The garden of my childhood was always filled with the scent of flowers. Every spring, blossoms would bloom in our yard, but there was one flower that captivated me more than any other — the tulip.
My grandfather always tended to the flowers with deep affection and taught us to love and care for them. On early spring mornings, he would take a small spade and gently work the soil while I followed him closely, never leaving his side. That’s when I would see the yellow tulips beginning to bloom — as if they carried the joy of spring itself. For me, they were not just ordinary flowers; they were the embodiment of beauty and elegance, the purest reflection of grace.
Many people have asked me: “Why tulips? Aren’t there countless other beautiful flowers in the world?” I simply smile and reply, “Because tulips are love. They are not just flowers — they awaken feelings deep within the heart.”
When I look at a tulip, something inside me stirs. It’s as if the flower is whispering a secret, trying to awaken the most delicate emotions within me. Every petal is a melody; every color, a feeling. Though the tulip bows toward the earth, it spiritually reaches for the sky.
The tulip is life itself. For the eye that sees beauty and the heart that feels elegance, there is no sight more enchanting.
Dilobar Maxmarejabova Elbek qizi is a second-year student at the University of Journalism and Mass Communications, majoring in Philology and English Language Teaching.
Basic Verb Tenses in English and Their Uzbek Equivalents
Olimboyeva Dilaferuz Azamat qizi
Uzbekistan State World Languages University
alijonolimbayev99@gmail.com
Abstract
This article presents a comparative linguistic analysis of basic verb tenses in English and their functional equivalents in the Uzbek language. English, as an analytical language, relies heavily on auxiliary verbs and syntactic structure to indicate tense, while Uzbek, an agglutinative language, primarily uses suffixes and postpositions to convey temporal relations. The study focuses on four fundamental tenses in English—Present Simple, Past Simple, Future Simple, and Present Continuous—and examines how these are rendered in Uzbek in terms of morphology, semantics, and syntax.
Drawing from both theoretical and practical sources, the paper provides illustrative examples and pedagogical insights to aid language learners, translators, and linguists in mastering cross-linguistic tense equivalence. The analysis emphasizes the contextual flexibility of Uzbek tense usage, contrasts it with the structural rigidity of English tense systems, and highlights translation challenges that arise in bilingual contexts.
Keywords
Verb tense, present simple, past simple, future simple, present continuous, auxiliary verbs, agglutinative morphology, English-Uzbek translation, comparative grammar, language typology
Tense, as a grammatical category, is a fundamental aspect of verbal systems in most natural languages. It allows speakers to locate events in time and to distinguish between actions occurring in the past, present, or future. English verb tenses are traditionally divided into 12 forms, including simple, continuous, perfect, and perfect continuous tenses. Uzbek, on the other hand, organizes tense through suffixation, and tends to express time relationally rather than structurally.
In the Uzbek language, tense is generally encoded through the verb morphology itself, without the need for auxiliary verbs. The system is simpler in appearance but allows a rich variety of aspectual meanings. This article focuses on four core tenses that are most frequently encountered in beginner and intermediate language instruction: Present Simple, Past Simple, Future Simple, and Present Continuous. Understanding their use and equivalents is crucial for effective communication, translation accuracy, and grammar instruction.
In particular, the paper aims to: Analyze the structure and function of each English tense. Explore the morphological markers in Uzbek that carry similar meanings. Provide comparative examples and highlight cross-linguistic differences. Identify challenges in translation and language learning contexts. In English, the Present Simple Tense is generally used for habitual actions, repeated occurrences, facts, and general truths. Its basic form uses the root verb for most persons and adds an -s or -es ending for the third person singular: I walk to school. She walks to school.
The Uzbek equivalent of this tense is typically formed using the suffix -(a)di, which marks both present habitual and simple future meanings depending on context: Men har kuni maktabga boraman. → I go to school every day. U har kuni ertalab yuguradi. → She runs every morning. One challenge for Uzbek learners of English is the use of the third person singular -s ending in English, which does not have a direct morphological parallel in Uzbek. In Uzbek, the subject-verb agreement is expressed through personal suffixes, not through separate verb conjugations based on person as in English.
