Contemporary Biofiction in Uzbek Literature: The Revival of
National Identity
Khajieva Feruza, Sayidova Shahrizoda and Iskandarova Shamsiyabonu
Department of English Literature and Translation Studies, Foreign Languages Faculty, Bukhara State University,
Uzbekistan
Keywords: Biofiction, Revival, Historical, Novel.
Abstract: Uzbek biofiction is a new genre often seen as a type of historical novel. Most studies focus on its style,
structure, and how it mixes facts with fiction. Researchers also look at its use of cultural elements like legends,
tales, and proverbs, comparing it to similar works from other countries. However, they often stick to a strict
view that limits the genre to history. Modern Uzbek biographical novels, like Nodir Normatov’s The Last
Testament of Ruzi Choriev, go beyond telling historical stories. They explore current issues like self-identity
and national identity. These novels show the genre’s potential to reflect and influence society, which means
it’s time to rethink how we classify and understand them.
1 INTRODUCTION
In his 1957 manifesto in the form of a lecture at the
Library of Congress entitled “The Biographical
Novel,” prominent American writer Irving Stone
defines the biographical novel as “a true and
documented story of the human being’s journey
across the face of the years, transmitted from the raw
material of life into delight and purity of an authentic
art form.” (Stone, 1) This description emphasizes the
genre’s foundation in factual events, which are then
artistically transformed to create a compelling and
aesthetically enriching narrative. In this process, the
biographical novel transcends the conventional
boundaries of biography, offering a narrative that is
both informative and artistically pleasing.
Contemporary critics of biographical novels often
highlight the symbolic meaning drawn from the real
person’s life. These novels are artistic interpretations
of the subject’s life journey, filtered through the
writer’s worldview and intended message for the
reader.
Michael Lackey, while differentiating the goal of
biographer from the goal of biographical novelist,
asserts “the biographer’s goal is to give readers
biographical truth, which is an accurate
representation of the subject’s life, while the
biographical novelist’s goal is to give readers
fictional truth, which is based on and rooted in the life
of an actual historical figure but then converted into a
literary symbol that could be used to illuminate much
more than just the individual subjects life.” (Lackey,
67-68)
Michael Lackey’s distinction between the goals
of biographers and biographical novelists is quite
insightful. While biographers aim to present
biographical truth, which involves an accurate
portrayal of the subject’s life based on factual
evidence, biographical novelists seek to convey
fictional truth, which goes beyond mere historical
accuracy to explore deeper symbolic meanings.
By transforming real-life figures into literary
symbols, biographical novelists can discuss broader
themes and ideas that extend beyond the individual’s
life. Through this process, they offer readers a lens
through which to examine universal truths, societal
issues, and philosophical concepts.
2 THE GLOBAL LANDSCAPE OF
BIOFICTION STUDIES
The global literary landscape has witnessed the
significant rise and popularity of biographical works,
which have evolved into a beloved genre. Over the
past two centuries, the study of biographical literature
has become prominent, leading to the establishment
of theories and perspectives on its history, theory, and
Feruza, K., Shahrizoda, S. and Shamsiyabonu, I.
Contemporary Biofiction in Uzbek Literature: The Revival of National Identity.
DOI: 10.5220/0013424400004654
Paper published under CC license (CC BY-NC-ND 4.0)
In Proceedings of the 4th International Conference on Humanities Education, Law, and Social Science (ICHELS 2024), pages 159-164
ISBN: 978-989-758-752-8
Proceedings Copyright © 2025 by SCITEPRESS – Science and Technology Publications, Lda.
159

characteristics. The genre, with its origins in ancient
inscriptions, has developed into a specialized form of
artistic literature. The 20th century marked the
widespread acceptance of the biographical novel
worldwide, integrating scientific and artistic thought.
Among countless attempts to scrutinize the genre and
its abilities as an aesthetic form it is noteworthy to
mention several names. Virginia Woolf links the
emergence of biographical writing to increased
interest in human psychology and inner life, propelled
by advancements in psychological sciences (Woolf,
128). French scholar André Maurois attributes the
interest in biographies to the disquiet of the 20th
century, where individuals seek solace and answers
from their ancestors’ lives (Maurois, 25-26). Russian
scholar G.E. Pomerantseva connects the genre’s
popularity to the timeless human desire for
immortality (Pomerantseva, 9). American writer
Irving Stone emphasizes the psychological appeal of
biographical works, suggesting they allow readers to
actively participate in historical events (Stone, 11).
