In my creative work, I analyzed the work “Ming bir jon” by the prominent representative of Uzbek literature, Abdulla Qahhor. In this work, the author artistically portrays human life, patience, emotional experiences, and social issues. During the analysis, special attention was paid to the content and essence of the work, its ideological direction, and the system of characters. Through this creative work, my goal was to gain a deeper understanding of the work and to develop my skills in literary analysis.

The Human Psyche and Philosophy of Life in Abdulla Qahhor’s Story “Ming bir jon”

Ro‘zimatova Madinaxon Sherzod qizi

Kokand State University

Faculty of Humanities and Languages, 1st-year student

Abstract. This article provides a scientific-theoretical analysis of Abdulla Qahhor’s story “Ming bir jon”, a prominent work of Uzbek literature. The story explores the issues of human love for life, physical weakness, and spiritual strength. The study examines the ideological and artistic characteristics of the story, the system of characters, psychological depiction methods, and the writer’s mastery of realism. Through “Ming bir jon”, the author demonstrates, on a scholarly basis, the human will to live and the virtue of patience.

Keywords. Abdulla Qahhor, “Ming bir jon”, realism, human psyche, philosophy of life, literary character, psychologism, Mastura, Akramjon, Hoji aka, educational significance.

Abdulla Qahhor, one of the leading representatives of the realism movement in Uzbek literature, portrayed human psychology and the harsh realities of life in a profound and expressive manner. His story “Ming bir jon” is among the significant works that vividly reflect his views on humanism, love for life, and the power of will. In this work, the author creates the image of a physically weak but spiritually strong person, emphasizing the value of life.

Ming bir jon was created in the mid-20th century and reflects the psychological state and attitude toward life of people in the post-war period. The main theme of the story is the struggle of humans for life, the boundless desire to live, and patience. Through this story, Abdulla Qahhor depicts a person who, despite serious illness, hardships, and suffering, never gives up on life, illustrating their spiritual strength.

The ideological center of “Ming bir jon” is the value of human life and the will to live. Qahhor conveys this idea not through direct advice but through the emotional experiences and life circumstances of the characters. The story shows that, despite physical weakness, a person preserves their inner world and spiritual wealth through mental strength and willpower.

The main characters who reveal the ideological foundations of the story are Mastura, Akramjon, and Hoji aka. Mastura has been ill for ten years and receiving treatment, while Akramjon takes care of her with devotion. He even serves her in the hospital for five months, which demonstrates the human love and loyalty that manifest the characters’ spiritual strength. Hoji aka, as a symbol of human compassion and empathy, observes Mastura in the hospital, shows concern for her condition, and provides her with emotional support. Ideological analysis shows that the story presents inner strength, patience, and the desire to live as the main idea. Through this work, Qahhor interprets life’s meaning, human love, family loyalty, and the value of human life as a philosophical whole.

For example:

“Mastura seemed to live not with one soul, but with a thousand souls.” [111]

At the same time, the story emphasizes that the worth of life lies not in its duration, but in its content, in a person’s spiritual strength and their capacity for love toward others:

“She was not afraid of death, she just did not want to give up living.” [112]

The ideological analysis of the story shows that human values, patience, and love are at the heart of its philosophy of life, leaving a deep spiritual impact on the reader. The central character is Mastura, depicted as physically weak but spiritually resilient and determined. Through this character, Qahhor shows that inner strength surpasses external conditions. The following passage illustrates the character’s psychological state:

“Though her breath was short, her eyes shone with the determination of a person who had not given up on life.” [111]

As Qozoqboy Yo‘ldoshev notes: “Qahhor’s characters live not through action but through their state.” [68-69]

Mastura’s character is a vivid example of this psychological approach. Her husband Akramjon cares for her consistently; he has been attending to her in the hospital for five months. This is a strong expression of human love, courage, and willpower. Another figure, Hoji aka, shows human kindness by checking on Mastura’s well-being, a type of person rarely seen today.

A distinctive feature of Abdulla Qahhor’s language is simplicity, clarity, and conciseness. The story employs short, comprehensible sentences that direct the reader’s attention to content and psychological details. Qahhor makes extensive use of colloquial expressions, everyday life details, and natural dialogues, enhancing realism and naturally conveying the psychological state of the characters.

