{"id":2684,"date":"2026-06-25T12:12:05","date_gmt":"2026-06-25T12:12:05","guid":{"rendered":"https:\/\/medeniyyetdunyasi.az\/?p=2684"},"modified":"2026-07-10T12:46:35","modified_gmt":"2026-07-10T12:46:35","slug":"m%c9%99d%c9%99niyy%c9%99t-dunyasi-%e2%84%96-49-mu%c9%99llifl%c9%99r-uzr%c9%99","status":"publish","type":"post","link":"https:\/\/medeniyyetdunyasi.az\/en\/arxiv\/m%c9%99d%c9%99niyy%c9%99t-dunyasi-%e2%84%96-49-mu%c9%99llifl%c9%99r-uzr%c9%99\/","title":{"rendered":"THE WORLD OF CULTURE \u2116 49 By authors"},"content":{"rendered":"

Aygun Abdulova Huseynagha gizi<\/strong><\/p>\n

\u041e\u0411\u0429\u0415\u041d\u0418\u042f\/PSYCHOLOGYOF PERSONAL AND BUSINESS COMMUNICATION\u00a0<\/em><\/strong><\/p>\n

10.52094\/MBVL3131<\/a><\/strong><\/p>\n

 <\/p>\n

Mahsa Gamasaee, Murat Y\u0131ld\u0131r\u0131m<\/strong><\/p>\n

THE ROLE OF MINDFULNESS IN PREDICTING HAPPINESS MINDSET AMONG UNIVERSITY STUDENTS<\/em><\/strong><\/p>\n

10.52094\/QFEN7941<\/a><\/strong><\/p>\n

 <\/p>\n

Abbasova Nigar Ilgar gizi<\/strong><\/p>\n

TRADITIONALWOMEN’S HEADWEAR OF GARABAGH<\/em><\/strong><\/p>\n

10.52094\/KOPD8254<\/a><\/strong><\/p>\n

 <\/p>\n

Sevinj Aliyeva Gachay gizi<\/strong><\/p>\n

RASHID BEHBUDOV`S IMAGE IN FINE ARTS<\/em><\/strong><\/p>\n

10.52094\/PIND7619<\/a><\/strong><\/p>\n

 <\/p>\n

Narg\u0131z Novruz gizi Gul\u0131yeva<\/strong><\/p>\n

VALERY DORRER`S SCENOGRAPHY IN THE BALLET \u2018THE PATH OF THUNDER\u2019: VISUAL<\/em><\/strong>
\nDRAMATURGY OF SOCIAL PROTEST AND INTERRACIAL LOVE TRAGEDY<\/em><\/strong><\/p>\n

10.52094\/UWIY1991<\/a><\/strong><\/p>\n

 <\/p>\n

Fidan Azar gizi Eldarova<\/strong><\/p>\n

ARTISTIC SOLUTION OF ARCHITECTURAL ELEMENTS IN PAINTINGS<\/em><\/strong><\/p>\n

10.52094\/YALC1424<\/a><\/strong><\/p>\n

 <\/p>\n

Mahira Yagubova Mehdi gizi<\/strong><\/p>\n

THE ACTUAL PROBLEMS OF DUBBING-IN FROM THE POINT OF PRESERVING LANGUAGE NORMS<\/em><\/strong><\/p>\n

10.52094\/CAFI9285<\/a><\/strong><\/p>\n

Esmira Rahim gizi Vahabova<\/strong><\/p>\n

A BRIEF OVERVIEW OF THE BAKU FILM STUDIO ACTIVITIES AND THE STATE OF FILM<\/em><\/strong>
\nPRODUCTION AND CINEMA SERVICES IN THE COUNTRY DURING WORLD WAR II<\/em><\/strong><\/p>\n

10.52094\/ERAR2944<\/a><\/strong><\/p>\n

 <\/p>\n

Azar Guliyev Alik oghlu<\/strong><\/p>\n

SOMATIZATION OF MEDIA EXPERIENCE IN THE SMARTPHONE ERA: CINEMA AT ARM`S LENGHT<\/em><\/strong><\/p>\n

10.52094\/WIUX6303<\/a><\/strong><\/p>\n

 <\/p>\n

Aygun Baghirova Rafiq gizi<\/strong><\/p>\n

NEW NARRATIVE STRATEGIES OF THE LITERARY PORTRAIT GENRE ON TELEVISION: FROM BIOGRAPHICAL PRESENTATION TO VISUAL ANALYTICAL DISCOURCE<\/em><\/strong><\/p>\n