Belarusian scholar T.E. Komarovskaya highlights the
emotional impact of biographical novels, citing their
portrayal of real individuals as a source of credibility
and reader engagement (Komarovskaya, 4).
The biographical novel of the postmodern period,
which developed in the latter half of the 20th century,
reflects a significant transformation influenced by
postmodernist trends. Scholars such as Linda
Hutcheon, who emphasizes the unconventional
portrayal of historical figures in these novels, argue
that “even real historical figures take on a different,
particularized, and ultimately ex-centric status” in
postmodern historiographical fiction (Hutcheon, 113-
114). Bulgarian scholar Madeleine Danova asserts
that the biographical novel aligns more with
postmodern than modern literature, describing it as a
“hybrid genre” that blends autobiography, biography,
and documentary elements within a fictional
framework (Danova, 11). British researcher Bethany
Lane notes that postmodern biographers use
intertextual means – citations, plagiarism, and
allusions – to create hypotext/hypertext relationships,
showcasing a profound study of their protagonists
(Lane, 283). Serbian researcher Mirjana Knezevic
contends that despite postmodern distortions,
biographical novels provide genuine insights into the
lives of their subjects, bringing historical figures to
life for contemporary readers (Knezevic, 47).
Michael Lackey views biofiction as a work of art,
emphasizing that biographical novels should not be
expected to maintain historical accuracy but rather
present a contemporary artist’s interpretation
(Lackey, 84).
These research findings demonstrate the enduring
and evolving appeal of biographical novels. They
highlight the genre’s ability to merge facts with
artistic creativity, offering deep emotional and
psychological engagement for readers. The works
underscore the biographical novel’s role in fulfilling
the human desire for understanding personal and
historical identity, making it a significant and beloved
form of literature across different cultures and time
periods.
3 UZBEK BIOFICTION STUDIES
Meanwhile, Uzbek biofiction studies have lagged
behind for 70 years. They are still labeled as historical
novels. The first acknowledged biographical novel
by the famous Uzbek writer Oybek appeared during
World War II in 1941 and was published in 1948
under the title Navoiy. (It is important to highlight the
genre since the roots of Uzbek biography date back to
the 5th century. Over time, various classical forms
such as holot, noma, manoqib, tazkira, qissa, and
doston evolved into biographical writings, eventually
developing into genres like the portrait, memoir,
story, and novel.)
The later novels written during the soviet era
include Ulugbek’s Treasure (1973) by Odil Yakubov,
Starry Nights (1969-1978) and Humayun and Akbar
(1980) by Pirimqul Qodirov, Spitamen (1985) by
Maqsud Qoriev and several more.
Ulugbek’s Treasure (1973) by Odil Yakubov is a
biographical novel about Mirzo Ulugbek, a 15th-
century astronomer and ruler. It explores his scientific
achievements, challenges from conservative forces,
and political strife. The novel highlights Ulugbek’s
enduring legacy and the importance of knowledge
and intellectual freedom amidst adversity.
Starry Nights (1969-1978) by Pirimqul Qodirov is
a biographical novel that centers on the life of Babur,
the founder of the Mughal Empire. The novel
explores Babur’s early struggles, his conquests, and
his efforts to establish his rule in India. It highlights
his personal reflections, cultural contributions, and
the significant challenges he faced in uniting diverse
regions under his leadership.
Humayun and Akbar (1980) is another significant
biographical novel by Pirimqul Qodirov continues the
historical narrative, focusing on Babur’s descendants.
It describes the lives of the Mughal emperors
Humayun and his son Akbar, examining their
political struggles, achievements, and Akbar’s efforts
to promote cultural and religious tolerance within the
empire.
ICHELS 2024 - The International Conference on Humanities Education, Law, and Social Science
160

Spitamen (1985) by Maqsud Qoriev is a historical
novel that recounts the life and exploits of Spitamen,
a Sogdian warlord and national hero who fiercely
resisted the invasion of Alexander the Great in
Central Asia.
Later novels written during Independence years
are Avicenna (1995) by Maqsud Qoriyev, The Last
Testament of Ruzi Choriev (2008) by Nodir
Normatov, The Great Empire (1996-2013) tetralogy
by Muhammad Ali, Tamburlaine’s Chain (2017) by
Poyon Ravshanov, Chulpon (2023) by Nabi
Jaloliddin, Sultan Jaloliddin Manguberdi (2024) by
Bakhtiyor Abdugafurov and many more.
