One season for clubs, for spades, diamonds, hearts:
one suit for every season.
One card for every week in the year:
each suit has a baker’s dozen.
One season for clubs, for spades, diamonds, hearts:
one suit for every season.
One card for every week in the year:
each suit has a baker’s dozen.
Stud poker is what we’re dealt these cards for:
clubs for the living, spades for the dead,
diamonds for the rich ones, hearts for the poor.
–Hurry up and deal, we all said,
and save the talk for later!
Sailors and gamblers all die between decks,
one suit for every season.
The sailor waits for his day of shipwreck,
the gambler plays for the losing.
–We’re dealt such a salty game of paker:
Here’s the salt for the baker’s bread
and salt for the wet grave of the sailor.
–Just pass the salt, is what we said,
and hold our snack for later.
Lawyers salt their brief times away at court,
one suit for every season;
laws just clubs and spades; they steal the divorced
diamonds, bury hearts with reason.
The dealer shuffles and his hands go blur
and he passes the blacks and reds
and fills our hands with clubs, spades, diamonds, hearts.
–Just deal me wild cards, we each said,
and leave justice for others.
One season for clubs, for spades, diamonds, hearts:
one suit for every season.
One card for every week in the year:
each suit has a baker’s dozen.
Stud poker is what we’re dealt these cards for:
spades to the living, hearts for the dead,
diamonds from the rich ones, clubs on the poor.
–Just deal those cards, we said, we said.
and keep speeches for later!
QUOTIDIAN
Nostalgia deferred.
We all live in tomorrow’s yesterday.
Somebody dies. Somebody enters our lives. The sky reddens. A fog sets in. Airplanes crash. A package arrives. Stock prices change. A buck crosses a brook at dawn. Cancer spreads. A sperm enters an egg. A poem happens.
Today’s guest is the distinguished young Uzbek poet, journalist, and translator Jakhongir Nomozov — a member of the Azerbaijan Journalists’ Union and the World Union of Young Poets, the Uzbekistan correspondent for Azerbaijan’s “Butov Azerbaijan” newspaper, a recipient of numerous international literary awards, and a devoted promoter of literature and cultural dialogue.
E. M: Esteemed Jakhongir, do you tell us about the beginning of your passion for the literary arts and where your first inspirations originated?
J. N: I believe that every human has an innate inclination and inner need for literature and art. For some, this need awakens early; for others, it emerges through certain life trials. For me, love for literature was strong from childhood. Nature, goodness, love — these are my main sources of inspiration. Rivers, sometimes calm, sometimes rushing; the infinite sky — all of these turned into poetry in my soul. Innocent childhood memories, the highs and lows of life, joys and pains — all shaped me not only as a poet but also as a human. Poetry is not a chosen profession for me, but an inner necessity, a spiritual need.
E. M: Is literature becoming a closed system where the “original voice” matters less than the right connections?
J. N: A very painful yet important question… Unfortunately, history shows that true talents are not always appreciated in their time. Many great creators were ignored during their lives, and their worth was recognized only after death. This bitter truth remains relevant today. In contemporary literary circles, sometimes a work’s inner power, artistic depth, or spiritual weight is overshadowed by the author’s family name, status, or connections. This makes the path harder for talented creators without influential support, slowing their voice. Yet, I still believe in the justice of words. True words withstand the test of time. A work unrecognized today will find its reader tomorrow. Literature is a marathon, not a sprint. The most important thing for a poet or writer is conscience and sincerity. Connections may give temporary advantage, but talent is eternal.
E.M: Is literature becoming a closed system where the “original voice” matters less than the right connections?
J. N: Partially, unfortunately, yes. Today, in some literary spaces, it seems that who opens the door matters more than the voice itself. This contradicts literature’s natural laws, as literature has never thrived in isolation — it always feeds on the hearts of the people.
Yet, I firmly believe that literature’s true domain can never be fully closed. It finds its voice through invisible paths. Even if platforms are closed today, time is the most just editor. A creator with a true voice will eventually be heard, because fake connections crumble, but genuine words endure.
E.M: How can an emerging author, lacking establishment support, break the wall of editorial indifference?
J.N: First of all, a young writer must not lose their inner independence. Editorial indifference is often not due to lack of talent, but fear of a bold voice, since new ideas always disrupt comfort. A new creator must understand that every rejection is not a stop sign but a direction marker. If one door closes, find another. Today, digital space, translations, international platforms, and independent publishing exist.
