Enhancing Text Formation Techniques for Student Creative

Competencies: A Study Inspired by Alisher Navoi's Creativity

Raykhon Rasulova

1,2

Chirchik State Pedagogical University, Tashkent, Uzbekistan

Tashkent State University of Uzbek Language and Literature named after Alisher Navoi, Tashkent, Uzbekistan

Keywords: Сeative of Alisher Navoi, Technologi, Method, Innovative Methods, Topic, Problem Solving, Word

Processing, Word Production, Oral Speech, Education.

Abstract: This article analyses the influence of Alisher Navoi's creativity in fostering text-creative competencies in

students, highlighting the need for integrating ancestral methodologies in today's pedagogical practices. It

emphasises how 'molding-formative' methods can bolster cognitive and intellectual development, fostering

logical thinking and spiritual growth. Implementing real-world situations, such as career choices for high

school students, is discussed to enhance creative thinking and research skills. The diminishing usage of

ancestral teachings is addressed, advocating for their modernized application considering the evolving

worldview of the students. The importance of nurturing these skills for personality formation is underscored.

Introduction of national masterpieces at appropriate times can aid intellectual growth and clear expression of

creative thoughts. The synergy of classical literary heritage and modern technologies can contribute to a more

efficient education system and the development of a well-rounded generation.

1 INTRODUCTION

A product of real creativity cannot only justify the

trust of its people in various conditions, but it can also

serve as their support and solace. Thinkers, who

perceive the world through the eyes of the soul and

portray it with vibrant colors, awaken in people a

desire to embrace life, work, and creativity. They

study, refine, and enhance their own creative

products, honoring their ancestors' legacy. By

improving traditional methods and forms and

fostering a new innovative environment, they

contribute to the continuous evolution of creativity.

Throughout his life, the Great Navoi endeavored

to enlighten and educate his people, and even after his

passing, his legacy continues to enrich the sphere of

knowledge. It is not an exaggeration to say that he left

an indelible mark on the educational process. Just as

the Holy Qur'an has served as a guiding light for

humanity since its revelation, the effective use of

Alisher Navoi's creative heritage in modern education

has been proven to positively influence the

development of the young generation.

Particularly, incorporating Navoi's creative

heritage in the formation of text creation competence

can yield significant positive results, especially in

developing speech and communicative skills among

the youth. The primary objective today is to

encourage students to think creatively, freely express

their thoughts, take initiative, collaborate, and

articulate their ideas by combining innovative

technologies with traditional teaching methods.

Fostering students' ability to think independently,

logically, fluently, concisely, and attractively is a

crucial aspect of modern education. Achieving this

goal is largely dependent on integrating classical

literary heritages, which serve as the wellsprings of

our spirituality. Navoi's works, in particular, have

enriched and refined our literary legacy in the Turkish

language.

The effective combination of classical creative

methods with innovative technologies in developing

text creation competence can enhance students'

motivation, allowing them to create effortlessly and

tap into their unique abilities, such as discovery. Our

epics and didactic-philosophical narratives play a

vital role in motivating students to create texts and

promoting speech development effectively.

Throughout history, text creation has demanded

and shaped creativity, logical thinking, and profound

reflection. The practice of embedding stories within

stories and texts within texts was designed for this

Rasulova, R.

Enhancing Text Formation Techniques for Student Creative Competencies: A Study Inspired by Alisher Navoi’s Creativity.

DOI: 10.5220/0012992400003882

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 2nd Pamir Transboundary Conference for Sustainable Societies (PAMIR-2 2023), pages 1691-1695

ISBN: 978-989-758-723-8

1691

purpose, inspiring both the creator and the audience

to exhibit their ingenuity. Works of this form are

products of the composite method of molding.

2 METHODOLOGY

Another peculiarity of the compositional method of

molding is that the main ideological motifs in the

molding story are filled by comparison with the tool

of molding stories and supporting images. This can be

seen in the development of the theoretical and

philosophical thoughts and main ideological content

of the first epic with the images of other epics in the

poem "Khamsa". It is proven in the sources that this

method appeared in the literature of the peoples of the

East and was formed and developed as a result of their

influence on each other. Although the influence of the

molding composition method can be seen in the

samples of Uzbek literature of the 14th century (for

example, in "Yusuf and Zulayho"), it could not be

called a molding composition method in the full

sense. A mature example of works of this method was

created in Uzbek literature by Alisher Navoi ("Sab'ai

sayyor", "Lison ut-tair"). An example of the oldest

example of the compositional method of molding is

the collection of fairy tales "One Thousand and One

Nights" created by Persian-Tajik and Arab peoples.