Avicenna (1995) by Maqsud Qoriyev is a
historical novel that explores the life and legacy of
Ibn Sina, also known as Avicenna, one of the most
prominent philosophers and physicians of the Islamic
Golden Age. The novel narrates Avicenna’s early
years in Bukhara Emirates, Khorezm Khanate, his
extensive travels, and his contributions to medicine,
philosophy, and science.
The Great Empire (1996-2013) by Muhammad
Ali is a tetralogy that chronicles the rise and fall of
the Timurid Empire, focusing on its most significant
rulers and events. The series vividly portrays the
political, cultural, and military achievements of the
Timurids, highlighting the complexities of their
reigns and their impact on Central Asian history
Chulpon (2023) by Nabi Jaloliddin is a
biographical novel that delves into the life and works
of Abdulhamid Chulpon. He was a prominent Uzbek
poet, playwright, novelist, and enlightener who
played a significant role in the cultural and
intellectual life of early 20th-century Uzbekistan.
Sultan Jaloliddin Manguberdi (2024) by
Bakhtiyor Abdugafurov is a biographical novel that
chronicles the life and exploits of Sultan Jaloliddin
Manguberdi, a prominent Khorazmian leader and
warrior who resisted the Mongol invasion led by
Genghis Khan in the early 13th century.
But despite the fact that all these novels are based
on the life and activities of a real person, a historical
figure, they are all labeled as historical novels.
Why? This is explained in G.Murodov, the Uzbek
scholar and literary critic’s research in the following
way:
“In literary studies, perspectives on historical
novels vary, with some researchers arguing that such
novels should center on historical figures. N.
Khudoyberganov, in The Call of Conscience about
Nazir Safarov, supports this view, citing Belinsky’s
idea that a major historical figure should be depicted
amidst significant events. Belinsky, however,
evaluated the historical novel through Walter Scott’s
works, calling Scott “the father of historical novels,”
despite most of Scott’s protagonists being fictional.
Two main forms of historical novels have
emerged:
1. Traditional Historical Novel: Known as the
“Walter Scott novel” in global literary studies, it has
not been distinctly recognized in Uzbek criticism.
2. Historical-Biographical Novel: Researchers
like S. Petrov and M. Sattarov have identified various
types of historical novels, including historical-heroic
and historical-revolutionary. These classifications are
based on the novels’ ideological and artistic content
and can include both the “Walter Scott novel” and the
historical-biographical novel. In Central Asian
literature, historical novels initially appeared as
traditional historical novels and later evolved into
historical-biographical novels, influenced by their
traditional predecessors.” (Murodov, 15-16).
Thus, the biographical novel in Uzbek literary
criticism has not been distinctly separated from the
framework of the historical novel. Scholars of Uzbek
literature such as S. Mirvaliev, I. Varfolomeev, A.
Kattabekov, I. Samandarov, A. Nosirov, and G.
Murodov have studied biofiction as a form of
historical novel. Following established Uzbek
theories, heavily influenced by Russian Formalists
like R. Jakobson, V. Shklovsky, A. Propp, and Yu.
Tynyanov, these novels are scrutinized structurally.
The focus is put on the investigation of imagery,
composition, plot and story (syujet and fabula),
characters, and chronotope. However, more recent
investigations have gone beyond structure to explore
psychologism, heteroglossia, and dialogism,
influenced by Russian theorist M. Bakhtin.
Additionally, discerning truth from fiction in
biographical novels has become a significant issue in
these studies.
However, the field is developing. The
biographical novel is slowly and gradually beginning
its journey toward independent recognition. In 2010,
Irving Stone’s lecture, The Biographical Novel,
presented at the Library of Congress, was translated
into Uzbek by the notable academician Ozod
Sharafuddinov. This lecture was published as part of
the collection entitled World Critics on Literature.
The translation was well-received, with another
prominent critic, Ibrohim Gafurov, underscoring the
importance of the lecture in his commentary. Gafurov
states that
“The literary biography in our literature is not in a
barren state. Navoi’s beautiful works about Jami,
Sayyid Hasan Ardasher, and Pahlavon Muhammad,
as well as Babur’s Vaqoe and Shayboniynoma, are
classic examples of this genre. In 20th-century Uzbek
Contemporary Biofiction in Uzbek Literature: The Revival of National Identity
161

literature, there are notable examples such as Said
Ahmad’s biographical stories, Yuldosh
Shamsharov’s novel about Sufizoda, Yashin’s novel
dedicated to Hamza, and several significant works by
Naim Karimov, Shukur Khulmurzayev, and
Dadakhon Nuriy, which are considered good
examples of biographical novels, stories, and tales.
