La Belle et la Bête – Opera Parallèle (Photo: Stefan Cohen)
La Belle et la Bête
Opera Parallèle
Zellerbach Hall
Berkeley, California
Beast Against Beauty
A review by Christopher Bernard
Over a recent weekend in March, Cal Performances hosted an original production by the local company Opera Parallèle, combining movie and stage, of Philip Glass’s uniquely beautiful conversion of Jean Cocteau’s classic film La Belle et la Bête into a cinematic opera.
The original “Beauty and the Beast” was written by the eighteenth-century French novelist Gabrielle-Suzanne Barbot de Villeneuve and appeared in her book La Jeune Américaine, et les Contes marins. The story, set in a romanticized High Renaissance France of François Premier and Diane de Poitiers, was later revised and abridged by Jeanne-Marie Leprince de Beaumont in the version best known down the generations. The story’s magnetic appeal has never weakened; in the age of toxic masculinity, it has never been, in some ways, more timely.
To say nothing of the aggression inherent in all masculine sexuality: Has there ever been a sensitive young man in love with a beautiful woman who did not, at some time, darkly suspect that, in reality, he was ugly, disgusting, unworthy of either loving or being loved—a beast indeed? Has there ever been a woman who wasn’t afraid at some point of bringing out the beast in the man who claimed he loved her? And, the claims in the fairy tale notwithstanding, how often has it occurred, not that the beast turned into Prince Charming, but that Prince Charming turned into the Beast?
Cocteau’s film, a masterpiece of French surrealism from the middle of the last century, contains some of cinema’s most famous sequences: the line of chandeliers held by disembodied arms protruding from a corridor’s halls, the moving eyes in the faces carved into a mantel above a blazing chimney fire, a pearl necklace turning into a writhing snake in the hands of a wicked sister, the dissolves from beast to human and from human to beast, and Belle’s gliding down a night-time hallway with windblown curtains without apparently stirring a foot, to name only a few.
The original script, itself rich with poetry yet containing enough realism to empower the magic, and Georges Auric’s film score work with these magical images to create a world of consummate fantasy speaking the curious truths poetry is uniquely capable of expressing. Philip Glass’s decision, half a century after the film’s release, to strip out and replace not only the soundtrack and sound design but all the dialogue as well into an immense musical fabric proved to be, not only as provocative as any surrealist gesture, but brilliantly successful and entirely aligned with the soul of the work. Unlike the notorious mustache on the Mona Lisa, Glass’s gambit enhances and even completes the work in a way one can only feel the original artists (with, of course, the possible exception of the silenced M. Auric) would have completely approved. It doesn’t displace the original but provides a perfectly viable alternative.
When I heard about Opera Parallèle’s production, I imagined one of three possibilities: a straight screening of a silent version of the film, with sound provided by live singers and instrumentalists, much like what I was lucky to experience on my first exposure to Glass’s setting. Or it might be an entirely live staging, with a few discreet bows to the film. Or it might be the most interesting but most perilous of the three: a fusion of the film with live action. But if they tried the latter, how would they solve the problem at the heart of any such attempt: how integrate the two without their blundering regularly and clumsily into each other? Because if staging and film weren’t merged into a seamless whole, it could be, indeed would be fatal: the genius of the film would require equal genius, above all in judgment, taste, and tact, in the staging, otherwise it would be in danger of overbalancing, then irretrievably sinking, the performance.
If this third choice were attempted, surely (I thought) the director would realize that film and staging would need to alternate; presenting them both at the same time would have to be generally avoided, for obvious reasons: the audience would not know which one to watch, the staging or the screen (or if two screens were used, which screen?). Staging theater is not like staging a dance or a concert, where multiple strands of movement or sound can be processed by the human mind without what is aptly called brain freeze.
One of the main problems was that some in the audience might resent any attempt to deflect their attention from the brilliance of Cocteau’s film. Concentrating the audience’s focus is, of course, one of any stage director’s primary responsibilities; diffusing attention must be avoided except for brief periods and for reasons that are perfectly clear to the audience as well as emotionally telling, whether dramatic or comic. And deliberately dividing their attention can court disaster.
