Still Life with Dead Zone

1-

Blackbirds at Dusk

Bare tree outlined against a brushed-of-light sky.  Blackbirds risen in flight.  Cold, 

shifting wind suggests a freezing rain, sleet changing to snow.  In the valley, the cleared

field is collecting birds.  Their gathering a strange collection of living matter among the

desiccated stumps of summer.  Long rows of them, newly sprouted like nightmares.

Moon rise with

white comet tails;

ghost light on an

empty outdoor stage

After the flight of birds, silence.  Nothing moving among the dead, leafless trees, sheared

to the stumps or broken into diseased humps, sprouting from the ground like the broken limbs of

dead soldiers planted as a warning for those who follows after. The muffled steps of what comes

after the night, their obscene bodies, their wings.

2-

Flyway

Pre-front clouds, a black fistula consuming a bent horizon.  Birds in migratory flight

flee the stilted hills, the nesting grounds.  Static electricity rubs the color from the sky.  An open

wound left behind.

Flat sky, sun torn

fabrics, black 

blood blisters.  Birds.

Incongruous tarmac at the edge of wild jungle growth baked hard by relentless sun.  Air

ground control station, elevated sniper/ guard towers overlooking the perimeter, concertina wire,

no man’s land.  Toward nightfall, a mad minute, tracer rounds instead of exotic birds flights;

incoming instead of by-air transport.

3-

Roadside Marker

Early morning still life with grazing cows.  Sun bursting off last finger of ground fog

drying the low, foraged grass.  Budding trees just beyond wending wall of rock separating fields

from drainage ditches and black topped road.  Clipped lily on white cross by bare black limbed,

skinned-of-bark tree.  A scatter of car parts. Windshield glass.

Confluence of shadow

and fog, no light

leaking through.

White stone marker embedded roadside indicates eighty-one kilometers to nowhere.

Lifting ground fog and battlefield smoke envelop cratered highway littered with discarded gear:

worn boots, torn rucksacks, unfolded blankets, ruptured canteens, tattered tents.  Along the road,

stunted trees, a long, thin barbed wire fence posted with warning signs, blackened fields of burnt

elephant grass.  Still life with dead zone.

4-

Flooded Road

Legacy of storm; a spontaneous inland sea.  Reflections of immersed objects in still

water: trees, tops of fence posts, vehicle roofs, antennae, tips as rigid as insects remains.  Clear,

cloudless sky cleansed of light.

Temporary bridges

between two shores,

water in the middle

washing them away.

Fording the river in full combat gear.  Foot soldiers holding their weapons diagonally

overhead, walking, waist high, then chest high, some totally submerged. Only the rifles, still

mostly dry, visible above the surging water.

5-

Fog and Woodsmoke

Evening haze with scent of cook stoves, fireplaces.  Houses trimmed with decorative

lights off-season; an almost unearthly glowing in near-night darkness.  Still life with cracked

blacktop and low hanging trees.  The pulsing of the overhead wires almost audible.  Nothing

moving but the smoke. The haze.  The strange rings of the overhead street lights.

Dead air with black

smoke; impossible

to breathe.

Smoke from the burning thatched huts.  The guts of cook fire spread on the hard packed

earth: embers, overturned black pot, utensils for stirring, nearby.  Last, spent remnants of 

location-marking flares amid the black, billowing smoke.  A naked baby, sitting amid the 

wreckage, screaming.

6-

Pavement Ends

Single lane of hard packed, graded rock between fenced fields.  Thick, intensifying

ground fog covering the land, obscuring the caution sign, masking the way.  Vision, at last light,

no more than a few feet forward.  Soon, the dark.

Maps without borders,

unmarked trails

have no end.

Bent-to-the-earth signs say: Extreme Caution: Minefield Do Not Enter.  A skull and

crossed bones penciled beneath the words.  Fields extending on either side of the road into the 

dark; the enclosing jungle trees beyond.  The way on either side cratered from overhead

bombing or from something explosive underneath.  Large pits with still water inside. Other

objects, as well.  Soon, the dark.

The Ark

What’s art to the soul, bees’re to flowers; a wasteland without either?

I’m pushed far off into the river, because the government wants to uproot this slum and develop the land. Land is scarce, and I have been driven out with the rest of slum-dwellers, not once or twice but many, driven out mercilessly, our shacks bulldozed, our spirits broken. But we rise again in a phoenix existence, governments cannot rid of us. 