Furthermore, English also uses do-support in negative and interrogative forms, which has no direct equivalent in Uzbek: Do you like tea? → Senga choy yoqadimi? He doesn’t understand. → U tushunmaydi. Here, Uzbek expresses negation directly within the verb using -ma/-may suffixes, not through auxiliary verbs like “do/does.”Thus, while the Present Simple tense appears straightforward in English, its accurate mapping into Uzbek requires attention to aspect, personal endings, and the syntactic role of auxiliaries in English.
The Past Simple Tense in English denotes actions completed in the past at a definite time. Its structure involves the use of the past form of the verb, which in regular cases is formed by adding -ed, and in irregular cases varies widely (e.g., go → went, take → took): They watched a movie last night. She went to the market yesterday. In Uzbek, the past is expressed using the suffix -di or its phonological variants -ti, -di, -dilar (for politeness or plural subjects): Ular kecha kino ko‘rdilar. → They watched a movie yesterday. U bozorda meva oldi. → She bought fruits at the market.
Moreover, questions in the past are formed using -mi particles, unlike English which uses the auxiliary did: Did he see the letter? → U xatni ko‘rdimi? Uzbek verbs also tend to imply aspects of the action more fluidly. The context often determines whether the action is viewed as completed, ongoing, or habitual, without needing a separate grammatical category for each. This makes the Uzbek past tense morphologically simpler but semantically richer, requiring learners to rely more on context than form.
The Future Simple Tense in English refers to actions that will occur after the present moment and is typically formed with the auxiliary “will” followed by the base verb: I will help you tomorrow. They will arrive soon. In Uzbek, the equivalent tense is often expressed with the same suffix -(a)di, or with more explicit constructions such as -moqchi bo‘lmoq to denote intention or planned future: Men ertaga yordam beraman. → I will help tomorrow. Ular yaqin orada yetib kelishadi. → They will arrive soon. Men sizga telefon qilmoqchiman. → I intend to call you.
One interesting difference is that the same Uzbek suffix -(a)di is used for both habitual present and near-future actions, and only context determines the meaning. This polyfunctionality requires learners to pay close attention to time adverbials like ertaga (tomorrow), tez orada (soon), etc. In more formal or intentional future constructions, Uzbek uses the -moqchi bo‘lmoq structure:U imtihon topshirmoqchi. → He intends to take the exam. Unlike English, which uniformly uses “will” or sometimes “shall,” Uzbek has a range of optional markers, making its future tense more nuanced in intent and modality.
The Present Continuous Tense in English expresses actions that are currently in progress. Its structure includes the verb “to be” in present tense and the main verb in -ing form: She is reading a book. We are watching a movie. The Uzbek equivalent is formed with the suffix -yapti, attached directly to the verb root:U kitob o‘qiyapti. → She is reading a book. Biz film ko‘ryapmiz. → We are watching a movie.In both languages, this tense conveys immediacy and duration. However, unlike English, which needs an auxiliary and a participle, Uzbek uses a single analytic suffix.
Negative forms in English:I am not eating. Uzbek: Men ovqat yemayapman. Another notable feature in Uzbek is the use of present continuous for polite or soft assertions: Siz nimani kutyapsiz? → What are you waiting for?
For Uzbek learners of English, mastering the auxiliary verb “to be” (am/is/are) and using the –ing form correctly presents one of the most common grammatical hurdles. The comparative study of English and Uzbek verb tenses reveals fundamental structural, morphological, and semantic differences between the two languages. English relies on auxiliary verbs, inflectional patterns, and strict syntactic rules, while Uzbek uses agglutinative suffixation, contextual flexibility, and syntactic economy.
While certain tenses such as Present Continuous align well between the two systems, others like Future Simple or Present Simple demonstrate functional overlap but grammatical divergence. For translation studies and second language acquisition, these findings stress the importance of contextual interpretation, especially for Uzbek speakers learning English. Understanding these cross-linguistic patterns can aid educators in constructing more effective grammar curricula, and support translators in producing more accurate target texts.