Alas, this production did not solve the problem described, mostly because it did not seem to realize there was a problem to solve in the first place. The film and the staging stubbornly refused to combine; at times, they even stood in hostile and irreconcilable opposition: the concept for the piece was often at war with the piece’s aesthetic, with frustrating consequences.
Almost all of Cocteau’s film was screened on a darkened wall placed mid-stage as part of the handsomely designed and lit set (kudos to the unnamed set designer). At apparently random moments, live singers, in full costume, walked onstage and, distractingly, more or less imitated what appeared on film. In a few instances the film was paused and the action of the story was given entirely by live singers on stage. These few scenes were the most effective in the performance; effective enough for one to wish there had been more.
To add to the problem of divided attention, there were also a (gratefully) few attempts to screen a second film, which again imitated the action in the Cocteau. The concluding scene of the production abandons Cocteau’s film entirely, replacing it with a shot-by-shot imitation of the film’s famous concluding sequence, this time of the singers we had seen live onstage. If this was meant to bring all of the elements of the performance together in a transcendent conclusion, it was only partly successful.
It is always dangerous to fiddle with a masterpiece once; to fiddle with it twice can be fatal.
Fortunately, the musical elements of the evening came off, for the most part, very well: Hadleigh Adams was in excellent form in multiple roles, including the Beast, as was Chen Kang as Belle. Sophie Delphis did fine double duty as both of the evil sisters, and Aurelien Mangwa was strong-voiced in three well-differentiated roles. Nicole Paiement conducted the small but powerful ensemble, perhaps pressing too hard at times on the volume. The wonderful costumes were designed by Natalie Barshow, and not to be forgotten, given the opulence of the era in which the story takes place, were the hair and makeup designs by Y. Sharon Peng.
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Christopher Bernard is an award-winning novelist and poet. His most recent book is the poetry collection The Beauty of Matter.
Regular contributor Bill Tope has launched a new literary magazine, Topiary, which is now accepting submissions! Please send short stories to billtopiary1950@gmail.com.
In March we will have a presence at the Association of Writing Programs conference in Baltimore which will include a free public offsite reading at Urban Reads on Friday, March 6th at 6 pm. All are welcome to attend!
So far the lineup for our reading, the Audible Browsing Experience, includes Elwin Cotman, Katrina Byrd, Terry Tierney, Terena Bell, Shakespeare Okuni, and our editor, Cristina Deptula. If there’s time, an open mic will follow.
Our Urban Reads bookstore in Baltimore
Our next issue, Mid-March 2026, will come out Sunday March 22nd.
Yucheng Tao announces the winners of his poetry competition, Steve Schwei and Mark DuCharme. We’ve invited both winners to submit their poetry to Synchronized Chaos for everyone to read!
Now, for March’s first issue! This issue, Fingering the Spines, pays homage to our annual in-person reading, the Audible Browsing Experience. It’s a visual metaphor for looking through various titles in a global bookstore or library.
Genevieve Guevara rings in the dynamic energy of the Fire Horse for Chinese New Year.
Jesus Rafael Marcano celebrates the beauty of France, likening the nation to butterflies. Timothee Bordenave honors the beauty and majesty of Christian faith, as shown through Notre Dame. Su Yun’s abstract work reflects a meditative, spiritual sensibility. Soumen Roy describes a physical and mental journey towards spiritual inspiration.
Abdumajidova Zuhroxon Ibrohimjon qizi explores themes of hardship and endurance, destiny, faith, patriotism, and loyalty in Shuhrat’s classic Uzbek novel Oltin Zanglamas. Iroda Ibragimova explores themes of resilience and human dignity through oppression in Shukrullo’s novel Buried Without a Shroud.Bakhtiyorova Zakro Farkhod qizi speaks to the role of the short story in Uzbek literature. Ro’zimatova Madinaxon Sherzod qizi analyzes themes of strength, weakness and humanity in Abdulla Qahhor’s story “Ming bir jon.” Anvarova Mohira Sanjarbek qizi contributes a heartfelt poem from the perspective of Gulchehra, a character in O’lmas Umarbekov’s “Being Human is Hard.”