As Naim Karimov notes: “The power of Qahhor’s language lies in its naturalness, able to convey deep meaning without excessive embellishment.” [55-56]

The poetics of silence and psychological detail affect the reader’s inner contemplation, allowing deeper immersion into the characters’ psyche. In the story, psychological realism is the central poetic tool. Qahhor depicts the inner experiences of the characters accurately and naturally, allowing the reader to access their spiritual world. Through psychological details, each character’s inner world, decisions, and emotions are conveyed to the reader. The poetics of silence serves as a non-verbal means of expression. Qahhor communicates feelings and psychological states through silence, unspoken thoughts, and small gestures, enabling the reader to experience the emotions of each scene internally. The following free citation demonstrates psychological realism and the poetics of silence:

“She spoke little, yet in every silence, the hope to live could be felt.” [113]

Poet Abdulla Oripov assesses this feature as follows: “In Qahhor’s prose, one word of silence can sometimes have a stronger impact than an entire page.” [82-83]

Ming bir jon teaches readers patience, love, loyalty, and the appreciation of human values. The love between Mastura and Akramjon, and Hoji aka’s compassion, cultivate notions of family, humanity, and mutual assistance in society. At the same time, the work demonstrates the importance of not surrendering in the face of life’s hardships, maintaining spiritual endurance, and striving for life. These qualities enhance the story’s artistic, educational, and social significance.

In conclusion, Abdulla Qahhor’s story “Ming bir jon” is recognized as a mature example of psychological realism and the poetics of silence in Uzbek prose. The story reveals subtle nuances of the human psyche and perfects the depiction of human love, loyalty, and compassion. Through its central characters, the author shows the complexity of life, the balance between physical weakness and spiritual strength, as well as the importance of patience, love, and spiritual resilience. Therefore, “Ming bir jon” is a work of both artistic and educational significance, providing deep moral lessons and encouraging the appreciation of human values.

References:

Qahhor A. Tanlangan asarlar. — Tashkent: G‘afur G‘ulom Publishing House. 2005

Karimov N. Abdulla Qahhor ijodi. — Tashkent. 2010

Yo‘ldoshev Q. Badiiy tahlil asoslari. — Tashkent. 2002

Normatov U. XX asr o‘zbek adabiyoti masalalari. — Tashkent. 1996

Oripov A., Vohidov E. Adabiyot va hayot haqidagi maqolalar. — Tashkent. 2000

Teshayev S. O‘zbek nasrining rivojlanishi va problematikasi. — Tashkent: Fan va Texnologiya. 2010

Mirzayev A. Psixologik realizm o‘zbek adabiyotida. — Samarkand: Sharq Publishing. 2000

Xolov D. Badiiy uslub va til xususiyatlari. — Tashkent: Ma’rifat. 2001

Sobirov F. XX asr o‘zbek hikoyachiligi. — Tashkent: Adabiyot Publishing. 2002

Yusupov R. Adabiyot va ma’naviyat masalalari. — Tashkent: University Publishing. 2010

I, Roʻzimatova Madinaxon Sherzod qizi, was born on December 31, 2007.

My father is Usmonova Sherzod, and my mother is Usmonova Tabrakxon.

Currently, I am a first-year student at the Faculty of Humanities and Languages at Qoʻqon State University. I consider obtaining an education and improving my knowledge and skills to be one of the most important goals in my life.

Sevara To’lanboy qizi Mahmudova, first-year student of the Preschool Education program, Namangan State Pedagogical Institute.

Yangi To’da MFY, Pop District, Namangan Region.

THE EDUCATIONAL AND UPBRINGING SIGNIFICANCE OF DIDACTIC GAMES IN PRESCHOOL EDUCATION

Zohidaxon To’lanboyevna Qoraboyeva

Associate Professor, Department of Preschool Education, Namangan State University

Sevara To’lanboy qizi Mahmudova

1st-year student, Preschool Education, Namangan State University

ABSTRACT:

This scientific article provides a comprehensive analysis of the educational and upbringing significance of using didactic games in preschool education. The role of didactic games in developing children’s cognitive activity, independent thinking, logical reasoning, speech, and creative abilities is examined. Additionally, the development of social skills, teamwork, mutual cooperation, discipline, and moral qualities in children during play is scientifically explained. The article discusses the types of didactic games, methods for their effective implementation in the educational process, and pedagogical outcomes through examples.

Keywords: Preschool education, didactic games, educational significance, upbringing significance, cognitive activity, creative abilities, social skills, pedagogical process, education through play.

