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23—— East European Scientific Journal #3(67), 2021 53
ФИЛОЛОГИЧЕСКИЕ НАУКИ
Bobojonova Zabarjad Tursunboevna
Lecturer at Journalism and Mass Communications University of Uzbekistan
PRIMARY SOURCES IN THE FORMATION OF ART JOURNALISM
Abstract. This article is devoted to the role of art in the national press, its reflection in the early periodicals through the journalism of the leading representatives of the modern press Abdulla Avloni, Cholpon, Mahmudhoja Behbudi. The main focus is on working with primary sources in the study of the historical aspects of specialized journalism.
Keywords: art, theater, culture, specialization, print, jadid, art journalism, cultural environment, criticism, national flavor.
As the field of journalism evolved and developed, the concept of specialized journalism began to emerge. Now each industry has its own journalism, the role of specialization is becoming increasingly important, dozens of areas and directions are being formed within the industry. Naturally, in the study of their historical aspects, the first links of our national press are addressed. Of these, art journalism is also being studied around the world as a specialized journalism.
The role of art in human civilization is incomparable: it raises questions such as ancient values, disputes about existence, refinement of taste and thinking. Art journalism serves as the primary source in the field of art, providing the audience not only with cultural events, realities in the art world, but also art analysis, critical approaches.
Art journalism, like our national journalism, has its own history. In other words, since the appearance of the newspaper in the history of Uzbekistan, it can be said that art journalism has been established. In 19131930, together with the Uzbek press, the first roots of art journalism were formed as a promoter of culture. This period can be called a period of bold steps in the path of national art journalism. Because this period laid the foundation not only for the popularity of the press, but also for theater, cinema, music, museums and other arts. Although "Turkestanskiye Vedomosti", a local-language version of "Turkistan Region Newspaper", was published in 1870, it was published to cover the politics of the time, mainly in the interests of the Russian people, and to promote a culture of lifestyle. In 1906, Ismail Obidi prepared the newspaper "Taraqqiy" for publication, and in 1913, the magazine "Oyina" edited by Mahmudhoja Behbudi was founded. In 1914, newspapers such as "Sadoyi Turkiston", "Sadoyi Fergana", and in 1915, "Tirik Suz" published articles on culture and art, among other topics. "In our opinion, there is no escape, the only way to escape is to accept the culture and enter the culture," he said. But even when you start, you need to know the truth of the culture and get into the real culture. Like some of our young people, they have shiny tops, trembling bellies, and wear European hats on their heads, shouting "Culture!", "Culture!" "It's not culture, it's a form of
ridicule," 1 said Abdulla Avloni in his article "Waves of Culture." Cultural, or rather, fictional articles, which began to be published in the press, were focused not only on theatrical propaganda, which was a novelty of that time, but also on drawing the reader's attention to the essence of social problems. At the same time, both the theater and the press showed the same zeal in covering topical issues through art.
Culture is the basis of art. Its scope is wide. For, "Culture is a universal phenomenon, belonging to one nation, created by one nation alone, and there can be no such thing as a pure culture. Although the bulk of every national culture is created by that nation, it will certainly have its share and influence of the universal culture created by the peoples of the world. Culture can never be a class phenomenon. It serves everyone equally. For example, masterpieces of art and literature, architectural monuments, statuses, scientific achievements, etc. belong to everyone."2 The topic of culture began to rise as a topical issue with the formation of the Jadid press. They reveal that at the root of any problem of society, a weak link, the tragedy of the nation lies ignorance. The establishment of the theater was a great courage in this way. Jadid representatives understand that theater is the most effective tool for the loss of ignorance, the loss of enlightenment, the simple way of explaining the way of life of the people to the masses, the black people. It is even known that they performed on stage not only as writers, playwrights, directors, but also as actors. As a result, the existing views of people on theatrical art will change, conflicting views and controversies will begin to appear in the press. On the pages of the newspaper, together with its supporters, speeches of the authors of anti-theatrical views will be published. These debates were the first steps in the birth of national art journalism.
Abdulla Avloni's article "Debate on Theater" is based on the dialogue between Chapani and Mullo. The publicist was able to beautifully depict the clash of opinions among the people about theatrical art through these two images: "The people of Tashkent are divided into seventy sects," he said. Some say, "The theater is impure, and the money from the theater is impure."
1 А.Авлоний. А.Авлоний. Танланган асарлар. II
жилд. -Тошкент. Маънавият. 2006, - Б.216.
2 Фалсафа: энциклопедик лугат. Узбекистан миллий энциклопедияси, 2010. -Б. 169.
