Fhen M. won the weekly poetry contest on DYVL radio station on May 2, 2026, with his Waray poem “Bara ha Kasingkasing.” Earlier, on April 26, 2026, he was interviewed by DYNF 91.3 Radyo Kauswagan Teleradyo. He was also interviewed on February 7, 2026, by Bombo Radyo Tacloban, where he shared his thoughts on literature and poetry. He recalls “Basuni” as one of the songs that often played on his grandmother’s radio. A soft, melancholic tune, it filled their home with gentle, lingering notes. In Waray, “basuni” means a splinter lodged deep in the heart, and the song captures the sharp, enduring ache of heartbreak.
Announcing that contributor Michael Steffen has a new book out, I Saw My Life.
About I Saw My Life:From the saying “I saw my life flash before my eyes”, the book’s title announces thresholds, things and moments of arrest and luminosity, resplendent, but also shocking as a near-death experience might be, and fleeting as any flash may be. The stars in their constellations at night glimpsed up through leaves of a tree, the drama of a scull tipped in a powerful mid-river current, a woven shopping handbag, such objects in their places and handling evoke the weights and sensations revisiting the body in reflective memory, at the heart of poetry’s deeply personal yet widely shared and recognized expressions.
Some contributors literally speak of water. Eva Lianou Petropoulou personifies the creatures of the sea as she calls for an end to litter and pollution. Xoʻjyozova Dildora discusses environmental damage to the Aral Sea and efforts to restore the ecosystem. Elaine Murray celebrates the wonder of the ocean, wishing to become a mermaid. Brian Barbeito recollects being stung by a jellyfish, resting, and turning out okay in time, comforted by natural and literary beauty. Later, he celebrates the seafaring-inspired writing of Joseph Conrad.
Others address different aspects of life that can feel fluid, such as light and vast open landscapes. Juan Vadillo’s review describes Beatriz Saavedra Gastélum’s poetry collection, “Lucid Breath of Light,” as a journey exploring light in its various forms, memories, and transformations. Mesfakus Salahin immerses himself into nature and creativity. Stephen Jarrell Williams’ serene piece evokes a feeling of gentle tranquility. JoyAnne O’Donnell meditates on a pleasant afternoon outside in a meadow. Sheikha A.’s short, lyrical pieces use vivid imagery and concise language to evoke a range of natural and serene scenes. Sayani Mukherjee celebrates the beauty and splendor of an outdoor festival. Yee Leonsoo’s poems use extreme natural places (a salt desert and a deep-sea sinkhole) to explore identity, memory, and the feeling of in-between-ness. Mark Young’s geographies creatively mutate random regions of Australia into works of art.
We can also perceive time as more fluid than linear. Chuck Taylor explores the idea of the “now” and how it can be captured in words, considering the brief moments between perception and recording. Barbaros İrdelmen’s pieces intertwine ordinary images with themes of love and loss to explore how human connection, memory, and longing persist within and against time’s flow. Kareem Abdullah speaks of love, longing, and memory. Mustafa Abdulmalek Al-Sumaidi reminds us that we are all mortal. Abdel Iatif Moubarak renders up a tale of a singer’s faded glory still piercing the darkness of night.
One’s personality and attitudes also morph and shift over the years. Sevara Matnazarova outlines how her personality and outlook on life changed as she grew older. Susie Gharib’s work addresses authenticity, self-expression, and a desire for a more compassionate and peaceful existence. John Grey’s work explores vulnerability and resilience within the human (and natural) experience. Elisa Mascia’s pieces draw upon changeable natural phenomena such as wind and butterflies to dramatize introspective and emotive explorations of love, loss, and transformation. Yeon Myung-ji’s poem uses the act of shelling beans as a rich metaphor for introspection, resilience, and the quiet, often overlooked, processes of life and growth. Duane Vorhees’ poems explore themes of love, identity, and transformation, often blurring the lines between reality and fantasy. Nattie O’ Sheggzy delves into the complexities of simple things and searches for meaning, beauty, and authenticity in a chaotic and often dissonant world.
