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THE EFFECT OF LIVERPOOL POETRY IN ART AND CULTURE Hakimova M.D. Email: Hakimova690@scientifictext.ru
Hakimova Maksadhon Dilshodbekovna - Тeacher, Department of integrated language skills, UZBEK STATE WORLD LANGUAGES UNIVERSITY, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: the article discusses Liverpool poets and their works, as well as, at a time when the poetry of The Movement was prominent, but their roots, and aims, were different from those of established poets. There is written the poetry to be read aloud, and their audiences were young Liverpudlians who might normally have attended pop concerts, but were now finding that poetry could be equally accessible and appealing. By opening poetry to a wider audience the Liverpool Poets were part of the democratisation of the arts which was also taking place in painting and sculpture in the pop art movement of the 1950s and '60s. Keywords: poetry, pop music, posterity, classical musicians, poetic entertainment.
ВЛИЯНИЕ ЛИВЕРПУЛЬСКОЙ ПОЭЗИИ В ИСКУССТВЕ
И КУЛЬТУРЕ Хакимова М.Д.
Хакимова Максадхон Дилшодбековна - преподаватель, кафедра интеграции языковых навыков, Узбекский государственный университет мировых языков, г. Ташкент, Республика Узбекистан
Аннотация: в статье рассматриваются ливерпульские поэты и их произведения, а также в то время, когда поэзия Движения была выдающейся, но их корни и цели отличались от таковых у известных поэтов. Там написана поэзия, которую нужно читать вслух, и их аудиторией были молодые ливерпульцы, которые, возможно, обычно посещали эстрадные концерты, но теперь находили, что поэзия может быть одинаково доступной и привлекательной. Открыв поэзию для более широкой аудитории, ливерпульские поэты стали частью демократизации искусства, которая также имела место в живописи и скульптуре в поп-арт-движении 1950-х и 60-х годов. Ключевые слова: поэзия, поп-музыка, потомство, классические музыканты, поэтические развлечения.
UDC 82 145
Introduction. The Liverpool artists, Adrian Henri (1932-2000), Roger McGough (1937-), and Brian Patten (1946- ) started their careers in verse by giving readings within the clubs and coffee bars of Liverpool within the 1960s, and picked up acknowledgment in print in Penguin Advanced Writers 10: The Mersey Sound (1967) [2] and The Liverpool Scene (1968) [3]. The works of other artists were included within The Liverpool Scene, but it was Henri, McGough, and Patten who were included within The Mersey Sound and went on to popularity as The Liverpool Poets. Their lyrics bargain with conventional individuals in regular circumstances, ('I'm concerned around the individual another entryway, and the individual following to me.' [4]) and are filled with pictures of their environment, such as roads, cafes, buses, parties, cinemas, and chip shops. They moreover drew on well known culture, such as pop music, comedian books, and tv, and make references to casual connections, and the 'recreational' drugs of the period such as cannabis and LSD.
Their Liverpool area was critical for two reasons, firstly since it was the domestic of The Beatles, and other Mersey beat pop bunches, whose music was taking Britain and America by storm, making Liverpool celebrated, and besides since it was common - absent from the impact of London. Much of their work may have been freely, indeed carelessly organized -lovely excitement instead of genuine verse - but that mattered distant less in Liverpool than
it did in London, and in the event that built up scholarly pundits did not consider them as genuine writers that were of small concern to them [2]. They were glad of their working lesson foundations and common status and felt no have to be stress approximately what the scholarly highbrows of London might think.
In Adrian Henri's sonnet 'Me' he records individuals he respects, and nearby Burroughs, Rimbaud and Mallarmé we discover pop, jazz, and classical artists, radical political figures, film chiefs, specialists, and artists and writers from all times. The concept of this lyric has something in common with the cover of The Beatles' Sergeant Pepper's Forlorn Hearts Club Band collection of 1967, being a catalogue of different impacts, and appearing the leveling impact of pop culture in bringing together the 'high' and 'low' arts [5].
Henri committed the sonnet 'Mrs Albion You've Got a Beautiful Daughter' to Ginsberg, and on the passing of the driving figure of innovator verse, T. S. Eliot, in 1965, paid tribute to him in 'Poem in Memoriam to T. S. Eliot', comparing him to 'a top choice removed uncle'. And it was as if a favourite distant uncle had died. . For years I measured out my life with your coffee spoons Your poems on the table in dusty bedsitters
Henri was a painter as well as a writer, and both he and Roger McGough were moreover performers. Henri driven a bunch called Liverpool Scene, and McGough was portion of the pop bunch The Framework, at the side Michael McCartney, brother of Beatle Paul. Although the verse of all three had points and demeanors in common, they too had their possess particular styles, both in execution and on the page, Brian Patten being the foremost genuine and strongly. Comparing McGough's and Patten's live exhibitions, Grevel Lindop says, McGough. is fastidiously controlled: the temperaments of the sonnets are carefully shifted, McGough keeping an completely straight confront all through indeed the foremost comedian ones. Patten on the other hand appears both more unconstrained and less loose. He shows up grouchy, indeed bumbling between sonnets, and the group of onlookers is energized, likely, not as it were by the gigantic energy with which he peruses (or or maybe articulates, or chants) his lyrics, but too by the doubt that at any minute he may be aiming to choose a squabble with somebody [3].