Over recent years, significant efforts have been made in our country to raise children into healthy and well-rounded individuals, as well as to establish an effective preschool education system that implements efficient teaching and upbringing methods. In particular, educational-methodical, didactic materials, and literary works for preschool organizations have been selected and incorporated into classroom activities.

Play is the leading activity for preschool-aged children. Learning through play is one of the approaches for children’s education and development. Play is a natural way for children to explore themselves and the surrounding world. It develops the child’s personality, cognitive abilities, social-emotional skills, creativity, and physical development. Interaction with peers and educators during play enhances speech, social skills, and motor development. Play provides opportunities for cooperative learning, taking risks, making mistakes, and overcoming challenges. Most importantly, play makes learning enjoyable and fosters imagination and creativity.

Play can take various forms: completely free initiated by the child or group, minimally guided, or fully organized by the educator. While recognizing the importance of free play, the decisive role of the educator in guided play should also be acknowledged. The educational process should provide opportunities for play, and a supportive environment contributes to it.

Didactic games, in particular, enhance critical thinking, attention, memory retention, and quick reasoning. Creating the conditions for play—providing children with sufficient time, space, supportive resources, and toys—is crucial. Educators working with preschool children should actively facilitate children’s play.

A key element of didactic games is rules. Adhering to rules ensures the content and objectives of the game are achieved. Didactic games are directly related to education and serve as a teaching method suitable for preschool-aged children. Experienced educators use these games to engage passive children in group activities and encourage them to perform tasks without fear. Didactic games should always be planned based on clear objectives.

Didactic games help children play together, align personal and group interests, assist each other, and experience joy from peers’ success. They also foster positive personal qualities such as honesty and sincerity. As practical activities, didactic games allow children to apply knowledge gained during lessons in various ways, helping them connect learning with real-life situations.

Examples include games like “Find by Color” or “Find by Shape” for younger children, and “What do workers do?” or “What do farmers grow?” for older children. Didactic games reinforce knowledge about the surrounding world, develop thinking, creativity, sensory skills, and help organize acquired knowledge.

Didactic games make learning easier and more enjoyable. Age-appropriate and engaging activities allow children to complete intellectual tasks naturally and effectively. The more playful elements included, the greater the enjoyment for children. The central aspect of a didactic game is its guiding idea, which generates interest and motivates participation, such as games like “What’s in the Bag?” or “Who makes which sound?”

Each didactic game has content, rules, and activities closely linked; removing any component prevents the game from proceeding. Rules in didactic games govern children’s actions, interactions, and help cultivate self-regulation and mutual control. Evaluating the outcomes from both children’s and educators’ perspectives is important. From the children’s perspective, one should consider moral and educational gains, intellectual effort, reasoning, attention, and memory. Positive experiences increase self-confidence and bring joy. From the educator’s perspective, it is necessary to assess whether the objectives and intended outcomes were achieved. A game is considered successful if it both engages children and meets planned pedagogical goals.

Rewards and recognition can motivate children, but they should not be the sole incentive. Game actions include moving objects, organizing, classifying by color, size, or shape, and performing critical thinking tasks. Older children engage in more complex group interactions and coordinated activities.

The game’s outcome is the specific achievement of the didactic game, such as solving riddles, completing tasks, or demonstrating reasoning. The game’s content, concept, actions, and rules are interconnected, and the educator guides the process, incorporating children’s questions, suggestions, and initiatives to enrich and expand the game. Timing the start and end of the game effectively is crucial.

Didactic games can be conducted in classrooms, halls, playgrounds, forests, fields, and other spaces, enhancing impact, variety, and children’s engagement. Considering children’s age and individual characteristics, adjusting pace and rhythm, and proper evaluation by adults are essential.

TYPES OF DIDACTIC GAMES

Tabletop games: Help children organize knowledge about the environment, develop thinking (analysis, generalization, description). Examples include lotto, matching pairs, dominoes, and mazes.

Verbal games: Develop listening, quick thinking, and the ability to express ideas clearly. Typically conducted with older preschool children.

Object and toy games: Played from early childhood to school age, focusing on attention and imagination. Children learn about objects’ properties, functions, and characteristics.

In conclusion, play is a fundamental activity for preschool children, shaping personality, social behavior, and future learning, labor, and interpersonal skills. Didactic games are crucial tools for intellectual, moral, labor, and aesthetic development, and their careful planning and implementation support effective preschool education.