A whole set of poems by Niall McGrath explore themes of memory, identity, social commentary, and personal struggle, often set against the backdrop of Northern Ireland. Poet Michael Todd Steffen, interviewed by Cristina Deptula about his new book I Saw My Life, explores the intersection of personal and historical memories, identity, and mortality, aiming to inspire reflection, acceptance, and a deeper appreciation for the world around us. Lan Xin highlights how holding space for wonder and gratitude can enhance our daily lives. Kandy Fontaine’s piece mixes theater and prose, celebrating artist Tricia Warden and the intersection of art, literature, and identity, particularly in the context of feminist and queer perspectives. Christopher Bernard kicks off the next installment of his children’s story Otherwise, a mixture of cultural thought, suspense and middle-grade energy. Tanja Vučićević describes a personal journey, both physically and emotionally, as they navigate through challenges and seek solace and salvation.
Image c/o Jacques Fleury
Writing can play a part in personal reflection and development. J.J. Campbell uses poetry to process his own experiences and emotions and to comment on the human condition. Yongbo Ma’s poems are reflective and introspective, exploring themes of isolation, disconnection, and the search for meaning. Manik Chakraborty wakes us up with the graceful hope of a new morning and continues to seek artistic inspiration despite abandonment from a muse. Ryan Quinn Flanagan probes ordinary life with a poet’s eye, considering the significance of even mundane objects. Jacques Fleury uses rich imagery and references to mythology and literature to highlight the owl’s dualistic nature, embodying both positive and foreboding qualities. Ananya Guha creates a place where a moment of fear and the stories told about it later blend together into a lasting personal myth, half memory, half ghost story. High school English student Reilley Andre expresses a mature perspective on life, pointing out how different people see matters from various points of view, expressing grief, and showing gratitude for his caring sister.
Some love can remain steady amid the flow of time. Gulsanam Mamasiddiqova offers up words of respect and love for her father. Mubina Botirova expresses her love and gratitude for her mother. Tursunova Mehrinoz Oybek qizi pays respect to her mother’s dedication and kindness. Gulchiroy Axmedova expresses tender sentiments of motherly care. Afrose S. celebrates childhood and urges people to protect children. Prasanna Kumar Dalai evokes the tenderness and fragility of early love. Anwer Ghani depicts a steady, tender, and elegant love. Anindya Paul speaks to a profound and intimate romantic devotion that lingers after death. Daniela Chourio-Soto expresses nostalgia through the means of scent. Yongbo Ma’s playful work also encompasses themes of love and human romantic connection.
Of course, not all love stories end happily, and loss is a part of the human condition. Leon Drake’s poems of heavy nostalgia mourn words left unspoken and relationships left unexplored. Donna Dallas speaks of trauma, monstrosity, addiction, and toxic relationships. Kassandra Aguilera’s fragmented poem explores the intoxicating and often painful dynamics of infatuation. On a broader scale, Milena Pčinjski laments the weight of a troubled world, all that could be and all that will never be. Yet, vulnerability is not necessarily weakness, but a prerequisite for change and growth.
Love and caring can also encompass more than one’s own inner circle. Several contributors discuss the fluid state of societal and international relations and advocate for peace and justice. Alan Catlin’s work highlights the human cost of war and its echoes in art and the human soul. Abigail George’s melancholic, reflective poems mourn destruction in Gaza and a personal loss. Shlok Pandey’s fictional story is a poignant portrayal of the human experience during wartime. David Kokoette describes age-old power dynamics and struggles. Mark Wyatt’s fragmented pattern poetry calls out the atrocities made possible by unquestioning obedience to religious and political dictates. Patricia Doyne mocks Donald Trump’s pursuit of grandeur as Bill Tope presents another satirical take on Trump’s proposed arch. Staci Modisette reminds us to protect ourselves while speaking up for peace and justice. Eva Lianou Petropoulou’s gentle words are set to ethereal vocals and a drifting background melody, with an encore here.Аshurоvа Dinоrа Аnvаrqul qizi outlines the role of Uzbekistan’s National Center for Human Rights.