The sun rises even as we speak, I see lights filtered through the bees of the lush forest around the deep seas where the river and the sea meet, where I make an ark and I sleep in it another type of dwelling made in the seas. An expert in ark-making which I’ve become now from building a long ark, way too long for all the slum dwellers to live. This skill is a lifesaver, I make, mend broken arks and paint over its solid wood, until this becomes an art. Every time a hut on land is bulldozed, tall towers, constructed in its place, I appear before the demolished shacks to take advantage, and elsewhere into the seas until the ark glows at night like a spec on dark sea waves.

Ark dwellers pay me well. I can now build a brick house with it on an isolated island; papers, leases—documents, works for all that’s worth. Even join the builders’ group with such quality skills I’ve learn’t from ark building. They will gladly hire me and I can eventually buy them off. Great transformations lay on the horizon, as I start to lay bricks for a building of development project of a newly vacated slum. Then one day, a few men from the ark come along putting a claim to the land, because this is where their lost shacks were. They are no seafarers.

I look at them, I hide my face for I know these people whom I built strong new arks, my soulful arts on the sea. In my growing distance from the hive, those live off the sea. Oh! Look, look at me! What I have become!  My place isn’t on board the ark is an art I chose, which I choose to opt out. I’m a beyond rich, a brick layer by trade who owns a flat on this island—a wasteland of monstrosity called development, ultimately altruistic, a symbiotic symbolism where bees and beaus disconnect.

Topic: Fidelity and infidelity in the work of N.M. Karamzin ”Бедная Лиза”.

Literature as an art form reveals the vices of humanity. Russian literature contains a huge number of works that show Russian life, culture, images, characters, characters. In the epic novels ”Тихий Дон” by M.A. Sholokhov and “Война и мир” by L.N. Tolstoy, the reader encounters the theme of infidelity, and, as in “Евгений Онегине”, with the infidelity of women.”Судьба и человек” by M.A. Sholokhov, ”Отца и дети” by Bazarov, ”Безверие” Pushkin, the “Фаталист” Lermontov.

The great writer Nikolai Mikhailovich Karamzin reveals the different sides of the human soul in the work “Бедная Лиза”, written in the spirit of sentimentalism and pre-romanticism, the stories “Наталья,боярская дочь“, “Остров Борнгольм”,”Сиерра- Морена.”

The main character Lisa is a very beautiful, young girl from the countryside. After her father’s death, her mother loses her pristine appearance, lives a dull, gloomy life. Lisa, seeing the situation, shows kindness to her mother, helps her and works with her mother in the market. There she meets her first love Yeraza. Liza is such a polite girl that she can’t look at the eyes of a fool. Yeraz takes 100 rubles for Rosa, but Lisa never wants to take extra money from anyone and also does not take money Phrase. The relationship of Yeraz and Lisa.

The young girl Lisa is emotional. She really fell in love right away. She is very kind, and honestly believed Yeraz, Yeraz also had a good attitude at first, but it was short-lived. As soon as he reached his intention, he no longer wanted Lisa. After that he was not interested in anything with Lisa.

“He looked at her with an affectionate look, took her hand… And Liza, Liza stood with downcast eyes, flushed cheeks, and a trembling heart—she could not take her hands away from him—she could not turn away when he approached her with his pink lips… Ah! He kissed her, kissed her with such fervor that the whole universe seemed to her to be on fire! “Dear Liza!  Erast said. “Dear Liza! I love you,” and these words echoed in the depths of her soul like heavenly, delightful music; she hardly dared to believe her ears… But I’m dropping the brush. I can only say that in that moment of rapture Lisa’s timidity disappeared — Erast found out that he was loved, loved passionately with a new, pure, open heart.”

The character of Yeraza.

Yeraz is a very rich noble. He fell in love with Lisa, but this is not love, he just spent time and used the girl for lust, deceived her. Yeraz has never regretted giving up on Lisa.

Lisa’s death.

Lisa when she heard: ”I said to get married, you should leave me alone, forget me. “That is, the word Eraza. At that moment, Liz was ready to die. She lost her feelings, the meaning of life disappeared, and she killed herself. She chose the easy way and remained in great sin. Thus, she ended her life with a beautiful body and soul. When her mother heard about the terrible death of her daughter, her eyes froze in horror and closed forever.

“Erast deceived Lisa by telling her that he was going to join the army? “No, he really was in the army, but instead of fighting the enemy, he played cards and lost almost all of his estate. Peace was soon concluded, and Erast returned to Moscow, burdened with debts. There was only one way for him to improve his circumstances — to marry an elderly rich widow who had long been in love with him. He decided to do so and moved to live with her in the house, dedicating a sincere sigh to his Lisa. But can all this justify him?

