Today, Turkic-speaking peoples are spread not only in Central Asia, but also from the Sea of Oxoto to the shores of the Black Sea, from Siberia to northern Afghanistan and Iran, partly in Iraq and Eastern Europe, and the total number of speakers is more than 200 million.
The largest number of Turkic-speaking people are the Turks, that is, the people living in the territory of Turkey, their number is about 100 million, and most of them live in Germany. The second largest group is the Uzbeks, the total number of which is about 50 million. because about 8 million people of Uzbek nationality live in the geographical area called South Turkestan, that is, in northern Afghanistan.
At the same time, I must say that in the Republic of Azerbaijan, more than 9 million people of Uzbek nationality live in the northern Ereon area, which is the unofficial name About 15 million Azars live in southern Azerbaijan. As we mentioned above, Gagauz people of Turkic nationality live in Eastern Europe, that is, in the Republic of Moldova, and they have their own administrative territory and language. Currently, Turkey, Azerbaijan, Uzbekistan, Kyrgyzstan, Kazakhstan, and Turkmenistan are part of the United Nations.
There are a few independent Turkic states, but the Turkish Republic of Northern Cyprus is partially recognized and there are also about 20 autonomous or separate Turkish states. For example, Nakhichevan Autonomous Republic in Azerbaijan, Gagauzia in Moldova, South Turkestan in Afghanistan, Eastern Turkestan in the PRC, i.e. Uyghurs. and many other republics in the territory of Russia: Bashkirstan, Tatarstan, Tuva, Yakutia, Chuvashia, Crimea, Karbadino, Bulgaria, Karachay, Cherkessia, etc., and in the territory of Uzbekistan there is also the sovereign democratic republic of Karakalpakstan, and the population belonging to the Karakalpak nation lives here.
These peoples speak several languages belonging to the Turkic language family. We will divide them into 4 large and 2 small groups. The first group is the Kipchak group, this group includes: Kazakh, Karakalpak, Kyrgyz, Karaim, Bashkir, Karachoy, Nogay, Tatar, Crimean Tatar, the second group, Oghuz, Azerbaijani, Turkmen, Gagauz trills, and the third group, Qarluq.
It includes the Uzbek and Uyghur languages, and then the big group is the Siberian group, which includes the Altai Tuva, Khakas, Shora, Yakut languages. The other two subgroups are the Bulgar group, which is grammatically and lexically slightly different from the Turkic languages, the only language of which is the Chuvash language, and the second subgroup is the Khalaj Gurhi, which includes the Khalaj language and the Khalaj language of Iran. used by the Turkish ethnic population.
By Jakbaraliyev Zafarbek Ziyodbek, 8th general secondary school
Now he is an 11th grade student in school. He has a B2 level in English, besides he knows Turkish and Italian. Until now, I have been the “Laureate” of the “Rainbow Stars Art Festival” republic. At the same time, I am a participant of the republican stage of the “most exemplary school captains” competition. I am a participant of the regional head of the 2023 History Olympiad.
First, here’s an announcement from contributor Frank Blackbourn, who asked us to share in our publication:
I hope this message finds you well. I’m reaching out on behalf of a woman in our community who urgently needs support to avoid eviction. She is a neurodivergent artist and mother who started a small Etsy shop to support her family by selling unique items that promote acceptance for the LGBTQ+ and ADHD communities.
Right now, she faces a critical challenge. Her only means of transportation—a van she relies on for her business and income—broke down, requiring $1,700 in repairs to fix both the suspension and antilock system. Without this van, she can’t attend events, make deliveries, or earn enough income to cover mounting bills. Every day the van sits unrepaired, her financial situation worsens, bringing her closer to eviction.
The impact of this breakdown has been devastating, and she now faces the immediate threat of losing her home if she can’t get back to work soon. By supporting her GoFundMe, you’re helping her cover these essential repairs, restoring her ability to work and allowing her to keep her family safe and housed.
Now, for this month’s issue, the Thin Fabric of Time. Many cultures mark a time to remember ancestors or deceased loved ones this time of year, believing the veil between life and death was thinnest at this time. Modern physics draws on fabric as a metaphor for space and time as fundamental dimensions of the universe.
This issue’s contributors address cultural memory, family heritage, grief, life and death, and the different generations.
Federico Wardal describes a new museum of antique relics that will open up in Egypt.
Jeff Tobin evokes our inextricable human connection to the past and to personal and cultural memory. Terry Trowbridge recollects the strong and competent women of past Saturday morning cartoons while lamenting his own human weaknesses.
John Grey speaks to our human powerlessness in the face of our own natures as well as the external world. Yet, despite this, we can still believe we are the centers of our own universes.
Xavier Womack’s poetry advises a person to heal the generational wound of not loving oneself. Rubina Anis shares her paintings of women of varying ages standing together.
