{"id":22186,"date":"2026-10-13T18:08:45","date_gmt":"2026-10-13T15:08:45","guid":{"rendered":"https:\/\/nor.uz\/?p=22186"},"modified":"2026-10-13T18:08:47","modified_gmt":"2026-10-13T15:08:47","slug":"molxona-romanida-majoziy-obrazlar-orqali-totalitar-tuzum-tanqidi","status":"publish","type":"post","link":"https:\/\/nor.uz\/?p=22186","title":{"rendered":"\u201cMolxona\u201d romanida majoziy obrazlar orqali totalitar tuzum tanqidi"},"content":{"rendered":"

Qarshiyeva Rayxona Ne\u2019mat qizi, Xatamova Marjona Sherali qizi<\/strong><\/p>\n

DTPI, Filologiya va tillarni o\u2018qitish yo’nalishi:<\/strong><\/p>\n

O\u2018zbek tili ta\u2019limi, 4-bosqich talabasi.<\/strong><\/p>\n

Annotatsiya: <\/strong>Ushbu maqolada Jorj Oruellning \u201cMolxona\u201d (Animal Farm) asari majoziy obrazlar tizimi nuqtai nazaridan tahlil qilinadi. Asarda hayvonlar dunyosi orqali totalitar tuzumning shakllanish bosqichlari, hokimiyatning markazlashuvi va ommaviy ongni boshqarish mexanizmlari ochib beriladi. Maqolada Napoleon, Snowball va cho\u2018chqalar obrazlari hokimiyat ramzi sifatida, qo\u2018ylar va itlar esa ommaviy ong hamda repressiya apparati ramzi sifatida qiyosiy-tipologik metodda tahlil qilinadi.<\/p>\n

Kalit so\u2018zlar: <\/strong>Molxona, Jorj Oruell, totalitarizm, allegoriya, majoziy obraz, hokimiyat, propaganda, ommaviy ong, Napoleon, Snowball.<\/p>\n

Abstract: <\/strong>This article examines George Orwell’s «Animal Farm» through the lens of its system of allegorical imagery. Using the world of animals, the novel reveals the stages of formation of a totalitarian regime, the centralization of power, and the mechanisms of controlling mass consciousness. Napoleon, Snowball, and the pigs are analyzed as symbols of power, while the sheep and dogs are examined as symbols of mass consciousness and the repressive apparatus.<\/p>\n

Keywords: <\/strong>Animal Farm, George Orwell, totalitarianism, allegory, symbolic image, power, propaganda, mass consciousness, Napoleon, Snowball.<\/p>\n

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\u041a\u043b\u044e\u0447\u0435\u0432\u044b\u0435 \u0441\u043b\u043e\u0432\u0430: <\/strong>\u00ab\u0421\u043a\u043e\u0442\u043d\u044b\u0439 \u0434\u0432\u043e\u0440\u00bb, \u0414\u0436\u043e\u0440\u0434\u0436 \u041e\u0440\u0443\u044d\u043b\u043b, \u0442\u043e\u0442\u0430\u043b\u0438\u0442\u0430\u0440\u0438\u0437\u043c, \u0430\u043b\u043b\u0435\u0433\u043e\u0440\u0438\u044f, \u0441\u0438\u043c\u0432\u043e\u043b\u0438\u0447\u0435\u0441\u043a\u0438\u0439 \u043e\u0431\u0440\u0430\u0437, \u0432\u043b\u0430\u0441\u0442\u044c, \u043f\u0440\u043e\u043f\u0430\u0433\u0430\u043d\u0434\u0430, \u043c\u0430\u0441\u0441\u043e\u0432\u043e\u0435 \u0441\u043e\u0437\u043d\u0430\u043d\u0438\u0435, \u041d\u0430\u043f\u043e\u043b\u0435\u043e\u043d, \u0421\u043d\u0435\u0436\u043e\u043a.<\/p>\n