Lisa found herself on the street and in a position that no pen can describe. “He, he kicked me out? Does he love someone else? I’m dead!” 

In conclusion, everyone should never trust anyone. People always express their desires first.

Trust is a sacred feeling, but not everyone has values. In life, let faith only be in Allah and in yourself, so that you are not deceived. Faith is such a concept, it can only be used once.

Faith and worldview were the most important components of the life of every single person and entire nations, because this is the criterion of conscience, it is these factors that determine the entire way of life, human destiny, relationships in the family, in the state, in everyday life.

Used literature: “Бедная Лиза”  Н.М.Карамзин

Ecotourism as a Tool for Sustainable Development: Environmental, Social, and Economic Perspectives

Ecotourism has emerged as one of the most effective approaches to achieving sustainable development in the tourism sector. Unlike mass tourism, ecotourism emphasizes environmental conservation, community participation, and cultural preservation. This article explores the role of ecotourism as a tool for sustainable development, analyzing its environmental, social, and economic impacts. Special attention is given to developing countries, where ecotourism serves as a mechanism for poverty reduction, biodiversity protection, and regional development.

The study highlights both the opportunities and challenges associated with ecotourism and proposes recommendations for its effective implementation. Tourism is one of the fastest-growing sectors of the global economy, contributing significantly to employment, income generation, and cultural exchange. However, conventional mass tourism often leads to environmental degradation, cultural commodification, and unequal economic benefits. In response to these challenges, ecotourism has gained global recognition as a sustainable alternative.

Ecotourism is defined as responsible travel to natural areas that conserves the environment, sustains the well-being of local people, and involves interpretation and education. Over the past decades, ecotourism has become an important topic in geography, environmental studies, and development economics. This article aims to examine ecotourism as a tool for sustainable development and evaluate its environmental, social, and economic dimensions. One of the primary objectives of ecotourism is environmental conservation.

Natural ecosystems such as forests, wetlands, mountains, and coastal zones form the foundation of ecotourism activities. By assigning economic value to natural resources, ecotourism encourages their protection rather than exploitation. Protected areas supported by ecotourism revenues often benefit from improved management, biodiversity monitoring, and conservation programs. Entrance fees, guided tours, and eco-lodges generate funds that can be reinvested into environmental protection.

Furthermore, ecotourism promotes environmental awareness among tourists, fostering responsible behavior and appreciation for nature. However, poorly managed ecotourism can also result in environmental pressure, including waste generation, habitat disturbance, and overuse of fragile ecosystems. Therefore, strict environmental regulations and sustainable planning are essential to ensure that ecotourism fulfills its conservation goals.

Ecotourism plays a vital role in strengthening local communities. Unlike mass tourism, which is often controlled by external investors, ecotourism prioritizes community participation and local ownership. This approach empowers local residents by providing employment opportunities and supporting traditional livelihoods.

Cultural heritage, local customs, and indigenous knowledge are integral components of ecotourism experiences. Tourists engage with local communities through cultural tours, handicrafts, traditional cuisine, and storytelling. As a result, ecotourism contributes to cultural preservation and intercultural understanding. Nevertheless, challenges such as cultural commodification and unequal benefit distribution may arise.

To address these issues, inclusive governance, capacity building, and fair revenue-sharing mechanisms are necessary. From an economic perspective, ecotourism contributes to diversified income sources, especially in rural and remote regions. It stimulates local entrepreneurship through small-scale businesses such as guesthouses, guiding services, transportation, and food production. In developing countries, ecotourism has proven effective in poverty alleviation and regional development.

By attracting environmentally conscious travelers, destinations can generate stable income while minimizing negative impacts. Moreover, ecotourism enhances the image of destinations on the international stage, promoting sustainable branding and competitiveness. Despite its benefits, ecotourism requires initial investments in infrastructure, education, and marketing. Without proper planning, economic leakage may occur, reducing benefits for local communities.

While ecotourism offers numerous advantages, several challenges hinder its sustainable implementation. These include lack of clear definitions, weak regulatory frameworks, insufficient professional training, and limited awareness among stakeholders. Climate change poses an additional threat, affecting natural attractions and biodiversity. Extreme weather events, ecosystem degradation, and water scarcity may reduce the attractiveness of ecotourism destinations. Therefore, climate adaptation strategies must be integrated into ecotourism planning.