Dilnura Kurolova celebrates the treasure of friendship. Azemina Krehic draws on contradictions as a metaphor for the irrational beauty of romantic love. Mahbub Alam expresses how love can create its own likeness to heaven here on Earth. Stephen Jarrell Williams shares a simple but elegant poem on spiritual and divine love. Closer to Earth, Noah Berlatsky waxes clever about a clumsy but perfect love.
Duane Vorhees presents near-operatic musical and poetic images of sensuality as Eric Mohrman gasps out miniature vignettes of romantic tension.
Janet McCann reviews Chuck Taylor’s new collection Fever, observing not just the sensuality of the work, but the many restrictions and ‘prisons’ in which the mostly male narrators find themselves and what that says about modern masculinity and men in love.
Philip Butera uses an unfinished painting as a metaphor for a fleeting love affair, highlighting the tragedy but also the inevitability of its bittersweet ending. Taylor Dibbert’s poetic speaker once again sets off on a jet plane after a harsh divorce.
Ozodbek Narzullayev reflects on a passing school year with nostalgia and wishes to stay in touch with classmates. Sevinch Shukurova outlines various types of sentence construction. Z.I. Mahmud churns Indian and Anglo-Saxon cultural iconography together in a cauldron of speculative fiction that ends in effusive praise of Shakespeare.
Maftuna Yusupboyeva celebrates the literary contributions of Karakalpak Uzbek poet Berdak and his place within Uzbek folk and working people’s culture. Marjonabonu Xushvaqtova rejoices in her love for books and reading. Aymatova Aziza celebrates the cultural treasures found within libraries.
Yolgoshova Sevinch offers her love and praise for her native Uzbekistan as she would to her parents.
Marvelous Monday expresses a cultural group’s proud resilience despite poverty and injustice. Komron Mirza laments social and moral decline around him, yet resolves that the world is not yet ending. Rasheed Olayemi Nojeem laments corruption in his country’s judicial system while Jake Cosmos Aller decries the cultural ugliness of hate and authoritarianism. Christopher Bernard highlights the difficulty of choosing among political leaders with imperfect agendas and ideas.
Faleeha Hassan’s short story highlights the strength of a couple keeping their dignity under grinding poverty. Howard Debs’ poem comments on the reality of food service and on those who see the work as a game or a photo-op.
Dr. Jernail S. Anand reminds us that poets and cultural creators are as human as the rest of us, and urges people to be strong yet flexible, like water.
Giulia Mozzati-Zacco captures the scattered thoughts of a young woman nearing her death.
Mark Young conveys moments when the surreal enters our ordinary physical world. Maurizio Brancaleoni highlights humorous moments of life surrounding Halloween/Day of the Dead.
Patrick Sweeney proffers glimpses of the world and culture through sentence fragments. Texas Fontanella plays with words and syntax to craft prose. Saad Ali pairs original haiku with lesser-known historical paintings.
Later, Texas Fontanella plays with verbiage and syntax through disjointed text messages. J.D. Nelson highlights tiny bits of urban and wild life during fall. Rachel Bianca Barbeito crafts tender portraits of gentle puppies.
Turgunov Jonpolat outlines his volunteer work in climate ecology, made possible through an international educational collaboration. Muhammadjonova Farangizbegim Ma’mirjan discusses technology and gamification as ways to effectively teach the natural sciences, including ecology. Anna Keiko writes of psychological and ecological dreamtime and awakenings and the need to protect the environment.
Sayani Mukherjee recollects a languid and happy day in a small country village. Wazed Abdullah praises the steady presence of the stars. Maxliyo Axmatova reflects on the warmth, growth, and renewal brought by the sun.
Ahmad Al-Khatat speaks to the memories that live on in the minds of exiles from war, even on bright calm sunny days. Azemina Krehic reflects on the human cost of war and other violence to Bosnian women and girls.
Maja Milojkovic shares her hopes for peace among the world’s nations and peoples. Eva Petropoulou Lianou speaks to our universal human desire and need for love and mercy. Mesfakus Salahin describes the spiritual and human unity made possible through universal love.
Abigail George grieves over the loss of life in Palestine. Iduoze Abdulhafiz’ prose evokes the human trauma unfolding in Gaza. Jacques Fleury reviews Duane Vorhees’ poetry collection Between Holocausts, which grapples with that vast historical trauma. Daniel De Culla laments the grotesque tragedy of war on this Day of the Dead. Alexander Kabishev evokes the gross devastation of war through a tale of the death of a zoo elephant in Leningrad. Nuraini Mohammad Usman uses onomatopoeia to render digestion into poetry while urging world peace: making dinner, not war.
