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Vol. 3 No. 12 (2026)
Philology

Articles

THE POETICS OF ALLEGORY AND DIDACTIC IMAGES IN UZBEK AND EUROPEAN FABLE LITERATURE

DOI 10.63294/isja/vol3iss12/249 Google Scholar Google Scholar Pages 116-123

Published 2026-09-29

Authors
Djalaletdinova Fotima Tadjitdinovna
Affiliation
Alfraganus Universiteti (Toshkent, Oʻzbekiston)
Alfraganus — Vol. 3, Issue 12 (2026), Philology
PDF (Uzbek)

Abstract

This article examines the poetic features of allegory and didactic images in Uzbek and European fable literature from a comparative-typological perspective. The relevance of the study is determined by the need to identify the specific poetic functions of allegorical images in the formation and development of the fable genre across different national literatures, as well as their role in representing human character, social relations, and moral-aesthetic values. The aim of the research is to identify the specific features of the artistic representation of allegorical images and the didactic concept in Uzbek and European fable literature through comparative-typological analysis. The research material includes the fables of Aesop as a classical representative of ancient Greek literature, the works of the French fabulist Jean de La Fontaine, and works of Uzbek literature associated with Alisher Navoiy and Muhammadsharif Gulkhani, particularly Gulkhani’s “Zarbulmasal”. The study employs comparative-typological, historical-comparative, poetic, and hermeneutic methods. The analysis focuses on the structure and poetic functions of allegorical images, the ways in which didactic ideas are expressed, the system of characters, compositional integrity, and the specific features of artistic chronotope. The results demonstrate that in the works of Aesop, La Fontaine, and Gulkhani, animals, birds, and other allegorical characters are used symbolically to reveal various aspects of human character and social relations. At the same time, allegory in European fable literature is predominantly employed as a means of critically representing social relations and systems of power, whereas in Uzbek fable literature it is closely connected with folk worldview, national and cultural values, social issues, and moral-didactic ideas. The study establishes that allegory in fable poetics functions not only as a means of artistic representation but also as an important poetic mechanism for shaping didactic and socio-philosophical content. The findings contribute to identifying the typological similarities and national-cultural differences between Uzbek and European fable literature and provide a basis for further comparative research into the poetics and imagery of the fable genre.

Keywords

fable genre, allegory, didactic images, poetics, imagery, comparative-typological analysis, Uzbek fable literature, European fable literature, mythopoetics, artistic chronotope

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