Azod Sharafiddinov

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Ozod Sharafiddinov is a truly enlightened man who sets an example for our compatriots, first of all, our youth, with his honest words, will and perseverance in life and work.

If we look at the history of our literature from the very beginning, if we look at the next hundred years, we will see the names of many writers. It is safe to say that the name of Ozod Sharafiddinov stands out in the series of literary critics and publicists who have been working for the last fifty years.

The saying that a person is attracted to his name is wise wisdom. In the history of Uzbekistan and Uzbek literature of the twentieth century, Ozod Sharafiddinov truly considered the freedom of his personality, his worldview, his faith, his talent, his opportunities as a unique phenomenon. from scholars who have lived shoulder-to-shoulder with the burden of hardships required by these high values, feeling for a moment that they are not out of sight.

It is well known that after compiling the encyclopedia of Hazrat Mahmud Kashgari in the Turkic language, and creating great spiritual monuments with the spiritual power of Yusuf Khos Hajib and Navoi, a charming prose was written by Mawlana Abdullah Qadiri centuries later. It was natural that a critic named Ozod Sharafiddinov was born in this series when there was a break in the times. The point is that Odil Yakubov's prose and Abdulla Aripov's poetry needed control-analytical support to prove that a new generation had been born.

Our literary critic, who took on this heavy burden, fought for the continuity of the series of Uzbek literature, shared his responsibilities with his peers, supported the colorful works, sought answers to his unanswered questions from the ocean of world literature and philosophy. , as if he had found something. It turns out that not only the generations of the 60s, but also the new generations began to count from the point of view of Ozod Sharafiddinov. This is because the articles and works created by the scholar were not only literary, but also philosophical criticism.

Ozod Sharafiddinov remained faithful to the fact that the main task of literature is to depict the universe, man and his heart, the eternal value, that is, the heart.

During the great period of Ozod Sharafiddinov's work, a number of works were created in Uzbek literature that could meet the requirements of world literature. Shukhrat, Said Ahmad, Shukrullo, Pirimqul Kadyrov and Odil Yakubov, Utkir Hoshimov and Shukur Kholmirzaev, who joined our art of speech as new blood, Erkin Vahidov and Abdulla Aripov, who expanded the horizons of our poetry. Hundreds of artists have created unique works. Then Ozod Sharafiddinov's phrase "Talent is the property of the people" sounded proud. The critic, rejoicing in his achievements, brought every good example closer to the reader, discovered aspects that the creator did not expect, and taught the children of the people to understand literature.

Ozod Sharafiddinov knew his talent, that he would become a great creative scientist in the future, a great writer like Abdullah Qahhor, loved by our people, and embraced him with love and affection. In one of his interviews, Abdullah Qahhor quoted Ozod Sharafiddinov as saying, "It should be written that if a salesman sells nas on the page of your book, the person who opened it at home and saw the text said, 'Yes, this is Ozod's words.' let him take it carefully.

Ozod Sharafiddinov, who recognized and appreciated this truth, said: “In order to write so perfectly, to create such a harmonious work of art, one must be as hard-working as Abdullah Qahhor. And not everyone is lucky. Only an artist who truly loves his homeland, who wants to see his people in all respects, who has the flame of independence in his heart, will be blessed with this happiness, ”he said. In order to glorify and pay homage to the teacher, it is necessary to become a literary critic like Ozod Sharafiddinov.

Ozod Sharafiddinov left a great mark in this bright world as a just man, a hard-working scientist, a kind father. He left an immortal creative legacy. This is a work that can be the pride of not only one person, but an entire nation, a work that affects the past, present and future of the Uzbek people, our nation.

“Time”, “Heart”, “Poetry”, “Beggars”, “Talents”, “The First Miracle”, “Literature is a textbook of life”, “Understanding the star”, “Understanding creativity” Happiness ”and“ Thoughts on the Pass ”were published. In general, if we summarize the literary heritage created by Ozod Sharafiddinov, the number of published works alone - 28, articles and interviews in the periodicals - 385. There are more than 50 articles, introductions, forewords and endings in the collections, and about 150 translated works. Under the guidance of the scientist, 29 people defended their dissertations.

Ozod Sharafiddinov was one of our scholars who embodied a number of examples, such as the example of thought, the example of courage, the example of medicine, the example of intelligence. It is natural that this should be the case once there is Enlightenment to rely on.

Thousands of disciples remained of the Master. These students are raising the banner of science and lighting their lamps, not only in Uzbekistan, but in all regions known to us.