Cultural and world history might seem static, but it can also be fluid in the sense that we remember it differently, or remember different aspects of it, over time. What and how we remember can have repercussions in the present. Lan Anh, a Vietnamese economics student in Germany, illustrates the intricate web of relationships between nations, economies, and people, highlighting the invisible boundaries that connect and impact lives in unseen ways. Muhammadyusuf Kozimjonov outlines the historical and cultural development of Uzbekistan. Joseph Ogbonna revels in the intriguing cultural and political history of the island of Corsica. Nozima Gofurova describes the cultural treasures she saw during her tour of Uzbekistan’s Center for Islamic Education. Jernail S. Anand encourages us to look to wise examples from history to create the world we would like to see.
Tasneem Hossain celebrates the richness of the world’s heritage of dance. Federico Wardal highlights an upcoming star-studded event in Rome celebrating Dante Aligheri which will be attended by cinema and theater luminaries. Yatti Sadelli reviews Dr. Bashir Issa Al-Shirawi’s poetry, highlighting his theme of the inner strength and resilience of the world’s women.
Language and literature are part of world culture as well as a bridge among various cultures. Nozimova Shukrona highlights the value and importance of reading as a way to learn and participate in global thought. Jernail S. Anand urges readers to nourish our minds as well as our bodies, with a well-chosen and varied diet. Tursunaliyeva Zilolaxon celebrates the value of books, literature and libraries. Joseph Nechvatal’s review of Rus Khomutoff’s poem “Kaos Karma” examines the work as an abstract machine that combines literature and chaos magick philosophy, exploring themes of multiplicity, singularity, and the relationship between poetry and passion. Yulduz Kurbоnоvа explores how courtesies embedded in the Uzbek language can get lost in translation to other tongues. Delo Isulfi pays tribute to Rohini Kumar Behera, reflecting on his poetry, highlighting Behera’s themes of peace, gratitude, and nature, and how they convey a sense of spirituality and universality.
Education serves as a vital site where tradition and innovation meet—a place where societies negotiate fluid continuity and change. Many contributors discuss best practices for teaching language and other subjects in school. Subanova Dilafruz discusses audio aids for young language learners. Charos Mansurova discusses the phenomenon of English “loan-words” in Korean. Azimova Nilufar Egamberdiyevna compares word structures in English and Uzbek. Pardayeva Yulduz outlines methods of English-Uzbek idiom translation. Abduraufova Nilufar Khurshidjon kizi highlights the need for parents and educators to work together to teach young children. Qurbana Mubinakhon Umidjon qizi discusses how parents and educators can cooperate to inculcate national values in Uzbek children. Usmonaliyeva Bahora Abduvali qizi explores the role of idioms in Uzbek literature. Ahadova Feruzakhon looks at ways to improve student vocabulary knowledge.
One of education’s important social functions is to prepare students to join the workforce. The global economic landscape is continually in flux, as several contributors discuss. Satimboyeva Risolat Ilhomboy qizi outlines future prospects for job growth given emerging world technologies. Azamova Feruza Abduholiq qizi suggests ways to improve the service sector of Uzbekistan’s economy.
Turning to medicine, Mamadiyorova Durdona outlines the structure and function of the human placenta. Ashurova Parizoda explores the biological characteristics of the parasite Ascaris and its effects on the human body. Xamroyeva Shaxlo discusses the process of blood formation in the human body.
A common thread in this entire issue is the persistence of human connection in the face of change. Each contributor grapples with how individuals and communities relate to each other, to history and culture, to the natural world. Smaller scale personal narratives and larger stories intertwine as overlapping dimensions of the human story. The blending of artistic forms and styles in several works evokes the complex flowing of ideas within the creative mind, a current that dissolves rigid boundaries among ideas and cultures.