E. M: Is there a risk that this familiarity will lead to a homologation of style, punishing those who dare to innovate?
J. N: Certainly, the danger exists. In environments dominated by connections, courage is punished and flatterers rewarded. Consequently, literature can become a mechanical organism instead of a living being. Yet, history shows that the greatest literary breakthroughs came precisely from “incompatible,” “unsuitable,” and “uncomfortable” voices.
Stylistic uniformity may create temporary calm, but innovation always breaks through that calm. I believe true creators fear neither punishment nor recognition; their courage is measured by inner truth.
E. M: Why is art often seen today as a “hobby” and not as a profession that requires sacrifice?
J. N: Today, the world measures productivity by speed and value by profit. Art, especially literature, is seen as less “serious” because it does not immediately generate financial gain. Yet art is one of the most complex and responsible forms of human labor. Behind every line of a poet are years of accumulated knowledge, spiritual struggle, inner conflict, and moral responsibility. History shows us: Dostoevsky lived in debt, Kafka’s works went largely unnoticed in his lifetime, Van Gogh sold only one painting. They treated art not as a hobby, but as a matter of life and death. Today, the question “How do you earn?” shows a lack of understanding, not a denial of art.
E.M: In a world of “quick numbers,” have we lost the ability to recognize slow talent, the one that takes time to understand?
J.N: Unfortunately, yes. Today, talent is often measured by visibility: views, likes, quick spread. True talent does not always appear instantly; it often matures in silence.
Literary history gives many examples: Navoiy’s works were not written for a single day’s hype, Kafka and Borges were not overnight successes. Understanding their works requires time, preparation, and inner maturity. Today’s “fast-number” culture sidelines complex, slowly digested works. As a result, society is accustomed to quick consumption, which dulls discernment. Recognizing talent is not algorithmic; it’s a matter of cultural literacy.
E. M: What is the impact of digital gratuity on the perception of the value of literary work?
J.N: Digital free distribution is a double-edged sword. On one hand, it democratizes access: a young poet in a remote area can share their voice globally. That is positive. On the other hand, “everything is free” devalues literary labor. Texts become mere consumable content, read and forgotten. The work of a creator over years can feel equal to a single post. Literature demands not speed, but contemplation. If society forgets the value of time and effort, art becomes shallow.
E.M: Can a society call itself civilized if it doesn’t invest in less commercial but more visionary creative minds?
J.N: No, such a society cannot be called cultured. Culture is not today’s profit, but tomorrow’s future. If society supports only quickly consumable products, it trades its future for short-term gain.
E. M: The creative today must also be a “marketing expert”: how much does this take away from pure creation?
J.N: Creativity requires inner calm and concentration. If a poet or writer thinks about “how many likes” rather than their own words, their creative world becomes conditional and artificial. Shakespeare never worried about audience numbers; his world was linked to characters, words, and spirit. Today, algorithms favor short, digestible, viral content, pressuring creators to bypass their inner voice. The result: artistic depth declines, spiritual sincerity weakens. Yet, if a creator remains true to their voice, marketing is only a tool, not a master.
E. M: Is social media really atrophying the public’s ability to read complex works like novels or poetry collections?
J.N: Yes, social networks can weaken the ability to read complex works like novels or poetry collections. They encourage rapid consumption, shifting attention to short blocks.
Multi-layered works demand attention, patience, and internal rhythm, which social media reduces. Yet, these platforms can also attract new audiences. A young reader may discover a full book after seeing a short excerpt online. Thus, social media can both empower and weaken, depending on conscious engagement.
M. E: Is the algorithm the new literary critic?
How does it influence what we write?
J.N: Yes, algorithms have become an “uncertain critic,” shaping literary taste. They favor short, easily read, and widely spread texts. Creators may lose their personal voice, adapting to algorithmic rules. Instagram poems or Twitter micro-thoughts gain visibility, but complex philosophical works appear lower. This creates internal pressure: “what should I write?” An algorithm is not a critic; it is an interest gauge. True literary critique depends on time, philosophy, context, and depth. Adapting to algorithms increases visibility, not artistic truth.
E. M: Digital Ego Fragility: How Does Like Addiction Undermine Writers’ Resilience?
J.N: Likes, reposts, follows are stimulants for today’s creators but make the ego fragile. If a writer ties their value to external approval, rejection triggers depression, doubt, and creative blocks.