HAVE A COURAGEOUS WORD

The name of Ozod Sharafiddinov, who left an indelible mark on the development of our modern artistic thinking and has always been recognized as a living figure, is always mentioned with high respect. As President Islam Karimov said, over the past seven to ten years, there have been prominent thinkers and intellectuals. One of them is Ozod Sharafiddinov, professor, laureate of the Beruni State Prize, Honored Scientist of Uzbekistan, holder of honorary badges of Independent Uzbekistan - "For Great Services", "Labor Glory", "Hero of Uzbekistan".

Literary debates and discussions in the pulpits, among students and friends are characterized by specific qualities - correct speech, uncompromising, knowledgeable, every event in life and literature, every creator, artists and works of different eras. Ozod Sharafiddinov is a unique person as a person with his own opinion, interpretation and critical views.

Ozod Sharafiddinov was born in 1929 in the city of Kokand. He graduated from high school in Tashkent with a gold medal and studied at the Faculty of Philology of Tashkent State University, then at the graduate school of the Institute of World Literature in Moscow. Academician Matyokub Kushjanov recalls: “It is April of the year one thousand nine hundred and fifty-five. Maxim Gorky Research Institute of World Literature. Leading literary scholars of Moscow gathered in the hall of the institute. In the pulpit is a young man, just 26 years of age, of medium height, with a slender body, black, and a snub nose. He is giving a lecture on the content of his dissertation on "Uzbek epic poetry during the Second World War." He was now a well-known literary critic, Professor Ozod Sharafiddinov.

Studying in Moscow taught O. Sharafiddinov a lot. First, he experienced literary life, attended literary meetings regularly, visited newspaper and magazine editorial offices, and met many writers.

"Our choice was raised by the poem of Gafur Gulam," writes Ozod Sharafiddinov in the poem "Daryodil poet". - It is difficult for me to imagine the spiritual world, the spiritual world of an equal generation without Ghafur Ghulam. Without Ghafur Ghulam, this world would be very strange and flawed. ” In this short, succinct thought, the essence of not only Ozod Sharafiddinov, but also his generation, as well as the generation of artists like Gafur Gulam, is understood. When he entered the field of literary criticism, a whole reality called Uzbek literature was living in four large sections, each of which was independent.

These are, first of all, classical literature, which, like folklore, is addressed only when necessary. Second, the works of the repressed twentieth-century word artists that have not yet been forgotten by the people or left in the drawers of publishers. Thirdly, the works depicting the Uzbek body and image of a highly politicized Soviet man, bent from the storm of repression and drying up in the heat of ideology, published in newspapers and magazines every day, and finally, the works of young artists who are just entering literature.

Since folklore and classical literature are the subject of pure literature, our critic has sought to address the three listed at the end. However, Abdullah Qadiri or Cho The opportunities to appeal to the artistic world created by lpon were limited. Ozod Sharafiddinov, who had been waiting for forty years for the opportunity to enter the world of art, lived in harmony with his contemporaries and their new works, supported the great, supported them wholeheartedly, spared no effort, and brutally crushed them. Time was running out of work that could inevitably happen.

The knowledge of the critic, his enjoyment of a good work, and his ability to "read" the literary map of the peoples of the world without difficulty are part of the problem. He must be able to apply what he knows to the literary process, to continue his course consistently, and, most importantly, to make sure that his point of view is applied in life. In other words, it is important that the talent of the critic emerges and is put into practice. "The power of the critic, the value of the critic is determined by his influence on the literary process," writes O. Sharafiddinov in his article "On the profession of criticism." - In order to influence the literary process, the critic must present very deep, very weighty, well-argued ideas, problems, opinions. Thought, on the other hand, does not come from nothing. Thought is a product of knowledge.

Ozod Sharafiddinov also touched upon the problems of criticism. Criticism is the art of discovering beauty in literature, of defining the art of literature, of determining the aesthetic factors that affect a person. He commented on Uzbek literary criticism and spoke about a number of shortcomings that hinder its development. For example, the biggest drawback is being overly fond of the method of vulgar sociology.

“Sociological analysis is easy - without much effort to do it - when you tell the subject, the main points of the work, compare it to real life events, then tell a couple of your“ wise ”conclusions, tell the author where to correct, where to strengthen. , you give "valuable advice" on where to remove it, that's all. But such "criticism" does not benefit the reader or the creator. " At the same time, "the reason for resorting to this form of criticism is the shallowness of knowledge, the low level," laments the literary critic.