References:

Resolution of the Cabinet of Ministers of the Republic of Uzbekistan, December 31, 2019, No. 1059, “On approval and implementation of the Continuous Spiritual Education Concept.”

Resolution of the Cabinet of Ministers of the Republic of Uzbekistan, December 22, 2020, No. 802, “On approval of the State Standard for Preschool Education and Upbringing.”

F. Qodirova, Sh. Toshpo’latova, N. Qayumova, M. A’zamova. Preschool Pedagogy. Tafakkur Publishing, Tashkent, 2019.

I.V. Grosheva, G.E. Djanpeisova, U.T. Mikailova, M.A. Ismailova et al. Learning through Play / Methodical Guide. 1st Edition, Tashkent, 2020.

D.Sh. Mirzayeva. Preschool Pedagogy, Tashkent, 2022.

Sh. Sodiqova. Preschool Pedagogy, Tafakkur Publishing, Tashkent, 2013.

Notre Dame de Paris 

On the City Island, Notre Dame de Paris,

Is our Cathedral, where we pray, where we chant,

It is a very tall and very elegant,

Old, medieval building, where my heart ever is.

The stained windows of blues, and reds, and ivory,

Enlighten this whole space with a peaceful ambience,

Of faith, of hopes, and love, and you feel the presence,

Of some holy spirit, there, holy memories…

We have built this big church to offer to Mary,

And to her divine Son, Jesus Christ, all our lives:

The future of our lives, as their past and glory…

Once a fire took its roof, but by miracle,

The place stood still, then the firemen could arrive,

To set flames off. Then we repaired it…

                                                      Mystical!

*****

Jesus is with us.

In Paris, there is a legend,

That Jesus lives, rue Cordelières,

In a hidden villa, where ends,

A lane… Since our past hundred years.

He reputedly reads a lot,

Of old scriptures and some novels,

Served by a guard of the angels,

He thinks, he prays there, for the most.

Some say, He sometimes walk the streets,

To museums, or bakeries,

Or cafes, anonymously…

To a beggar, apparently,

A man who gifted jewelry…

Could have been Him! 

                    Who knows? 

                               Him, Christ!

Timothee Bordenave is a French author of essays, fictions and poems. He has published about 25 books today, in France and internationally. He is also an international artist. He used to work directly libraries in Paris, where he was born in 1984 and still resides now.

Ghazal From My Notebook

You, What are you now that I am gone?

What are we now that I am gone?

I have been on my lonesome for the past year and four months.

What has changed since I’ve been gone?

I still think of you, every time I see a pair of Levi’s jeans or think of our old art teacher,

but your face has blurred in my mind since I’ve been gone.

I’ve replaced you

I didn’t want to, but times got hard while you were gone.

How often do you think of me, have you replaced me too

now that I’m gone?

A Vase

A Poem response to H is for Hideous by Kim Hyesoon

It was a woman

Before it was a vase.

It was able to live as what it was

There was no man to exploit it patterns

It was more than being forced to rest upon a table.

Its once beautiful silhouette once had flowers decorated across its skin 

Yet now it was bloody and dirty from shards of ceramic pieces.

The human part of it became enclosed in a tiny hole

Slivers of confusion only being left

It was taken away by a man

Was told lies that it was unlovable

Unfixable

Until it believed it too.

It had nowhere to be

Nor no home

Even when the man claimed to be its husband

There was no warmth of a home there

It had become

A vase of a mindless woman with only a man inside of her.

Tell us about yourself, dear Vivian.

How did you start painting? 

Painting entered my life at a very young age as a way to express my emotions.

 What is your inspiration?

 My inspiration is the human being, feelings, and even something simple like a song.

2. What is the message you want to give through your art? 

Through my works, I want to capture the viewer’s interest and create a feeling, either positive or negative.

Where is your inspiration coming from?

 My inspiration comes from my daily life and my emotions.

3. Do you believe that new generation is creating art? 

I believe that the new generation has talent and creativity

Do we have good painters or not? 

There are many remarkable young artists who create with passion and authenticity.

4. How have you felt when you see your Art awarded in Art media event this February?

It was a moment of emotion and gratitude. I felt that the effort and love I put into my creations were recognized. At the same time, it was a motivation to continue with even greater strength.

