Andijan State Institute of Foreign Languages
Foreign Language and Literature, German Language Direction
Student of Group 402 Yunusova Khodisa
Scientific Advisor Ismanova Odinakhon

Morphological construction of a word: types and classes of morphemes. Diachronic and synchronic view of word structure. Morpheme and allomorphemes.

Abstract: This article analyzes the morphological construction of a word, that is, the types and classes of morphemes, which are the smallest meaningful parts of a word. Also, approaches to word structure from the diachronic (historical development) and synchronic (current state) points of view are studied. The article also examines in detail the concepts of morpheme and allomorpheme, their differences from each other and their scope.

Annotation: This article analyzes the morphological structure of words, focusing on the types and classifications of morphemes—the smallest meaningful units of language. It explores both diachronic (historical development) and synchronic (current state) approaches to word structure. The article also discusses the concepts of morpheme and allomorph, highlighting their differences and usage in linguistic analysis.

Abstract: V dannoy state rassmatrivaetsya morfologicheskoe stroenie slova, a imenno tipy i klassifikatsii morphem — naimenshikh znachimyx edinits zyzyka. Analyziruyutsya diachronichesky (historical development) and synchronic (modern state) approaches to the structure of words. Takje podzlo rassmatrivayutsya concepts of morphemy and allomorphy, ix razlichiya i oblasti primeneniya v lingvistike.

Keywords: morphological structure, morpheme, allomorph, word formation, diachronic approach, synchronic approach, linguistic analysis

Morphology studies word classes, their grammatical meanings, grammatical categories specific to each class, grammatical forms and grammatical meanings that give rise to these categories, and the structure of the word. Just as a language consists of a system, its morphology also forms its own system. In turn, the morphological system also consists of its own sub-systems. By elucidating the essence of each of them, the morphology of the language is studied as a whole, as a system. The internal system (subsystem) specific to each word class is formed by morphological categories specific to this class. Morphological categories consist of a unity of general and specific meanings specific to a particular phenomenon and word forms expressing these meanings.

The essence of certain morphological categories is determined by the clarification of these word forms and their general and specific meanings. In other words, the essence of one of the internal systems within the morphological system is determined. For example, the tense category of a verb constitutes a separate system in the M. of the verb. Therefore, the expression “system of verb tenses” is also used in relation to the tenses of the verb. The essence of the tense category of the verb, the tense system, is that all tense forms express the relationship of the action to the time of speech (moment of speech). This is a feature common to all tense forms.

At the same time, the verb form (forms) of each tense have their own specific characteristics. For example, past tense forms indicate that the action took place before the time of speech, present tense forms indicate that the action took place during the time of speech, and future tense forms indicate that the action took place after the time of speech. These common and specific features of verb tense forms are the essence of the tense category, the system of verb tenses.

Therefore, by determining the essence of each morphological category related to the verb class, the morphological system of the verb is illuminated. In linguistics, morphology is the study of words, how they are formed, and how they relate to other words in the language. It studies the structure and parts of words, such as the root, stem, prefix, and suffix. Morphology also studies the ways in which word classes, intonation, stress, and context change the pronunciation and meaning of words. Morphology is distinct from the morphological classification system, which classifies languages ​​according to the way words are used, and from lexicology, which studies how words and their structures make up the vocabulary of a language. Phonological and orthographic changes between a root word and its derivation can affect literacy skills.

STICKY EASTER CAKE!

As a simple Poet I was quite alright

As a Known Poet I always thought

Whatever I write is absolutely right 

When they called me Global Poet

It simply increased my head weight!

When labelled Veteran Great Poet

I stopped attending local gatherings,

Instead, sent a Walking Stick as my symbol!

I carried on like this for many years.

I chose Easter Day to solemnize, as

Wedding Day of my only daughter

I printed picture of walking stick in invitation card

So that people can recognise me easily, The Bard!

A big Easter cake was mass attraction of function.

I remained busy with the bride and groom

Almost all the time inside the green room

When it was apt Muhurtham* time,

I came to the dias and looked around for guests

All the seats in front were already occupied,

By none other than lot of Walking Sticks!

* Auspicious moment 

   for any  prescribed function.

©® Balachandran Nair

India

…   …   …   …   …   …   …   …    …   …   …   …   …

Short biodata of Balachandran Nair (in third person):

Balachandran Nair is a multilingual poet from Kerala, India. He has published five poetry authorities and his poems took place in 90 more books published world wide. He has translated an anthology from language Malayalam to English. He has also published a book on rightful disposal and cremation of human body after death. His poems have been translated to 88 world languages so far. He has three unique World Records for introduction of more than 400 school children as New Poets in a continuous one-year online literary drive in 2022. He is now preparing to bring in 3000 more Student Poets in the near future under the auspice of International Academy of Ethics. He is Life Time Member in IAE and Advisor in many literary platforms. 

A storm is brewing

The afternoon reveals its darkness

Dark clouds appear swiftly

Pushed by the furious wind…

It’s time to get home

Before the raging storm hits.