Nega bir asar, oddiy fabula shaklida yozilgan bo\u2018lsa-da, deyarli sakson yildan beri o\u2018z ahamiyatini yo\u2018qotmayapti? \u201cMolxona\u201dni o\u2018qiganda ko\u2018p kishida shunday savol tug\u2018’iladi. Javob, menimcha, shunda: bu asar faqat bir davr \u2014 Ikkinchi jahon urushi va undan keyingi inqiloblar davri \u2014 haqida emas, balki hokimiyat, omma va haqiqat o\u2018rtasidagi munosabatning o\u2018zgarmas qonuniyati haqida yozilgan. Har bir davrda, har bir jamiyatda hokimiyat markazlashishga, tarix esa \u201cqulaylik uchun\u201d qayta yozilishga moyil bo\u2018lib qoladi \u2014 Oruell buni deyarli bashoratona aniqlikda ko\u2018rsatib bergan.Jorj Oruell (asl ismi Erik Artur Bler, 1903\u20131950) \u2014 siyosiy adolatsizlikka nisbatan alohida sezgirligi bilan ajralib turgan yozuvchi. Ispaniya fuqarolar urushida bevosita ishtirok etgani, u yerda propaganda va haqiqatning qanday buzib ko\u2018rsatilishini o\u2018z ko\u2018zi bilan ko\u2018rgani uning keyingi butun ijodiga iz qoldirgan. \u201cMolxona\u201d aynan shu tajriba asosida \u2014 rus inqilobi va undan keyin sovet jamiyatida yuz bergan jarayonlarga ishora qilib \u2014 yozilgan. Keyinchalik \u201c1984\u201d romani bilan birga bu asar jahon siyosiy adabiyotining eng ko\u2018p o\u2018qiladigan namunalaridan biriga aylangan.<\/p>\n

Mazkur maqolada asardagi majoziy obrazlar ikki guruhga bo\u2018lib tahlil qilinadi: Napoleon, Snowball va cho\u2018chqalar \u2014 hokimiyat qanday shakllanib, markazlashib borishini ko\u2018rsatuvchi obrazlar sifatida; qo\u2018ylar va itlar esa \u2014 omma ongi qanday boshqarilishini ifodalovchi obrazlar sifatida. Maqsad \u2014 asarni faqat tarixiy allegoriya sifatida emas, balki bugungi kun uchun ham ma\u2019noli badiiy dalil sifatida qayta o\u2018qishdir.<\/p>\n

\u00a0Napoleon, Snowball va cho\u2018chqalar \u2014 hokimiyat ramzi sifatida<\/em><\/strong><\/p>\n

Asarda cho\u2018chqalar boshidanoq boshqa hayvonlardan \u201caqlliroq\u201d sifatida ko\u2018rsatiladi, va aynan shu \u2014 o\u2018qish-yozishni bilish, rejalashtira olish \u2014 ularga yetakchilikni deyarli tabiiy tarzda beradi. Lekin qiziq joyi shundaki, bu \u201ctabiiy yetakchilik\u201d romanning oxiriga borib butunlay boshqa narsaga aylanib qoladi: avval sut va olma faqat cho\u2018chqalarga qoladi, keyin uy, keyin to\u2018shak, oxiri esa ular ikki oyoqda yurib, aynan haydab chiqargan insonlar bilan bir stolda o\u2018tirishadi. Bu \u2014 inqilobiy elitaning eng xavfli tuzog\u2018i: g\u2018oya bilan boshlab, imtiyoz bilan tugatish.Ayniqsa Napoleon obrazi diqqatga sazovor. Boshida u boshqa yetakchilardan unchalik ajralib turmaydi, biroq asta-sekin \u2014 deyarli sezilmas tarzda \u2014 barcha qarorlarni o\u2018z qo\u2018liga oladi. Buning uchun unga alohida kuch kerak emas edi: yetarli edi, faqat, kuchukchalarni yoshligidan yashirincha o\u2018ziga sodiq qilib tarbiyalash. Keyinchalik aynan o\u2018sha itlar yordamida u raqiblarini haydaydi, so\u2018ngra yo\u2018q qiladi. Bu yerda hokimiyat markazlashuvining tanish sxemasini ko\u2018ramiz: avval muhokama cheklanadi, so\u2018ng har qanday e\u2019tiroz \u201cdushman fitnasi\u201d deb e\u2019lon qilinadi, nihoyat yagona haqiqat manbai faqat bitta shaxs bo\u2018lib qoladi. Devorga yozilgan qoidalar ham vaqt o\u2018tishi bilan \u201ctuzatiladi\u201d \u2014 bu esa tarixni qayta yozish, o\u2018z-o\u2018zidan, totalitar boshqaruvning eng sodda va shu bilan birga eng samarali qurolidir.<\/p>\n