However, despite these works, the great potential of
this genre has not yet been fully realized. Very few
studies have been written about its genre
characteristics.
In this regard, readers who have read Irving
Stone’s works will be fully convinced of the immense
place, influence, and significance of this genre in the
new world literature. Irving Stone presents so many
astonishing examples from his creative laboratory
that it firmly establishes the idea that artistic research
is such a vast and beneficial endeavor. Irving Stone
vividly demonstrates the similarities and
distinguishing features between biography and
biographical novels, and between historical works
and biographical novels, through clear examples.
Therefore, you will be convinced once again of the
great work Ozod Sharafuddinov has done by
introducing us to this article.” (Gafurov, 387-388)
This claim has great importance. Biofiction
studies should develop in Uzbek criticism so that the
immense potential of the biographical genre can be
fully realized. Although there are notable examples of
biographical novels in Uzbek literature, the genre’s
full capabilities have yet to be explored.
Among small number of researches, my
comparative research The Peculiarities of the
Biographical Novel: A comparative study of
I.Stone’s, M.Qoriyev’s and N.Normatov’s works
(2018), I sought to find parallels between American
writer Irving Stone’s novels and Uzbek biographical
novels such as Avicenna (1995) by M. Qoriyev and
The Last Testament of Ruzi Choriev (2008) by N.
Normatov. F. Khajieva labeled these works as
biographical novels and aimed to highlight their
structural and stylistic similarities to demonstrate that
these works can confidently and prominently be
called biographical novels or biofiction.
But, my current focus is on the symbolic impact
of biofiction on the reader. While reading Nodir
Normatov’s The Last Testament of Ruzi Choriev, the
reader can perceive the Soviet and post-Soviet issues
of self-identity and national identity through the life
description of Ruzi Choriev.
So, What is the novel about? And Who is Ruzi
Choriev? The postmodern novel The Last Testament
of Ruzi Choriev describes the life and activities of a
prominent XX century Uzbek artist Ruzi Choriev,
throuth the lens of his friend and biographer Nodir
Normatov. Both came from the Surkahndarya, the
city in Southern Uzbekistan, bordering with
Afganistan, with picturesque landscape and typical
Uzbek mindset.
Ruzi Choriev was raised in an orphanage after
World War II, mostly by Russian teachers, and was
surrounded by a Soviet mindset, like many other
Uzbeks. He primarily spoke Russian and married a
Russian woman. His russified mentality, imbued with
socialistic ideology, made him very famous during
his lifetime, and he was loved by Uzbeks.
Normatov, the biographer of the artist, sought to
depict Choriev in his distinct writing style, which
embodies the Uzbek mentality and way of thinking.
In his literary works, Normatov portrays all
characters, including Choriev, as reflections of
typical Uzbek people, with their mannerisms and
peculiarities. Normatov’s Ruzi Choriev is a flexible,
generous, hardworking, hospitable, and kind-hearted
patriot like all other Uzbeks.
It is noteworthy to add that, after gaining
independence in 1991, Uzbeks began to search for
their national identity, history, and culture. Writers
centered their works around these themes, employing
various styles, themes, settings, and genres to
showcase national self-awareness. This trend is
evident in numerous literary works from the 1990s,
including The Last Testament of Ruzi Choriev.
The novel consists of myriads of fragmented
episodes. Among the events described
kaleidoscopically in the novel, there is a chapter
entitled A Wedding in Poshkhurd for a Film.
In the 1980s, a film about the artist Ruzi Choriev
was commissioned by Uzbektelefilm. Filming
coincided with the fasting period of Ramadan, and the
script required a wedding scene in the village. Due to
Ramadan, all weddings were postponed, posing a
problem for the director. But village people decided
to organize wedding for Ruzi Aka, but only after the
breaking of the fast.
The wedding drew a large crowd, with people
climbing walls and trees to participate. The bride and
groom sat in a place of honor, receiving blessings and
well-wishes. Ruzi Aka expressed his heartfelt wishes,
and the film director was pleased. After the wedding,
school principal remarked that everyone was happy
except for two people – the bride and groom. When
Ruzi Aka questioned this, it was explained that the
wedding was arranged for the film and the couple had
not completed the necessary religious and civil
ceremonies. Therefore, they had to return to their
homes. Another wedding would be arranged after
Ramadan.