54 East European Scientific Journal #3(67), 2021 However, the theater is not unclean, it is heresy. Even if it is a bid'ah, it is a bid'ah hasana. He is not one of the bid'ah sayyis. The theater is a mirror for every nation to eradicate bad traditions and customs, to correct itself'3. One of the peculiarities of the articles given in the Jadid press is that they are understandable to the common people, in simple language, when they are able to use the means of public influence and imagery. In this article alone, Avloni's personal views are limited to expressing his "I" in the material, summarizing the topic, using the conversations of unfamiliar guests as heroes, and thus "helping" to convey the essence of theatrical art to the public: "They are not playing for their own interests, they are playing for the benefit of the nation, that is, for the benefit of society and charity," he said. They did not take a penny of the net profit from the theater, but gave it all to the community. They had given to the community both the theater in the former Spectacular Park and the money from the Eastern Night in the cemetery during Ramadan".4
In recent years, staging world classics on the Uzbek stage is considered a novelty for the audience, and this process continues successfully. And most importantly, articles about the performance of world classics on the Uzbek stage began to be published more often.5 In particular, a number of articles by Abdulhamid Cholpon on the activities of the period theater, stage interpretation of classical works and performance skills of actors were published. Publicist Tursunoy (the article "Tursunoy on the stage"6 was published in the magazine "Er Yuzi" in the 11th issue of 1928 under the signature of "Cholpon"7), was influenced by the performances of Masuma Qorieva in the May 27, 1922 issue of the "Turkiston newspaper") publishes a series of portrait-essays and contributes to the emergence of polytheism of various genres in the national press. In particular, in the essay "Tursunoy on the stage" as an epigraph to the moving speech of the protagonist in the poem "Two rich men in one look", Tursunoy could not say these painful words of Clariche about the actress. ... If there are people who want to understand Tursunoy's incompetence from our words, don't hurry!" begins with an introduction in an interesting style. The reader, who tries to arouse a critical view of the actress's skills in the audience, emphasizes a deep definition throughout the article: "Although Tursunoy was very lively and cheerful, it was not 'life itself1 ..."8 Subsequent performances begin to form the reader's attitude to the essence of the image, how to analyze, understand, feel the skill of the actor, repeatedly using the relationship "there was no life itself". Analyzing the skills of Cholpon Tursunoy Saidazimova, the actress explains how deeply she felt the image in the embodiment of Clariche's boots in her
interpretation: "Dorabek's daughter Clariche is married, in fact, maybe not so light and so masculine. She probably said the above sentences while crying. But Clariche-Tursunoy made it different for us, she laughed at her rich daughter and made fun of her. Tursunoy's playful nature also contributed greatly to this. There were places in Tursunoy Clariche that I will never forget, I don't know when our young stage will be able to see such a picture again."9
The emergence of the press and theater in the life of Turkestan was a real reality. It has become a mirror of society. Whether it was a theatrical scene or a newspaper page, the issues, problems and issues that were raised had a significant impact on the way of life, cultural life and worldview of the local people. Mahmudhoja Behbudi's "What is Theater?", published in the 32nd issue of "Oyina" magazine in 1914. In an article entitled, he describes the theater as an example, a sermon, and a literary treatise. The article is written in a simple language that is understandable to the general public, free from the usual terms of art criticism, in which Behbudi informs the reader about the purpose of the theater and the culture of performance, as well as theatrical genres.
During this period, the press is used effectively to fully reveal the essence of the author's tragic drama "Padarkush", in a sense, to "find" and attract his audience. The staff of the magazine managed to attract the attention of students by publishing ads under the title "Theater announcement".
The art of cinema, like theater, began to be reflected in the press of this period. Advertisements for the screenings of the films were regularly published in the newspapers. Although the history of cinema entered the Turkestan region shortly before the theatrical activity, its coverage in newspapers and magazines was a little slower. "Oyina" magazine published only three articles entitled "Muslim Cinematography" (Abduljabbor ibn Abdulkarim Muminjonuf), "Cinematographer in Samarkand" (Nushiravon Yashev), and "Khiva Cinematography in Tashkent" (Tolagan Khojamiyoruf). Nevertheless, ordinary people welcomed the film with a good attitude towards the theater. Recognized as a "miracle of the century", this art form continues to amaze the audience.
Along with cinema, theater and music, the art of music was also reflected in the press. Now the most talented musicologists of their time had the opportunity to exchange experiences, compete, criticize through the press. At the same time, the magazine "Oyina" became a creative platform for them. The magazine publishes a total of ten articles related to the art of music.
Khamza Khakimzoda Niyazi in his article published in the newspaper "Sadoyi Fergana" (No. 28,
3 a.abtohhh. TaH^amaH acap^ap. II -TomKeHT. MaiHaBHaT. 2006, - E.221.
