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.
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.
Short biography: Amb. Dr. Priyanka Neogi from Coochbehar. She is an administrative Controller of United Nations PAF, librarian, CEO of Lio Messi International Property & Land Consultancy, international literacy worker, sports & peace promoter, dancer, singer, reciter, live telecaster, writer, editor, researcher, literary journalist, host, beauty queen, international coordinator of the Vijay Mission of Community Welfare Foundation of India.
They called him Buster before he could walk, a name bestowed mid-flight.
The small body airborne… tumbling across a tent floor, Thud! Landing against a wall. Splat!
The crowd gasps. His father grins. His mother braces for the next throw.
Little Buster learned the language of flight and fall, of prat and pathos, his bruises spelling destiny in slapstick form.
Even before the tiny tyke could talk he knew the music of collapse, how a tumble, timed just right, could make the audiences roar.
A suitcase handle sewn into his shirt so he could be caught — whoosh! — or hurled, or lifted once more toward the lights.
Tossed and tossed again.
No wings held him aloft – only force. Applied gently, they said. He knew how to land without getting hurt, they said.
Whack! — the floor met his shoulder. Clunk! — the chair gave way.
No one blinked as he sailed through the air with the greatest of ease. Whoosh! Crash! Oof!
Poor little beggar. If he wept, he saved it for the wings.
Every gesture a theorem, every stumble a lesson in physics. He mapped the universe in pratfalls, angles, arcs, impossible collisions.
The film sets became his instruments. He built cathedrals of collapse, stood ghostly-serene at their altars of debris.
The house closed around him — Boom! — but he did not move.
The General thundered beneath him, Chuff-chuff! Hiss! Steam! Screech!
He rode its spine through fire and wreckage, choreographing peril with the calm of a monk.
If the world was falling apart, he would stand at its center – unblinking, his hat flat as a crushed box.
He rose through skylights, swung from cranes, rode locomotives like comets through smoke — Bang! Clang! Crash!
When sound arrived it struck him mute.
The clatter of words drowned the music of motion. The studios – deaf to grace – bound him in contracts and broke his heart.
Yet film remembers what men forget. Decades later — click-whirr-flicker — there he was, forever falling, forever rising, forever young, the universe collapsing in perfect rhythm around that impassive, ghostly face.
They said he was reckless. They didn’t see the math — the quiet calculus of momentum and grace, the prayers murmured in angles.
The man was broken. His body a grieving testimony to fractured bones and battered necks. Crack. Pop. Groan.
Fame has no loyalty. The applause faded. The wife who once adored him bled him dry.
He gave her laughter; she returned silence.
Yet his sons, God bless them, saw the angel in their father’s battered frame, the kindness behind the mask, the gentleness no camera could steal.
It is said he lost a forefinger to a clothes wringer. Whirrrr! Snap! Gashed his head with a brick that boomeranged — Thunk! And was once sucked from an upstairs window by a passing cyclone — Whoooosh! — carried floating through the air, and set down, unhurt, in the middle of a street a few blocks away.
That face — oh, that face — the stillest face in motion pictures, an angel carved from exhaustion and grace.
Eyes like cloud light before a storm, mouth a straight horizon line against which the world could crash.
He did not flinch. He never would.
In the twilight reels of his life, Buster walked once more into the light, a man stitched together by falls, patched with laughter, tempered in silence.
The world had turned to color and chatter, but he remained black-and-white and eternal. A ghostly flicker of silver drifting upward through the hum of the projector.
Samuel Beckett once said he had “the perfect face for the condition of being.” And it was true. His face a canvas where absurdity met grace, silence met survival.
Click. Whirr. Flicker.
And there, amid the hiss of the film, the shimmer of dust — a single line escaped him, soft as breath:
“I think I have had the happiest and luckiest of lives.”
THE SIGNIFICANCE OF LEGENDS IN FOLK THOUGHT AND WORLD VIEW
Rahmonkulova Gulsevar Samidovna
1st year student of the Faculty of Uzbek Language and Literature of the Tashkent State University of Uzbek Language and Literature named after Alisher Navoi
Annotation. This article analyzes the role and significance of legends and legends in folk thought and worldview. The scientific basis of the fact that these genres of folk oral art have played an incomparable role in shaping people’s views on nature, society, goodness and evil, life and death is highlighted. Also, the figurative expression of folk thought, philosophical layers in the relationship between nature and man, artistic interpretation of values such as selflessness, faith, love and goodness are analyzed in the examples of the Kashkadarya oasis “Legend of the Creation of Kashkadarya” and “Legend of the Girl Kashka”. This establishes the role of myths and legends in the formation of national historical memory, understanding of spiritual identity, and national worldview.