Ivan Pozzoni evokes the dark history among the beauty of his home Italian island. Alan Catlin describes varying levels of grief underlying a peaceful and beautiful place. Tuyet Van Do laments the human tragedies caused by recent hurricanes in the southeastern U.S.
Anindya Paul harshly evokes the loss of innocence in his poetry. Rukhshona Toxirova outlines ways for physicians to show compassion for patients at a tender age.
Isabel Gomez de Diego crafts images of childhood: a visit to a maritime park, a family photo with a young brother, dressing up for Halloween. Kylian Cubilla Gomez presents photographic scenes of nurturance: squash cultivated in a garden, children’s toys, Russian nesting dolls.
Stephen House grieves over and remembers his deceased mother. Graciela Noemi Villaverde grieves for the loss of her mother’s gentle spirit. Lan Qyqualla draws on a variety of ancient Western myths to lament the loss of his wife.
Nurullayeva Mashhura’s tragic tale of a neglected grandmother reminds us to care for our elders. Rahmiddinova Mushtariy offers praise for the nurturance and teaching of her father. Ilhomova Mohichehra comes to realize how much she values and respects her father as she grows more mature.
Michael Robinson recollects the loving fatherhood he has found from God in a piece describing his Christian salvation and personal journey from wanting to die to having a fresh new life.
Fhen M. crafts a vignette on a comfortable porch, a liminal space between the interior and exterior, inspired by change and transition.
Brian Barbeito speaks to the poetic and mystical meanings he finds embedded in each season, with wisdom in autumn and winter.
Chloe Schoenfeld captures the aftermath of a festive event, the small chaos after the elegance. Seasons change and time passes for us all, and no “mountaintop experience” can last forever.
Jacques Fleury shares wisdom from a teen dying of cancer to motivate us to live with passion and joy. Mashhura Ahmadjonova reflects on the whirlwind passage of time.
Mykyta Ryzhykh depicts a ghostly ship where all the mariners have turned skeletal, forgotten even by history. David Sapp also comments on our mortality and how others will eventually lose our memories in the swirling fog of time.
Before that happens, please take some time to savor this issue of Synchronized Chaos and honor each of the contributors by letting their voices be heard.
Yolgoshova Sevinch, Bukhara Region, Kogon District, Barkamol Avlod Children’s School, member of the “Yosh Kalamkashlar” club, 9th grade student of the 17th school in the district, “I bow to those who know you”, 1st place winner of the regional stage.
Shukurova Sevinch
Student, Uzbekistan World Language University
sevinchbahodirovna2005@gmail.com
THE CLASSIFICATION OF COMPOSITE SENTENCES AND ITS TYPES
Abstract: Although the sentence is a fundamental unit of syntax, there is no universal definition for it. This article examines the theory of syntactic units, mainly describing the classification of composite sentences like complex and compound types.
Keywords: subject-predicate units, syntax, syntactical unit, independent clauses, semi-composite sentence.
Introduction
Syntax is a part of grammar, which deals with ways of combining words into phases in a language (Biber 2002;460), i.e. combinations of individual lexemes arranged according to certain principles, which determine the length and meaning of the phrase through a proper choice of morphological partners. The most important phrase is a sentence – a relatively complete and independent communicative unit, which usually realizes a speaker’s communicative intentions and contains one or more subject-predicate units, present or implied.
Sentences fall into simple and composite depending on the number of Subject-predicate units in them. A sentence with one Subject-Predicate unit is called a simple sentence, while a sentence with two or more Subject-Predicate units is called a composite sentence. The word “composite” is used by H.Poutsma1 as a common term for both the compound and complex sentence and it may be accepted by those schools that adhere to trichomotic classification of sentences into simple, compound and complex. This classification established in the English prescriptive grammar of the mid-19th century and accepted and developed by the authors of the classical scientific grammar remains the prevalent scheme of the structural classification of sentences in the grammars of all types in the modern period. A very important syntactic unit, containing a subject and a predicate.
A clause in a composite sentence is similar in its structure to a simple sentence though it acts as a part of a bigger syntactical unit. There are two main ways of linking clauses in a composite sentence: coordination and subordination.
Coordination is a way of linking grammatical elements making them equal in rank.
Subordination is a way of linking grammatical elements makes one of them dependent upon the other (or they are mutually dependent). (Kobrina 2006;421)
There are three types of composite sentences in Modern English:
1.The compound sentence contains two or more independent clauses with no dependent one.
2.The complex sentence contains one or more independent clauses. The latter usually tells something about the main clause and is used as a part of speech or as a part of sentence.
3.The semi-composite sentence combines the two previous types. The compound-complex sentences are those which have at least two independent clauses and at least one dependent (subordinate) clause in its structure: Blair found herself smiling at him and she took the letter he held out to her.