The collection suggests that while much of our lives inevitably flows and shifts with the passage of time and with cultural and technological change, the underlying human impulses to connect, to understand, and to create meaning remain constant..
Practical Analysis of Idiom Translation between English and Uzbek
Pardayeva Yulduz
2nd-year Master’s Student English Language and Literature program, Faculty of Foreign Languages, Uzbekistan
National Pedagogical university Named After Nizami
Abstract (English). This article offers a strategy-oriented practical analysis of idiom translation between English and Uzbek in both directions. The paper systematizes the procedures most frequently required in practice, including idiom-to-idiom transfer, functional substitution, paraphrase, calque, and compensation. The results show that natural idiomatic equivalence is the strongest option when available, but functional substitution is the dominant solution because image, register, and cultural framing often differ across the two languages. The article also identifies recurrent errors such as literalism, false equivalence, register mismatch, and pragmatic loss, and proposes a staged best-practice workflow for translators.
Annotatsiya (O’zbek). Ushbu maqola ingliz va o’zbek tillari o’rtasida idiomalar tarjimasining ikki yo’nalishdagi amaliy, strategiyaga yo’naltirilgan tahlilini beradi. Maqolada idiomadan idiomaga o’tkazish, funksional almashtirish, parafraz, kalka va kompensatsiya kabi amaliy jarayonda eng ko’p uchraydigan usullar tizimlashtiriladi. Natijalar tabiiy idiomatik ekvivalent eng kuchli variant ekanini, ammo obraz, uslub va madaniy ramkalash ko’pincha farq qilgani uchun funksional almashtirish ustun strategiya bo’lishini ko’rsatadi. Shuningdek, maqolada literalizm, soxta ekvivalentlik, uslubiy nomuvofiqlik va pragmatik yo’qotish kabi xatolar aniqlanib, tarjimonlar uchun bosqichma-bosqich ish jarayoni taklif etiladi.
Kalit so’zlar: tarjima strategiyalari, idiomadan idiomaga o’tkazish, funksional almashtirish, parafraz, kompensatsiya, literalizm, uslubiy nomuvofiqlik, tarjima ish jarayoni
Introduction
A practical analysis of idiom translation must move beyond abstract theory and examine how translators actually solve problems when direct phraseological equivalence is unavailable. In English-Uzbek translation, the challenge is not only to preserve meaning, but also to decide whether image, tone, cultural reference, or discourse function should be prioritized in a given context [1; 2; 3].
The dissertation’s practical chapter shows that translators routinely work with a limited but flexible strategy set: idiom-to-idiom transfer, functional substitution, paraphrase, calque, and compensation. The success of each method depends on genre, target audience, and the interaction between semantic adequacy and pragmatic naturalness [4; 5].
The aim of this article is to summarize the dominant practical strategies and to identify the most recurrent errors that reduce translation quality in English-Uzbek and Uzbek-English idiom transfer.
Methods
The study uses comparative qualitative analysis of representative idiom pairs discussed in the dissertation and its appendices. Each solution is interpreted through a strategy lens and evaluated according to semantic adequacy, pragmatic adequacy, idiomatic naturalness, and register compatibility [1; 2; 5].
A second layer of analysis focuses on error patterns. Special attention is paid to literalism, false equivalence, proverbization, excessive colloquialization, and the loss of politeness, irony, or humor, because these errors often make idiom translation sound unnatural even when the basic meaning is recognizable [3; 6; 7].
Results
The first result is that idiom-to-idiom transfer remains the strongest solution whenever a natural counterpart exists. Pairs such as to hit the nail on the head – mixni boshiga urmoq, or tishini tishiga qo’yib chidamoq – to grit one’s teeth, preserve both rhetorical compactness and figurative energy [1; 7].
The second result is that functional substitution is the dominant practical strategy. Very often the source image is not conventional in the target language, so translators preserve the communicative effect through another idiom: when pigs fly becomes hech qachon or tuyaning dumi yerga tekkanda, and qovun tushirmoq becomes to put one’s foot in it [2; 4].