Keywords: Folk oral art, myth, legend, folk thought, worldview, Kashkadarya, faith, devotion, historical memory, national values.
Folk oral creativity is one of the oldest and most natural forms of human thought. The history, spirituality, life experience, aspirations, religious and moral views, and ways of perceiving the world of every nation are primarily embodied in samples of oral creativity. In particular, myths and legends are genres that hold incomparable importance in the formation of folk thinking and in expressing its worldview. They have served to help humans understand the world, explain natural phenomena, and express attitudes toward concepts such as life and death, good and evil, loyalty and selflessness. In this regard, myths and legends are not only products of artistic thinking but also unique sources that embody the nation’s social, spiritual, and philosophical worldview.
Numerous examples among myths and legends clearly demonstrate how deep and figurative folk thinking is. For instance, ancient myths and legends related to the Kashkadarya oasis are vivid examples of such folk thinking. In the “Legend about the Creation of Kashkadarya,” the emergence of water is depicted as a source of life, embodying the people’s desire to live in harmony with nature and their religious views. According to the legend, in ancient times, the Kashkadarya region consisted of vast deserts and dry plains, where life was full of suffering due to the lack of water. At that time, a kind old saint living among the mountains, seeing the plight of the people, prays to God for mercy, and by God’s grace, a powerful spring bursts forth from the earth’s bosom. This spring flows through the valley, restoring life. The people call this water “kashka,” meaning white, clear water, and name it the Kashka River. Based on this event, the entire region is called Kashkadarya.
This legend reveals important aspects of folk thinking. First, natural phenomena are linked to divine power. That is, in the folk worldview, water is perceived as God’s mercy and a source of life. Second, the legend expresses the people’s sense of goodness and gratitude: people regard the appearance of water as God’s mercy and treat it with respect. Third, the metaphorical (symbolic) form of folk thinking is clearly evident in the legend: the word “kashka” signifies not just the whiteness of the water but its purity and life-giving quality. This demonstrates the artistic and semantic richness of the folk language and the ability to express deep meaning through words.
In folk legends, along with artistic fabrication, moral and educational ideas are strongly expressed. The “Legend about the Origin of the Name Kashkadarya” is one such example. Through the image of a beautiful and selfless girl named Kashka, it highly expresses the people’s spiritual values, humanity, selflessness, patriotism, and ideas of love and kindness. According to the legend, drought engulfs the land, all springs dry up, and people are left in despair. At that time, Kashka girl does not abandon her people and sacrifices her life to provide water for the homeland. She prays to God to save the people, saying, “Take my life, but let water flow here.” As a result, a river bursts forth from the earth’s bosom, but the girl herself merges into that river. For this reason, the people begin to call the river Kashka River and the region Kashkadarya.
This legend embodies several layers of folk thinking. First of all, it shows the people’s affection for nature and their perception of water as a symbol of life. At the same time, the legend sanctifies the image of a woman, her selflessness, and placing the people’s interests above her own life, which are important virtues in the Uzbek people’s spiritual worldview. Through the symbol of Kashka girl, the people have embodied concepts such as “selflessness,” “loyalty,” and “goodness.” Thus, in folk legends, one can see the people’s moral ideals through artistic images.
In both of these examples, we see that folk thinking is formed based on metaphorical expression, religious views, and social values. Myths and legends are historical sources that preserve various layers of the folk worldview from different periods. Through them, we learn how ancient people perceived the world, what beliefs they held, and how they understood life. In this sense, myths and legends are the people’s “oral philosophy.” They appeared before written sources but preserve deep philosophical content within them. For example, in many Uzbek myths, natural elements like water, trees, mountains, sun, and moon are depicted as symbols of vital force, blessing, and purity. This shows that folk thinking was formed in harmony with nature.