Snowball esa Napoleonga qarshi qo\u2018yilgan, deyarli teskari qahramon. U g\u2018oyalarga boy, kelajakni ko\u2018ra oladi (shamol tegirmoni loyihasi shundan dalolat), va \u2014 eng muhimi \u2014 omma bilan bevosita gaplasha oladi. Aslida aynan shu xususiyat uni xavfli raqibga aylantiradi. Zo\u2018ravonlik bilan haydab chiqarilgach, uning nomi keyin har qanday muvaffaqiyatsizlik uchun \u201caybdor\u201d sifatida ishlatiladi \u2014 garchi u endi u yerda bo\u2018lmasa ham. Bu holat shuni ko\u2018rsatadiki, mafkuraviy raqibni jismonan yo\u2018q qilishning o\u2018zi kifoya qilmaydi \u2014 uning xotirasini ham qoralash, uni doimiy \u201ctashqi dushman\u201dga aylantirib qo\u2018yish kerak bo\u2018ladi. Shunda omma haqiqiy muammolarni emas, balki \u201cg\u2018oyib dushman\u201dni ayblashga o\u2018rganadi.<\/p>\n

Shu o\u2018rinda Napoleon va Snowballni faqat aniq tarixiy shaxslarning nusxasi deb qarash unchalik to\u2018g\u2018ri emasdek tuyuladi menga. Albatta, ko\u2018plab tadqiqotchilar Napoleon obrazida sovet davri rahbariyati \u2014 xususan, Stalin siyosatining \u2014 aksini ko\u2018rishadi[1]<\/a>, Snowball obrazida esa undan haydalgan va keyinchalik obro\u2018sizlantirilgan muxolif siyosatchi, ya\u2019ni Trotskiyning xususiyatlari mujassamlashganini ta\u2019kidlaydilar, va bu asossiz emas. Ammo asarning kuchi aynan shundaki, bu ikki obraz orqali kengroq bir haqiqat ochiladi: har qanday inqilobda g\u2018oyaviy kurash, oxir-oqibat, shaxsiy hokimiyat kurashiga aylanib qolishi mumkin. Napoleon \u2014 kuch orqali, Snowball \u2014 ishontirish orqali harakat qiladi; ammo ikkalasi ham, aslida, bitta narsaga \u2014 hokimiyatga \u2014 intiladi.<\/p>\n

Bu talqinni, aslida, Oruellning o\u2018zi ham tasdiqlaydi. 1946-yilda tanqidchi Dwight Makdonaldga yozgan xatida yozuvchi asarni birinchi navbatda rus inqilobiga satira sifatida yozganini, biroq bundan kengroq \u2014 har qanday zo\u2018ravon, ongsiz rahbarlar boshchiligidagi inqilob faqat rahbarlarning almashinuviga olib kelishini \u2014 anglatmoqchi bo\u2018lganini alohida ta\u2019kidlagan[2]<\/a>. Xuddi shu fikrni u Ukraincha nashrga yozgan so\u2018zboshisida ham qayd etib, asarning yakunini ataylab \u201ckelishuv\u201d emas, \u201cnizo ohangi\u201dda tugatganini tushuntirgan[3]<\/a> \u2014 bu esa Napoleon va Snowball obrazlarining nafaqat tasodifiy, balki yozuvchi tomonidan ongli ravishda qurilgan siyosiy metafora ekanligini ko\u2018rsatadi.<\/p>\n

Bu tizimda alohida o\u2018rinni Skvealer (Squealer) laqabli cho\u2018chqa egallaydi \u2014 u Napoleonning \u201cog\u2018zi\u201d, targ\u2018ibotchisi. Skvealerning eng qiziq xususiyati shundaki, u hech qachon ochiqdan-ochiq yolg\u2018on gapirmaydi, aksincha, har qanday qarorni \u2014 hatto ilgarigi qoidalarga zid bo\u2018lsa ham \u2014 \u201cmantiqiy\u201d tushuntira oladi. Aynan shu \u2014 haqiqatni bir zumda emas, balki asta-sekin, bosqichma-bosqich buzib borish \u2014 eng xavfli propaganda usuli ekan, chunki omma buni deyarli sezmay qoladi.<\/p>\n