In terms of compound sentence, it actually consists of two or more clauses of equal rank, which form one syntactical whole in meaning and intonation. Clauses in a compound sentence are joined by means of coordination, so they are called coordinate. There are two ways of linking clauses in a compound sentence: syndetic and asyndetic. When clauses are joined with a help of a connector, such as and, but, or, etc., the linking is called syndetic:
The cloud parted and the increase of light made her look up.o
He wants her to live in the towns, but she only cares for woods.
Do you want to leave now or would you rather set off later?
I heard a noise so I got out of bed and turned the light on.
When clauses are joined without a connector, by means of a comma or semicolon, etc. – asyndetic:
Man wants to love mankind; woman wants to love one man.
The church lay up by the railway, the farm was down by the water meadows.
Rickie had warned her; now she began to warn him.
Her attention was drawn to the other messy areas in the bedroom; to the left was a closet with louvered doors open and clothing spilling out
Syndetic coordination is realized by a number of connectors – conjuctions, such as and, but, or, nor, etc., or by conjuctive adverbs, such as moreover, besides, however, yet, still, otherwise, therefore, etc. In speaking coordinate clauses are separated by pauses, while in writing they may be marked off by a comma, a semicolon, a colon or occasionally a dash.
Lets move on the other type of composite sentence – complex sentence, which consist of an independent clause ( also called a main or principal clause) and at least one dependent ( or subordinate) clause:
All good things come to those (2) that wait.
Dependent clauses can be joined to the main clause asyndetically, i.e. without linking elements (She says she loves me), or syndetically, i.e. by means of subordinators.
The class of subordinators includes subordinating conjuctions (as if, because, although, unless, whether, since, etc.) and connectives, i.e. conjuctive pronouns ( who, whom, whose, which, what, whoever, whatever) and conjunctive adverbs (how, when, where, why). Subordinating conjuctions have the sole function of joining clauses together, whereas connectives not only join clauses together, but also have a syntactic function of their own within the clauses they introduce:
I didn’t know whether they had rented that house. (a conjunction)
I didn’t know who had rented that house (a connective, serving as a subject to had rented)
The components of some conjunctions are spaced apart, with one component found in the main clause and the other, in the subordinate clause: no sooner … than, barely … when, the … the. Subordinating conjunctions introduce subordinate clauses. Since 1965 or so, the term “complementiser” has been used in one of the major theories of syntax not just for subordinating conjunctions introducing complement clauses but for all subordinating conjunctions.
The semi-composite sentence is to be defined as a sentence with more than one predicate lines which are expressed in fusion. The semi-composite sentence displays an intermediary syntactic character between the composite sentence and the simple sentence.
Semi composite sentences can be of two types:
' - Semi-compound (e.g. He looked at me and went away.)
- Semi-complex (e.g. The man stood silent.)
One of the representatives of structural linguists Ch. Fries considers two kinds of composite sentences: sequence and included sentence. Example:
1.The government has set up an agency called Future builders.
2. It has a certain amount of funds to make loans to social enterprises.
These two sentences are connected with each other. The first sentence is a situation sentence and the second one is a sequence sentence since it develops the idea of the situation sentence. The most significant difference between these function words as signals of “inclusion” and the forms given above as signals of sequence lies in the fact that these function words of inclusion at the beginning of a sentence look forward to a coming sentence unit, while the signals of sequence look backward to the preceding sentence unit.
Conclusion it is difficult to find an opinion which is shared by the majority of linguists. We must clearly understand that the composite sentence as such is part and parcel of the general syntactic system of language, and its use is an inalienable feature of any normal expression of human thought in intercourse.
References :
1. Gerda M, Valerija N, Jurgita T. English Syntax: The Composite Sentence. The mood. Vilnius, 2010.
2. Iriskulov A.T. Theoretical Grammar of English. Tashkent, 2006
3. Старостина Ю.С. The Composite Sentence. Самара, 2005
4. Ubaydullayeva D. R. The Theory of Composite Sentences and Complex Sentences in Modern Linguistics. International conference on advance research in humanities, New York, USA. 2022
5. Jim Miller. An Introduction to English Syntax. Edinburgh University Press. 2002
6. https://studfile.net
CONTRASTS
Tonight I will wear a lavish dress of modesty,
black, yet still white from purity,
and I will go into warm rooms of ice.
I will dance all night while standing still,
and I will watch you with my eyes closed.
And I will be ideally imperfect,
and I will feel freedom as a captive.
And I will be strongly weak,
here, beside you,
because I love you.
Azemina Krehić was born on October 14, 1992 in Metković, Republic of Croatia. Winner of several international awards for poetry, including: Award of university professors in Trieste, 2019.,„Mak Dizdar“ award, 2020. Award of the Publishing Foundation of the Federation of Bosnia and Herzegovina, 2021. „Fra Martin Nedić“ Award, 2022. She is represented in several international anthologies of poetry.