It’s hot

Upset and alienated by the weather

A heavy day, as if it were squeezing the chest…

The first drops fall

Bless the afternoon to quell the bad mood…

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.

Muhammad Yusuf is Muhammad Yusuf

Born in Andijan, where he took root,

To poetry, he brought his tribute,

His aching heart poured words absolute,

Muhammad Yusuf is Muhammad Yusuf.

A simple poet, his face sincere,

His words are humble, his gaze is clear,

His verses we cherish, hold them dear,

Muhammad Yusuf is Muhammad Yusuf.

His poems are famous in his land,

In Andijan, Namangan, and Kokand.

Such poets are rare across the strand,

Muhammad Yusuf is Muhammad Yusuf.

He wrote of his nation’s silent cries,

Of gazelles with tears in their eyes,

Of venomous scorpions in disguise,

Muhammad Yusuf is Muhammad Yusuf.

The ram was slaughtered at a whim,

A white steed left without a claim.

Love burned his heart with ruthless flame,

Muhammad Yusuf is Muhammad Yusuf.

He loved a Turkmen girl, fate turned cruel,

Her portrait burned with a passion fuel.

Confessing love, he broke his rule,

Muhammad Yusuf is Muhammad Yusuf.

His homeland’s history in verse he traced,

Red tulips in sorrow, their petals embraced.

In Ellikqala, his breath was erased,

Muhammad Yusuf is Muhammad Yusuf.

A legacy vast he left behind,

His words still echo in heart and mind.

Letters to his mother, tenderly signed,

Muhammad Yusuf is Muhammad Yusuf.

A songbird son of Uzbek soil,

Born in a farmer’s hands, free of guile.

His poetry binds hearts with style,

Muhammad Yusuf is Muhammad Yusuf.

Dilbek Ergashev is a 3rd year student of the direction of organization and management of the activities of cultural and art institutions at the State Institute of Art and Culture of Uzbekistan.

Vernon Frazer’s concrete poetry collection “Nemo Under the League” recalls Jules Verne’s underwater sea exploration journey in its title. Like Captain Nemo, Frazer’s poems probe lesser-explored and lesser-mapped areas: aesthetics and the subconscious. Black, white, and grey text, text boxes, lines and shapes appear on the page with the focus more on the aesthetic effect of each composition than on the literal meaning of the words. 

The phrases and their arrangement on the page may seem random at first glance. However, there’s usually a directionality to pieces, such as “Blocking the Inevitable” which guides viewers’ eyes to the right, and “Reflection Locked in Reflection,” which follows a diagonal or elliptical path to suggest light bouncing off a mirror. 

Sometimes the images evoke clip art, as in “Desire After the Elms,” or comic books, traffic lights, or even soup cans, as in “Career Moves.” Or even art deco motifs, as in “Birthing an Ungiven Given.” The text will occasionally relate to the title or presumed theme of the poem (such as “hordes of insufficient data” in “Finding a Reaction” and “overblown deduction guides tax the patience excessively” in “In Charge of What Follows”) but tangentially, creating the effect of a composition inspired by the idea rather than the linear development of a thought. 

At times, while reading, I speculated on what colors and shades Frazer would choose had he decided to incorporate colors. Sometimes my mind suggested possible shades of deep blue, or vivid orange, or light green. The monochromatic feel works, though, to focus attention on the words themselves as the artwork rather than splashy colorful shapes. 

In some pieces, “Flayed Nerve Endings Frayed” and “Reeling Toward the Reel” text itself forms into oval egg shapes or curlicues. Elsewhere, words appear in mirror images of themselves, vertically, diagonally, penetrated by arrows. Words become not just representatives of images or ideas, but as images and design implements themselves, while remaining readable. 

The very last poem in Frazer’s collection, “The Transverse Clatter Balcony,” ends with text cascading down to the end of the lower right of the page. It reads “the last word … cast overboard … definition matter … soaked … in the lumbago sea with Carthage.” Words and meaning are not impermeable or permanent here, but forms of matter subject to the weathering of time, nature and history. 

I recently came across Dr. Leonard Shlain’s The Alphabet Versus the Goddess: The Conflict Between Word and Image, in which the cultural anthropologist argues that the development of abstract, linear, alphabet-focused language rewired human brains and changed ancient societies. These changes brought about modern technologies but also fostered war, competition and hierarchy, religious extremism, legalism, and the subjugation of women and the natural world. As an author himself, Dr. Shlain advocates, not for the eradication of books and alphabets, but for greater balance between holistic, image-focused understanding and reductionist, linear ways of making meaning. 

Vernon Frazer’s Nemo Under the League represents an effort at re-calibrating that societal balance by integrating words and images inextricably. It’s worth a read, or a perusal!

How do you match up the words you use to their backgrounds? Is there a pattern, or do you choose what feels right each time? 

It seems different each time, but I probably work with several patterns that I’ve acquired from doing the work.