The third result is that paraphrase is necessary under non-equivalence but risky when overused. Descriptive translation protects clarity for culture-bound items such as carry coals to Newcastle or some proverb-like Uzbek idioms, yet repeated paraphrase flattens style and reduces the idiomatic density of the text; for this reason, compensation is often needed in neighboring sentences or passages [5].
The fourth result is that the most common practical errors are predictable: literal translation of non-conventional images, false equivalence based on superficial similarity, register mismatch, and pragmatic loss. In dialogue, these mistakes can distort character voice; in argumentative prose, they can weaken irony, criticism, or politeness [3; 6; 7; 8].
Discussion
The results suggest that idiom translation should follow a staged workflow: detect idiomaticity, interpret meaning in context, choose the most appropriate strategy, check the target expression for naturalness and register, and revise for consistency. This procedure is more reliable than the simple opposition between ‘literal’ and ‘free’ translation [1; 2; 4].
A second implication is that direction matters. Uzbek-English translation often needs stronger register control because proverb-like authority that sounds natural in Uzbek may sound overly didactic in modern English prose, while English-Uzbek translation often needs stronger politeness adaptation in hierarchical or evaluative contexts [3; 6].
Finally, the study shows that high-quality idiom translation depends on systematic checking rather than intuition alone. Translators need phraseological awareness, sensitivity to discourse function, and readiness to use compensation when a single local equivalent cannot preserve all layers of meaning [5; 7].
Conclusion
In practical English-Uzbek idiom translation, natural idiomatic equivalence is ideal but limited, functional substitution is the dominant solution, and paraphrase remains necessary under strong non-equivalence. The most effective professional habit is a revision-oriented workflow that tests every idiom against meaning, tone, register, and communicative effect before the translation is finalized [1; 3; 5].
References
[1] Baker, M. In Other Words: A Coursebook on Translation. 2nd ed. London/New York: Routledge, 2011.
[2] Newmark, P. A Textbook of Translation. London: Prentice Hall, 1988.
[3] House, J. Translation Quality Assessment: A Model Revisited. Tubingen: Gunter Narr, 1997.
[4] Toury, G. Descriptive Translation Studies and Beyond. Amsterdam/Philadelphia: John Benjamins, 1995.
The most sacred and dearest person in my life is my mother. A mother is kindness, patience, and the symbol of endless love. We meet many people in this world, but it is hard to find someone who loves as selflessly as a mother.
My mother is the one who brought me into this world and held me in her arms for the first time. Even when I understood nothing, she felt every cry of mine and found joy in every smile. She stayed awake at night by my side, and when I was sick, she stroked my head and prayed for me. Only as I grow older do I begin to truly understand the value of all this.
My mother’s hands have become rough from hard work, yet those same hands feel like the softest comfort to me. Even when she is tired, she never shows it. For my happiness, she is ready to sacrifice her own. Sometimes I wonder: why is a mother so kind? Because a mother’s heart lives with her child.
Now I am growing up and taking steps toward my dreams. Maybe one day I will go far away, but my mother’s prayers will always follow me. Because a mother’s prayer is the greatest strength and the strongest protection.
Everything in this world can be replaced, but no one can take a mother’s place. That is why we must cherish, respect, and show love to our mothers while we can—so that one day, unspoken words and undone kindness do not turn into regret.
Mother is the light of my life. As long as she is there, the world is bright. As long as she is there, my heart is full of hope. For me, the greatest happiness is to see my mother smile.
My name is Mubina, and my surname is Botirova. I was born on June 20, 2008. I am from Qiziltepa village, Oltiariq district, Fergana region. I am currently studying at School No. 29.