We can find many features of this method in folk

books and even folk epics. Examples of these are folk

books such as "Bakhtiornoma", "To'tinoma", "Chor

Dervesh", "Alpomish", "Goro'gli" series, and a

number of Uzbek, Tajik, Indian, and Afghan fairy

tales. The epic "Goro'gli" has a unique molding

compositional method, which is popular among

Uzbek, Tajik, Turkmen, Azerbaijani, and other sister

nations. The molding story of this saga is the story of

Gorogli himself. More than 40 remaining epics are

molded into the story of Gorogli or fill in the main

ideas. It is important to note that the molding epics

are of different character in different peoples. This

method was effectively used in folk tales. For

example, in the fairy tale "Three brave Brothers", the

story of the younger hero's speech against vices such

as infidelity, blackness, and betrayal is proof of this.

The composite method of molding was also present

in European literature. For example, Boccaccio's

"Decameron" was written in this way. In Durbek's

epic "Yusuf and Zulayho," there are cases of telling

an event within an event and a story within a story.

Tajik literary experts call this method "chahorchoba"

(frame) or "fable dar fable". In fact, these narratives

are not only "framed" by a formative narrative

requirement but are also brought together by a

common outcome and purpose. For example, in some

works of this nature, general ideas such as not to be

confused in solving issues such as patience and

endurance and comprehensive thinking are put

forward. For example, in "Bakhtiyarnoma," there is

even independence in some of them. As an important

example of such works, "Pancha tantra" - "Five

books" ("Kalila and Dimna"), "Vitala pancha vinatgi"

("95 legends of Vitali"), "Shukasptati" ("75 stories of

Parrot") can be mentioned as the works of such

character. It seems that the composite method of

molding did not appear by itself but was created as a

product of intelligence and wisdom and was formed

over many centuries. A number of artists such as

Nakshabiy, Durbek, Lutfi, Navoi, Majlisi, Qadiri,

Haidari, Khiromi, Gulkhani, Miri, Masiho Baisuni,

Muhammad Rasul, Siddiq contributed to its

improvement.

3 RESULTS

In his "Saba'i Sayyor," Navoi took a new approach to

this method to further strengthen the artistic and

educational aspects of the epic, making it free from

supernatural elements. Navoi mentions this in the

introduction to his work, giving high praise to his

predecessors, while humbly acknowledging some of

their shortcomings due to carelessness.

Navoi also advocates against the unnatural use of

stereotyped stories. The legends mentioned in Nizami

and Dehlavi epics are narrated by married girls of

Bahram. For Navoi, hearing Bahram's legend in this

way was very unusual, and he believed that people

who travel the world are the true conveyors of such

legends, as he was able to prove.

He emphasizes the importance of presenting

stories in a way that captivates the listener, leading to

self-improvement and justifying their thoughts.

The legend of the stranger from the first climate

sings of pure love and praises the fair king Jasrat's

upbringing of his only child Farrukh, who is well-

versed in all sciences, and his noble behavior. The

prince's courageous journey is described, marked by

honesty, purity, and loyalty, alongside the steadfast

generosity and bravery of the people he encountered

The story of the stranger from the second climate

highlights Zayd Zahhab, who earned the king's favor

with his vast knowledge and successfully achieved

his goal, emphasizing the equal glory of acquiring

knowledge in all times.

The alien from the third climate narrates the

triumph of good over evil, skillfully covering Sa'd's

mastery of art, his magnanimity, and prosperity

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through just administration.

In the story of the stranger from the fourth climate,

the power of generosity and kindness is embodied in

Juna's character, valuing generosity and compassion

towards loved ones in distress. The characters of

Jainpur and Ballu demonstrate that people with dark

intentions can never be admired.

The story of the stranger from the fifth climate

describes the victory of bravery over cowardice and

evil, depicting Jabir's career of piracy, greed, and

bloodshed.

The story of the alien from the sixth climate

illustrates Muqbil's journey towards his goal,

characterized by honesty, patience, unwavering faith,

and endurance, while Mudbir is portrayed as someone

who cannot withstand difficulties, possesses weak

faith, and is dishonest.

In his story, the stranger from the seventh climate

recounts the tale of the land of Khorezm and Dilorom,

who ordered Bahram to be executed while drunk and

then could not be found. At the end of the work, the

following conclusions are drawn from Bahram: "Just

as this world is loyal to no one, it is not worth making

a waterman for leaving the kingdom." It doesn't

matter if a king lives a thousand years and doesn't

have a good horse when he dies. If a horse is left with

good deeds, this is something to be proud of. If your

life is spent in charity, this is what your horse is good

for. I hope that you will live a thousand years in the

world with your good horse."

For a person to lead a fulfilling life, it is necessary

to always be on a path of seeking, searching, and

approaching goals with true love, acquiring the right

knowledge, gaining enlightenment, and maturing.