In his work, Ozod Sharafiddinov warned critics to avoid one-sidedness, uniformity and schematism in the analysis. For example, in some places, love seems to intensify (Cholponcha) and undermine objectivity. We sometimes try to idealize Cholpon, to take him from the land where he lived and modernize him. In the past, Cholpon was only condemned, but now they are trying to portray him as an angel.

However, even a one-sided thinking about the great Cholpon would be a big mistake. As Ozod Sharafiddinov put it, "a real talent will never be a superficial person who will fall into a mere formula."

No matter which artist's work he analyzes (whether he is a young writer or an experienced one), it is as if he is turning the work of this artist into the object of his laboratory, trying to learn from each of them. They believed that the task of criticism was not only to teach the artist the mind, not only to lift it to the sky or hit the ground, but also to seek art from the works. In such processes, the range of Ozod Sharafiddinov's thinking has expanded and his understanding has developed. After all, while they have reacted to countless works throughout their lives, none of them have been accidental works. No matter what the artist was - Cholpon, Abdulla Qahhor, Ghafur Ghulam, Zulfiya, Said Ahmad, their breath was felt in each of their articles.

Just as every literary genre is the leading genre, there is a popular ancient genre of literary-artistic criticism. It is a literary-critical portrait, with an organizing, molding character. It is not difficult to distinguish such forms as review, commentary, badia, debate in the composition of a perfect literary portrait. The critic influences the literary process - reviews, commentaries, essays, debates, conversations, as well as builds the foundation of a major genre work and collects material. During his lifetime, Ozod Sharafiddinov wrote hundreds of articles, reviews and commentaries. The contribution of your critical works to the development of Uzbek literature, to the discovery of talented poets and writers, to the growth of creative skills, to the formation of a full-fledged character. The scientist has chosen to generalize his articles and reviews - a major scientific-theoretical research and the creation of excellent literary portraits, and his article-portraits have a special place in the creation of portraits of mature artists. The critically acclaimed portraits stand out with their uniquely attractive, juicy language.

His book The Beggars (1974) embodies the brilliant portrayal of fifteen great writers. The author calls the literary portraits in The Beggars "biographical essays." But when they talk about a writer's work, they choose works that are characteristic of him in all respects, on the basis of which the artist's creative path, his destiny is a unique world of writing, his irreplaceable style, in short, his unique image, his role in the development of literature. These, in turn, meet the basic characteristics and requirements of the literary portrait genre.

Ozod Sharafiddinov's book "Talent Shines" also consists of literary portraits or their drawings. This collection includes articles about the most talented writers who have made a significant contribution to the development of Uzbek literature in the twentieth century. Every reader will have a rich and vivid impression of the works of such writers as Sadriddin Aini, Gafur Gulam, Oybek, Abdulla Qahhor, Kamil Yashin, Askad Mukhtor, Odil Yakubov. This book of the scientist is an achievement of Uzbek literature in the 70s. He had a strong influence on the development of the literary process.

Many of Ozod Sharafiddinov's works published in recent years also show that he has risen to the level of a skilled portrait writer in Uzbek criticism and that he has managed to get rid of most of the shortcomings noted in his previous articles. In particular, the author has recently created meaningful portraits of writers such as Abdulla Qahhor, Cholpon, Mustafa Chokay and Otajon Hashim, which provide a fair assessment of the author's works of art, accurate coverage of the creative process and a deep and new interpretation of literary works. shows that his art has risen immensely. In particular, the book "Cholpon", published in recent years, is a huge contribution of the critic to the study of literature.

This book is the first literary portrait of the poet Cholpon, which was created as a result of the author's boundless efforts and great service in returning this artist's work to the people. In the book, the author sets himself the goal, first of all, to return Cholpon's work to the people, to restore the name of the memorial and its place in the literature. For this, he focuses on two important issues. First, the critic argues that in the 30s, Cholpon was completely unjustly accused, and that there was no trace of nationalism in his work. He makes a pertinent and interesting observation about the differences between racism, nationalism and nationalism in order to unquestionably disprove the absolute groundlessness of Cholpon's condemnation as a nationalist and an "enemy of the people." It is clear from Munaqqid's observations that Cholpon's works do not have such a terrible flaw as nationalism, but his work is imbued with the spirit of sincere nationalism, that is, pride in the history and greatness of his people.