A young poet expecting 1000 likes but receiving 100 may feel inadequate. Motivation then becomes artificial, prioritizing likes over genuine voice.
E. M: Imposter Syndrome: How Much Does Comparison Affect the (Often Apparent) Success of Others?
J.N: Imposter syndrome forces creators to undervalue themselves. Comparing to famous writers can intensify internal critique, blocking creative flow. Creators must follow their own path and voice.
E. M: Does hyper-connection prevent us from finding the inner silence necessary for great writing?
J.N: Constant connectivity and rapid information flow disrupt inner calm, necessary for great literature. Complex philosophical works require deep thought and concentration.
E. M: Are fear of offending or “cancel culture” limiting the authors’ sincerity?
J. N: Yes, fear of offending or “cancel culture” limits sincerity. Creators restrict themselves, weakening creative honesty. True literature must remain free; self-censorship makes it artificial.
E.M: What impact have organizations like “World Talents” and “World Union of Young Turkish Writers” had on its growth?
J. N: These organizations not only provided a platform, but also expanded my spiritual space.
Every creator gains energy from attention, recognition, and encouragement; I too was inspired. Such external support fuels my future successes. Creativity cannot be measured by awards or membership; it is measured by the rise of thought, imagination, worldview, and finding one’s full voice. These experiences enriched my work, broadened my perspective, and shaped my voice.
E. M: What differences do you have between your role for “Butov Azerbaycan” and the Turkish magazine “SIIR SARNICI”?
J.N: Both serve the same goal: strengthening literary ties, promoting intercultural harmony and friendship — the main mission of my creative life. Through this, not only do connections form, but each creator finds a chance to share their voice globally.
E. M: Which of her many journalistic and literary affiliations was the most significant to her?
J.N: Each of my journalistic and literary roles opened a door to my heart. Most importantly, international projects allowed me to engage with people sincerely as a poet and journalist. Creativity and journalism exist not in solitude but as bridges between humans. This feeling makes all my roles meaningful.
E. M: He has received prestigious awards such as the “Abay” Medal and the “Guzel Alania Award”. Which of these has the deepest meaning for her?
J.N: Among prestigious awards, the “Abay” medal holds the deepest spiritual meaning. Abay symbolizes humanity, knowledge, philosophy, and literature. This award reminds me: creativity is not merely wordcraft, but enriching the human spirit. The “Guzel Alania Award” honors international recognition and dialogue, making both important, yet the Abay medal touches the heart most deeply.
E. M: How did your vision influence the “Amir Temur Fund Commemorative Badge”?
J.N: The “Amir Temur Memorial” inspired me profoundly. Temur represents not just empire-building, but a center of culture and spirit. This award is not just recognition, but dialogue with history and values. I aim to remain a creator true to myself, inspired but not imitating historical figures.
E.M: Tell us about his books: “Rebels in My Heart,” “Sacred Space,” and “Song of Awakening.” What themes unite them?
J. N: My books share themes of love, humanity, spiritual awakening, and the pure voice of the heart.
They are guides in the journey of self-discovery, not mere stories.
E. M: Does he change his creative approach between poetry, journalism and translation?
J.N: Poetry, journalism, and translation complement each other. Poetry expresses inner states; journalism develops observation and analysis; translation opens doors to other hearts, building bridges between languages and cultures.
The principle is always the same: sincerity and fidelity to one’s inner voice.
E. M: If he had to choose only one field of action for the rest of his life, which one would he choose?
J.N: If I had to choose one path for life, I would choose poetry. Poetry is the purest, truest, most beautiful expression of the human heart. Journalism and translation are valuable tools, but poetry awakens the soul and nourishes the heart. A single line can contain a whole world, history, and future aspiration.
E.M: His connection to Azerbaijan and patriotism: how does this theme shape his work?
J.N: Though I never lived in Azerbaijan, I feel close to its history, culture, literature, and people. Patriotism in my work coexists with universal human values. Literature and love know no borders.
E. M: At the end of this dialogue, what advice and messages would Jakhongir like to leave to those who read his thoughts, so that they can be welcomed as seeds of peace in the soul?
J.N: I want to tell readers: every word can plant a seed in the heart. Plant it with love, sincerity, and honesty. If seeds of peace, love, and conscience grow, the world responds in kind. Each person’s inner world is a garden. Nurture it with books, poetry, art, and sincere dialogue. Most importantly, preserve humanity; spread love and let your inner voice always remain true. Through that voice, humanity preserves its peace, culture, and future.