Azimov Mirsaid draws on Ray Bradbury and traditional Uzbek crafts and hospitality to illustrate the value of human warmth and imperfection. Dr. Jernail Singh Anand urges humanity to look into the words of our past and present writers and philosophers for wisdom in this age of great technological advancement. Dr. Jernail Singh Anand also expresses hope for the continuance of human creativity in the age of artificial intelligence. Daniela Chourio-Soto renders all-too-human morning sleepiness with lively humor. Eva Petropoulou Lianou explores the feelings and inspirations of emerging Greek painter Vivian Daouti.
Author Victoria Chukwuemeka discusses her creative journey towards exploring psychology and the subconscious, becoming deeper and more straightforward in her words. Kassandra Aguilera’s work mourns her speaker’s incompleteness, probing whether we need observers to fully realize ourselves. Ananya S. Guha reflects on distance, separation, and reunion, how roads can both bring us apart and together.
Emeniano Somoza poetically compares creative writing and glassblowing: arts where creators shape, rather than force, their materials. Poet Su Yun collects a set of poems from children at the East-West Public School in Bangalore on the theme of “the power of the pen vs the sword.” Taylor Dibbert’s short piece is almost anti-poetry, suggesting without communicating a metaphor.
Stephen Jarrell Williams’ poetry speaks to the risks and joys of openness to emotion and experience. Komilova Parizod reminds us to make the most of our lives and appreciate the joy around us. Priyanka Neogi urges us to act with wisdom and restraint. Boymirzayeva Dilrabo highlights the importance of motivation and discipline in reaching one’s goals.
Axmedova Gulchiroyxon expresses her tender love and concern for her mother. Nurmurodova Masrura Xurshedovna honors the patient, dedicated, behind-the-scenes love of her father. Gulsanam Sherzod qizi Suyarova explicates the value of friendship and how to be a good friend. Aminova Feruza Oktamjon kizi celebrates the beauty and innocence of young love. Qozoqboyeva Husnida yearns with devotion for her soulmate’s arrival. Mesfakus Salahin falls into a reverie about a fanciful love that exists between his imagination and his memory. Prasanna Kumar Dalai smiles through a delicate and tender love. Joeb expresses his hopes for personal and global love and peace. Lan Xin celebrates transcendent union with all others and the universe, with the world as her homeland, in her fanciful dinner piece. Husanxon Odilov laments a love which he acknowledges will never return. Nicholas Gunther reflects on a high school lost love or friendship through a casual ghazal. Bill Tope and Doug Hawley present an unusual relationship arrangement that seems to make several older people happy. Masharipova Yorqinoy Ravshanbek qizi celebrates the tenderness of a mother’s love. Brian Barbeito’s gentle childlike piece creates a surreal atmosphere rich in memory and care. Orzigul Sharobiddinova Ibragimova versifies her love and longing for her Uzbek homeland.
Zarifaxon Nozimjon Odilova qizi highlights the historical contributions of Uzbek statesman and humanist leader Zahriddin Muhammad Babur. Toshkentboyeva Xumora outlines the contributions of Amir Temur to modern Central Asian statecraft. Poet Lan Xin highlights the wisdom and compassion of Chinese Dongba cultural leader Wan Yilong. Abdusaidova Jasmina explicates themes of spirituality, heritage, and love in Alisher Navoiy’s writing. Abduxalilova Shoxsanamxon Azizbek qizi celebrates the benefits of reading culture for society.
Olimova Marjona Ubaydullayevna celebrates the literary heritage of Zulfiya and her themes of patriotism, women’s dignity, and compassion. Munisa Yo’ldosheva highlights how Zulfiya’s life influenced her works and her contributions to supporting emerging authors. Nozigul Baxshilloyeva discusses emotional and spiritual themes within Zulfiya’s work and how they affect Uzbek readers. Sultonova Shahlo Baxtiyor qizi highlights the literary and cultural influence of Zulfiya’s poetry. Jurayeva Barchinoy does the same, while also highlighting her commitments to education and women’s rights. Nematullayeva Mukhlisa Sherali kizi relates the value of Zulfiya’s work through a narrative story. Gayratova Dilnavo highlights the enduring legacy of Zulfiya’s work, especially what it means for many Uzbek women.
