This article examines the contextual transformation of English idioms and linguistic creativity in generative artificial intelligence discourse. The study compares canonical idiomatic forms with their transformed variants produced by generative AI and identifies such mechanisms as component expansion, component substitution, literalization, metaphorical continuation, semantic re-motivation, and contextual adaptation. The findings show that successful creative transformation generally preserves the core figurative meaning of an idiom while reactivating its literal or metaphorical components in accordance with a new communicative purpose. The analysis also reveals three levels of idiomatic creativity: formal adaptation, semantic activation, and conceptual creativity. The study proposes contextual motivation, semantic preservation, and pragmatic value as key criteria for distinguishing productive linguistic creativity from semantic or stylistic distortion in generative AI discourse.

The article analyzes converse-like semantic relations between English verbs of questioning and answering, primarily ask–answer, as well as question–reply and inquire–respond. The analysis focuses on participant roles, argument alternation, direction of the speech act, and presuppositional dependence. The findings show that ask and answer are not strict converses of the buy–sell type because an act of asking does not logically entail an act of answering. At the same time, the use of answer normally presupposes a preceding question or request. The pair is therefore interpreted as a functional-oppositional relation displaying features of communicative converseness.

The article focuses on the main principles of intertextuality and its significance in literary discourse. It explores the ways in which a literary text interacts with other texts, cultural references, literary traditions, and historical contexts. Particular  attention is given to such intertextual elements a quatations,allusions,reminiscenes and parody. The study demonstrates that intertextuality contributes to the enrichment of textual meaning, the expression of the author’s intentions, and the reader’s interpretation of a literary work. The article emphasizes the importance of intertextual analysis for a deeper understanding of the semantic, cultural, and pragmatic aspects of literary discourse.

The article presents a comparative study of word-formation models of English military abbreviations and strategies for their equivalent rendering into Russian and Uzbek. The relevance of the study is determined by the high degree of linguistic compression characteristic of contemporary military terminology and by the continuous expansion of professional vocabulary through abbreviated units used in regulatory documents, operational communication, military-technical documentation, and digital command-and-control systems. The study aims to identify the most productive structural and word-formation models of English military abbreviations and to determine the factors that influence the choice of translation strategy in Russian and Uzbek. The material is examined through structural-word-formation, comparative, and translation-oriented methods. Initialisms, acronyms, clippings and complex abbreviated formations, as well as alphanumeric models, are analyzed. The results demonstrate that equivalent rendering cannot be reduced to the mechanical reproduction of an abbreviation's graphic form. The translator must consider the semantic content, terminological conventionalization, context, communicative function, and norms of the target language. The most reliable strategies are the use of an established equivalent, calquing, transliteration, descriptive translation, and, where terminological grounds exist, the creation of a national abbreviation. The findings may be used in military translator training, the compilation of bilingual and trilingual military dictionaries, and the standardization of military terminology.

This article analyzes the metaphorical modeling of the concept of beauty through phytonyms in Karakalpak folk epics. It examines the semantic, linguopoetic, and linguocultural features of phytonyms and their functions in creating artistic images, representing human and natural beauty, and reflecting national aesthetic values.

The article examines phonetic-graphic, morphological, semantic and pragmatic adaptation of borrowed units in economic discourse. Fintech, startup, blockchain, mining, crowdfunding, digital wallet and green finance illustrate the principal mechanisms through which English-origin economic terms are integrated into Uzbek.

This article examines the artistic and philosophical interpretation of the concept of love in Mehribon Abdurahmonova’s poem "Ishq Nafasi" (The Breath of Love). It analyzes the impact of love on the human psyche and its interplay with contradictory emotions such as tears, jealousy, anguish, suffering, union, and separation. The lyrical protagonist’s journey—seeking love, enduring its trials, and ultimately realizing it as an "invaluable treasure"—is explored through the lens of poetic and psychological dynamics. Also, the semantic function of symbolic images such as "coal", "tig'", "knife", "ganj", "mil", "buranji" in the work, and the artistic-aesthetic and emotional-psychological function of color descriptive epithets such as "red-red love", "white jealousy", "green-green vase", "golden hajr" are highlighted. As a result, it is based on the interpretation of the image of love in the work as a spiritual test, a spiritual refuge, and a force that leads a person to the top.

The article develops theoretical and practical principles for systematizing Uzbek proverbs that express personal spiritual and moral values in a special ideographic dictionary. It argues that paremiological units should be organized not alphabetically but according to conceptual, axiological, and ethical-semantic fields. Honesty, conscience, honor and dignity, patience, diligence, modesty, generosity, compassion, justice, and responsibility are proposed as major ideographic domains. The study specifies the dictionary macrostructure and microstructure, criteria for selecting a head proverb, grouping synonymous and antonymous paremias, and presenting linguocultural comments, pragmatic labels, variants, and source references. The proposed model is intended for scholarly research, education, translation, and value-oriented educational practice.