Second, the critic proves the need for Cholpon’s work to be returned to the people by the fact that he was a truly great artist and a great talent. To this end, in his book he tries to cover Cholpon's life and creative path in many ways, to embody the bright image of the writer. As a result, many new views, observations, interpretations and generalizations about the biography of Cholpon and the ideological and artistic features of his works are put forward. The critic found that for a long time, even the year of Cholpon's birth was not clearly known to the public. By studying countless archival materials and finding Cholpon's own handwritten documents, O. Sharafiddinov convincingly proves that the poet was born in 1897. Thus, in the book, the scenes of almost all Cholpon's life are animated on the basis of various facts, documents and memories. The critic's service is not limited to restoring Cholpon's biography.

The most valuable aspect of the book "Cholpon" is that it consistently covers the entire career of the writer, and for the first time provides a comprehensive and accurate information about the prose, lyrics, drama and literary-critical views of the writer. . While illuminating the writer's creative path, the critic clearly embodies Cholpon's gradual development from a weak prose exercise to the level of a great poet. To this end, he analyzes many of Cholpon's works, in particular his poems, the novel "Night and Day" and the drama "Bright" on the basis of the most effective methods of modern criticism. The new interpretation makes it possible to substantiate the conclusion that Cholpon was the greatest Uzbek poet of the early twentieth century. At the same time, the author does not turn a blind eye to the fact that Cholpon was forced to write works in the 30s in the spirit of modernity. So, this fact testifies to the fact that the critical eye of the author is much sharper in this book than in many previous portraits.

According to these qualities, Ozod Sharafiddinov's books "Abdulla Qahhor" and "Cholpon" rise to the level of his most serious achievements in the field of portraiture.

It is clear that Ozod Sharafiddinov, who has been writing in criticism for more than fifty years, has achieved the greatest success in this difficult genre, such as literary portraiture. Many of the portraits he created will undoubtedly remain an invaluable asset to Uzbek criticism and literary criticism.

In classical literature, the science of poetry, or more precisely, the science of poetic criticism, is called cash. Poets have pointed out the falsity, the ambiguity, the guilt between the real poems. Scholars such as Atoullah Husseini, Waz Kashifi, Ahmad Khudaydod Tarazi have created a rich school in the interpretation and evaluation of poetry. Areas such as art, science and rhyme are taking their place in poetry criticism. Now the critic of poetry has to work with jewelry - to stop at every word, tone, spirit, color: to bring the reader into a unique world, and, most importantly, to get acquainted with beauty.

During the Soviet era, prose and drama criticism continued in their own way. Criticism of the field was little familiar to the general public. But the people, the savvy part of it, felt poetry subtly, so they would not accept thick, superficial articles written about poetry. The poet was not only a "passer-by" in the field of poetry, but also an illuminator of the power of poetry, its social nature, the subtle changes in the heart of the lyrical protagonist, the stylistic diversity of poetry, the methodological diversity. .

Ozod Sharafiddinov is one of those who has a delicate, deep sense of poetry and has raised the critique of this field to a high level. The critic has written serious articles on prose, drama, and criticism. But poetry is a field that has made Ozod Sharafiddinov famous in criticism.

The scholar's book "Time, Heart, Poetry" is significant in that it expresses a new point of view in poetry, reflects the criteria of evaluation of poetic works specific to Ozod Sharafiddinov.

Ozod Sharafiddinov approaches poetry with specific criteria. The first of these criteria and the one that reflects the essence of the scientist's work is truthfulness. It is this criterion that motivates him to expose mediocrity in literature, especially in poetry. Professor Begali Kasimov assessed it as follows: “Nature gave him (Ozod Sharafiddinov) the ability to feel literature and appreciate it, as well as the courage to tell it truthfully. He did not tolerate moderation in his work, "puddle circles"… But his work and activity were always in the "sword's edge". Because he couldn’t live in moderation, he couldn’t love in moderation. He could not hide his heart like some. It was in the language of his heart. ”

This criterion can be explained by the fact that from the first works of the scientist he focused on the shortcomings that prevented our poetry from reaching great heights. That is why he regrets that "sometimes under the weak poems is the signature of a famous, distinguished, even great poet." About the writings written by well-known authors, which in all respects corresponded to the ideology of the time, but did not meet the requirements of art, “Is this a work of poetry? Is there poetry in it? ”Could only be asked by a scholar who had a measure of understanding at that time.

No poem can be poetry, - writes the scientist. - If the essence of poetry consisted only of weights and stanzas, rhymes and alliterations, and did not go beyond the expression of a certain meaning in a certain tone, there would be no easier work in the world than poetry. If so, it would be possible to have an average literacy, train any sane person for a week and make him a poet as a builder. He could even be taught how to find beautiful analogies, clear adjectives, original metaphors. However, this is not the case.