Loki Nounou’s piece dramatizes a woman stripped of her individuality in a toxic marriage, becoming only a vessel to hold others’ dreams. Abigail George probes the maternal and domestic as both sacred and violent, an origin and a wound, along with critiques of colonialism and the power of self-kindness. Manik Chakraborty calls for a natural, spiritual feminine awakening. Asadullo Habibullayev warns of the dangers and social injustices young women can face in Uzbekistan, even when educated, and calls for the younger generation to respect the wisdom of their elders. Eva Petropoulou Lianou urges respect for women and for the roles women play in society, including motherhood. Maxmarajabova Durdona Ismat qizi celebrates the love and care of human mothers and the value of Mother Earth.
Zamira Moldiyeva Bahodirovna analyzes what the nature motifs in Alexander Feinberg’s work reveal about his thoughts on memory and identity. Noah Berlatsky draws on trees to illustrate our shared human heritage, how we connect to each other and hold each other up. Dilafruz Muhammadjonova presents a natural and cultural tour of Uzbekistan’s Andijan province. Suyunova Fotima Oybekovna reminds us of how crucial it is to preserve the environment. O’gabek Mardiyev outlines ways to improve the efficiency of solar power generation. Shavkatova Mohinabonu Oybek qizi urges improvements in Uzbek public transit to encourage tourism as well as benefit ecosystems. Sultonaliyeva Go’zaloy Ilhomjon qizi analyzes the social, cultural, ecological and economic aspects of tourism in Central Asia. Turgunov Jonpolat discusses the ways in which media framing of climate issues affects how people address the problem. Surayyo Nosirova highlights the need for more consistent communication from journalists to the public about climate change in Uzbekistan.
The works of primary school children in China, collected by Su Yun, reflect moments of happiness and ordinary summer fun in nature. Alan Patrick Traynor’s Irish-inspired piece becomes incantatory, mystical, inhabiting littoral and transitional zones at the ocean’s edge. Tea Russo’s spiderweb poem seeks both expansive transcendence and the peace of oblivion, melding into various aspects of nature. Turkan Ergor dreams of the permanence of the ocean’s waves. Eleanor Hill reflects on the calm strength and dignity of a whale, unbothered while creating waves and blowing bubbles. Ri Winters turns to the ocean and its kelp forests as metaphor for the deep, isolating, yet restful morass of depression.
Brian Barbeito sends up a preview of his book Of Love and Mourning,highlighting the original content and the memorials to beloved pets who have passed. Filmmaker Federico Wardal celebrates a film award for a very humane documentary about veterinary care that saved the life of a racehorse. Jerrice J. Baptiste’s piece, accompanied by gentle, colorful artwork, expresses a graceful and natural surrender to death. Sayani Mukherjee’s piece sits between devotion and restlessness, calling the sky a neighbor yet screaming at stars. Mykyta Ryzhykh crafts a fevered love elegy at the edge of war, eros, and annihilation.
Patrick Sweeney sends up a set of index cards from a memory archive. Mark Young’s altered geographies trace the outlines of innocence, memory, and rupture. John Grey’s urban character and landscape pieces show dry, unsentimental grace.
Image c/o Jacques Fleury
Duane Vorhees’ poetry meditates on time’s circularity, embracing contradictions and the past, present, and future. Ibrahim Honjo reflects that one day his home and everything he knows will fade into memory. Christopher Bernard continues exploring hope, ruin, and creative resilience in the second installment of his prose poem “Senor Despair.”
Maja Milojkovic speaks to the implacable ticking of conscience. Mahbub Alam laments the selfishness and wickedness of humanity. James Tian dramatizes the pain of being underestimated, dismissed, and misunderstood. Mark Lipman calls for greater taxes on the wealthy and for economic egalitarianism. Jacques Fleury hoists his commentary on the fragility of modern democracy on the scaffolding of an extended construction metaphor.
Orinboyeva Zarina discusses how to help children psychologically and emotionally navigate their parents’ divorce. Botiriva Odinaxon elevates the teaching profession and calls for professional development and competence in those who educate young children. Nishonboyeva Shahnoza speaks to her wisdom and dedication towards her goal of becoming a preschool teacher.