Recommendations for Sustainable Ecotourism

To maximize the positive impacts of ecotourism, the following measures are recommended:

Development of clear national and regional ecotourism strategies

Strengthening environmental regulations and monitoring systems

Enhancing local community participation and ownership

Investing in education, training, and environmental awareness.

These measures can ensure that ecotourism remains a viable and responsible development pathway. Ecotourism represents a powerful tool for achieving sustainable development by balancing environmental protection, social equity, and economic growth. When properly planned and managed, it contributes to biodiversity conservation, community empowerment, and regional development.

However, the success of ecotourism depends on effective governance, stakeholder collaboration, and long-term sustainability strategies. In the context of global environmental challenges, ecotourism offers a promising model for responsible tourism development. Future research should focus on measuring its long-term impacts and developing innovative approaches to enhance sustainability in diverse geographical contexts.

Yesterday Is Already Past

Is Fame Superior to Human Dignity?

In societies where public reputation and social prestige are prioritized over the future of young women, endurance becomes not a choice but a destiny imposed upon them. In his short story “Yesterday Is Already Past,” Shukur Kholmirzaev presents the character of Sobirova as a woman trapped in ideological nostalgia, whose unwavering concern for social recognition prevents her from confronting present realities. It would not be an exaggeration to argue that her moral vision is clouded by ambition. By surrendering her daughter’s life to social judgment, she allows collective opinion to dictate a deeply personal fate. Her persistent attachment to outdated political ideals—most notably her obsession with Communist Party membership—along with her indulgence in hollow aspirations, gradually leads her into profound psychological and ethical torment.

Had Sobirova been capable of interpreting Unsinova’s post-dismissal visits with greater awareness, she might have recognized the validity of her son Kamol’s warnings. Unrestrained ambition, as the narrative suggests, inevitably draws individuals into the quagmire of remorse. However, the story transcends the personal tragedy of a single mother and daughter. At its core, it offers a critical examination of society’s treatment of women. What is destroyed is not merely a young woman’s emotional state, but the totality of her existence. Her happiness is subordinated to social gossip and moral surveillance, leaving her deprived of agency, autonomy, and the right to choose her own life path.

Through this narrative, Kholmirzaev exposes how the relentless pursuit of fame, status, and ideological legitimacy gradually erodes fundamental human values and dignity. Parents may reassure themselves that their actions are justified, yet the pain suppressed within, the tears shed in isolation, and the silence stretched across a lifetime remain unarticulated. This silence, the author suggests, constitutes the most devastating form of tragedy.

Most importantly, the relevance of this narrative is not confined to the past. Similar patterns of control, judgment, and sacrifice persist in contemporary societies. Therefore, “Yesterday Is Already Past” should be read not merely as a historical reflection, but as a timeless social critique that continues to resonate today.

In conclusion, fame and social recognition—however fiercely contested—must never be elevated above human dignity. When societies sacrifice the futures of young women in the name of reputation, the moral failures of the past are inevitably reproduced in the present. Human worth, personal freedom, and emotional integrity are far more valuable than any form of social prestige.

Xasanova Aziza Kumushbek qizi. Born on October 1, 2004, in Chirchik, Tashkent Region. Currently a student at Tashkent University of Economics and Pedagogy. On March 1, 2025, she received the title of “Faculty Zulfiya” in a competition held by the university. She has published several scientific articles. Her poems and stories have been published in many newspapers, magazines, and websites around the world. Her poems, stories, and works are constantly published in countries such as Albania, Pakistan, Italy, America, Great Britain, Germany, India, Argentina, Turkey, Arabia and Uzbekistan, Kenya, Africa, Korea.

If it’s dark

We parted suddenly, my love

my mind is on you

Are you alone?

Are you unhappy?

Do you miss me?

What do you want from the world beyond?

Just whisper

If it’s warm,

wind, coolness, rain

If you’re cold, the sun

If the nights are dark,

a bright moonlight

whatever you want

from the other world

I can send it right away

How much does it cost?

I asked in the abstract market

For a smile

You cannot find, they said

It’s not a season for it

Is there a laughter?

No way, it is too unavailable

Who lost it

So that you can find it

How much does love cost?

Its lifespan is short

It’s so perishable, for a long while

We don’t put them on the counter

What do we have in this season?