Poetry is different from the information genre of a newspaper. Poetry is one of the most difficult, complex aspects of human activity. A poet must have a sharp thinking ability, a poetic talent. Without talent, no matter how hard you try, you can't create real examples of poetry. ”

Although almost half a century has passed since then, these ideas of the master poet have not lost their significance in the slightest.

It is surprising that Ozod Sharafiddinov, as a truth-teller, is ruthless not only to the creators, but also to himself. Otherwise, "Why did I change my faith?" In his article, could a scientist take a hard look at his personality and life deeds ?! Or in an essay entitled "Muvashshah": "I, as a literary critic, have published three or four articles on Abdullajon's work, but I have studied the phenomenon of Abdulla Aripov in twentieth-century poetry, as well as in world poetry." Although I have not written a more accurate article that explains it a little more perfectly. Every time I wanted to start this work, I felt the weakness of my pen in the face of this poetry. ”Could he write such confessions ?!

The second criterion of Ozod Sharafiddinov in poetry is the demand based on high professional knowledge. According to the scientist, in order for a poem to rise to a truly high level of poetry, it is necessary to achieve the diversity and richness of individual styles and styles. He emphasizes the need for styles that allow the expression of both philosophical reflections and deep thoughts, as well as dramatic-infused experiences, to create large-scale, bubble images.

The third criterion inherent in poetic poetry is inquisitiveness. He believes that the spirit of inquiry should prevail in poetry: "Art, poetry always begins with a new attitude of the artist to reality, a new view, a new way of thinking." Emphasizing that the spirit of constant research, the desire to discover something new in every poem is strong in Mirtemir's work, the scientist calls on young talents to learn from him. It sharply criticizes narrative-based works, which are the opposite of this in our national poetry, devoid of the spirit of research and discovery. Poetry is not just a record of life reality, it is a way to develop poetic beauties that no one in it has noticed, that others have not yet felt.

The fourth criterion of Ozod Sharafiddinov's poetry is to support young talents, to pay attention to their creative development. In the book "Time, heart, poetry" the scientist was very happy that the contribution of young people in the development of our poetry is great, that we can look to the future of poetry with confidence and hope. This is evidenced by the fact that the master poet, such as Abdulla Aripov, Erkin Vahidov, the great representatives of twentieth-century Uzbek poetry, supported the heroes of our literature from the first poems, gave wings to their creative maturity.

Ozod Sharafiddinov's research on poetry allows us to draw in-depth conclusions about what a poet should be, what criteria should be used in the evaluation of poetry. It can be said that due to these qualities, along with other works of the scientist, his scientific work on the analysis of poetry will always contribute to the development of our national literature, the work of educating new and talented generations of poets.

The whole conscious life, scientific and pedagogical activity of Ozod Sharafiddinov is closely connected with Tashkent State University. Throughout his life, the scientist worked effectively at this university, became one of the most revered professors, taught thousands of students, taught the secrets of literature and science. Today, many doctors and candidates of science, poets and writers, journalists and teachers who make a significant contribution to the science, literature and culture of our country are students of Ozod Sharafiddinov. Those who listened to his lectures are proud to say, "We were taught by Ozod Sharafiddinov."

The devotion of the student to the teacher, his devotion to the teacher has always been an exemplary value. We see this great example in Ozod Sharafiddinov's devotion to Abdulla Qahhor. He writes: “Abdullah Qahhor was a very talented, wise and intelligent man. He had a much deeper understanding of both the essence of his time and the nature of literature as an art. With this in mind, it is safe to say that he was one of the leaders who actively fought for independence at that time. During the height of the recession, he was not afraid to encourage people to speak the truth freely, to think independently, to go beyond all iron bars, in a situation where the mass repressions have changed a little and still retain their essence.

Many intellectuals know that Ozod Sharafiddinov was always sympathetic to Abdullah Qahhor, especially in the 60s, when he was stoned, and showed more kindness than his children.

Ozod Sharafiddinov's services in the field of literature with his unique courage and bravery are in many respects similar to Abdullah Qahhor's devotion. As the scholar wrote: “When the time comes, I will say one thing, people call me a disciple of Abdullah Qahhor. Frankly, I have always been proud of this title.