Kadirova Feruzakhan Abdiyaminova discusses interactive games that could be useful in science education. Oroqova Nargiza outlines the rise of allergies in children and speculates on the causes. Umidjon Hasamov highlights the potential for artificial intelligence in medical diagnostics. Yunusova Sarvigul Siroj qizi highlights the importance of early screening for gastrointestinal cancer. Rajapova Muqaddas Umidbek qizi highlights the structure and function of the circulatory system.
Shohnazarov Shohjaxon highlights the impact of inflation on a nation’s economy and strategies for managing it. Mamadaliyev Kamronbek highlights the need for cybersecurity technology and cautions about cyberattacks as a weapon of war.
Dr. Jernail S. Anand calls out poets and academics whose lofty ideas don’t connect to present-day reality. While we are all capable of flights of fancy, we hope that this issue is grounded in our world and our humanity.
Bradbury Among Us: Why a Great Science Fiction Writer Understood Our Future Better Than We Do
Tradition and Algorithms
Recently, while watching my robot vacuum cleaner, I found myself thinking about our mahallas, where residents rise early in the morning and sweep their courtyards and streets with a broom. Here, cleanliness is not merely the absence of dust — it is a sign of respect for neighbors and a readiness to open one’s gates to a guest at any moment.
At home, meanwhile, my robot vacuum was stubbornly trying to “negotiate” with a chair leg. In that moment, I caught myself thinking that I had read about something like this before.
I took an old volume of Ray Bradbury from the shelf and was struck: he had looked straight into our present world — with all its gadgets and, more importantly, with our loneliness among them.
Smart Homes and Empty Rooms
In his famous short story There Will Come Soft Rains, Bradbury described a house that prepares breakfast, cleans up, and reminds its owners of their daily tasks. In the 1950s, this seemed like pure fantasy. Today, we refer to it as a “smart home” and control it from our smartphones.
But Bradbury looked deeper. Technology may be flawless, yet it remains only a set of microchips. Surrounded by sensors and voice assistants, we often forget that comfort is created not by automatic curtains but by the people who live behind them.
In Uzbekistan, a home has always been a place where the guest, not the interior, stands at the center. Bradbury’s “smart house” is functional, but it lacks baraka — the blessing that comes from living conversation over a cup of tea.
Artificial Intelligence: A Friend or an Imitation?
Bradbury often wrote about robots replacing loved ones. Today, we discuss chatbots capable of holding conversations as well as an old friend. It seems convenient.
Yet the writer warned us: by replacing living communication with a perfect algorithm, we risk forgetting how to understand real, “imperfect” people. His stories remind us that no program can replace the warmth of human sincerity.
Teahouse Versus Algorithm
In Fahrenheit 451, a mechanical hound hunts those who think differently. It is unsettlingly similar to modern social media algorithms that decide what we see and what we do not, creating an invisible digital cage.
Bradbury feared the isolation of people in their “seashells” — their headphones. He foresaw a world in which people would be locked inside digital cocoons.
In Uzbekistan, the tradition of the teahouse is still alive — a place where news is learned not from an algorithmic feed but from living conversation. Watching elders and young people spend hours in unhurried discussion over hot tea, one realizes that this is the antidote to the mechanical hound Bradbury imagined. Here, the algorithm is powerless before a sincere “Assalomu alaykum.”
AI Art and Traditional Craft
A neural network can generate a portrait in seconds, yet it lacks the soul that a master from Rishtan puts into every ornament on a ceramic plate.
Bradbury taught us to value imperfection, because within it — like in hand-embroidered suzani — lies the uniqueness of human destiny.
A machine can imitate style. But it cannot live a life.
The Human Being as the Main Instrument
Ray Bradbury did not seek to frighten us. He urged us not to lose our heads in excitement over new technologies. His books are not merely science fiction; they are, in a sense, a manual for living in the future.
He teaches us the essential lesson: in a world of endless code and perfect machines, we must remain human — vulnerable, mistaken, alive.
Robots, artificial intelligence, and digital systems are all creations of human hands. Therefore, it is up to us to guide technology and to build a real world of lived experience.