ICHELS 2024 - The International Conference on Humanities Education, Law, and Social Science
162

The wedding was organized for the sake of film.
It was imitation. But all people were really happy and
it was discernible that Uzbeks are breaking Islamic
traditions and celebrating wedding during Ramadan.
In fact the 80’s soviet politics was aimed at anti-
religious activities. But Uzbeks, flexible in nature
never neglected their cultural traditions and were
ready to play the role in the sake of their favored
people, in this case Ruzi Choriev. The described
event symbolically represents Uzbeks of those times,
when people were deprived of cultural values in the
sake of Soviet doctrine. The celebration was done but
the bride and groom will wait till all traditional norms
will be followed.
Paradoxically, but Uzbeks are unique in nature.
We are open and welcoming to new cultures and
values. This can be seen in traditions, and even our
language. Uzbek weddings are very famous for their
massiveness. This cultural attitude, deeply ingrained
and passed down through generations, is carefully
preserved and enriched over time, embodying cultural
layers in each step of development. The roots of these
grand ceremonies trace back to Zoroastrian culture,
evident in modern celebrations such as bonfire
processions for the bride and groom and the symbolic
lighting of candles representing the couple.
With the advent of Islam, elements like the nikah
ceremony and the payment of mahr (a mandatory gift
from the groom to the bride) and qalin (bride price)
were adopted from Arabic culture. During Soviet
times, marriage registration and certain Western
traditions were incorporated into these celebrations.
Western influences include brides wearing white
ceremonial dresses, grooms black suits, the exchange
of wedding rings, the couple standing with all guests
in the center, and grandiose dinners. These rituals
have expanded the traditional celebrations rather than
diminishing them.
The Uzbek language, itself, can be another
example to openness and it manifests all the cultural
layers evident in modern times. For examples, Uzbek
language, which belongs to Turkic family of
languages, at the same time possess the words from
Persian, Arabic, Russian and even English languages.
So, Nodir Normatov’s Ruzi Choriev carries more
than three languages, including Russian, Uzbek and
Tajik (Surkhandarya dialect). Ruzi Choriev mostly
spoke in Russian, as Soviet time required, but in one
episode he bets with his friend that he is able to speak
Uzbek fluently for two hours without using any
Russian word, and eventually despite his opponent’s
skepticism, he wins. Within Russian surface, Nodir
Normatov creates the Uzbek essence.
This episode from the novel echoes the current
problems of language shifts and language instability.
Nowadays, the Uzbek language does not have a
finalized script. Within a hundred years, the Uzbek
alphabet has changed four times: from Arabic script
to Latin (1929), from Latin to Cyrillic (1940), and
from Cyrillic back to Latin (2005). These frequent
changes have led to widespread illiteracy, even in
writing the name of the country. “Uzbekistan” can be
written in several interchangeable ways: O’zbekiston,
O`zbekiston, and O‘zbekiston, the last version is
considered to be correct, so far.
The next crucial issue connected with the self and
creative identity of the Uzbek artist has several
implications for the reader.
It is well-known that during the Soviet regime, all
forms of art were subordinated to socialist realism.
Artists were dictated to create works imbued with
socialist themes. As Nodir Normatov notes in his
biofiction, “...during the Soviet era, many artists
made a living by drawing Lenin’s portrait. Were you
hungry? Draw Lenin’s picture, and you have money!”
(Normatov, 158). Normatov criticizes this one-
sided/lopsided approach and, with the supportive
words of renowned art critic Akbar Khakimov,
highlights Ruzi Choriev’s paintings that carry
significant national character.
In his article “Painting of Uzbekistan in the XIX-
XX Centuries,” renowned art historian and
academician Akbar Hakimov wrote: One of the
distinctive features of the fine arts of the 60s-80s was
the renewal of traditional painting rules, the search for
new, influential forms, and the aspiration for an
expressive symbolic style. Artists gradually began to
free themselves from the rules and iron laws of
socialist realism that had held them in a stranglehold.”
(Normatov, 158-159)
To support this view, Normatov includes
numerous illustrations from Ruzi Choriev’s gallery
into his novel. These pictures make the biofiction
both illustrative and impactful. For example,
Normatov uses a collection of paintings depicting
village people and traditional settings, emphasizing
the rich cultural heritage and identity of Uzbek art.