5. Do you want to share with our readers a phrase that changed your life:

“Live in the present and do not be afraid of the future.”

6. What is your future project?

In the future, I would like to study at the School of Fine Arts and then continue to be actively involved in the art field.

…..

Biography 

Vivian Daouti is 19 years old and comes from Platanos, Ancient Olympia, Greece. She is a high school graduate and currently in her second semester at the Educational Union (SAEK) of Athens. She holds a Proficiency diploma in English and is a self-taught painter.

At the age of 17, she participated in a painting exhibition for the first time, where she received an award and highly positive reviews, while several of her works entered private collections. Despite her young age, she has already taken part in twenty-four group exhibitions in Greece and abroad — Austria, Istanbul, Turkey, Athens, Pyrgos, Naousa, Paros, Syros, Ancient Olympia — earning distinctions and honorary awards.

In March 2025, she received the 1st Audience Award at the Pan-European Dreamteam Competition at the War Museum of Athens. The award was presented by the Mayor of Ancient Olympia, Mr. Aris Panagiotopoulos. On the occasion of this distinction, the Metropolitan of Ilia, Mr. Athanasios, as well as the Directorate of Secondary Education of Ilia, sent her congratulatory letters for her artistic course and for representing her school at the art exhibition in Istanbul.

In August 2025, she participated in a group exhibition in Ancient Olympia that lasted 24 days and attracted high attendance and warm reviews.

In September 2025, she held her first solo exhibition at the Latsio Municipal Hall of the Municipality of Pyrgos, which drew impressive attendance and very positive feedback from the public and art institutions.

In January 2026, she presented her second solo exhibition in Ilioupoli, Attica, with great success.

In February 2026, she was awarded for the second consecutive year with the 1st Audience Award at the Pan-European DREAMTEAM Art Competition at the War Museum of Athens.

Her works have been published in collectible books, international painting volumes, as well as in print and digital media. At the same time, she participates with her work in the commemorative French edition of the historical volume on the life of the Dredes.

She is a collaborator of the creative group “Grypiotis Collection.”

Her goal is to study at the School of Fine Arts and to explore different cultures through travel, exhibitions, and museums around the world.

The Voice That Still Inspires: The Enduring Legacy of Zulfiya

In the tapestry of Uzbek literature, certain voices weave themselves so deeply into the national soul that they become timeless. One such voice is that of Zulfiya Isroilova, a poet whose words continue to serve as a beacon of strength, dignity, and hope for generations. She was not merely a writer; she was the embodiment of the Uzbek woman’s spirit—resilient in the face of tragedy and unwavering in her devotion.

Zulfiya’s life and work were defined by a “quiet bravery.” After the early loss of her beloved husband, the great poet Hamid Olimjon, she did not succumb to despair. Instead, she transformed her grief into a universal language of loyalty. In her famous lines from the poem “O’g’lim, sira bo’lmaydi urush” (My son, there shall be no war) or her moving elegies, she captured the inner world of a woman who carries the weight of the world with grace. Her poetry reminds us that faithfulness—to one’s family, one’s values, and the motherland—is the highest form of courage.

What makes Zulfiya’s legacy truly extraordinary is her refusal to portray women as fragile. In her verses, women are depicted as strong-hearted architects of the future. They are mothers who nurture the nation, daughters who carry the flame of dreams, and intellectual companions who stand equal in the journey of life. As she once beautifully reflected, a woman’s heart is capable of containing the entire universe’s warmth, even during the coldest winters of hardship.

For today’s youth, Zulfiya is more than a historical figure; she is a modern role model. In a rapidly globalizing world, she teaches us that one can achieve international literary acclaim while remaining deeply rooted in cultural identity. The Zulfiya State Prize, established in her honor, is a testament to this ongoing inspiration, encouraging thousands of young girls across Uzbekistan to pursue education, creativity, and leadership. Her life proves that when a woman finds her voice, she doesn’t just change her own destiny—she elevates the entire society.

The voice of Zulfiya still echoes in our hearts today. Her legacy is a celebration of spiritual strength and national pride. As long as her poems are recited, her spirit will live on, whispering to every girl that she possesses an inner power capable of changing the world. Zulfiya did not just write poetry; she wrote the manifesto of the modern Uzbek woman.

Uzbekistan State World Language University English Philology Faculty, first year, 2513-group, Gayratova Dilnavo.