For us in Uzbekistan, Bradbury’s challenge sounds especially urgent: how to build IT parks and implement artificial intelligence without losing the warmth of neighborly support and the value of a large family. We must make technology a tool for strengthening our bonds — not a wall dividing us.
References
1. Bradbury, Ray. Fahrenheit 451. New York: Ballantine Books, 1953.
2. Bradbury, Ray. “There Will Come Soft Rains.” In The Martian Chronicles. New York: Doubleday, 1950.
Professional Biography: Azimov Mirsaid is a dedicated programmer with a strong passion for robotics and intelligent systems. He enjoys building efficient, practical solutions that connect software with real-world applications. His work is driven by analytical thinking, creativity, and a constant desire to improve.
He is particularly interested in projects that combine hardware and software — from embedded systems to interactive technologies. He enjoys exploring how logic, automation, and design can work together to create meaningful and innovative solutions.
He approaches challenges with focus, discipline, and a strategic mindset. Continuous learning is important to him, and he is always working toward becoming a stronger developer and a future robotics engineer.
Rajapova Muqaddas Umidbek qizi Samarkand State Medical University Faculty of Pediatrics, Group 112 Nurzodbekova Yasmina Nurzodbekovna Samarkand State Medical University Faculty of Pediatrics, Group 114 Rahimova Madina Mannonovna Samarkand State Medical University Department of Physiology, Trainee Assistant madinarakhimova79@gmail.com
Abstract: This article discusses one of the most important systems in the human body — the circulatory system. It is well known that this system affects all other systems, meaning that when the circulatory system is impaired, cells do not receive sufficient nutrients, and organ functions weaken.
Introduction: The main function of the circulatory system in the human body is to deliver oxygen and nutrients to cells and to remove carbon dioxide and other waste products. This process is carried out through the coordinated functioning of the heart and blood vessels. The heart acts as a central pumping organ, while blood vessels distribute blood throughout the body and return it to the heart. This complex system remains in constant motion and functions steadily throughout life.
Anatomical Structure of the Heart The heart is a four-chambered, muscular, cone-shaped organ located in the central part of the chest cavity between the right and left lungs. It consists of the epicardium, myocardium, and endocardium. Epicardium – the outer layer of the heart, covered by the pericardium. Myocardium – the main and thickest layer of the heart wall, responsible for contraction. Endocardium – a thin layer lining the inner surface of the heart chambers. The heart has four chambers: right and left atria, and right and left ventricles. Between the chambers are valves: mitral, tricuspid, aortic, and pulmonary valves. Cardiac automatism is the ability of specialized cardiac cells to independently generate bioelectrical impulses that stimulate heart contractions.
Main Part The heart is located in the thoracic cavity, slightly shifted to the left. Two-thirds of the heart lies to the left of the midline, and one-third to the right. Laterally and partially anteriorly, the heart is adjacent to the lungs, while its front part touches the sternum and rib cartilages. Relative to the body’s midline, the heart is asymmetrically positioned: about two-thirds on the left and one-third on the right. Depending on the projection of the vertical axis, the heart may have transverse, oblique, or vertical positions.
A vertical position is more common in people with narrow and long chests, while a transverse position is more common in those with wide and short chests. In newborns, the heart is more vertical, rounded in shape, and located higher because the atria are larger and the ventricles are less developed. As a person approaches adulthood, the heart assumes its typical position.
The heart consists of four separate chambers: Left atrium (atrium sinistrum) Right atrium (atrium dextrum) Left ventricle (ventriculus sinister) Right ventricle (ventriculus dexter) Diseases of the Circulatory System
Diseases of the vascular system are widespread and are associated with structural and functional disorders of blood vessels. Arterial Diseases Atherosclerosis: Accumulation of cholesterol plaques in vessel walls, narrowing blood flow. It is a major cause of heart attacks and strokes. Arterial hypertension: Chronic elevation of blood pressure. Aneurysm: Weakening and ballooning of the arterial wall, with a high risk of rupture. Obliterating endarteritis: Inflammation and narrowing of leg arteries, often found in smokers. Venous Diseases Varicose veins: Dilation of veins due to valve dysfunction and blood stagnation. Thrombophlebitis: Inflammation of vein walls with clot formation. Phlebothrombosis (Deep vein thrombosis): Formation of clots in deep veins, which may cause pulmonary embolism.
