Translation of Political Taboos in the 20th Century Uzbek Literature

Аннотация

This article investigates the Political taboos during the Soviet colonial regime that was governed by Russians in Uzbekistan, and how the government managed the tabooed literature and its translation. Abdullah Kadiri’s “O‘tkan kunlar”(“Bygone Days”) was chosen as the main example and research object. Keywords: Political taboo, Jadids, translation. “usul-i jadid” (“new method”). It depicts the way of Introduction: The language of the novels written in the trials and hard work, the intelligent and clerical layer of past can be understood by the readers most of the the nation put into waking up the illiterate Uzbek time, but decoding the cultural, historical, and social people of the time, who knew nothing about the world, aspects related to that time and place can be development, and literacy. challenging. According to V. Mahmud, the Jadids worked in two R.Yusupov makes this point in his article “Taboo” and stages. “The first stage is enlightenment, the second states that, from a politico-theological perspective, the stage is socio-political.” B. Kasimov also puts forward taboo does not merely prohibit; it constitutes the similar ideas: “To transform Turkestan into a literate political itself by creating distinctions such as 'us' and and enlightened, well-fed and prosperous and free 'other,' or 'the law' and 'the exception,' which in turn homeland, first of all, to achieve independence, to get structure the religious and political spheres” . rid of the oppression of colonialism, was the main goal Uzbek historical novels of the 20th century often and task of the Jadid movement.” include the challenges and problems created by the Speaking about the poetry of the 20th century, B. governments, but in order to avoid censorship and to Qosimov says, “The new Uzbek poetry of the 1910s is, achieve the allowance for the publication, they had to first of all, socio-political poetry.” For example, mask it with other social problems and direct the Muhsiniy brings up the themes of injustice and attention to the other side. oppression of the time in his work. In this, his pen raises Before studying the 20th century Uzbek literature and pressing social issues such as the oppression and its taboos, their cultural and social aspects, it is oppression committed by the “Russians”, as a result of necessary to first divide them by period. which the people lost their faith and morals were 1. Jadid literature (late 19th century - early 20th corrupted. century) The main political taboo of Soviet Uzbekistan was 2. Soviet literature (1920-1990s) nationalism and the striving for independence. Any 3. Independence period literature (from 1991 to the mention of a distinct Uzbek identity, or any suggestion present) of sovereignty, was branded as "bourgeois nationalism". It was even considered a serious crime. The beginning of the 20th century is marked by the rise The Jadidist dream of an independent Turkestan was of the Jadids in Uzbekistan in the era of the Tsar's fundamentally incompatible with the Soviet Union’s colonial period. The word jadid was derived from the American Journal Of Social Sciences And Humanity Research 6 https://theusajournals.com/index.php/ajsshr American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141) structure and ideology. Administration for Literary and Publishing Affairs (Glavlit), established in 1922. Glavlit was the official The colonists' response to the Jadidist challenge was state censor, responsible for purging any material brutal: during the Great Purge of the 1930s, the deemed harmful to the Soviet order . intellectual elite of the nation was systematically eliminated. Writers like Kadiri, Cho‘lpon, and Fitrat Abdullah Kadiri’s “O’tkan kunlar” (“Bygone Days”) is were arrested on fabricated charges of nationalism and officially the first novel of Uzbekistan and was counter-revolutionary activity and executed in 1938. published as a whole novel in 1926. At first sight, it can be seen as a historical romantic novel chronicling the However, the death of these authors presented the tragic love between Otabek and his wife Kumush. state with a new difficult problem of what to do with However, its true purpose, as Kadiri himself revealed, their literary legacy. Their works, particularly Kadiri's was to use the past as an allegory to critique the novel O‘tkan Kunlar, were already immensely popular present. This historical setting was a transparent and could not simply be erased from public memory. metaphor for the state of Turkestan in the 1920s,