In the past, governance based on violence was understood as a regime where people were intimidated, arrested, and their freedoms revoked. Today, this form of control has evolved. Now, people are monitored through mobile applications, internet pages, and smart computer programs.
The most alarming part is that people are consenting to this themselves. No one is forcing them. They are submitting to this surveillance of their own free will. In today’s world, our lives are increasingly tied to the internet. Whom we talk to, what we see, what we hear, where we go—everything is recorded. With our own hands, we are providing governments and tech giants with information about ourselves that previously only secret services could access.
People perceive this not as a danger, but as a convenience. In reality, it is this very convenience that is the greatest threat. Because behind these comforts lies a hidden power of control—a power capable of manipulating people without them even noticing. In such a situation, an individual believes they are making their own choices. But in truth, the paths are shown to them by the system. This is control in the guise of freedom. On the internet, we express ourselves and voice our opinions. Yet, at the same time, we internally contemplate how we should present ourselves. This leads everyone to think alike and to behave not freely, but in a conformist manner.
Political control has also taken on a new form. It is no longer necessary to arrest someone; it is enough to make them invisible on the internet. Their written thoughts are pushed so far down that people never see them. Today, freedom of speech is restricted not through punishment, but through indifference.
In such conditions, what does freedom mean? Is it expressing an opinion? Speaking out? Or gaining people’s attention?
In today’s environment, freedom is defining who you are yourself, not fully submitting to computer programs, and understanding the nature of surveillance. This requires not only technical knowledge but also a courageous civic stance.
We have rights, but the culture of understanding and exercising them is weakening. Democracy does not just mean elections—it means conscious participation every single day. Therefore, every time we download an app, every time we give consent on a webpage, and with every action we take, we must ask ourselves: Is this action serving me, or is it controlling me?
Today, we are silent. We are saying nothing. But this consent is not eternal. It can change with an awakening.
My name is Ro‘ziboyeva Asilakhon. I was born on September 17, 2013, in Nishon District of Qashqadaryo Region. One of my main hobbies is reading books; I also enjoy writing articles and poetry. My dream is to become a cardiologist.
U🇸 Article Package: Supply and Demand: The Core Mechanism of the Market Economy
Abstract
This article is devoted to a comprehensive analysis of the laws of supply and demand, which are the main driving force of a market economy. It examines in detail the theoretical foundations of both categories, the curves that reflect them, as well as the price and non-price factors that influence them. The central part of the study is devoted to market equilibrium, analyzing the formation of this equilibrium, the changes in equilibrium price and quantity (curve shifts), and the impact of government intervention (such as price controls) on the equilibrium from a scientific and practical perspective. The article aims to reveal the crucial role of the supply and demand mechanism in ensuring modern economic stability.
Relevance (Dolzarblik): The supply and demand mechanisms as the fundamental idea of the market economy.
Objective (Maqsad): To analyze the laws of supply and demand, and to determine their role in price formation and ensuring economic efficiency.
Tasks (Vazifalar): 1) To justify the laws of supply and demand; 2) To illustrate market equilibrium graphically and functionally; 3) To study the practical consequences of the theory.
Theoretical Foundations of Supply and Demand
1. The Law of Demand and Factors Affecting It
The Law of Demand: The inverse relationship between price and quantity demanded (under the Ceteris Paribus condition).
The Demand Curve (D): Reasons for the downward slope of the curve.
Non-Price Factors: Consumer income (normal and inferior goods), tastes/preferences, prices of substitute and complementary goods, expectations.
2. The Law of Supply and Factors Affecting It
The Law of Supply: The direct relationship between price and quantity supplied.
The Supply Curve (S): Reasons for the upward slope of the curve.
Non-Price Factors: Production costs, technology, taxes and subsidies, prices of other goods.
Market Equilibrium and the Price Formation Mechanism (1.5 Pages)
1. Determining the Equilibrium Point
The intersection point of the Demand (D) and Supply (S) curves (The Equilibrium Point).
The Equilibrium Condition: $Q_D = Q_S$.
Graphical Analysis: Equilibrium Price ($P^*$) and Equilibrium Quantity ($Q^*$).
2. States of Market Disequilibrium
Excess Supply (Surplus): When the price is above $P^*$ ($P > P^*$). The market automatically returns to $P^*$.
Excess Demand (Shortage/Deficit): When the price is below $P^*$ ($P < P^*$). Price increases due to competitive pressure.