The article examines the theoretical foundations for improving the methodology for developing students’ technological skills under the conditions of summative assessment introduced in general secondary schools, including formative unit summative assessment (USA) and quarterly summative assessment (QSA). The author interprets technological skills as a unity of cognitive, operational, motivational, and reflective components. Based on the analysis of pedagogical and psychological literature, synthesis, comparison, and modeling methods, a five-stage systematic and structural model for improving the methodology has been developed. The diagnostic, corrective, and developmental functions of summative assessment are substantiated, and assessment criteria and descriptor levels are proposed. The research findings can be used as practical recommendations for technology teachers.

The article investigates the axiological mechanisms of wise sayings used to evaluate human character in English and Uzbek literary discourse. A small comparative corpus of sixteen units, eight from each language, was selected from paremiological sources. The units were coded according to evaluative polarity, linguistic means of evaluation, the source of the cultural norm, and their potential function in literary context. The analysis shows that positive character models are organised around reputation, loyalty, courage, and cooperation, whereas negative models centre on pride, boasting, deceit, and irresponsibility. In the English material, evaluation is frequently linked to individual choice and practical consequence; in the Uzbek material, communal moral judgement and social relations are more visible. This difference is treated as a tendency in the selected data rather than an absolute cultural opposition. In literary discourse, wise sayings can express authorial judgement and reveal a tension between a character’s self-image and actual conduct.

This article examines the semantic relationship between the motif of night and human psychology in classical Eastern and Western literature through a comparative-semantic approach. The study explores the role of night not merely as a temporal or landscape element, but as an important poetic means of expressing loneliness, separation, longing, memory, fear, inner peace, love, and spiritual contemplation. The analysis is based on the works of Novalis and Emily Brontë as representatives of Western literature and on the poetry of Hafez Shirazi and Jalal al-Din Rumi as representatives of the classical Eastern tradition. The findings show that in Western literature, the motif of night is more closely associated with individual consciousness, memory, inner freedom, and psychological solitude, whereas in classical Eastern literature it is predominantly connected with separation, waiting for the beloved, longing, spiritual quest, and the desire for inner or spiritual closeness. The study also demonstrates that darkness does not always carry negative semantic meaning; in a number of literary texts, night becomes a source of inner peace, spiritual harmony, and intensified self-awareness. The article concludes that the motif of night functions as a universal semantic and poetic category whose psychological meanings vary according to specific literary and cultural traditions.

This article examines the artistic and historical value of the Baburnama from a linguopoetic perspective. The study analyzes the linguistic features, stylistic characteristics, artistic devices, and the system of imagery employed in the work, as well as the author's unique narrative style. Particular attention is paid to the interaction between historical facts and their artistic interpretation, the semantic and expressive functions of lexical units, and the role of poetic language in revealing the ideological and aesthetic content of the text.

This article provides a semiotic analysis of the fifth artistic-pedagogical mechanism of moral education in the "Goʻroʻgʻli" epic cycle – education through symbolic-mythopoetic images (the winged horse, the peri, the garden). Unlike the previous four mechanisms, this one operates on a semiotic principle: the listener absorbs an abstract moral concept not through word, action, or contrast, but by "reading" the symbol itself. Drawing on the dastans "The Birth of Goʻroʻgʻli" and "Yunus Pari," the study identifies stable types of symbolic images and connects them to new sources in Uzbek folklore studies (Sh. Turdimov, O. Qayumov, A. Tilovov). Three types were identified: the winged horse (a symbol of loyalty and a "second soul"), the peri (a symbol of purity and spiritual and moral elevation), and the garden (a symbol of paradise, trial, or temptation depending on context). It is concluded that these three types, together with the div/dragon image, form a coherent semiotic system.

This study presents a comparative analysis of the modes of authorial presence in T. Capote’s novel, S. Alexievich’s book of testimony, and M. Murodov’s autobiographical novella. Documentary writing is approached not as the absence of authorial mediation, but as a specific mode of organizing factual material, the discourse of others, or autobiographical memory. The article proposes a model of the transformed authorial instance built around four parameters: the visibility of authorial discourse, the object of its organization, the dominant textual operation, and the associated ethical risk. The comparative analysis identifies three variants of a common architectonic structure: the author-reconstructor organizes the event, the author-editor assembles testimonial voices, and the author-mediator shapes fragments of memory. The concept of compensatory authorship is introduced to demonstrate that the reduction of direct authorial commentary does not eliminate the authorial instance; rather, it relocates its activity to the levels of selection, focalization, montage, and chronotopic organization. The analysis of textual microfragments demonstrates that the author’s structural freedom becomes particularly evident precisely where the authorial voice is least explicit.