These ideas were reflected in the stereotyped stories

told by Hudhud, and this method perfectly justified

the task it set for itself. Especially when the birds face

difficulties on their journey, hearing impressive

stories increases their motivation. When they landed

in a valley, it was proven that what they found in this

world consisted of impurities, and what they found

with true faith was honest sustenance, fortune, and

wisdom.

The story told in response to the nightingale

describes the disgrace of those with false intentions

who pretend to be true lovers. In the story given to

Qumri, it is confirmed that engaging in this profession

without properly acquiring the necessary knowledge

for one's profession will ultimately lead to a

dangerous end. Hudhud's reply to the Pigeon

illustrates the destruction of lazy and unmotivated

individuals who feed themselves at the expense of

others.

The great master had gathered pearls of wisdom

to reach the highest goal without deviating, which

became a torch for both worldly and religious

scholars. Even after Navoi, many artists followed his

footsteps. For example, folk books created by the

molding composition method were also interpreted in

the works of Hiromiy, Gulkhani, and other artists who

employed this technique. Several artists before them

also studied this method with interest.

4 DISCUSSION

The 19th-century poet Gulkhani's "Zarbulmasal" is

also a work created using the molding composition

method. The forming story in "Zarbulmasal" is the

tale of the betrothal of the Owl and the Butterfly. A

series of stories, proverbs, wise sayings, anecdotes,

and proverbs from the language of the Scarecrow,

Hudhud, and other birds are molded into the main

story, relating to the wedding ceremony and its

resolution. In "One Thousand and One Nights," the

storytelling mainly takes place in the palace after the

main story. The shaping story of "One Thousand and

One Nights" is the tale of "Shahriyar and

Shahizaman." In the formative story of "One

Thousand and One Nights," numerous ideas such as a

just king, loyalty, purity, harmony, and correctness

are praised, while opposite ideas are condemned

through Shahizaman's wives. The image of the poet

expresses faith in the power of intelligence and

wisdom, patience and contentment, and the strength

of will and perseverance.

Of course, the characters in these stories were

chosen as a means to achieve the main goal. Even the

characters in the main story develop based on this

compositional method. Their behavior, involvement

in events, the formation of their character, and other

aspects also change depending on the compositional

center. At the core of the composition "One Thousand

and One Nights" is the question of educating an

ignorant, bloodthirsty king and turning him away

from evil. For this reason, he acts only in the

formative narrative and the conclusion. From the first

night to the one thousand first night, the main

"burden" is placed on Shahriyar's neck. He moves and

tells stories in any width, in any position, and at any

scale to realize the main goal. Other stories also have

their own compositional centers and their own

molding stories, but all of them together serve the

main center. Alisher Navoi moves the main

characters from the beginning to the end of the play.

This approach ensures closeness to reality. Shah

Bahram in "Saba'i Sayyor" and "Lison ut-Tayr"

Enhancing Text Formation Techniques for Student Creative Competencies: A Study Inspired by Alisher Navoi’s Creativity

1693

provides active participation of the birds with their

questions to Hudhud.

If the stories in "One Thousand Nights," "Sab'ai

Sayor," and "Lison ut-Tair" all have the character of

a separate work separated from the molding story, in

"Zarbulmasal," this idea is limited to only three

stories, namely "Monkey with the Najjar," "Teva with

the Bush," and "Tortoise and Scorpion." The

moldable stories in "Zarbulmasal" are not moldable

to each other; they are told by different birds

depending on the context of the story. The same

compositional simplicity is characteristic of the

originals of "Chor Dervish" and "Totinoma." In the

main part of the stories, ideological motives such as

loyalty, generosity, purity, correctness, humanity,

hope, work, creativity, kindness, cooperation, and

effort are glorified, while greed, avarice, inactivity,

muteness, asceticism, ignorance, mutual

disagreement, enmity, corruption are condemned.

Due to the condemnation of vices such as impurity,

both types of images were involved in them.

In mold stories, just as the second story fills in

important aspects of the mold story, so too do the

characters fill in the features of the main characters.

Molding stories are also chosen mainly according to

the spirit and purpose of the molding story. In them,

the ideological content of the molding story is

developed through concrete events and images,

addressing issues such as manners, humanity, love,

mutual trust, loyalty, friendship, unity, and exposing

the negative aspects of human character and views.

The prose version of "Chor dervish" consists of a

prologue, that is, an introductory story, an adventure

of four dervishes, and an ending. The printed copy of

"Totinoma" also consists of one mold and 38

moldable stories. The 38th story has a concluding

character. Such a construction fully corresponds to

the tradition of folklore and folk books. According to

the theme and content of these stories and fairy tales,

creative people later grouped them. Singers and

storytellers told the stories and tales assigned to the

group to the people. Stories and tales that appealed to

listeners were perfected by storytellers or storytellers

and were passed down from generation to generation.