10.52094\/EHXN9625<\/a><\/strong><\/p>\n

 <\/p>\n

Nodirbey Sayfullayev Bakhtiyor oghlu, Abdukhalil Mavrulov Abdulkhay oghlu<\/strong><\/p>\n

CULTURE AS AN IMPORTANT FACTOR IN THE CONSTRUCTION OF A SOCIAL AND<\/em><\/strong>
\nSECULAR STATE<\/em><\/strong><\/p>\n

10.52094\/ZWVL2064<\/a><\/strong><\/p>\n

 <\/p>\n

Samira Abdullayeva Mirahmed gizi<\/strong><\/p>\n

PRESERVATION OF CULTURAL HERITAGE IN THE URBAN<\/em><\/strong><\/p>\n

10.52094\/CEAL9242<\/a><\/strong><\/p>\n

 <\/p>\n

Ulughbek Olimov Nabi oghlu<\/strong><\/p>\n

THE MANAGEMENT PLAN OF THE HISTORICAL CENTRE OF SHAHRISABZ AND ITS SIGNIFICANCE<\/em><\/strong><\/p>\n

10.52094\/BXHF8367<\/a><\/strong><\/p>\n

 <\/p>\n

Mustafa Ashurov Ahmad oghlu<\/strong><\/p>\n

THE ROLE AND POSITION OF SAID RUSTAMOV IN AZERBAIJANI CONDUCTING ART\u00a0\u00a0<\/em><\/strong><\/p>\n

10.52094\/YJXB7885<\/a><\/strong><\/p>\n

 <\/p>\n

Leyla\u00a0 Zohrabova Ramiz gizi<\/strong><\/p>\n

THE WORLD-FAMOUS COMPOSER FIRANGIZ ALI-ZADE: \u201cTHE VICTORY MARCH\u201d<\/em><\/strong><\/p>\n

10.52094\/TQUU2395<\/a><\/strong><\/p>\n

 <\/p>\n

Aynura Aliyeva Tahir\u00a0 gizi<\/strong><\/p>\n

THE CONCEPT OF PEACE IN THE WORKS OF FARHANG HUSEYNOV<\/em><\/strong><\/p>\n

10.52094\/ZABI8224<\/a><\/strong><\/p>\n

 <\/p>\n

Iqbal Orucov Gardashkhan oghlu<\/strong><\/p>\n

J.S. BACH\u2019S ES-DUR FLUTE SONATA (BWV 1031): A STUDY OF FORM, STYLE AND SOURCE\u00a0 ISSUES<\/em><\/strong><\/p>\n

10.52094\/CRZI7521<\/a><\/strong><\/p>\n

 <\/p>\n

Yasin Khalilov Khalaf oghlu<\/strong><\/p>\n

MUSIC AND THE QUANTUM INFORMATION MODEL<\/em><\/strong><\/p>\n

10.52094\/SIUJ7299<\/a><\/strong><\/p>\n

 <\/p>\n

Afaq Agayeva Agaibrahim gizi<\/strong><\/p>\n

THE HARMONY OF TRADITION AND MODERNITY IN THE TEACHING OF AZERBAIJANI MUGHAMS<\/strong><\/p>\n

10.52094\/DLYH5370<\/a><\/strong><\/p>\n

 <\/p>\n

Zumrud Mammadova Movlud gizi<\/strong><\/p>\n

LYRICISM IN THE POETRY OF SAMAD VURGHUN<\/em><\/strong><\/p>\n

10.52094\/WGHH5680<\/a><\/strong><\/p>\n

 <\/p>\n

Rumiya Mammadova Yagub gizi<\/strong><\/p>\n

SPECIFIC FEATURES OF KAMAL AHMADOV\u2019S SYMPHONIC SKETCHES \u201cGAMIQAYA\u201d<\/em><\/strong><\/p>\n

10.52094\/LSNW5851<\/a><\/strong><\/p>\n

 <\/p>\n

Aysel Azizova Firdovsi gizi<\/strong><\/p>\n

THE ROLE OF THE HISTORICAL-COMPARATIVE METHOD IN REGIONAL STUDIES<\/em><\/strong>
\n(BASED ON THE EXAMPLE OF THE AGBABA ASHIQ ENVIRONMENT)<\/em><\/strong><\/p>\n