Qo\u2018ylar va itlar \u2014 ommaviy ong ramzi sifatida<\/em><\/strong><\/p>\n

Cho\u2018chqalar hokimiyat markazini ko\u2018rsatsa, qo\u2018ylar bilan itlar orqali Oruell butunlay boshqa savolga javob izlaydi: xo\u2018sh, oddiy omma bunga qanday chidaydi, hatto nega qo\u2018llab-quvvatlaydi? Qo\u2018ylar bu jihatdan alohida diqqatga loyiq \u2014 ular mustaqil fikrlashga umuman urinmaydi, faqat berilgan shiorni takrorlaydi, xolos. \u201cTo\u2018rt oyoq yaxshi, ikki oyoq yomon\u201d degan sodda shior boshida haqiqatan ham ma\u2019noli edi, ammo roman oxiriga borib u sekin-asta o\u2018zgartirilib, hatto dastlabki mazmuniga qarama-qarshi shaklga keltiriladi. Va eng achinarlisi \u2014 qo\u2018ylar buni sezmaydi ham. Ular tinimsiz baqirish orqali har qanday muhokamani, har qanday shubhani bostirib tashlaydi; ya\u2019ni ommaviy ongning eng oson boshqariladigan, eng himoyasiz qismini aynan ular ifodalaydi[4]<\/a>.Itlar esa boshqacha ishlaydi \u2014 ular so\u2018z bilan emas, qo\u2018rquv bilan. Napoleon yoshligidanoq yashirincha tarbiyalab qo\u2018ygan kuchukchalar keyin uning shaxsiy jazolash mashinasiga aylanadi: avval Snowballni haydashda, keyin esa \u201caybdor\u201d topilgan har qanday hayvonni jazolashda ishlatiladi. Bu yerda maxfiy nazorat va repressiya apparatining o\u2018ziga xos badiiy shaklini ko\u2018ramiz[5]<\/a>. Lekin bir narsa e\u2019tiborni tortadi: itlar ham aslida boshqa hayvonlar kabi ozod tug\u2018ilgan edi. Ularni faqat bitta xo\u2018jayinga so\u2018zsiz sodiq bo\u2018lishga o\u2018rgatishgan, xolos. Demak, qo\u2018rqinch tizimining o\u2018zi ham havodan paydo bo\u2018lmaydi \u2014 u ham, aslida, mahsus tarbiya va manipulyatsiya natijasi.Qo\u2018ylar ovoz bilan, itlar kuch bilan ishlaydi \u2014 biri targ\u2018ibot, ikkinchisi terror. Ammo bu ikkisi bir-birini to\u2018ldirmasa, tizim uzoq turolmasdi. Shu o\u2018rinda Boxer haqida ham to\u2018xtalmasdan bo\u2018lmaydi \u2014 u halol, mehnatkash, ammo hech narsani so\u2018roqqa tutmaydigan oddiy xalq vakilining timsoli. Uning \u201cmen yanada ko\u2018proq ishlayman\u201d degan shiori aslida juda samimiy, lekin xuddi shu samimiylik uni fojiaga olib boradi: keksayib, kuchdan qolganda, u hech qanday mukofotsiz, sotib yuborilib, taqdiriga tashlab qo\u2018yiladi. Boxer obrazi orqali Oruell shuni ko’rsatmoqchi bo\u2018lgandek: eng yaxshi niyat ham, agar tanqidiy fikrlash bilan qo\u2018shilmasa, oson ekspluatatsiya qilinadi.<\/p>\n

Umuman olganda, cho\u2018chqalar (Napoleon, Snowball, Skvealer) bir tomonda, qo\u2018ylar va itlar ikkinchi tomonda turib, birgalikda deyarli to\u2018liq totalitar model yaratadi: yuqorida \u2014 hokimiyatni o\u2018ziga qaratgan elita, o\u2018rtada \u2014 kuch orqali tartib saqlovchi apparat, pastda \u2014 shior orqali boshqariluvchi omma. Va bu model, aslida, faqat sovet tarixiga tegishli emas \u2014 uni deyarli har qanday davr va jamiyatga qo\u2018llash mumkin.<\/p>\n