It should be said that the speakers had to

"modernize" them to attract the attention of the

listeners. Molding stories were thought up by the

creators with a certain demand after the molding

stories, thus included in the "framework" of all other

stories and probably imbued with the spirit of the

molding story. It can be proved that the stories that

were created before the stories that were created can

be proved by the fact that they depict the customs of

ancient peoples, religious beliefs, fairies, and jinn.

The stories, fairy tales, and stories in "Chor Darvesh,"

"To'tinoma," "Mahfiloro," "One Thousand Nights,"

"Sabai Sayyor," and "Lison ut-Tayr" were once in a

separate form, and they were created by peoples of

the East. And Alisher Navoi brings exemplary life

paths of prophets, historical figures, saints, and Sufis

in his stories. Gulkhani also created "Zarbulmasal"

based on collecting and modernizing folklore works.

In fact, both the molding story in Gulkhani and the

molding stories were created much earlier.

Hiromi's artistry in this field is evident in his

mastery of the traditions of this method, further

perfecting it, and aligning it with the rules of written

literature. It is clearly seen in the third chapter that

Khiromi's "Chor Dervish" took a creative path. He

first divides one chapter in the original into three

chapters, and then the content of each chapter is

narrated by the protagonist of that chapter. The

separation of some stories in "Totinoma" into two

stories, sometimes turning two stories into one story

(for example, the first and second night), the

development of certain places in the stories in

accordance with the requirements of the

compositional center, and the shortening of some

places also show that the poet seriously pondered

over the construction of this work. We can also find

cases of such arrangement and systematization of

chapters, parts, stories, incidents, and events in the

epic "Rana and Zebo."

5 CONCLUSION

It is evident that the composite method of molding did

not appear by itself, but was created as a product of

intelligence and wisdom and was formed over many

centuries. Hazrat Alisher Navoi was one of the first to

pave the way for Uzbek literature, and the creators

after him continued to collect wisdom in this manner.

If we effectively use such methods in today's

educational processes, we will, first of all, preserve

the heritage of our ancestors and, while increasing the

creativity of students, foster characteristics such as

creativity in them.

reating a text using the "molding-formative"

methods impacts the growth of the young generation's

thinking, consciousness, logical thinking, and

spiritual world. When students approach it willingly

and with great interest, every effort will yield positive

results. We can say that great discoveries will be

made not only in literacy but also in the realm of

spirituality, thought, and imagination. Well-crafted

texts will be well received by the readers. The teacher

will carefully plan a text suitable for the time

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requirements and requiring a problem situation.

Students will be organized to present texts aimed at

solving the problem within the topic, making the

process more interesting and appropriate, especially

if organized competitively. The teacher will present a

text related to the problem faced by the students, and

all participants will be called upon to contribute to

solving this problem.

For instance, when dealing with the issue of career

choices for high school students, the situation can be

approached as follows: the teacher provides a sample

text and asks the students to write down their

suggestions and advice for resolving the problem.

This way, the process of creating persuasive

stories from folklore, folk proverbs, sources, and

evidence suitable for the given topic is organized.

Such a creative approach develops students' research

skills.

In our opinion, teaching our children from the

experiences of our ancestors and applying them is

decreasing day by day. It is time to teach their essence

and use them in a modern way, especially in

education. Texts that do not consider the age

characteristics of children and the changes in their

worldview are completely discouraging to them.

The first President of our republic said: "Until

now, no one has fully justified from a scientific point

of view what it is appropriate to teach in which class

to the pupils studying in primary grades and later

stages"1. In particular, similar problems are observed

in pupils of general education in grades 7 to 9.

Educating children of this age should involve more

than just providing various advice; it should include

the power of real words and life examples. If we

educate children with words, then it is necessary to

enable them to work with words effectively. It is the

need of the day to take all measures to improve and

develop this skill, which is one of the primary factors

in personality formation.

Popular, national masterpieces, when instilled in

the minds of students at the right time and in the right

context, lay the foundation for deepening their

thoughts, broadening their worldviews, and enabling

them to express the product of their creative thinking

fluently, clearly, and understandably. The didactic

spirit of our classic literary heritage, when combined

with modern technologies, becomes a vital instrument

for achieving efficiency and educating a well-

rounded generation.

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Alisher Navoi "Lison ut-tayr" was prepared for publication

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Karimov I. A. (1998). A perfect generation is the

foundation of Uzbekistan's development. -Tashkent:

Uzbekistan,–4-19-p.

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technologies to identify gifted students and improve

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