
At night, I don’t sleep much at all Remembering what we had before the fall The collapse of the systems Freedom and prosperity Jester dancing in the world’s mockery Wrapped in tricolor liberty wings
But now, it all seems like a distant dream I, go sleepless, knowing it isn’t a thing No more grain waves or sea shines The Mother of Exiles sank in the shoreline As another empire lost on its way to find The cause that made it an envious emblem
Now, they say I’m the problem
Urban Cowboys
this is where we sleep against tonight paper pallets lining the underpass tomorrow we follow the sun’s tail pulling the needle in our compass towards another city’s concrete stable wind whisking the stray cat’s mane from left to right and North to West without hay filling our bellies our Coke bottle canteens collect dust as we close our eyes around headlight fires resting our feet on empty bed rolls and wonder, “When will we ever be home?”
With Backs to the Rules
navigating life in a series of legends meandering across the foreign out there most people travel by grasping for the rules
some reach to rules to know where to stand other lean into rules for strength the greedy want rules to get ahead the rebels want rules to overthrow
but instead, there are poets poets travel with their backs to the rules in an eternal commission banished outside Plato’s republic
with one foot on the frontier of the knowable and the other foot hovering over the faith filled infinite white-knuckling enough courage to speak of sins wrestle written love ciphers for translating fringes in fragments onto the next poet
in messages urging us to leave safety and step outside and in time, return to spread the possibility of how poets travel,
with backs to the rules
The New Colossus
(*Note: A series of four blackout poems repeated from, The New Colossus, by Emma Lazarus as written on the base of the U.S. Statue of Liberty.)
Brendan Dawson is an American-born poet and writer based in Italy. Brendan writes from his experiences while living, working, and traveling abroad. Currently, he is compiling a collection of poetry and short stories from his time serving in the military and journey as an expat.
Semantic analysis of the use of gerund and infinitive
Suyarova Gulsanam Sherzod qizi Student of CSPU Department English language and theory The group of 22/5 suyarovagulsanam6@gmail.com
Annotation In this article, the features of using the tense forms of the to-infinitive and the gerund, the verbs after which one of them is used, as well as the verbs that can be followed by both the infinitive and the gerund, and their semantic differences are analyzed. Key words: verbs, infinitive, gerund, features
Annotatsiya Ushbu maqolada to-infinitive va gerundning zamon shakllarini qo‘llash xususiyatlari, ayrim fe’llardan keyin ulardan qaysi biri ishlatilishi, shuningdek, o’zidan keyin ham infinitive, ham gerund talab qiladigan fe’llar hamda ularning ma’nodagi farqlari tahlil qilinadi. Kalit so’zlar: fe’llar, infinitiv, gerundiy, xususiyatlar Аннотация В данной статье анализируются особенности употребления временных форм инфинитива с частицей to и герундия, глаголы, после которых используется один из них, а также глаголы, после которых могут употребляться как инфинитив, так и герундий, и различия в их значении. Ключевые слова: особенности, глаголы, инфинитив, герундий.
In the grammatical system of the English language, verb forms hold a particularly significant position. A verb not only conveys an action or a state but also functions as the central grammatical element of the sentence. Categories such as tense, person, number, and continuity of action are expressed through verbs. Therefore, the accurate use of verbs is vital for learners. In English, verbs have various non-finite forms such as the infinitive, gerund, and participle. These forms enrich speech by adding semantic nuances such as cause, result, condition, or continuity. In Uzbek, non-finite verb forms correspond to verbal nouns and also possess their own tense distinctions.
The Tense Forms of the Gerund 1.Simple Gerund (V+ing): expresses a present or general action. Example: She advised going to the party yesterday.
Perfect Gerund (having + past participle): denotes an action completed before another. Example: Can you remember writing a letter to me for the first time?
The Tense Forms of the Infinitive
Simple Infinitive (to + verb): action simultaneous with or following the main verb. Example: It seems to rain.
Continuous Infinitive (to be + V-ing): expresses an ongoing action at the same time as the main verb. Example: My brother pretended to be listening to music.
Perfect Infinitive (to have + past participle): action occurring before the main verb. Example: He refused to have stolen the money.
Perfect Continuous Infinitive (to have been + V-ing): continuous action prior to the main verb. Example: She seems to have been learning English for two years. Verb Usage
Infinitive is used to express purpose, after adjectives (happy, eager), after nouns/pronouns (something, someone), after too/enough, and in structures like it + be + adjective. Example: I always do my homework to achieve good results.
Gerund functions as a noun, is used after certain verbs (enjoy, avoid, consider), after expressions (be busy, can’t help, have difficulty), and after prepositions. Example: Reading is useful for us.
Change of Meaning with Gerund and Infinitive Some verbs allow both forms but change meaning depending on which is used:
Remember: remember to do = not forget / remember doing = recall
Stop: stop to do = pause for another action / stop doing = quit
Try: try to do = attempt / try doing = experiment
Regret: regret to do = be sorry / regret doing = feel sorry about
Mean: mean to do = intend / mean doing = involve
Forget: forget to do = not remember / forget doing = not recall
The correct use of gerund and infinitive is essential for learners of English. These forms influence not only grammatical accuracy but also the semantic content of speech. A clear understanding of their forms, functions, and meaning differences allows learners to express themselves more fluently and precisely. The main difference between gerunds and to-infinitives in terms of temporal meaning lies in the fact that the gerund generally expresses the action as a process or a factual event, while the to-infinitive conveys purpose, intention, or result. Perfect forms highlight actions that have already occurred, whereas passive forms indicate actions performed upon the subject or actions that are required to be performed. Consequently, the correct use of gerund and to-infinitive forms is a crucial means of accurately expressing temporal meanings in English.
References
Quirk, R., Greenbaum, S., Leech, G., & Svartvik, J. A Comprehensive Grammar of the English Language. London: Longman, 1985.
Murphy, R. English Grammar in Use. Cambridge University Press, 2019.
Huddleston, R., & Pullum, G. K. The Cambridge Grammar of the English Language. Cambridge University Press, 2002.
Eastwood, J. Oxford Guide to English Grammar. Oxford University Press, 1994.
Swan, M. Practical English Usage. Oxford University Press, 2005.
I always remember your eyes Green with hope That hope that slipped through your fingers That hope that in your youth swept you away…
Those eyes that life dragged away with the current of despair trying to extinguish them…
Your eyes that light up at the simplest things and fight to keep the light of life alive…
That life that wasn’t easy that was an eruption of incomprehensible situations…
Your eyes still hold the flame Of hope That hope that so often was lost along life’s path.
Mirta Ramírez- Chaco- Argentina
Mirta Liliana Ramírez has been a poet and writer since she was 12 years old. She has been a Cultural Manager for more than 35 years. Creator and Director of the Groups of Writers and Artists: Together for the Letters, Artescritores, MultiArt, JPL world youth, Together for the letters Uzbekistan 1 and 2. She firmly defends that culture is the key to unite all the countries of the world. She works only with his own, free and integrating projects at a world cultural level. She has created the Cultural Movement with Rastrillaje Cultural and Forming the New Cultural Belts at the local level and also from Argentina to the world.
