The article examines the transformation of the child image in Uzbek children's poetry of the late 20th and early 21st centuries, using the poems of Kavsar Turdiyeva from her collection “Saylanma” as material. The study relies on close reading, structural-semantic and comparative-typological analysis, and draws on theoretical works on childhood and children's literature (Ph. Ariès, J. Rose, P. Hunt, P. Hollindale, M. Styles, M. Nikolajeva). The analysis shows that the lyrical hero moves from the traditional didactic model, a child who listens to and repeats adult instructions, towards a child who asks questions and builds his own picture of the world. In the poem “Who am I?” the child first defines himself through the names his relatives give him and finally calls himself a human being belonging to the whole world. In the cycle of street poems moral notions are transferred into familiar places, and in “The Universe Is One Family” the solar system is explained through the model of a family. Two tables propose criteria and types of the transformation. Recommendations are given for teaching children's poetry at school and university.

The article offers a contrastive-typological analysis of lexical synonymy in Tajik, an Iranian language of the Indo-European family, and Turkmen, a Turkic language of the Oghuz group. Synonymic series and paired synonyms cited in dictionaries, textbooks and research papers are compared on five parameters: the lexical strata of a series, the dominant and its origin, the features that differentiate members, the form and component order of paired synonyms, and the definition of a synonym in the sources. In both languages the series are multi-layered: native words stand next to Arabic and Persian loans. The difference lies in how the strata are distributed by register. In the Tajik series examined, Arabic words also belong to the neutral core; in the Turkmen series the neutral member is usually a native Turkic word, while bookish and poetic members are loans. Tajik forms paired synonyms with the linking element -u/-yu, Turkmen by hyphenated juxtaposition. The findings can be used in bilingual lexicography and in translation teaching.

The article analyses the concepts of Homeland (Vatan), historical memory and national identity in four short stories by Khayriddin Sulton from the collection “Odamlardan tinglab hikoya”: “Omad”, “Monolog”, “Millatchining fazosi” and “Uy sotiladi”. The study combines close reading, concept analysis and an analysis of memory and space drawing on J. Assmann, P. Nora and Yu. M. Lotman. The results show that each story has a leading concept: national identity dominates in “Omad” and “Millatchining fazosi”, while the space of the Homeland is central in “Monolog” and “Uy sotiladi”. Historical memory links the concepts in all four stories and is carried by literary names, official documents, household objects, the landscape of the neighbourhood and proverbs. The Homeland appears as a space that acquires meaning through work, family and neighbourliness, and national identity as respect for language, name and heritage combined with harmony in a multi-ethnic environment. The writer conveys these concepts through irony, dialogue and precise detail. The article proposes a comparative table of the concepts across the stories and a typology of the carriers of historical memory.