10.52094\/XXUW5712<\/a><\/strong><\/p>\n

 <\/p>\n

Maryam Ali-zadeh Ali gizi<\/strong><\/p>\n

THE NOVEL CHARACTERS\u2019 STAGE ADAPTATION ISSUES<\/em><\/strong><\/p>\n

10.52094\/UWIA3038<\/a><\/strong><\/p>\n

 <\/p>\n

Aydin Talibzade Agha Yunus oghlu<\/strong><\/p>\n

WHAT IS THEATRE LIKE IN A CITY AND METROPOLIS?<\/em><\/strong><\/p>\n

10.52094\/RZJV5034<\/a><\/p>\n

 <\/p>\n

Nazira Aliyeva Mammadgulu gizi, Lala Salimova Shamil gizi<\/strong><\/p>\n

THEATRE AT THE CROSSROADS OF GENRES: HYBR\u0130D PERFORMANCES OF THE 21ST CENTURY<\/strong><\/p>\n

10.52094\/KBIE5742<\/a><\/strong><\/p>\n

 <\/p>\n

Farida Jalilova Mahir gizi<\/strong><\/p>\n

AN EPISTEMOLOGICAL VIEW OF NIZAMI GANJAVI`S WORKS<\/em><\/strong><\/p>\n

10.52094\/INOQ7556<\/a><\/strong><\/p>\n

 <\/p>\n

Shahla Aliyeva Huseyn gizi<\/strong><\/p>\n

YANA\u015eMALAR\/NATIONAL IDEAS AND SOCIO-PHILOSOPHICAL APPROACHES IN AZERBAIJANI THEATER OF THE 20TH CENTURY\u00a0<\/em><\/strong><\/p>\n

10.52094\/PPRU7587<\/a><\/strong><\/p>\n

 <\/p>\n

Sherzod Pirmatov Tursunovich<\/strong><\/p>\n

THE THEATRICAL INTERPRETATION OF A HERO OF OUR TIME<\/em><\/strong><\/p>\n

10.52094\/XQFQ1827<\/a><\/strong><\/p>\n

 <\/p>\n

Matluba Isokova Komilovna<\/strong><\/p>\n

THE FORMATION AND DEVELOPMENT PROCESSES OF UZBEK MUSICAL THEATRE<\/em><\/strong><\/p>\n

10.52094\/GJLZ6366<\/a><\/strong><\/p>\n

 <\/p>\n

Fidan Rzayeva Vasif gizi<\/strong><\/p>\n

THE PERIOD OF THE DIRECTOR YUSIF YULDUZ`S CREATIVE ACTIVITY IN THE TURKI\u0421 STATE DRAMA THEATRE AND IN THE ACADEMI\u0421 NATIONAL DRAMA THEATRE<\/em><\/strong><\/p>\n

10.52094\/QGOE7622<\/a><\/strong><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Aygun Abdulova Huseynagha gizi \u041e\u0411\u0429\u0415\u041d\u0418\u042f\/PSYCHOLOGYOF PERSONAL AND BUSINESS COMMUNICATION\u00a0 10.52094\/MBVL3131   Mahsa Gamasaee, Murat Y\u0131ld\u0131r\u0131m THE ROLE OF MINDFULNESS IN PREDICTING HAPPINESS MINDSET AMONG UNIVERSITY STUDENTS 10.52094\/QFEN7941   Abbasova Nigar Ilgar gizi TRADITIONALWOMEN’S HEADWEAR OF GARABAGH 10.52094\/KOPD8254   Sevinj Aliyeva Gachay gizi RASHID BEHBUDOV`S IMAGE IN FINE ARTS 10.52094\/PIND7619   Narg\u0131z Novruz gizi Gul\u0131yeva VALERY<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65,66,67,61,64],"tags":[],"class_list":["post-2684","post","type-post","status-publish","format-standard","hentry","category-65","category-2026-2026","category-2026-2","category-arxiv","category-esas-shif"],"_links":{"self":[{"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/posts\/2684","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/comments?post=2684"}],"version-history":[{"count":18,"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/posts\/2684\/revisions"}],"predecessor-version":[{"id":2772,"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/posts\/2684\/revisions\/2772"}],"wp:attachment":[{"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/media?parent=2684"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/categories?post=2684"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/tags?post=2684"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}