\u201cMolxona\u201d asaridagi majoziy obrazlar tizimi.<\/em><\/strong><\/p>\n

Snowball \u2014 g\u2018oyaviy va islohotchi yetakchi bo\u2018lib, keyinchalik \u201ctashqi dushman\u201d sifatida qoralanadigan muxolif obrazidir. Uning tarixiy prototipi<\/p>\n

    \n
  1. Trotskiydir.
    \nSkviler (Squealer) \u2014 rasmiy targ\u2018ibotchi, haqiqatni bosqichma-bosqich buzibko\u2018rsatuvchi va hukumat manfaatlariga xizmat qiluvchi propagandachidir. Ushbu obraz rasmiy sovet matbuoti va uning notiqlarini ifodalaydi.
    \nCho\u2018chqalar (umuman) \u2014 dastlabki g\u2018oyalardan chekinib, yangi imtiyozli boshqaruvchi tabaqaga aylangan elita vakillaridir. Ular sovet nomenklaturasi, ya\u2019ni partiya rahbariyatini ramziy ifodalaydi.
    \nItlar \u2014 qo\u2018rquv orqali tartibni saqlovchi, maxfiy tarzda tarbiyalangan jazo va nazorat apparati vakillaridir. Ularning tarixiy prototipi maxfiy politsiya va repressiya organlari hisoblanadi.
    \nQo\u2018ylar \u2014 tanqidiy fikrlamaydigan, shiorlarni ko\u2018r-ko\u2018rona takrorlovchi ommaviy ong vakillaridir. Ular ommaviy targ\u2018ibot ta\u2019siridagi aholini ifodalaydi.
    \nBoxer \u2014 halol va mehnatkash, ammo savol bermaydigan, oxir-oqibat ekspluatatsiya qilinadigan oddiy xalq vakilidir. Uning ramziy prototipi sovet ishchi sinfi, ya\u2019ni proletariat hisoblanadi.<\/li>\n<\/ol>\n

    Majoziy obrazlar orqali hokimiyat tanqidi \u2014 faqat G\u2018arb adabiyotiga xos hodisa emas. O\u2018zbek adabiyotida ham bu an\u2019ana chuqur ildizlarga ega: Muhammad Sharif Gulxaniyning XIX asr boshida yozilgan \u201cZarbulmasal\u201d asari xon va amaldorlarning zulmini qushlar va hayvonlar tilida fosh etadi. Ikki asarni qiyoslash shuni ko\u2018rsatadiki, turli davr va madaniyatlarda yaratilgan bo\u2018lsa-da, ular bir xil badiiy vositaga \u2014 hayvonlar olami orqali inson jamiyatini ko\u2018zguga solishga \u2014 murojaat qilgan.<\/p>\n

    \u201cMolxona\u201d va \u201cZarbulmasal\u201dasarlarining qiyosiy tahlili<\/em><\/strong><\/p>\n