Microcirculation and Other Disorders Vasculitis: Inflammation of vessel walls due to immune reactions. Raynaud’s syndrome: Sudden constriction of small blood vessels in fingers due to cold or stress. Lymphedema: Impaired lymph drainage leading to swelling.
Main Causes of Cardiovascular Diseases Physical inactivity (hypodynamia) Unhealthy diet (fatty and salty foods) Harmful habits (smoking and alcohol) Genetic predisposition Obesity and diabetes
Environmental Factors and Cardiovascular Health The cardiovascular system is highly sensitive to environmental factors. Research shows that air pollution, sudden temperature changes, noise, stress, and harmful habits are major contributors to heart disease.
Fine particles such as PM2.5 and PM10 can cause narrowing of blood vessels and heart rhythm disorders. Cold weather increases blood pressure, while excessive heat disrupts fluid balance and increases the risk of thrombosis. Noise and stress raise cortisol levels, leading to cardiac strain and heart failure.
The socio-economic consequences of cardiovascular diseases affect patients, families, healthcare systems, and overall quality of life. About 60% of cardiovascular complications are associated with major risk factors such as smoking, alcohol abuse, insufficient intake of fruits and vegetables, and sedentary lifestyles. These factors contribute to obesity, hypertension, high blood sugar, and high cholesterol levels. Studies conducted in Uzbekistan show that the prevalence of risk factors for non- communicable diseases is steadily increasing.
References
1.Jabborovich M. J. “Heart and Circulatory System: Structure, Mechanism, and Physiological Importance.” Scientific Focus, 2025. 2.Turayevna E. S., Rashidkhan A. B. “Cardiovascular System: Heart Structure and Control.” Best Intellectual Research, 2025. 3.Abdullayev S. “Anatomical and Physiological Features of the Heart.” American Journal of Education and Learning, 2025. 4.Karimov J., Qodirova D. “Pathologies of the Vascular System.” Education News, 2026. 5.Valiyeva F., Tursunaliyeva H. “Care and Monitoring of Cardiovascular Patients.” Scientific Focus, 2026. 6.Ergasheva M. “Impact of Environmental Factors
DRAMATIC COLLISION IN SHUKRULLO’S “BURIED WITHOUT A SHROUD”
Iroda Ibragimova
Jizzakh State Pedagogical University
Faculty of Philology, 1st-year student
E-mail: irodaibragimova896@gmail.com
This article examines the devastating impact of the totalitarian regime on human personality and destiny through the example of Shukrullo’s work “Buried Without a Shroud”. The main issue of the work is interpreted from a literary and psychological perspective, focusing on the spiritual resilience of the lyrical protagonist (the author himself) and his struggle to preserve inner freedom amid the horrors of the 1937 repression period. The conducted research proves that the work is not merely a historical document, but a true tragedy demonstrating that personal courage and universal human values are capable of surviving even under totalitarianism.
Keywords:
Buried Without a Shroud, Repression Period, Autobiographical Prose, Victims of Stalinism, Totalitarianism, Forced Labor Camp System, Psychological Analysis, Personal Tragedy.
INTRODUCTION
In the history of Uzbek literature, Shukrullo’s work “Buried Without a Shroud” is recognized as one of the most significant and courageous examples of prose from the independence period. This work is a literary and historical document that reflects the cruel reality of the political repressions that affected the intellectuals of Uzbekistan during the 1930s–1950s, conveyed through personal experiences. The autobiographical nature of the work and the author’s depiction of the severe trials within the system of forced labor camps further intensify its emotional impact on the reader.
The purpose of this study is to analyze the pressure of the totalitarian regime on the individual as portrayed in “Buried Without a Shroud”, as well as the protagonist’s inner spiritual struggle against this oppression and the motives behind his moral choices. The work also depicts how many innocent Uzbek young men were falsely accused, brutally executed, and thrown into the soil without shrouds. The main thesis of the article is that Shukrullo presents the forced labor settlements not merely as physical prisons, but as a system aimed at destroying the human spirit; however, through the lyrical protagonist’s inner monologues and moral resistance, the narrative demonstrates a spiritual victory over the regime.