4 That source.
5 Hue30Ba C. CaHiaTmyHOC^HK ^ypHa^HcmKacH. -TomKeHT. 2007.-E.81.
6 "CaHiaT". 1991. №3
7 https://ziyouz.uz/matbuot/jadid-matbuoti/abdulhamid-cholpon-tursunoy-sahnada-1928/
8 That source.
9 https://ziyouz.uz/matbuot/jadid-matbuoti/abdulhamid-cholpon-tursunoy-sahnada-1928/
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1914) said that the art of national music should not be sung not only in teahouses and gardens, but also to restore its value, to bring it to the level of art, to give it a place in society, expresses hope.
Any cultural event in society will not go unnoticed. In short, in the study of art journalism, it remains a topical issue to work with primary sources, to show the national spirit, national identity, the spirituality of the nation through repeated references to national traditions.
East European Scientific Journal #3(67), 2021 55 References:
1. Кириллова Н.Б. Медиакультура: от модерна к пост-модерну. М., 2005.
2. Авлоний А. Танланган асарлар. II жилд. -Тошкент. Маънавият. 2006, - Б. 216, 221.
3. Ниёзова С. Санъатшунослик журналистикаси. - Тошкент. 2007.-Б.81.
4. Фалсафа: энциклопедик лугат. Узбекистан миллий энциклопедияси, 2010. -Б. 169.
5. "Санъат" журнали. 1991. №3
6. https://ziyouz.uz/matbuot/jadid-matbuoti
Garieva Z. D.
Master Student, Russian Language Department.
North Ossetian State University named after Kosta Levanovich Khetagurov, Vladikavkaz, Republic of North Ossetia - Alania, Russian Federation.
North Ossetian State University named after Kosta Levanovich Khetagurov
44-46 Vatutina St., Vladikavkaz 363025, Republic of North Ossetia-Alania, Russian Federation
ARABIC BORROWINGS IN THE ASPECT OF INTERCUITERAL COMMUNICATION
Гариева З. Д.
Магистрант кафедры русского языка, Северо-Осетинский Государственный Университет им. Коста Левановича Хетагурова, Россия.
ФГБОУ ВО «Северо-Осетинский государственный университет им. Коста Левановича
Хетагурова»
362025, Российская Федерация, Республика Северная Осетия - Алания,
г. Владикавказ, ул. Ватутина, 44-4
АРАБСКИЕ ЗАИМСТВОВАНИЯ В АСПЕКТЕ МЕЖКУЛЬТУРНОЙ КОММУНИКАЦИИ
Annotation. Currently, a new linguocultural direction has emerged in the system of modern linguistics -cross-cultural analysis. If intercultural communication is a phenomenon that affects communication in general, on its dynamics in a positive or negative aspect, then cross-cultural communication provides special relationships between peoples, conditioned by ethnocultural values and norms that lead to significant changes in various spheres of society, including number and language changes. The cross-cultural approach in linguistics focuses on the study of the conditions and sphere of the language in which its system and structure exist and develop. In this respect, the most illustrative and profitable process is borrowing. If earlier in the characterization of a foreign language unit the main emphasis was placed on its systemic properties, now they are increasingly talking about the linguocultural aspect of a foreign language word.
Аннотация. В настоящее время в системе современного языкознания возникло новое лингвокультурологическое направление - кросскультурный анализ. Если межкультурная коммуникация представляет собой явление, которое оказывает влияние на общение в целом, на его динамику в позитивном или негативном аспекте, то кросскультурная коммуникация обеспечивает особые взаимоотношения народов, обусловленные этнокультурными ценностями и нормами, которые приводят к значительным изменениям в различных сферах общества, в том числе и к языковым изменениям. Кросскультурный подход в языкознании акцентирует внимание на изучении условий и сферы языка, в которых существует и развивается его система и структура. В этом отношении наиболее иллюстративным и выгодным является процесс заимствования. Если ранее в характеристике иноязычной единицы основной упор делался на ее системные свойства, то теперь все активнее говорят о лингвокультурном аспекте иноязычного слова.
Keywords: borrowings, cross-cultural analysis, intercultural communication, donor language, recipient language, modern Russian language.
Ключевые слова: заимствования, кросскультурный анализ, межкультурная коммуникация, язык-донор, язык-реципиент, современный русский язык.
ВВЕДЕНИЕ кросскультурный анализ. Если межкультурная
В настоящее время в системе современного коммуникация представляет собой явление,
языкознания возникло новое которое оказывает влияние на общение в целом, на
лингвокультурологическое направление - его динамику в позитивном или негативном