3. Shifts in Equilibrium (Comparative Statics)
New values of $P^*$ and $Q^*$ resulting from shifts in the Demand (e.g., change in income) or Supply (e.g., change in cost) curves.
Simultaneous shifts of both curves (ambiguity of the outcome).
Practical Significance of the Supply and Demand Theory
1. The Concept of Elasticity
Price Elasticity: The responsiveness of quantity demanded and supplied to changes in price.
Practical Application: The role of elasticity in firms maximizing their total revenue.
2. Consequences of Government Intervention in the Market
Price Ceiling (Maximum Price): For example, rent control. Consequence: Artificial Shortage (Deficit).
Price Floor (Minimum Price): For example, minimum wage or minimum prices for agricultural products. Consequence: Artificial Surplus (Profitsit).
Conclusion
Brief summary of the main results studied.
Supply and demand as the most efficient mechanism for resource allocation in a market economy.
Suggestions regarding the importance of government intervention in cases of market failure (externalities, monopoly).
List of References (Foydalanilgan Adabiyotlar Roʻyxati)
Mankiw, N. G. (2021). Principles of Economics. Cengage Learning.
Samuelson, P. A., & Nordhaus, W. D. (2010). Economics. McGraw-Hill Education.
Oʻlmasov, A. (2009). Iqtisodiyot nazariyasi (Theory of Economics). “Mehnat” publishing.
Karimov, I. A. (2000). Oʻzbekiston XXI asr boʻsagʻasida: xavfsizlikka tahdid, barqarorlik shartlari va taraqqiyot kafolatlari (Uzbekistan on the Threshold of the 21st Century: Threats to Security, Conditions of Stability and Guarantees of Progress). “Oʻzbekiston” publishing. (As a source on the state’s economic policy).
Fisher, S., Dornbush, R., & Schmalensee, R. (2011). Economics. McGraw-Hill.
Smith, A. (1776). The Wealth of Nations. (As a source providing the classical economic foundation.)
Journal Article (Example): Stiglitz, J. E. (2017). Rethinking the Role of Government in the Market. Journal of Economic Literature, 55(3), 112-130.
At twilight, someone wipes the sweat from my forehead,
Someone sings the Song of Freedom in Saat Square,
Someone, in intensive care, is still breathing,
There is silence at the front…
Silence…
*
Per quale guerra i miei capelli indossano il sudario bianco?
Vivono ancora i soldati che gridano l’amore?!
C’è silenzio al fronte.
Mi dolgono i denti che innalzano la bandiera bianca,
Dà dolore la Patria,
Piange l’Uomo.
Le linee che solcano la mia fronte
sono i fili spinati di quale paese?
Separano l’amore dalla separazione,
Separano la speranza dalla morte,
Separano i giorni,
Separano le notti…
Nel crepuscolo qualcuno asciuga il sudore dalla mia fronte,
Qualcuno canta il Canto della Libertà in Piazza Saat,
Qualcuno, in rianimazione, respira ancora,
C’è silenzio al fronte…
Silenzio…
*
Voor welke oorlog dragen mijn haren een wit lijkkleed? Leven de soldaten die de liefde uitschreeuwen nog?! Er heerst stilte aan het front. Mijn tanden doen pijn terwijl zij de witte vlag hijsen, Het vaderland lijdt, De mens huilt. De lijnen die over mijn voorhoofd vallen — van welk land zijn dit de prikkeldraden? Zij scheiden liefde van afscheid, Zij scheiden hoop van de dood, Zij scheiden de dagen, Zij scheiden de nachten… In de schemering wist iemand het zweet van mijn voorhoofd, Iemand zingt het Lied van de Vrijheid op het Saat-plein, Iemand ademt nog steeds op de intensive care, Er heerst stilte aan het front… Stilte…
*
Pour quelle guerre mes cheveux revêtent-ils un linceul blanc ?
Les soldats qui crient l’amour vivent-ils encore ?!
Le silence règne au front.
Mes dents me font mal en levant le drapeau blanc,
La Patrie souffre,
L’Homme pleure.
Les lignes qui tombent sur mon front —
les fils barbelés de quel pays sont-elles ?
