LINGUOCULTURAL FEATURES OF UZBEKISTAN FEMALE NAMES

Аннотация

This article analyzes the linguistic and cultural role of a number of female names, such as Barchin, Oyparcha, Layli, and Uzumkoz, in fiction and in our society. Opinions are expressed about the meanings of the names and their linguistic and cultural characteristics. Keywords. notable names, onomastic units, artistic text, language of the work, anthroponyms, name, pseudonym, religion, customs, culture. From the second half of the 20th century, anthropocentric ideas began to develop rapidly, creating the foundation for the emergence of new fields in linguistics. Among them are linguoculturology, sociolinguistics, psycholinguistics, pragmalinguistics, neurolinguistics, and several other contemporary linguistic fields that attract the attention of scholars as areas that study the linguistic landscape of human personality and the world in harmony. In recent years, there has been an increasing interest in notable names and their characteristics in linguistics. In particular, a number of research works have been carried out regarding notable names used in artistic works and their functional, stylistic, linguopoetic, and linguocultural characteristics. Below we will focus on the analysis of some female names: BARCHIN (Barchinoy, Oy Barchin, Gul Barchin, Barchin suluv) — is one of the leading characters in the epic "Alpomish." She is the daughter of Boysar and the beloved of Alpomish. Barchin is a brave and courageous girl. She represents the traditional image of a heroic girl characteristic of folk oral creativity. Through the image of Barchin, Turkic peoples expressed their sincere relationships with women, showing great respect and honor for them, and celebrated women's high human power and dignity. In some historical accounts, Barchin is described as a woman who ruled over the Oghuz tribes (her mausoleum is located 5 km southeast of Sighnoq) [1, 134]. Today, this name has also found its place in modern literary genres as a pen name in poetry, prose, and dramatic works. Specifically, this name serves various linguistic-cultural and stylistic functions. In E. Begmatov's dictionary "Uzbek Names," it is noted that this name is of Uzbek origin and indicates “shoyi fabric, silk fabric, parchin or balchin – barchin – beautiful, charming girl” [2, 48]. 77 ACADEMIC RESEARCH IN MODERN SCIENCE International scientific-online conference LAYLI – One of the main characters in the epic "Layli and Majnun," which is considered a widely spread folklore and written literary monument among the peoples of the Near and Middle East. The initial seeds of the epic appeared in the second half of the 7th century. According to some sources, the characters of the epic are historical figures. It is noted that Majnun came from the Bani Omir tribe, with his real name being Qays ibn Mulavvah or Qays ibn Muod. Qays loved a girl from his tribe named Layli and wrote melancholic poems about his love and longing. Such information is also included in Ibn Qutayba's (889) "Kitab ush- she'r wa shuaro" ("Book on Poetry and Poets") and Abul Faraj al-Isfahani's "Kitab ul-ag‘oni" ("Book of Songs"). However, other sources refute this information. For example, Arab scholar Avon ibn Hakim al-Qalbiy (764) and Arab historian Hishom al-Qalbiy (819) argue that Majnun was not a historical figure. By the second half of the 7th century, many melancholic poems under the pseudonym Majnun emerged in Arab poetry; such poems continued to increase and were included in collections. However, not all poems mentioning the name Majnun belong to one person. According to Arab scholars al-Johiz (9th century) and ibn al-Mu'taz (908), people attributed all poems related to the name Layli to Majnun. In the 11th century, poet Abul Bakr al-Volibiy compiled all poems attributed to Majnun into a collection titled "Devoni Majnun." Comments are provided on the poems, and the poems are incorporated into the narrative of the legends about Majnun. The first epic about Layli and Majnun was created in 1188 by the Azerbaijani poet Nizami Ganjavi. Nizami elevated the epic "Layli and Majnun" both ideologically and artistically to a high level and included it among the traditions of the "Khamsa." Following him, many poets referred to the epic "Layli and Majnun." The works of Khusraw Dehlavi, Abdurahman Jami, Fuzuli, and Alisher Navoi, which belong to this tradition, are well-known. Although these epics share the same title and their narrative structures are quite similar, each author's "Layli and Majnun" is a unique and unparalleled work. To date, there are numerous variants of this epic in Uzbek, Arabic, Persian, Azerbaijani, Turkish, Turkmen, Tajik, Georgian, Punjabi, Kurdish, and Urdu languages. The epic "Layli and Majnun" has also had an immeasurable positive impact on the development of oral folk art. In particular, it is acknowledged that the influence of "Layli and Majnun" can be seen in Uzbek folk creations such as "Tahir and Zuhra" and "Oshiq Gharib." The names Layli and Majnun are also m