Nowadays Ruzi Choriev is considered as a
representative of Oriental Realism. Most of his works
focus on national themes. People are with their own
past, present, problems, hopes and joys. This subtle
connection of verbal expression of each personage in
the novel makes the reader feel that authenticity,
Uzbek selfness and traditions.
The symbolic struggle of artists during the Soviet
era is captured in the words of Akbar Hakimov, who
describes the 60s-80s as a period of breaking free
Contemporary Biofiction in Uzbek Literature: The Revival of National Identity
163

from the constraints of socialist realism. The search
for new, expressive forms and the philosophical
comprehension of life signify the artists' rebellion
against the restrictive norms imposed by the state.
Ro‘zi Choriev’s work, particularly his expressive
style seen in paintings like Madonna of
Surkhandarya, Bride, and Our Contemporary,
represents this innovative spirit. These works, though
not immediately accepted, symbolize the artist’s
pursuit of creative freedom and the desire to capture
deeper, more personal truths beyond the state’s
propaganda.
So, each fragment of the novel symbolically
portrays the artist’s journey from compliance to
rebellion, reflecting the broader cultural and
ideological shifts in the Soviet Union and the
resilience of artistic spirit amidst oppressive regimes.
4 CONCLUSION
The field of Uzbek biofiction studies has historically
been overshadowed by a broader categorization as
historical novels, despite its rich and distinct literary
tradition. While notable works such as Oybek’s
Navoiy (1948) and subsequent novels from the Soviet
era onwards have contributed significantly to the
genre, they have often been subsumed under the
umbrella of historical fiction. This categorization has
persisted due to differing perspectives on the
definition and classification of historical novels
within literary studies, influenced by Western and
Russian literary theories.
However, recent scholarship, including
comparative studies such as the author's own
research, has sought to delineate the biographical
novel as a distinct genre within Uzbek literature. By
examining structural and stylistic parallels between
Uzbek biographical novels and works from other
literary traditions, scholars aim to underscore the
unique characteristics and potential of biofiction.
Moreover, the symbolic impact of biofiction on
readers is increasingly recognized as a crucial aspect
of its significance. Through narratives like Nodir
Normatov’s The Last Testament of Ruzi Choriev,
readers are invited to engage with complex themes of
self-identity and national identity within the context
of Soviet and post-Soviet Uzbekistan. These novels
serve as literary windows into the cultural resilience,
adaptability, and enduring traditions of the Uzbek
people, while also shedding light on broader socio-
political and artistic struggles.
Additionally, the creative identity of Uzbek
artists, particularly during the Soviet era, reflects a
symbolic struggle against the constraints of socialist
realism and a quest for artistic freedom. Through the
works of artists like Ruzi Choriev, readers witness the
evolution of Uzbek artistry and the enduring quest for
authenticity amidst ideological pressures.
Uzbek biofiction is starting its journey and is
shaping its content in its unique Uzbek way, imbued
with national mentality, images, historical figures,
themes and culture.
REFERENCES
Danova, M. (2011). Годишник на софийския
университет “Св. Климент Охридски” факултет по
класически и нови филологии. Том 104. Sofia
University Press.
Gafurov, I. (2010). In Jahon adiblari adabiyot haqida. Ozod
Sharaffuddinov tarjimalari. Toshkent: Ma’naviyat.
Hutcheon, L. (2004). New York, London: Routledge.
Knežević, M. M. (2013). Facta universitatis Series:
Linguistics and Literature, 11(1).
Komarovskaya, T. (1983). Минск: БГУ.
Lackey, M. (2016). New York, London: Bloomsbury.
Lackey, M. (2022). New York and London: Routledge.
Layne, B. (2013). University of Leeds.
Maurois, A. (1929). Translated from the French by S.C.
Roberts. Cambridge University Press.
Murodov, Ғ. (2018). Тошкент.
Normatov, Н. (2008). Тошкент: Санъат.
Pomeranceva, Г. (1987). Москва: Книга.
Stone, I. (1957). Washington, D.C.: Library of Congress.
Woolf, V. (1962). In Biography as an Art. Edited by James
Clifford. New York.
Xajieva, Ф. (2018). Тошкент.
ICHELS 2024 - The International Conference on Humanities Education, Law, and Social Science
164