Ass-kissing, flattery

Lies, slander, fraudulency

Insult, curse, disdain

All of them are both fresh and easy

Abundant in four seasons…

Dr. Barbaros İrdelmen, poet, writer, translator, and retired specialist in internal medicine and nephrology, with 19 published poetry collections to date, his works have been included in numerous national and international anthologies, poetry festivals, and selected literary compilations. Currently a poetry columnist for Edebiyat Magazin Newspaper and TV, also contributes actively to prominent literary journals such as Pazartesi14 NEYYA Edebiyat, Kirpi Edebiyat ve Düşünce Dergisi, writer for the Papirus Magazine, Literature House, Our Poetry Archive, Atunis Galaxy Poetry writer. As a member of the Writers Syndicate of Turkey, he is not only known for his original poetry but also as a leading figure in the translation of world poetry written in English into Turkish. İrdelmen is also a member of the poetry translator’s community, part of the ITHACA Foundation (Spain), building cultural and literary bridges across borders through the power of poetry.

Student of Group 25_02

Department of Chinese Philology and Language Teaching

Faculty of Oriental Philology

Uzbekistan State University of World Languages

Haydarova Mehribon

Annotation:

It is well known that the most difficult aspect of learning Chinese is the origin of characters and the meaning expressed by each of them. This article analyzes the origin, significance, and types of Chinese characters, their importance in the process of learning Chinese, the meanings they convey, and their development. In addition, the difficulties in learning characters and easy methods for memorizing them are also discussed.

Keywords: hieroglyph, Chinese language, method, origin, meaning, easy memorization

INTRODUCTION

In the modern era, the prestige of the Chinese language has increased significantly. For this reason, more than 80% of students and young people around the world are learning Chinese. As is well known, the most difficult aspect of learning this language is undoubtedly its characters. This is because each character has its own origin, history, and meaning, which creates certain difficulties for learners.

This article highlights the origin and development of Chinese characters, their historical stages, how they have evolved from their creation to the present day, and their meanings. In addition, it presents methods for learning them easily, enabling learners to master them quickly and within a short period of time. Knowledge of Chinese culture, literature, philosophy, and history plays an important role in understanding Chinese characters. Each character carries thousands of years of history and meaning; in other words, a single character can represent an entire word or concept. Learning them requires a great deal of effort and time.

International conferences on the origin of Chinese characters, the art of writing, and the aesthetic aspects of calligraphy—such as “The Origin of Chinese Characters and the Nature of Calligraphy” and “Origins of Early Writing Systems” at Peking University—have been held worldwide. In Uzbekistan, the International Scientific-Practical Conference of Tashkent State University of Oriental Studies was also organized. These conferences promoted ideas regarding the origin, development, and learning methods of Chinese characters.

RESEARCH METHODOLOGY

A number of scientific studies have been conducted on the origin of Chinese characters, the stages of their development, and methods for learning them quickly and easily, using various research methods. First, historical methods were applied to study the origins and development of characters, focusing on their earliest forms. From the perspective of the history of linguistics, Chinese characters are considered one of the four most ancient writing systems. Therefore, many scholars have conducted extensive research in this field.

Specifically, historical methods were used to study the earliest forms of characters—oracle bone inscriptions, bronze inscriptions, small seal script, and the development of modern characters. This method made it possible to identify the reasons for the emergence of characters and their relationship with society. Through modern methods, new types of characters and their regional differences—for example, similarities and differences between those used in Beijing and Shanghai—were examined.

Regarding research on fast and easy learning of characters, several experimental-pedagogical studies were conducted. In this research, new methods, techniques, and applications were developed for learning characters. One of them is the “TRAIN CHINESE” application, through which an English–Chinese dictionary was created. Learners can write unknown characters and find their translations, meanings, stroke order, grammatical usage, and example sentences, making learning easier. In addition, the “PLECO” application allows learners to write unknown characters and learn their pinyin; this feature distinguishes it from other dictionary applications.

REVIEW OF THE LITERATURE

Since Chinese is an ancient language, it has been studied for many years. In particular, the father-and-son scholars Wang Nian-Song and Wang Yin-Zhi laid the foundations of Chinese linguistics, while Xu Shen paid serious attention to Chinese writing and characters in his work “Elements and Compound Characters.” Moreover, in his work “Shuowen Jiezi” (1st–2nd centuries AD), Xu Shen explained characters based on six types, distinguishing pictograms, ideograms, compound ideograms, and phonetic-semantic characters. According to this work, the origin of characters is linked to pictorial symbols. For example, the character for “sun” was originally depicted as a round shape and gradually became simplified over time. Several similar examples were also provided.