In McGough's lyrics we discover a more extraordinary and shaking frame of surrealism, (see for illustration, 'You and Your Interesting Ways') and typographical tests such as the use of lower case letters all through a sonnet, within the way of e. e. cummings, and the arrangement of reminiscent neologisms by the running of words together. you are the underwater tree around which fish swirl like leaves ['What You Are']
The point made over, around the verse of The Liverpool Writers being composed with small respect for descendants, has to be qualified in connection to the afterward works of McGough and Patten. Of the three, Patten has risen as the foremost genuine artist, and was concerned indeed at the time of The Liverpool Scene approximately the qualification between verse and lovely excitement [1].
Conclusion. Patten's sonnets were more considered and carefully-crafted than those of the others. His sonnets were fueled by sentiments instead of thoughts, and he had a more profound, more genuine basic reason. Martin Booth composed of him: Of the Liverpool writers, it was Brian Patten who got to be the pioneer, and it is he who has kept up his imaginative hold and advancement, driving his thoughts and muse on from prior work to afterward movements.
References / Список литературы
1. Roger McGough, in Lucie-Smith, Edward. ed. Introduction. The Liverpool Scene. New York: Doubleday. 1968. (Hereafter referred to as The Liverpool Scene).
2. Penguin Modern Poets 10: The Mersey Sound. Penguin. 1967, revised and enlarged 1974.
3. Lucie-Smith, Edward. ed. Introduction. The Liverpool Scene. New York: Doubleday, 1968. (Hereafter referred to as The Liverpool Scene).
4. The War With the 'Establishment', in Chapter 2 of Cookson, Linda. Brian Patten. Northcote House, 1997.
5. Lindop Grevel. Poetry Rhetoric and the Mass Audience: The case of the Liverpool poets. British Poetry Since, 1960.
6. Booth Martin. British Poetry 1964-84: Driving Through the Barricades. Routledge & Kegan Paul, 1985.
THE CONCEPT OF EQUIVALENCE IN PHRASEOLOGY (BASED ON UZBEK AND ENGLISH LANGUAGES) Sheralieva ShA. Email: Sheralieva690@scientifictext.ru
Sheralieva Shirin Abdisalomovna -Teacher, DEPARTMENT OF TEACHING ENGLISH METHODOLOGY, UZBEK STATE WORLD LANGUAGES UNIVERSITY, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: this article discusses the equivalents of phraseological units in English and Uzbek languages, their common sources, types of equivalence and translation methods. Several works of scientists on this subject have been investigated. Different views of the concept (by scientists) were shown as examples. This research work attempted to examine the concept of equivalence in phraseology based on Uzbek and English languages. Besides that, the topicality of the work is conditioned by the profound interest of language specialists in the linguistic peculiarities of set expressions, their types and ways of forming, as well as the difficulties of their translation and rendering into other languages. Phraseological units come to our speech in many ways and the result of this process is displayed in a more expressive and colorful speech. There is no living language without set phrases and the deeper the knowledge of the language the more phrases occurs in speaker's vocabulary. Keywords: phraseology; phrase; phraseological unit; PU; equivalent; words combination; example.
ПОНЯТИЕ ЭКВИВАЛЕНТНОСТИ ВО ФРАЗЕОЛОГИИ (НА ОСНОВЕ УЗБЕКСКОГО И АНГЛИЙСКОГО ЯЗЫКОВ)
Шералиева Ш.А.
Шералиева Ширин Абдисаломовна - преподаватель, кафедра методики преподавания английского языка, Узбекский государственный университет мировых языков, г. Ташкент, Республика Узбекистан
Аннотация: в данной статье рассматриваются эквиваленты фразеологических единиц в английском и узбекском языках, их общие источники, типы эквивалентности и методы перевода. Несколько работ ученых на эту тему были исследованы. Различные взгляды на концепцию (ученые) были показаны в качестве примеров. В данной исследовательской работе была предпринята попытка изучить понятие эквивалентности во фразеологии на основе узбекского и английского языков. Кроме того, актуальность работы обусловлена глубоким интересом языковых специалистов к лингвистическим особенностям множественных выражений, их типам и способам формирования, а также сложностям их перевода на другие языки. Фразеологические единицы приходят в нашу речь по-разному, и результат этого