Furthermore, myths and legends express universal values such as the struggle between good and evil, the connection between humans and nature, labor, patience, and selflessness. For instance, in legends about “Koksaroy Spring” or “Aral Sea,” there lies a philosophical content warning about disasters resulting from human indifference or greed toward nature. This reveals the moral-didactic nature of folk thinking. Through their oral creativity, the people have taught lessons to generations, shaping feelings of goodness, patience, love, and respect for nature in their minds.
Another important aspect of myths and legends is that they serve as a means of preserving historical memory. Behind every legend stands a specific historical event or person. By expressing them in artistic form, the people have strived not to forget their history. For example, legends like “Bibi Seshanba,” “Girls’ Fortress,” “Chortoq Water” are connected to events in folk memory, religious beliefs, or ancient customs. All of them hold an important place in preserving folk thinking as social memory.
In today’s folklore studies, myths and legends are studied not only as artistic heritage but also as a source for researching “national identity (selfhood).” Because these genres are a unique model of folk thinking, expressing the people’s attitude toward their history, nature, and human values. By analyzing them, the people’s ancient philosophical worldview, social ideals, and aesthetic views are restored. For example, through the legend about the Kashka girl, we understand that the people depicted women not only as beauty but also as a source of life, a symbol of love and selflessness. This, in turn, shows the ancient respect of the Uzbek people for women and their sacred place in society.
In conclusion, myths and legends are one of the oldest sources expressing the historical layers of folk thinking, religious and spiritual worldview. They illuminate the stages of humanity’s artistic perception of the world and embody the people’s inner spiritual world, aspirations, beliefs, and views on life. Myths and legends are also highly valuable for modern humans because they remind us of the Uzbek people’s spiritual roots, living in harmony with nature, and values such as selflessness, goodness, and devotion to faith. Thus, myths and legends are a living bridge of folk thinking continuously extending from the past to the future.
References:
Jo‘rayev M., Saidova R. (2002). Bukhara Legends. A. Qodiriy National Heritage.
Imomov K. (1989). Myth. Essays on Uzbek Folklore. Volume II. Fan.
Uzbek Folk Myths. Uzbek Myths, Wisdoms, Legends. Ten-volume set. Volume 3. A. Qodiriy National Heritage.
Razzoqov H., Mirzayev T., Sobirov O., Imomov K. Myths and Legends.
Uzbek Folk Oral Poetic Creativity. Textbook. – T: O‘qituvchi
Rahmonkulova Gulsevar Samidovna, 1st year student of the Faculty of Uzbek Language and Literature of the Tashkent State University of Uzbek Language and Literature named after Alisher Navoi
National values are the elements that make a nation truly itself and ensure its identity as a people. They distinguish us from other nations and, with their unique charm and originality, arouse curiosity and admiration in people.
Through our values, we come to know our roots and our true identity. National values are the spirit of the nation — the heartbeat that keeps it alive. Their sincerity, uniqueness, and inner beauty captivate every human heart.
What differentiates one nation from another are its language, traditions, clothing style, celebrations, and moral values.
For instance, our national values include the Navruz festival, the Uzbek people’s unique hospitality, respect for elders, and strong family unity.
Unfortunately, in today’s era of globalization, some young people are influenced by foreign cultures and begin to forget their own national identity.
The excessive impact of the internet, fashion, and foreign lifestyles can weaken our national values. Mixing languages in speech, ignoring national attire, or considering ancient customs as “old-fashioned” are dangerous tendencies.
Therefore, preserving national values is not merely about remembering the past — it is about protecting our future.
Young people play the most crucial role in safeguarding these values. If today’s generation deeply understands its history and culture, the future of our nation will be bright.
National values are first instilled within the family. Children learn from their parents’ behavior and their respect for traditions.
In educational institutions, subjects such as history, literature, and culture help awaken a sense of national pride among students.
Hence, every family and school must firmly uphold the fortress of national values.
In the age of globalization, national values are our greatest treasure. They not only distinguish us from other nations but also serve as a source of inspiration for the entire world with their unique beauty.
Our values are the bridge connecting us with our ancestors.
If each of us contributes to preserving them, future generations will take pride in their roots and heritage.
To preserve national values means to protect one’s homeland and one’s people.
Matnazarova Munisa Mahmud qizi was born October 2, 2006, in Xonqa District, Khorezm Region, Republic of Uzbekistan. Currently a student of Urgench State University.