Identifying Restricted Vocabulary in Literary Works
Author: Usmonaliyeva Bahora Abduvali qizi
Affiliation: Uzbekistan State World Languages University
Email: usmonaliyevabahora@gmail.com
Abstract
This article analyzes restricted lexical units utilized in literary texts, specifically focusing on the linguistic and stylistic properties of dialectisms, phraseological units, and idiosyncratic authorial expressions. The research explores the formation of phraseological units, their variation processes, and their functional roles within artistic discourse. Furthermore, through the analysis of works by Abdulla Qahhor and Tog‘ay Murod, the study demonstrates the significance of idioms in character development, psychological portrayal, and the enhancement of aesthetic impact. The findings provide valuable theoretical and practical insights into the study of literary linguistics.
Keywords: literary work, restricted vocabulary, phraseological unit, dialectism, literary text, stylistic features, lexical layer, imagery, individual style, language and society.
INTRODUCTION
Literature serves as a complex system reflecting human psychology, societal life, and an author’s aesthetic vision through linguistic means. Within this system, the lexical layer holds a distinct position, serving as a vital tool for unfolding content, animating characters, and intensifying artistic resonance. In particular, restricted vocabulary—comprising dialectisms, professionalisms, phraseological units, and socio-lectal markers—plays a crucial role in shaping an author’s individual style and realistically depicting the portrayed environment.
The study of the functional characteristics of lexical units in literary texts remains a prominent issue in modern linguistics. The purposeful use of diverse linguistic layers not only elevates aesthetic value but also provides a clearer illumination of a character’s social background, worldview, and emotional state. Consequently, analyzing restricted vocabulary in literary contexts is of significant scientific importance in revealing the profound link between language and society. This article examines the application, types, and artistic functions of lexical layers, specifically restricted vocabulary, supported by evidence from selected literary works.
Historical Context and Terminological Foundations of Turkic Phraseology
While phraseology as an independent branch of Turkic linguistics emerged relatively late, its scholarly roots trace back to the early 20th century. Initially, various terms were employed in place of “phraseology,” a process influenced by the linguistic traditions of that era. In early 20th-century grammatical works, the term “phrase” was often used to denote a sentence or clause, differing from its modern sense—a phenomenon attributed to the influence of Russian grammar.
Azerbaijani linguists B. Cho‘ponzoda and F. Og‘azoda, in their work Grammar of the Turkic Language, introduced significant terminological innovations. Alongside “Semasiology” and “Stylistics,” they utilized the term “Idiomatism,” citing Turkic expressions such as boshga solmoq (to explain/instill) and ko‘z ko‘rmoq (to witness) as primary examples. Systematic research into Turkic phraseology gained momentum in the 1940s and 50s. Prominent scholars S.K. Kenesboyev and Sh.U. Rahmatullayev are recognized as the founders of this field, having classified Turkic idioms and established the discipline’s theoretical framework.
Methodology
To determine the linguistic and stylistic features of phraseological units, the following scientific methods were employed:
Descriptive Method: Used to characterize the relationship between form and meaning, structural composition, and the position of idioms within literary norms. This method was particularly instrumental in detailing the variation processes of numerical components in idioms.
Comparative-Typological Analysis: Applied to identify commonalities and differences in phraseology between the Uzbek and Karakalpak languages. For instance, the equivalent forms of the idiom ko‘zi ilindi (to doze off) were examined through this lens.
Contextual Analysis: This served as the primary method for identifying the function of idioms within the works of Abdulla Qahhor and Tog‘ay Murod. Beyond literal meanings, the analysis focused on the specific emotional-expressive nuances (e.g., irony, sarcasm, or affection) these units acquired within the text.
Linguostatistical Method: Employed to validate the artistic impact of repetitions in Tog‘ay Murod’s style. For example, the repetition of the phrase mo‘min-mazlum (pious-oppressed) six times within a 33-word segment was analyzed statistically.
Literary Analysis I: Abdulla Qahhor’s Phraseological InnovationThe artistic mastery of Abdulla Qahhor is evident in his ability to create new, individualized idioms based on general phraseology. Qahhor crafts expressions so profound and ironically sharp that they often attain the status of folk aphorisms, making it difficult to distinguish his original creations from traditional idioms.