Elles séparent l’amour de la séparation,
Elles séparent l’espoir de la mort,
Elles séparent les jours,
Elles séparent les nuits…
Au crépuscule, quelqu’un essuie la sueur de mon front,
Quelqu’un chante le Chant de la Liberté sur la Place Saat,
Quelqu’un, en réanimation, respire encore,
Le silence règne au front…
Le silence…
Umid Najjari was born on 15th of April 1989 in Tabriz (Iran). After graduating from Islamic Azad University of Tabriz in 2016, he entered Baku Aurasia University to continue his studies in Philology in Republic of Azerbaijan. “The land of the birds” and “Beyond the walls” are among his published works in addition to some translations. His poems have been published in USA, Canada, Spain, Italy, India, Turkey, Uzbekistan, Iraq, Kazakhstan, Georgia, Chile and Iranian media. He was awarded the International LIFFT festival diploma in 2019. He achieved “IWA Bogdani” Award in 2021. He was awarded the “Mihai Eminescu” Award in 2022. He was awarded the International Prize “Medal Alexandre The Great” in 2022. He is Vice-President of the BOGDANI international writers’ association, with headquarters in Brussels and Pristina. and Turkic World Young Authors Association.
Tashkent University of Humanitarian Sciences 2nd-year student Sobirova Iroda Аbdulaziz qizi U��
Innovative Directions for Entrepreneurship Development: Theoretical
Foundations and Practical Strategies
Abstract The article reveals the essence and significance of innovative entrepreneurship as a key factor in economic development. It analyzes the main innovative directions for the development of entrepreneurship, including digitalization, technological, and social innovations. Based on the mechanisms of state support for the innovative activity of small and medium-sized businesses and world experience (for example, Japan), proposals and recommendations have been developed.
Keywords: Innovative Entrepreneurship, Digital Economy, Product Innovation, Technological Innovation, Social Innovation, Venture Capital, Technoparks.
Introduction In the transition to an innovative path of economic development, entrepreneurship, especially small business, plays a crucial role. Success in modern market conditions is not limited to effective management of existing resources but also requires the search for new ideas and their implementation in practice (innovative activity) (Source 1.1). The objective of the article is to scientifically and theoretically substantiate the innovative directions for entrepreneurship development and to propose effective strategies for their implementation.
Essence and Types of Innovative Entrepreneurship One of the main tasks of entrepreneurship is creativity and the pursuit of creating new products (services) (Source 1.1). Innovative entrepreneurship is the initiative that introduces new products to the market, implements new production technologies, or brings in new forms of business organization.
There are three main types of innovative entrepreneurship, aimed at different goals (Source 2.3):
Product Innovations: Renewal of the company’s sales potential, expansion of market share, and creation of new jobs.
Technology Innovations: Saving energy and raw materials, increasing labor productivity, and renewing production capacity.
Social Innovations: Improving the social environment of the enterprise, mobilizing employees towards a common goal, and enhancing the organization’s reputation.
Priority Innovative Directions for Entrepreneurship Development The main directions for the development of modern entrepreneurship include:
Digital Technologies and Digitalization In the context of the digital economy, creating a favorable business environment for the development of innovative entrepreneurship is highly relevant. This includes the application of technologies such as Artificial Intelligence (AI), Cloud technologies, Big Data, and the Internet of Things (IoT) into business processes. Digitalization also enables the development of remote work forms, which serves to increase work efficiency (Sources 1.5, 1.6).
Innovative Development of Education and Human Resources Potential Modern approaches to preparing for entrepreneurial activity, especially the use of business simulation programs (training for the future), are important. This helps young people gain interest and practical skills for starting their own business. The government’s intention to integrate entrepreneurship holistically into the entire education system also indicates the priority of this direction (Sources 1.3, 2.5).
Institutional Support and Infrastructure The role of the state in regulating and stimulating the development of innovative entrepreneurial activity is significant. Key directions include: Developing the venture capital market. Establishing technoparks, innovation centers, and clusters (Sources 2.1, 2.4). Improving the system of tax incentives for entrepreneurs engaged in innovative activities (Source 1.5).
Conclusion and Recommendations The innovative development of entrepreneurship is a prerequisite for ensuring the country’s economic progress. This process should primarily be aimed at the commercialization of new ideas and increasing the innovative activity of small businesses.
Practical Recommendations:
Expanding Innovative Infrastructure: It is advisable to increase the number of innovation centers in the regions and support local industrial enterprises involved in technological innovations (Source 2.6).
Stimulating Demand for Innovations: Ensuring a comprehensive system for the creation of new types of products and innovative technologies from the idea stage to the final consumer.