In a similar vein, Uzbek linguist Sh. Safarov, a specialist in semantics and sign systems, described Chinese characters as a semiotic system and initially referred to them as sign-images. Regarding the fast and easy learning of characters, foreign scholar James W. Heisig, in his book “Remembering Chinese Characters,” stated that associative and imaginative memorization—linking each character with meaning and a story—leads to easier and more effective learning. William C. Hannas, in “Asia’s Orthographic Dilemma,” argued that due to the complexity of Chinese writing, structural and visual approaches are effective for students, and learning characters by components (radicals/keys) accelerates memorization.

At the same time, the origin of Chinese characters is described in ancient legends and historical texts, but the most famous theory appears in canonical texts. According to legend, Fu Xi created the “bagua” (eight trigrams), which formed the basis of Chinese characters and represented an early form of writing. Cang Jie, who lived during the reign of Emperor Huangdi, invented characters inspired by bird tracks and animal footprints. In addition, calligraphers of the Western Zhou dynasty engraved Chinese characters as texts on bronze vessels, which also serves as evidence of the origin of characters.

HISTORICAL DEVELOPMENT OF CHINESE CHARACTERS

Archaic Jia gu wen Modern character Simplified Pinyin

Mean

    人 — rén Person

    女 — nǚ Woman

    子 — zǐ Child

    日 — rì Sun

    月 — yuè Moon

    山 — shān Mountain

    川 — chuān River

    水 — shuǐ Water

    雨 — yǔ Rain

    竹 — zhú Bamboo

    木 — mù Wood

    馬 马 mǎ Horse

    鳥 鸟 niǎo Bird

    龜 龟 guī Turtle

    龍 龙 lóng Dragon

Several scientific conferences on fast and effective learning of Chinese characters have also been held. One of them is the World Chinese Language Conference, organized in 2025, where a new educational system based on the “Learn Chinese with Ease” concept was presented. It introduced a multimedia-based learning system using multimedia resources, interactive applications, and videos to teach the language in an immersive way.

Similarly, at the “Chinese Learning and Media Integration in the Digital Age” conference held in Indonesia in 2024, modern media and online educational tools—such as virtual reality, interactive lessons, and new applications—were discussed.

RESULTS AND ANALYSIS

Regarding research on the origin of characters, students acquired skills in understanding the history of characters and their meanings through this study. Uzbek scholars evaluated Chinese characters not only as a writing system but also as a cultural, semantic, and cognitive phenomenon.

Through new applications such as “TRAIN CHINESE” and “PLECO,” learners began to study characters more quickly and easily, which provided several conveniences. For example, writing characters in the correct stroke order is mandatory, and without such applications, students could not easily learn the correct order. As a result, the creation of these applications significantly improved convenience for learners.

Both international and Uzbek scholars share similar views on the origin of characters, explaining Chinese characters as a logographic writing system, a cultural symbol, and a semantic unit.

According to scholars’ views on fast and easy learning, associative, visual, radical-based grouping, and step-by-step approaches are the most effective methods for learning Chinese characters quickly and easily.

CONCLUSION

In conclusion, this article examined the origin of Chinese characters and methods for learning them quickly and easily. During the research, substantial information about the origin and development of characters was revealed. The origin of Chinese characters began with ancient pictograms, which were gradually simplified and transformed into ideograms and phonetic characters. When we look at modern Chinese characters, they can be divided into simple, complex, radical-based, and phonetic characters. This shows that although ancient characters have become modernized, their structural principles have remained similar.

Regarding research on fast and easy learning of characters, conferences have shown that learners can effectively retain characters in memory by studying radicals and components, regularly reviewing them using applications such as Anki, and learning correct stroke order through other applications. In the future, the development of even more effective applications, dictionaries, and textbooks will increase the number of learners of Chinese characters worldwide, and it is considered appropriate to continue research in this direction.

REFERENCES

1.B. Karlgren, Grammata Serica.

2.Proceedings of the World Chinese Language Conference. Beijing: CIEF.

3.Uzbekistan State University of World Languages, Scientific-Practical Conference Proceedings.

4.Istrin, V.A., The Origin and Development of Writing, Moscow, 1965; Friedrich, I., History of Writing, trans. from German, Moscow, 1979; Mahmutkhojaev, M.H.; Bekmurotov, I.N., On Chinese Writing (Characters), Tashkent, 1990.

5.Madjidova, R.U.; Yuldasheva, F.F.; Reviewers: Muhammedova, S.X.; Salisheva, Z.I., Head of the Department of General Linguistics, Doctor of Philology, Professor; textbook General Linguistics, Uzbekistan State University of World Languages.