Every phraseological unit is rooted in a specific image or action. Qahhor leverages these foundational images to develop phraseological neologisms. For example, in the idiom og‘zi qulog‘iga yetdi (his mouth reached his ears), the physical imagery of a wide smile is used to convey intense joy.
Furthermore, he adapts metaphorical proverbs, reinterpreting existing imagery to instill them with unique semantic and stylistic functions.
Literary Analysis II: Variation and Structural RelationsAlthough phraseological units are stable, they undergo transformations in speech, leading to new variants. Substituting numerical components often intensifies the descriptive coloring without altering the core meaning. For instance, the common idiom biri ikki bo‘ldi (doubling one’s wealth) appears as biri besh bo‘ldi (increasing fivefold) in Cho‘lpon’s novel Kecha va kunduz to exaggerate the accumulation of wealth. Similarly, numerical variations in expressions like obro‘yi bir pul bo‘ldi (his reputation became worth one cent) versus uch pul (three cents) remain semantically equivalent, both denoting a total loss of dignity.
Literary Analysis III: Tog‘ay Murod’s Folk Mastery
Tog‘ay Murod’s novel Otamdan qolgan dalalar (Fields Left by My Father) is distinguished by its natural, folk-oriented language. The author skillfully employs idioms to reveal character traits and thematic depth, stating that he intended the work to be a linguistic monument to the spiritual identity of the Uzbek people. Murod utilizes the Surkhandarya dialect and colloquialisms to maintain authenticity. This is seen in the character Dehqonqul, whose simple nature is mirrored in the language used by his mother; instead of harsh rebukes, she uses affectionate scolding like “Oshingni yeyin sen tentakni”.
Repetition is another hallmark of Murod’s style, used to heighten emotional resonance. Statistical analysis shows that in one 33-word passage, the descriptor mo‘min-mazlum is repeated six times to emphasize the character’s plight.
Conclusion
Phraseological units manifest both as common linguistic units and as restricted vocabulary bound by dialect or individual authorial style. In the works of Qahhor and Murod, these units serve as essential tools for psychological depth and vivid imagery. Ultimately, the strategic use of restricted lexis enriches the linguistic map of literature.
References
1.Rahmatullayev, Sh. (1992). Phraseological Dictionary of the Uzbek Language. Tashkent: Qomuslar. 2.Kenesbayev, S.K. (1977). Phraseological Dictionary of the Kazakh Language. Almaty: Gilim. 3.Cho‘ponzoda, B., & Og‘azoda, F. (1924). Grammar of the Turkic Language. Baku. 4.O‘rozov, A.T. (2009). On the linguistic features of Tog‘ay Murod’s “Fields Left by My Father.” Language and Literature Education Journal, (5), 45-47. 5.Sadullayeva, D. Phraseological neologisms in A. Qahhor’s works and their semantic-stylistic functions. 6.Qahhor, A. (1987-1989). Selected Works. Tashkent: G‘afur G‘ulom. 7.Murod, T. (1994). Fields Left by My Father (Novel). Tashkent: Sharq. 8.Cho‘lpon. (2014). Night and Day (Novel). Tashkent: Yangi asr avlodi. 9.Ziyonet Educational Portal: https://api.ziyonet.uz/uploads/books/47828
ARC DE TRI-UMP He wants to build a monument, so time will not erase his clout– acclaim will last. Napoleon’s great arch, built centuries past, draws tourists still. His polls will surely climb if he constructs a shrine that shouts his name and carves in stone his face, his wealth, his deeds. Hotels are not enough. A landmark speeds prestige, and guarantees ongoing fame. Who needs another vintage obelisk? One shape sums up his powerful impact: a novel icon– it just might redact fake news of war crimes, loss, and nuclear risk. His war affects the whole world’s oil supply. Proposed: a golden gas pump, built sky-high!