But at the same time, I still hate to call myself a disciple of Abdullah Qahhor. The tongue does not go. We may not be close to him, but Abdullah Qahhor was several times superior to us in terms of talent, intelligence, and humanity. No matter how close we were, there was always an invisible distance between us that we could not cross. So even now, if I say to myself that I am a disciple of that baralla, that distance between us will be shortened, and it will be as if I am sharing in the greatness of that person. In my opinion, the status of "Abdullah Qahhor's disciple" is so high that people like me will have to work all their lives to achieve it. "

The publishing activity of the scientist is also worth mentioning. Today, Uzbek literature, the magazine "Jahon Adabiyati", which has become a kind of mirror of our spirituality, became a prestigious and strong bridge in 1998, introducing Uzbek literature to the world, world literature to the Uzbek people. had to. The head of our state said, "Ozod Sharafiddinov came up with the initiative to establish this magazine, and I think that a teacher can edit it," and entrusted this important task to Ozod Sharafiddinov.

The scientist did this work with such envy, with such a high level of conscience that now, if we look at the culture, spiritual and enlightenment level of the Uzbek people, “Jahon If you want to see what the level of "Uzbek" intelligentsia is capable of, look at this magazine. "

Ozod Sharafiddinov set up the magazine, attracted his students and translated the greatest and most exemplary works of world literature. "Should our people read the masterpieces of world literature in their native language?" they would say. This can be clearly seen in the example of LNTolstoy's articles, translations of the works of Oscar Wilde, W. Voynovich, I. Bunich, P. Coelho. At a time when the works of the famous writer Paulo Coelho have been published in 117 countries and are read by millions of people, why do Uzbek readers should not benefit from it, they began to translate this work themselves. P. Koelo's works "Alchemist", "Fifth Mountain" were presented to Uzbek readers.

Ozod Sharafiddinov deeply understood that man is always in need of love, longing for a bunch of pure light. In the last years of his life he fell seriously ill. But even during his severe illness, the scientist spent ten to twelve hours a day in the hospital. He sat at his desk for hours, translating works by foreign writers and writing articles and pamphlets. Years later, as his eyes grew dim, they began to read with a magnifying glass and write on white paper themselves. Later, the magnifying glass did not help, however, they continued to create.

In 2004, when the disease was rampant and its complications were at its peak, he published two major works, a number of articles and pamphlets, thanks to his tireless work.

When he lost one and then another, he was supported by President Islam Karimov. For ten years, the scientist-writer was awarded two high orders, the title of "Hero of Uzbekistan." The title of hero is often given for the performance of a combat mission, and in labor for the achievement of a certain result that impresses everyone. Ozod Sharafiddinov was awarded this title for his whole life as a scientist, teacher and honest man.

Speaking on their 70th anniversary, the scholar said, "I ask Allah to give me another 10 years of life." In doing so, they set great goals for themselves and emphasized that they were striving towards that goal. For 10 years, the teacher aimed not only to live, but also to contribute to the development of new Uzbek literature and national literary thinking in the XXI century.

The will, courage, perseverance and courage in Ozod Sharafiddinov should be an example for today's youth.

Activity

Important dates in the life and work of Ozod Sharafiddinov

March 1929, 1 - was born in the village of Akhunkaynar near the city of Kokand.

1946 - graduated from school No. 14 in Tashkent with a gold medal.

1946-1951 - Studied at the Central Asian State University (now the National University of Uzbekistan), Faculty of Philology.

1951-1954 - Postgraduate student at the Institute of World Literature in Moscow.

April 1955, 29 - defended his dissertation on "Post-war Uzbek poetry."

1954-1994 - Associate Professor, Professor of the Faculty of Uzbek Philology.

1994-1997 - Deputy Editor of the magazine "Tafakkur".

Since July 1997, he has been the Editor-in-Chief of World Literature Magazine.

He died on October 2005, 4.

Titles and awards:

Medal "For Valorous Labor during the War" (1946)

"Turdovoe otlichie" medal (1959)

Medals "10,20,30,40,50th, XNUMXth, XNUMXth, XNUMXth, XNUMXth anniversary of the victory over the Nazis"

Beruni State Prize of Uzbekistan (1970)

The title of "Honored Scientist of Uzbekistan" (1990)

Order of Labor Glory (1997)

"Gold Medal of the National University of Uzbekistan" (1998)

Order of Merit (1999)

The title of "Hero of Uzbekistan" (2002)

“Honorary Professor of Samarkand State University” (2003) “Academician of the Public Academy for the Study of the Ancient World” (2003).