MAIN PART
1. The Psychology of the Repression Period and Inner Loneliness
The psychological state of the protagonist becomes an object of analysis from the very beginning of the work. The scenes of interrogation and arrest reveal the complete helplessness of the individual in the face of totalitarianism. By depicting the protagonist’s extremely delicate inner experiences, the author demonstrates that spiritual suffering is deeper and more devastating than physical torture.
The protagonist’s first experiences in prison are particularly significant for psychological analysis. He describes himself as “a soul crying between invisible walls” [Shukrullo, 2015, p. 32]. This image signifies the individual’s isolation from society and confinement within a spiritual cage. A direct example reflecting the protagonist’s sense of loneliness and despair is expressed in the following lines: “It was not an iron cage that surrounded me, but walls of facelessness and conscience-lessness. I felt completely cut off from the world” [Shukrullo, 2015, p. 45].
2. The Struggle for Human Dignity in the Life of Totalitarian Labor Camps
The central part of the work — the detailed depiction of life in repression camps — is presented as a field of moral choices. Despite hunger, cold, and constant threats in the лагер conditions, the author shows through his protagonist that supreme human values such as compassion, friendship, and conscience can still be preserved. This struggle forms the core idea of the work. The cruelty inflicted upon prisoners and the harsh treatment they endured are clearly portrayed.
Scenes depicting the author’s spiritual closeness with other prisoners strengthen the motif of preserving inner freedom. He writes: “To share a piece of bread, to look at one another in silence — this had become the highest expression of human life” [Shukrullo, 2015, p. 115]. Their monologues about “seeking light within the darkness” demonstrate spiritual resilience and unbreakable will [Shukrullo, 2015, p. 128].
3. “Buried Without a Shroud” – Interpretation of Its Symbolic Meaning
The title of the work — “Buried Without a Shroud” — carries a powerful symbolic meaning that reveals the inhuman essence of the totalitarian regime. A shroud is not only a material object, but also a spiritual ritual and a sign of respect. To be buried without a shroud signifies not only physical death, but also the erasure of a person from social memory and the loss of human dignity.
The term is used by the author to represent the spiritual death of repression victims and the attempt to erase their names from history. In the work, the forced labor settlements themselves are depicted as vast graves: “Here they do not shroud us; they simply kill our memory and bury it” [Shukrullo, 2015, p. 210]. One of the most powerful expressions of the author’s lyrical voice appears in the following line: “It was not the road to death itself, but the loss of dignity that was the most terrible tragedy” [Shukrullo, 2015, p. 230].
4. The Literary Value of Memory and Resistance
The value of this work also lies in the fact that it was created years after the tragic events it describes. It is not merely a journalistic account, but a spiritual victory of memory over tragedy. The author’s later reflections further enhance the literary significance of the work.
As an example of autobiographical prose, its scientific and historical value is strengthened, presenting it as an important source for preserving historical memory for future generations. Memory itself becomes a weapon of resistance, as the author writes: “I was compelled to write this work so that the horror of those past days might continue to flow in the blood of the next generation” [Shukrullo, 2015, p. 255].
CONCLUSION
Through “Buried Without a Shroud,” Shukrullo introduced a new dimension to the tradition of psychological realism in Uzbek literature within the context of the repression period. The findings of this study confirm that despite the overwhelming pressure of the totalitarian regime on the individual, the lyrical protagonist preserves his inner moral independence and spiritual freedom.
This article strengthens the theoretical approach to “Buried Without a Shroud” and presents it as a valuable source for studying the prose of forced labor camps in post-Soviet literature.
List of References
Shukrullo. Kafansiz koʻmilganlar (Qayta nashr). Toshkent: Yangi asr avlodi. 2015.
Joʻrayev M. Jadid adabiyotining psixologik qatlamlari. Toshkent: Akademnashr. 2023
Normatov U. Adabiyot moʻjizasi: Tanlangan maqolalar. Toshkent: Sharq. 2018
