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УДК 9
Saparova N.
Junior researcher at the Institute of Language, Literature and National Manuscripts named after
Magtymguly of the Academy of Sciences of Turkmenistan
Annamammedova G.
Teacher of English language and literature at the Pedagogical school named after Hydyr Deryayev CHILDHOOD EDUCATION IN THE LULLABIES OF TURKMEN WOMEN
Annotation
In the folklore of the Turkic peoples, lullabies are very ancient. This rich literary heritage contains valuable information about the history, ethnography, culture, art and national language of the Turkic peoples. Based on rich sources, the connection of folklore with history, literature and ethnography, reflection of national characteristics at periodic stages of its development are revealed. Because folklore attracts attention not only for its artistic value, but also as a literary heritage that conveys to our generations in artistic form information about the aspirations of people, history, cultural life, and national values.
Keywords
rich literary, poetic creativity, folklore, history.
In the study of Turkmen folklore, including the poetic creativity of women, the great merits of the orientalists A. N. Samoilovich, V. Uspensky, V. Belyaev, A. Potseluevsky, the Turkmen scientist B. A. Garryev and others.
Academician B. A. Garryev several times prepares the poetic works of Turkmen women for publication and writes prefaces to collections. He writes scientific articles about some features of the lale, khuvdi and monjugatdi genres. Such articles by the scientist as "The Lyale of Turkmen Women", "Some Notes on Turkmen Folklore", "The Genre Richness of Turkmen Folklore", the book "Beautiful Poetry of Girls and Women" are among the valuable works on the scientific analysis of folklore. S.M. Annanurova conducts research work on lala, khuvdi, monjugatdi and wedding songs, analyzing the genres of women's poetic creativity, publishes collections and volumes that comply with the norms of textual criticism. The articles of candidate of philological sciences Sakhragul Annanurov "Wedding songs" and "Turkmen maiden songs - lyale" provide scientific information about wedding songs and lyalas. S. Annanurova enriches her previous scientific information in the prefaces to the collections "Lyalya" and "Chemen" and gives an important theoretical analysis of women's poetic creativity.
According to pronunciation, meaning and content, S. Annanurova's lullabies are divided into two groups: "lullabies read near the swing", "lullabies read with the aim of loving the child, raising him, thereby instilling in children the qualities of hard work, courage and bravery." In the books "The Current State of Turkmen Folklore" and "Turkmen Folklore Today," the songs are divided into "general songs," "boy songs and girl songs performed near the swing," and "other songs."
A number of scientists have tried to prove scientifically that the poetic creativity of women is the oldest example of folklore. The debate over this idea centered around verses from Mahmyt Kashgari's book "Diwan Lugat al-Turk" and was pushed to the middle with a number of conflicting opinions. The German scholar K. Brockelmann, who compiled the poetic samples of the dictionary and published it by topic, put forward the opinion that the reason why this written monument has survived to this day was that its poetic samples consisted of folklore works. He said that the poems were created before Islam [2, 1-2 pp.] without any evidence. This idea was also supported by M. Hartman [5, p. 349-351]. Orientalist B.B. Bartold, based on the contents of the dictionary, says that poems other than couplets are examples of folk poetry. This idea is also supported by I.V. Stebleva [6, p. 8]. This allows us to compare the ancient stanzas of the dictionary with examples of modern folk poetry.
The world of children is pure and unique. The close bond between mother and child places the mother figure in the child's world. For every child, the word "mother" is the pillar of his childhood world. In the same way, a mother's loving heart for her child is manifested by good wishes for the entire nation, earth and existence.
Turkmen women are sensitive to raising children. Every woman strives to give her children a decent upbringing outside of everyday family matters. G. Blokvill, who visited Turkmen soil in the second half of the 19th century, notes this feature of the Turkmen family in his memoirs: "Turkmens treat women with respect. But Turkmen women work more. They thresh everyday wheat for the whole family. In addition, they spin wool, weave, sew, help build houses, carry water, wash clothes, dye silk and weave fabrics. Turkmen women must be very healthy to be able to take care of their children outside of these activities" [1, 58 p.]. Also G. Blockwill said: "Here children learn to read and write from their parents, without doing any work until they are ten or twelve years old. To make up for lost time, parents who are forced to work with children in the summer months take care of their children in the winter months" [1, p.59]. Such attitudes of Turkmen women, which they consider important in raising children, in raising a highly moral person who will benefit the people and put caring for the people above all else, are fully expressed in women's poetry.
Lullabies are one of the voluminous genres of women's poetic creativity and are distinguished by their themes. In the regions, topics such as humanity, education of humane qualities, hard work, acquiring a profession, obtaining science and education, love for the country and its defense are discussed. Differences in the upbringing of boys and girls are reflected in national trends. To instill in boys courage, bravery, hard work, love for parents, their native village, and the Motherland, these poems are wonderful creative works combined with the good wishes of a mother to her child.
The poetic creativity of women of the Turkic peoples is one of the foundations of the ancient literary heritage of the peoples and represents a scientifically valuable source. The talent and skill of the Turkmen people, including Turkmen women, are manifested not only in handicrafts, but also in works of folklore created over the centuries.
Literature:
1. Blokwil G. Turkmenlerinkide yesirlikde. - A.: Altyn gu§ak, 1992.
2. Brocelmann C. Altturkestanische Volkspoesie. 1. AM (Hirth anniversary volume), 1923.
3. Gelin-gyzlaryn §ahyrana doredijiligi. - A.: Miras, 2005.
4. Gelin-gyzlaryn §ahyrana doredijiligi. - A.: Ylym, 1982.
5. Hartman M. Die metrische Form des Qudatgu bilik. OLZ, Bdv. 1902.
6. Стеблева И.В. Развитие тюркских поетических форм в XI веке. М., Наука, 1971.hello
© Saparova N., Annamammedova G., 2024
УДК 9
Байраммаммедова О.,
преподаватель.
Туркменский государственный университет имени Махтумкули.
Ашхабад, Туркменистан.
ХОЗЯЙСТВО ЛЮДЕЙ, ЖИВШИХ В САМЫЕ ДРЕВНИЕ ВРЕМЕНА: ЮВЕЛИРНОЕ ДЕЛО, ГОНЧАРНОЕ ДЕЛО
Аннотация
Медные инструменты выплавлялись на медных рудниках. Но теперь орудия изготавливали не