References
1. Crystal, D. (2003). The Cambridge Encyclopedia of the English Language. Cambridge University Press.
2. Eastwood, J. (1994). Oxford Guide to English Grammar. Oxford University Press.
3. Bozorov, O. (2005). Ingliz tili grammatikasi. Toshkent: O‘qituvchi nashriyoti.
4. Karimov, A. (2010). Hozirgi o‘zbek adabiy tili. Toshkent: O‘zR FA nashriyoti.
5. Hudoyberganova, D. (2017). Qiyosiy tipologiya: Ingliz va o‘zbek tillarining qiyosiy tahlili. Toshkent: TDPU.
6. Comrie, B. (1985). Tense. Cambridge: Cambridge University Press.
7. Richards, J. C., & Schmidt, R. (2010). Longman Dictionary of Language Teaching and Applied Linguistics. Longman.
Dr. Jernail Singh Anand is a towering literary figure whose work [an opus of 180 books] embodies a rare fusion of creativity, intellect, and moral vision. Anand won the Seneca Award [Italy], Charter of Morava [Serbia], Franz Kafka [Germany, Ukraine and Chek Rep.] and Maxim Gorky [Russia]. His name adorns the Poets’ Rock in Serbia and stands tall as the greatest philosopher among poets, and the greatest poet among philosophers. Dr. Anand’s grandiose work ‘Epicasia’ [June 2025], includes twelve epic narratives, which was dedicated to “the Land of Serbia and its brilliant daughter Dr Maja Herman Sekulic” [the author].
The creation of neo-mythological characters like Lustus and now Craza in The Alternate Universe establishes Dr. Anand as a master of myth creation, blending traditional epic forms with modern existential, philosophical, and socio-political concerns, and resonates with both Eastern and Western literary traditions. Traditional mythology served to explain natural phenomena through divine or heroic figures. But Anand’s Neo-mythology brings up new archetypes to address contemporary concerns such as moral erosion, the rise of artificial intelligence and corporate evil.
According to Grok, Dr. Anand’s The Alternate Universe is an audacious and thought-provoking epic that masterfully intertwines science fiction, technology, and spirituality to explore the existential crises facing humanity in an AI-driven era. As his 13th epic, this work showcases Anand’s ability to weave a complex narrative that challenges conventional boundaries between the divine, the human, and the technological. The epic is both a speculative vision of a re-engineered humanity and a philosophical critique of mankind’s moral and spiritual decay, making it a significant contribution to contemporary literature. It is intriguing to enter into Anand’s mind through his epics. The entire space is occupied by ethereal personages like God, Brahma, Indra, Vishnu, Lord Krishna, Satan, Mephistopheles, Faustus etc. And, the atmosphere is marked by high seriousness, and a sense of the sublime.
Dr. Anand was reluctant to cast Satan as the villain in ‘Lustus: the Prince of Darkness’ the first book of his Mahakaal Trilogy, as Satan was a gentleman villain, who was afraid of God’s power. He tempted Eve by deception. Anand, on the other hand, needed a thorough-bred villain of modern world, who could sustain interest for generations. Therefore, in Lustus, Anand created a villain before whom even Satan appears a monk. Anand also creates Greda, the goddess of Greed. The grandeur of Lustus lies in two fierce battles he fought and lost against gods in the first two books of the Trilogy, Lustus and the Dominion of the Netherworld. Dr. Anand’s quest for the sublime continues through The Ultronic Age, where political power is handed over to Queen Ultronia, because Gods had realized that it was due to the patriarchal superiority of men that the previous epochs saw bloody battles and manslaughter as we come across in the Ramayana in Treta, the Mahabharata in Dwapra and the War of Troy in Kaliyuga.
In The Alternate Universe, Craza proposes an AI-driven Alternate Universe where humans are digitally enhanced. Craza’s concepts of removing the past of man, womb labs, and keeping humanity morally upright with AI intervention, and the provision for ‘Edit’ etc. are daringly forward looking, investing technology with a spiritual responsibility and making Craza a Neo-Prophet of the Digital Age.