Implementing Foreign Experience: Deeply studying and implementing the experience of developed countries, such as Japan, in developing regional innovative entrepreneurship (technopolises, research centers) (Source 2.7).
List of References (Bibliography)
Textbooks, Monographs, and Publications
Schumpeter, J. A. (2007). The Theory of Economic Development: An Inquiry into Profits, Capital, Credit, Interest, and the Business Cycle. Moscow: Eksmo. (For the theoretical foundations of innovative entrepreneurship).
Freeman, C. (2011). The Economics of Industrial Innovation. Moscow: Infra-M. (To cover the impact of technological innovation on the economy).
Porter, M. E. (2011). Competitive Strategy: Techniques for Analyzing Industries and Competitors. Moscow: Alpina Publisher. (For analyzing competition and innovative advantage).
Scientific Articles and Journals
Kadirov, A. Z. (2020). The role of innovations in the development of small business and private entrepreneurship. Iqtisodiyot va innovation texnologiyalar (Economics and Innovative Technologies), (1), 240–255. (To include local experience).
Nabiev, N. N. (2021). Directions for the development of innovative entrepreneurial activity in the conditions of the digital economy. Moliya va bank ishi (Finance and Banking), (3), 78–85. (To cover the digitalization direction).
Saidov, M. A. (2019). Mechanisms for increasing the innovative activity of business entities. Bozor, pul va kredit (Market, Money, and Credit), (6), 55–63.
Statistical Compilations, Reports, and Internet Sources
Decree of the President of the Republic of Uzbekistan No. PF-60 of January 28, 2022, “On the Development Strategy of New Uzbekistan for 2022–2026”. National Database of Legislation. (To substantiate state strategic directions).
OECD. (2021). Entrepreneurship at a Glance 2021. Paris: OECD Publishing. (For international experience and statistical data).
World Bank. (2020). Digital Economy for Development (DE4D) Project Report. Washington, D.C.: World Bank Group. (To analyze the impact of digital technologies).
World Intellectual Property Organization (WIPO). (2023). Global Innovation Index 2023 Report. Geneva: WIPO. (To include global innovation ranking data).
Teacher of the Denov Institute of Entrepreneurship and Pedagogy
Kudratova Nozima Bahromovna
Denov Institute of Entrepreneurship and Pedagogy, 1st year student, Faculty of Philology
E-mail: qudratovanozima@gmail.com
Annotation: This article explores the linguistic features present in the works of the renowned literary figure Tog‘ay Murod, distinguished for his profound narratives and unique style. Through a comprehensive analysis, the study highlights key linguistic elements that define Murod’s writing, offering insight into his literary techniques and contributions to the cultural and artistic landscape.
Introduction. Tog‘ay Murod stands as a prominent figure in modern Uzbek literature, celebrated for his captivating storytelling and innovative narrative approach. His works have long fascinated both readers and critics, prompting scholarly interest in the linguistic elements that form the foundation of his distinctive literary voice. This article examines the recurrent linguistic features within Murod’s works, revealing the craftsmanship behind his style and illuminating the essence of his literary genius.
Murod’s literary corpus spans various genres—from prose to poetic narratives—each crafted with its own linguistic precision. His prose is characterized by rich imagery, metaphorical language, and nuanced character development, all of which create immersive storytelling experiences for the reader. Moreover, his use of symbolism, allegory, and intertextuality adds layers of depth, inviting readers to engage with multiple levels of interpretation.
Linguistic Characteristics in Murod’s Works
Beyond his narrative mastery, Murod’s poetic works demonstrate exceptional linguistic rhythm and lyrical expression. By artistically arranging words and sounds, he captures the essence of emotion and human experience, creating a deep resonance with readers. His exploration of linguistic ambiguity and semantic complexity contributes to an intellectual dimension that encourages readers to reflect on the subtleties of language and meaning.A systematic approach—combining close reading, stylistic analysis, and comparative research—was employed to examine Murod’s linguistic techniques. Works representing different periods of his creative activity and covering diverse themes were analyzed. Textual fragments were studied for recurring linguistic patterns, rhetorical devices, and stylistic choices, providing a comprehensive understanding of his unique writing style.
One of Murod’s most notable contributions lies in his transformation of the natural speech of ordinary people from the Surkhan region into a literary stylistic device. He was among the first to elevate this regional vernacular to the level of a refined artistic tool. Following in the footsteps of earlier creators, he developed his own perspective on literary style.