Even in these pieces, which involve composition, improvisation always plays a role at some point, directing me to choose what, basically, feels right at the time I’m writing it. During improvisational thinking, more elaborate plans do emerge: I can see a full page design or pattern of several pages at times.

What makes a word interesting to you? Sound, shape, length? 

Sound is probably the foremost. Sometimes I feel like a jazz musician whose instrument is language. Generally, when I have difficulty finding the right phrase, I choose the one that sounds the most musical to my ears.  It almost always turns out to be the best choice. Sometimes working with the shape of a letter or word leads to a phrase, a verse or a visual pattern.

Would you ever work in color? What inspired you to choose a black, white, and gray color scheme? 

My equipment and the economics. My old color printer used an ink cartridge for every page I printed and the cost of printing a color book would make the sale price too high. Over the years, technology changed many things, as we all know. Ten or fifteen years ago, I talked about trying to do this work in color but my life didn’t make it a priority. When I joined the C22 Poetry Collective a few years ago, their aggressive experimentation led me to try it. So, I wrote a color book called SIGHTING I did that’s online, but not yet officially published. It’s officially coming out May 7.

When words occur to you, how do you decide whether to put them into a concrete poem or free verse? 

More my mood in the moment, I’d say. When I feel I’m starting to stagnate, I’m more likely to do a concrete poem or a multimedia video to relieve my dissatisfaction. Those are the most demanding, after all. Sometimes I write textual poems because I don’t want to meet a more demanding challenge. Nothing is entirely easy, but some days I want to work in a different way, say, strictly with text and either a projective or left-margin pattern. Each method plays a role in my life.

Do you have any other writers or artists who have inspired or influenced you? Anyone whose work you find especially interesting? 

I have many influences and hope I’ve made something of my own from all that I’ve learned. Jack Kerouac started me as a writer at 15. William Burroughs and Joseph Heller’s Catch-22 shaped my prose style. Until age 36, I aspired to be a novelist. But Charles Olson was an early influence at 15 and a major influence on my poetry until about 1988, when my style changed considerably. Peter Ganick introduced me to language and visual poetry. I absorbed many writers he published. My writing began to reflect the experimental work bassist Bertram Turetzky exposed me to in the mid-60s, when I studied bass with him. Peter’s publications revived those interests. Then, Steve McCaffery and bp Nichol influenced my work around 2002. I’ve read and absorbed many others; I was a literary omnivore.

Vernon Frazer’s Nemo Under the League is available here from the publisher.

Muhsin kizi, student of Polytechnic No. 1
Phone number 94 326 58 50

Annotation

When every Uzbek girl says these words, she feels a sense of pride in herself, as if there is a divine feeling in these words. Of course, after all, this is what she says, I am an Uzbek girl. Do you know what makes Uzbek girls Uzbek?. An Uzbek girl is distinguished from representatives of other nations, first of all, by her honor and pride, because with these we proudly say that we are Uzbeks. Throughout history, Uzbek women have stood out from women of other nations with this feature and still do. When we hear these women, the brave Tümaris and Tümaris followers, we sincerely envy them. The woman who paved the way for literature, science, and thinkers, Nodirabegim Uvaysi Zulfiyakhanim, is following in their footsteps and is raising the Uzbek flag all over the world and proclaiming that she is an Uzbek girl.

Key words: Uzbek girl, nation, family, upbringing, demands of the times, science, culture, nationality,

Introduction
Uzbek girls receive their first and foremost upbringing from their own family. Of course, mothers, grandmothers, grandfathers, and fathers are responsible for this. Generally speaking, seven neighborhoods are responsible for an Uzbek girl. Every girl is told from a young age that in the future she will be the head of a family, the mother of a child, the companion of a man, the daughter-in-law of a family. As she grows older, she is taught household chores, greetings, and from these ranks. In many cases, there is a discrepancy between traditional views and the requirements of modern life. However, by adapting this discrepancy, the image of Uzbek girls is enriched more and more.

Main part
Today’s Uzbek girl is choosing a specialist in science, a scientist, a researcher, a politician, an athlete and a number of universal professions and is improving her knowledge and skills in these areas theoretically and practically. Uzbek girls are not only preserving their national values, but also declaring themselves in any professions around the world, of course, raising the flag of Uzbekistan to the sky and saying that we are Uzbek women and girls, seeing these results, Uzbek women and girls are giving themselves the strength, energy and motivation to achieve their goals and dreams, and seeing these results, one is delighted.

Conclusion
The Uzbek woman is not only the trust of the family, but also the trust of the entire society, the pride of the nation and the mirror of culture.

References

1. Norboyeva G. – Sociology of the Family – Tashkent Uzbekistan 2020.
2. Kadirova M. Women and Society Gender Equality Issues – Tashkent Social Thought 2019
3. Kurbonov D. Ancient Customs and Traditions of the People of Uzbekistan – Tashkent Akademnashr 2014