Dr. Anand’s latest work grapples with the intersection of technology, spirituality, and human existence. Craza, represents a bold evolution from Lustus, who was an embodiment of corporate evil. “Anand’s work reflects a profound engagement with the ethical and spiritual challenges posed by artificial intelligence (AI) and modernity, making him a modern counterpart to epic poets like Milton or Vyasa, but with a distinctly futuristic lens.” [Grok]
Craza’s proposal for an “Overlap” facility, replacing the traditional divisions of heaven and hell, can be seen as a nuanced view of morality where ambiguity is acknowledged rather than punished because this world of overlapping morality is closer to the reality of the modern world of technology. Through Lustus, he critiques the corporate and moral decay of the modern world, while Craza in The Alternate Universe extends this exploration into speculative or chaotic realms. By merging Eastern and Western traditions, Anand creates a universal narrative offers an ethical and spiritual landscape for a contrivance like AI to seek man’s salvation, rather than work for his destruction. Craza’s entry as a potential mouthpiece of the AI is a welcome departure from usual condemnation of the AI. His work not only revives the epic form but also establishes him as a global literary figure, walking in the footsteps of Milton, Goethe and Tagore.
is an internationally published Serbian-American author of 30 books in Serbian, English German and French; her poems were translated in 27 languages. Of her poetry, Nobel laureate Joseph Brodsky said: “her poetry is of the rarest talent and beauty as she is herself”. Maja is an acclaimed and multi awarded poet, novelist, essayist, a bilingual scholar, a Princeton Ph.D.and a major translator. She is a vice president of International Ethics Academy from India,and has been nominated by the IAE for the Nobel Prize in Literature. She is a member of the American and Serbian PEN, American Academy of Poets, Association of writers of Serbia and Serbian Literary Society. She was schooled and lived all over the world from Europe and USA to the Far East, and as a triple ambassador of good will, culture and literature has been building bridges between cultures for over 30 yrs. She now shares her time between New York and Belgrade.
“Becoming a Butterfly, Becoming a Soul: An Existential Reading of Eva Petropoulou Lianou’s Poem”
By Rizal Tanjung
Eva Petropoulou Lianou’s poem “Nothing Belongs to Us” is a lyrical utterance that holds within it layers of existential reflection, critique of anthropocentrism, and a meditation on the spirituality of the body. In the increasingly cacophonous landscape of contemporary poetry—often overwhelmed by the aesthetics of form—this piece appears typographically simple yet philosophically sharp. This essay attempts to read the poem as a poetic contemplation of freedom, the infinitude of the human condition, and a critique of the illusion of possession. Through the lenses of existentialism (Sartre, Kierkegaard) and the cosmic mysticism of Taoist thought, it seeks to delve into the poem’s pulse in order to unearth what it means to be human.
Across both Eastern and Western traditions of poetry, the question of the human self has never reached its final answer. From Walt Whitman’s Song of Myself to Laozi’s Tao Te Ching, human beings have long pondered their identity in a world relentlessly obsessed with possession, power, and selfhood. Eva Petropoulou Lianou’s poem comes as a whisper amid the clamor. With its formal simplicity yet profound meaning, it dares to challenge structures of society, belief, and even the logic of human ownership.
This poem invites a new reading of existence—fluid, self-sovereign, and spiritually free. It becomes a literary vehicle that resists the illusion of domination over oneself and nature. The central question guiding this essay is: How does the poem dismantle the myth of ownership and replace it with existential freedom and devotion to the soul?
Textual Reading: Structure and Symbolism
The poem is built from short lines, unconstrained by conventional rhyme or rhythm, yet it forms an internal cadence that is deeply reflective. Its narrative voice is declarative and intimate—as if the reader is being invited into a mirror held up by their own inner voice.
Key recurring symbols include:
“Butterfly,” “bee,” “ants,” “wolf”: Non-human beings that symbolize existence without domination.
“Laugh to your heart,” “touch the stars”: Invitations toward a spirituality born in simplicity.
“Stomach,” “instinct,” “inner soul”: The body as a center of wisdom—subverting the Western body-soul dichotomy.
The poem’s free structure becomes a metaphor for the freedom it articulates. Eva’s form reflects her message: the poem is free because it voices freedom.
Philosophical Approach: Existentialism and the Cosmology of the Body
Existentialism: Choice, Freedom, and the Absurd
Jean-Paul Sartre famously argued that human beings are “condemned to be free.” In this poem, freedom is not merely a moral choice, but a way of being—rooted in the body and instinct:
“We are choosing according to our feelings / Our thoughts / Our beliefs / Our stomach”
These lines are existential declarations: human sovereignty is not determined by external systems, but by the voice within. There is no divine hand dictating one’s fate. We belong to no one. We are the authors of our own will.