Researcher M. Khidirova describes language as the foundation of literary structure, noting: “A literary work is like a tower. It has its own foundation. The lifespan of the work depends on this foundation. The foundation of a literary work is language. Life begins with language and ends with language.” This, the linguistic worldview of Tog‘ay Murod embodies a philosophical understanding of language as both an artistic and spiritual necessity. His unique stylistic mastery continues to serve as a school of artistic skill for young writers, especially at a time when the Uzbek language is flourishing as a state language and its preservation and development are of great importance.
Theoretical Perspectives on Style
Classical and contemporary scholars alike have offered insights into the formation of literary style. The eminent scholar Abdurauf Fitrat emphasized that as a writer matures artistically, a distinctive style emerges: “As a poet or writer rises in artistic mastery, he begins to create a style peculiar to himself. When his imagination, thought, and understanding reach maturity, a unique style naturally appears”. Literary critic O. Sharafiddinov likewise described style as an all-encompassing phenomenon permeating every aspect of a writer’s work: “A writer’s style is like air—we breathe it without noticing its components. Style is the spirit of creativity, the subtle fragrance present in every work”.
Accordingly, Tog‘ay Murod’s reflections on artistic language and style deserve special attention. Language, artistic vision, and literary technique interact harmoniously in his works, shaping an individual and unrepeatable style formed through philosophical perception, cultural identity, and narrative skill. Tog‘ay Murod’s Creative Language is widely recognized for his original and vivid prose, which resembles poetic narrative in both rhythm and imagery. Even casual readers familiar with modern Uzbek literature can easily identify his works by their expressive, colorful, and deeply lyrical language. This distinctive quality sets him apart from other writers. In works such as Otamdan qolgan dalalar (“Fields Left by My Father”) and Bu dunyoda o‘lib bo‘lmaydi (“One Cannot Die in This World”), Murod won the admiration of readers by portraying the sincere and humble people of the Surkhan region—their hardships, aspirations, and inner worlds. His language is deliberately simple, flowing, and deeply rooted in folk expression. He skillfully incorporates proverbs, idioms, synonyms, archaic words, and dialectal expressions, enriching the artistic imagery of his narrative.
Folk speech enhances the authenticity and emotional connection of his works. For example, dialectal words such as baycha, jigit, bova, iyarmoq, angnib yotmoq, and yonashtirmoq vividly illustrate the regional character of his narratives: “I told the boys to lie down by the river and keep watch.”
Discussion. The linguistic features identified throughout Murod’s works emphasize his innovative approach to storytelling and his profound connection to language as a tool of artistic expression. By blending imagery, metaphor, symbolism, and intertextual references, he creates multilayered narratives that resonate deeply with readers. Moreover, his linguistic versatility allows him to traverse different genres and thematic landscapes, demonstrating the breadth and depth of his creative vision.
Conclusion and Recommendations. In conclusion, the study of Tog‘ay Murod’s linguistic features reveals a writer of exceptional talent and intellectual depth whose works continue to captivate and inspire audiences worldwide. Future research may further explore specific aspects of his linguistic style—such as dialect usage, narrative voice, or linguistic innovation. Comparative analyses with other literary traditions may also offer valuable insights into the evolution of literary language and expression. Ultimately, the linguistic richness of Tog‘ay Murod’s works serves as a testament to the enduring power of language to illuminate human experience and provoke thought. As readers engage with his texts, they embark on a journey of linguistic discovery, uncovering layers of meaning and developing a deeper appreciation for the art of storytelling.
References
1. A. Fitrat. Adabiyot qoidalari. Tashkent: O‘qituvchi, 1995.
2. O. Sharafiddinov. Iste’dod jilolari. Tashkent.
3. T. Murod. Oydinda yurgan odamlar. G‘. G‘ulom Literature and Art Publishing House, Tashkent, 1985.
4. U. Jo‘raqulov. Nazariy poetika masalalari: Muallif, Janr, Xronotop. G‘. G‘ulom Publishing, Tashkent, 2015, pp. 148–150.
5. U. Faulkner. Qora musiqa. Yangi Asr Avlodi Publishing, Tashkent, 2018.
Qudratova Nozima Bahrom qizi Denov Tadbirkorlik va pedagogika instituti talabasi.
Filologiya fakulteti o’zbek tili va adabiyoti 1-kurs talabasi. Millati o’zbek. Jinsi ayol