    \u201cMolxona\u201d asarining asosiy obrazlari uy hayvonlari, jumladan, cho\u2018chqa, ot, it va qo\u2018ylardan iborat. Yozuvchi hayvonlar obrazlari orqali insonlar jamiyatidagi siyosiy munosabatlar, hokimiyat uchun kurash va ijtimoiy tengsizlikni ramziy tarzda ifodalaydi. \u201cZarbulmasal\u201dda esa Boyo\u2018g\u2018li, Yapaloqqush, Ko\u2018rqush kabi qushlar hamda ayrim hayvonlar obrazlari orqali insonlarga xos xususiyatlar, jamiyatdagi illatlar va o\u2018zaro munosabatlar tasvirlanadi.
    \nHar ikki asarda ham jamiyatdagi salbiy holatlarni fosh etish muhim o\u2018rin tutadi. \u201cMolxona\u201dda totalitar hokimiyat, inqilob g\u2018oyalarining buzilishi va yangi sinfiy tengsizlik tanqid qilinadi. \u201cZarbulmasal\u201dda esa poraxo\u2018rlik, jaholat, adolatsizlik hamda xonliklar o\u2018rtasidagi nizolar hajviy yo\u2018sinda yoritiladi.
    \nBadiiy an\u2019ana jihatidan \u201cMolxona\u201d G\u2018arb adabiyotiga xos siyosiy allegoriya va distopik roman-ertak xususiyatlarini namoyon etadi. \u201cZarbulmasal\u201d esa Sharq masalchilik an\u2019analariga tayanib, xalq og\u2018zaki ijodi, maqol va hikmatli so\u2018zlardan keng foydalanilgani bilan ajralib turadi. Asarda 400 dan ortiq maqol va matallarning qo\u2018llanishi uning badiiy-estetik qiymatini oshiradi.
    \nAsarlarning g\u2018oyaviy yakunida ham mushtaraklik va o\u2018ziga xoslik kuzatiladi. \u201cMolxona\u201dda hokimiyat nazoratsiz qolganida zulm va tengsizlik kuchayishi ko\u2018rsatiladi. \u201cZarbulmasal\u201dda esa jamiyatdagi illatlarni hajv qilish orqali kishilarni ma\u2019rifat, adolat va axloqiy komillikka undash g\u2018oyasi ilgari suriladi. Demak, har ikki asar turli davr va adabiy muhitda yaratilgan bo\u2018lsa-da, inson va jamiyat hayotidagi muammolarni ramziy obrazlar orqali ochib berishi bilan o\u2018zaro yaqinlashadi.<\/p>\n

    Xulosa qilib aytganda , \u201cMolxona\u201d \u2014 oddiygina hayvonlar haqidagi ertak emas, balki hokimiyatning ichki mexanizmini juda aniq ko\u2018rsatib beruvchi asar. Napoleon, Snowball va cho\u2018chqalar orqali biz hokimiyatning qanday shakllanib, markazlashib, oxir-oqibat o\u2018zi kurashgan zulmning aynan o\u2018ziga aylanib qolishini ko\u2018ramiz; qo\u2018ylar va itlar orqali esa \u2014 ommaning nega bunga chidashini, hatto qo\u2018llab-quvvatlashini tushunamiz. Ikkalasini birga qo\u2018yganda asarning asosiy fikri yanada aniq bo\u2018ladi: tuzum faqat rahbar almashgani bilan o\u2018zgarmaydi \u2014 u jamiyat tanqidiy fikrlashni yo\u2018qotmaganda, nazorat mexanizmlari saqlanib qolganda o\u2018zgaradi. Shu ma\u2019noda \u201cMolxona\u201d \u2014 sakson yil oldingi voqealar haqida emas, balki bugun ham, ertaga ham dolzarb bo\u2018lib qoladigan bir ogohlantirish: omma hushyorligini yo\u2018qotgan zahoti, erkinlik shiori ostida yangi zulm tug\u2018ilaveradi.<\/p>\n

    \u00a0<\/strong><\/p>\n

    \u00a0<\/strong><\/p>\n

    FOYDALANILGAN ADABIYOTLAR RO’YXATI<\/strong><\/p>\n

      \n
    1. Orwell G. Animal Farm: A Fairy Story. \u2014 London: Secker & Warburg, 1945.<\/li>\n
    2. Orwell G. «Why I Write» \u2014 Gangrel, 1946.<\/li>\n
    3. Crick B. George Orwell: A Life. \u2014 London: Secker & Warburg, 1980.<\/li>\n
    4. Meyers J. Orwell: Wintry Conscience of a Generation. \u2014 New York: W. W. Norton, 2000.<\/li>\n
    5. Bloom H. (ed.) George Orwell’s Animal Farm (Bloom’s Modern Critical Interpretations). \u2014 New York: Chelsea House, 2007.<\/li>\n
    6. Rodden J. The Politics of Literary Reputation: The Making and Claiming of «St. George» Orwell. \u2014 Oxford: Oxford University Press, 1989.<\/li>\n
    7. www.sparknotes.com\/lit\/animalfarm\/ \u2014 Animal Farm tahlili va sharhlar.<\/li>\n
    8. Adabiyotshunoslik nazariyasi: darslik \/ Mas’ul muharrir B. Nazarov. \u2014 Toshkent: O’zbekiston, 2019. \u2014 Allegoriya va badiiy obraz masalalari.<\/li>\n
    9. Qodirov P. Adabiyot nazariyasi asoslari. \u2014 Toshkent: Fan, 2015.<\/li>\n
    10. Xolbekov M. Zamonaviy jahon adabiyoti: siyosiy roman janri masalalari. \u2014 Toshkent: TDPU nashriyoti, 2021.<\/li>\n<\/ol>\n