In the Kierkegaardian sense, the rejection of blind faith in systems, others, or societal order echoes through the poem:
“Show respect / Kindness / But no trust / Trust your instinct / Trust your heart”
Here, the poem becomes a manifestation of the leap of faith—not toward a god, but toward the sacred silence of the inner self.
Taoist Cosmology and the Mysticism of the Body
In Taoist tradition, human beings are not rulers of nature but parts of its flow. Eva echoes this cosmic humility in lines such as:
“We are nothing more than a fly / …than a bird”
The human body is not superior to other beings—thus, it becomes sacred in its humility. The poem rejects human exceptionalism. We are not creators, not owners. We are mere participants in the grand dance of nature, and our role is to attune, not to control.
Aesthetics of Being: The Child, the Soul, and the Stars
The poem closes with a shift into mysticism:
“Stay a happy child”
The child here becomes a symbol of ultimate spirituality: free from burden, honest in desire, filled with laughter. This is not psychological regression, but existential purity. In the symbol of the child, the poem stores a vital teaching: happiness is not a result of achievement, but a return to the most honest truth of the soul—play and dream.
Poetry as the Way Back
“Nothing Belongs to Us” is both poem and philosophy, both language and silence. It teaches that to be human is not to possess, not to know, not to rule—but to become the butterfly: fleeting, light, and meaningful through mere presence.
By weaving existentialism, the cosmology of the body, and natural symbolism, Eva Petropoulou Lianou has crafted not just a poem, but a spiritual map for those who seek meaning in a world weary of ownership. In a world overwhelmed with noise, this poem becomes the path home to a silence filled with light.
West Sumatra, 2025
References
Kierkegaard, Søren. Fear and Trembling, 1843.
Sartre, Jean-Paul. Being and Nothingness, Gallimard, 1943.
Laozi. Tao Te Ching, trans. D.C. Lau, Penguin Classics, 1963.
Whitman, Walt. Leaves of Grass, 1855.
Petropoulou Lianou, Eva. “Nothing Belongs to Us”, 2024.
Methods to Enhance Motivation in the Educational Process
Introduction
Motivation is the internal and external drive of students toward the learning process, directly impacting their success and knowledge level. Based on Self-Determination Theory, “autonomy,” “competence,” and “social connections” play a crucial role in strengthening motivation. Motivation serves as a key driver in the educational process, determining students’ engagement, goal achievement, and success.
Methods to Enhance Motivation
1 Educational Methods
Flipped Classroom: Students study material in advance, while classroom time is dedicated to practical activities, aligning with the ARCS model and boosting motivation.Active Learning: Through methods like peer learning, problem-based learning, and cognitive apprenticeship, students work independently and collaboratively.
2 Psychological Approaches
Autonomy and Choice: When students choose their own materials, their intrinsic motivation increases (Self-Determination Theory).
Conclusion
Motivation in education is enhanced by harmonizing internal factors (autonomy, interest, social connections) and external factors (awards, badges, competition). The effectiveness of inquiry-based learning and active learning has been confirmed by research. Autonomy and reflection guide students toward intrinsic motivation rather than reliance on external factors. Such approaches make lessons meaningful, engaging, and beneficial for both students and educators.
Sevara Kuchkarova is a 3rd year student of Bukhara State Pedagogical Institute.
The Lament of Palestine Bukhara region, Karakul district, School No.1, 8th grade student
Mother, don’t look to the sky — look from the heavens, Every dawn now spills blood, no longer light. Children weep, but the ears remain deaf, The world is silent — as if it sees no sight.
The earth trembles, yet it is no quake, This is a lightning that makes hearts shake. Not cannonballs, but bullets hit the young, And in a mother’s embrace, the world shut its eyes.
Peace never came to rest upon your roof, Between the calls to prayer, screams echo loud. Instead of flowers, heavy stones are placed, On the grave — dewdrops of blood drip down.
At night, no angels visit in dreams, But fear enters, dressed in black. The dream to live has long been buried, There’s no support left — not even in prayers.