      [1]<\/a>Napoleon Character Analysis in Animal Farm \/\/ SparkNotes. \u2014 URL: https:\/\/www.sparknotes.com\/lit\/animalfarm\/character\/napoleon\/ (murojaat sanasi: 09.08.2026).<\/p>\n

      [2]<\/a>Orwell G. Letter to Dwight Macdonald, December 1946 \/\/ George Orwell: Life in Letters (ed. Peter Davison). \u2014 New York: Liveright, 2013. Qarang: ‘Animal Farm: What Orwell Really Meant’ \/\/ The New York Review of Books, 2013. \u2014 URL: https:\/\/www.nybooks.com\/articles\/2013\/07\/11\/animal-farm-what-orwell-really-meant\/ (murojaat sanasi: 09.08.2026).<\/p>\n

      [3]<\/a>Orwell G. Preface to the Ukrainian Edition of Animal Farm: A Fairy Story, March 1947 \/\/ The Orwell Foundation. \u2014 URL: https:\/\/www.orwellfoundation.com\/the-orwell-foundation\/orwell\/books-by-orwell\/animal-farm\/preface-to-the-ukrainian-edition-of-animal-farm-by-george-orwell\/ (murojaat sanasi: 09.08.2026).<\/p>\n

      [4]<\/a>What do the sheep represent in «Animal Farm»? \/\/ Quizlet Explanations. \u2014 URL: https:\/\/quizlet.com\/explanations\/questions\/what-do-the-sheep-represent-in-animal-farm-dcf2ddff-4d6eda64-116d-4c31-ac61-18175557abc9 (murojaat sanasi: 09.08.2026).<\/p>\n

      [5]<\/a>Animal Farm: The Russian Revolution \u2014 Critical Essays \/\/ CliffsNotes. \u2014 URL: https:\/\/www.cliffsnotes.com\/literature\/a\/animal-farm\/critical-essays\/the-russian-revolution (murojaat sanasi: 09.08.2026).<\/p>\n","protected":false},"excerpt":{"rendered":"

      Qarshiyeva Rayxona Ne\u2019mat qizi, Xatamova Marjona Sherali qizi DTPI, Filologiya va tillarni o\u2018qitish yo’nalishi: O\u2018zbek tili ta\u2019limi, 4-bosqich talabasi. Annotatsiya: Ushbu maqolada Jorj Oruellning \u201cMolxona\u201d (Animal Farm) asari majoziy obrazlar tizimi nuqtai nazaridan tahlil qilinadi. Asarda hayvonlar dunyosi orqali totalitar tuzumning shakllanish bosqichlari, hokimiyatning markazlashuvi va ommaviy ongni boshqarish mexanizmlari ochib beriladi. Maqolada Napoleon, Snowball …<\/p>\n","protected":false},"author":1,"featured_media":22187,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[8],"tags":[],"_links":{"self":[{"href":"https:\/\/nor.uz\/index.php?rest_route=\/wp\/v2\/posts\/22186"}],"collection":[{"href":"https:\/\/nor.uz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nor.uz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nor.uz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nor.uz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=22186"}],"version-history":[{"count":1,"href":"https:\/\/nor.uz\/index.php?rest_route=\/wp\/v2\/posts\/22186\/revisions"}],"predecessor-version":[{"id":22188,"href":"https:\/\/nor.uz\/index.php?rest_route=\/wp\/v2\/posts\/22186\/revisions\/22188"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nor.uz\/index.php?rest_route=\/wp\/v2\/media\/22187"}],"wp:attachment":[{"href":"https:\/\/nor.uz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=22186"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nor.uz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=22186"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nor.uz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=22186"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}