Umring bo‘yi ishonging kelar Buyuk bo‘lib tug‘ilganingga. Farishtalar ishora qilar Deya ko‘kdan sen kelganingga.
Umr o‘tdi. Chang – to‘zon aro Bilmay bormi yo eding yo‘qdan. Yerostiga chorlaydi sado, Lek ishorat bo‘lmadi ko‘kdan.
● Alexander Arkadyevich Feinberg
You believe throughout your life, That you born being great, talented Born once in a million. Wait for angels to prove that. Time has gone, life ended Without purpose and achievement You’ve realized nothing. Next life is waiting you, but no prove yet
● Translation by Shukurilloyeva Lazzatoy Shamshodovna
CAUSES AND TREATMENTS OF PNEUMONIA IN YOUNG CHILDREN
Abstract: This article provides information on the causes, symptoms, prevention strategies, and treatment methods of pneumonia, a disease commonly observed in children, especially during the winter season. Pneumonia is a significant respiratory infection that affects millions of children worldwide, leading to substantial illness and mortality. Understanding the various aspects of pneumonia can help take active measures to reduce its impact on children’s health.
Introduction: Every year, pneumonia is diagnosed in 17 million people worldwide. The mortality rate due to lung disease is very high, accounting for 8-9%. Pneumonia is an inflammatory process in lung tissue. In most cases, the disease is caused by infectious agents. The modes of infection transmission vary, often being spread through airborne droplets.
Main Section: Causes of Pneumonia:
Infectious (bacterial) – caused by bacteria like pneumococci, staphylococci, streptococci, etc.
Viral – caused by various viruses such as RSV and adenovirus.
Fungal – caused by molds, yeast fungi, and pneumocysts.
Mixed – in some cases, the lungs may be infected by multiple pathogens simultaneously.
Additionally, parasites can also cause pneumonia. Pneumonia tends to be more severe in children than in adults due to their underdeveloped immune system and mucociliary clearance.
Symptoms in Children:
Fever: 38-39°C or higher.
Cough: Dry or with phlegm.
Breathing difficulties: Rapid or labored breathing (fast deep breaths, shortness of breath).
Chest pain: Worsens during breathing or coughing.
Pale or bluish skin: Cyanosis due to low oxygen levels.
Loss of appetite: Refusal to eat, vomiting, or weakness.
Fatigue and weakness: Child becomes easily tired and inactive.
Antibiotics such as penicillin, amoxicillin, and cephalosporins.
Viral Pneumonia:
Antiviral drugs (e.g., Oseltamivir).
Symptomatic treatment (antipyretics like paracetamol and ibuprofen).
Fungal Pneumonia:
Antifungal medications (e.g., Fluconazole).
Supportive Care:
Oxygen therapy.
Hydration and nutrition support.
Chest physiotherapy.
Prevention Measures:
Vaccination against pneumococcus and Haemophilus influenzae.
Healthy lifestyle practices.
Breastfeeding.
Maintaining hygiene and avoiding passive smoking.
Conclusion: Pneumonia is a serious health threat, especially for young children. Early diagnosis, proper treatment, and preventive strategies like vaccination and hygiene practices are crucial in reducing its impact. Strengthening healthcare services and raising awareness among parents can further aid in preventing childhood pneumonia.
References:
.Internal Diseases: Medical-Scientific Edition by Abdugaffor Gadayev. Tashkent: Muharrir Publishing, 2020.
.Hospital Pediatrics, edited by Prof. S.A. Rakhimov, Prof. A.R. Isroilov. Tashkent, 2010.
Examine close reading of Sylvia Plath’s poems “Lady Lazarus” and “Daddy” with critical perspectives and textual references in association with the thesis statement that “Lady Lazarus” and “Daddy” both rebel coercion confinement of patriarchy and misogyny.
(Image of Sylvia Plath, young white woman with brown hair and eyes, yellow v-neck sweater, red lipstick and a headband)
Examine close reading of Sylvia Plath’s poems “Lady Lazarus” and “Daddy” with critical perspectives and textual references in association with the thesis statement that “Lady Lazarus” and “Daddy” both rebel coercion and confinement of patriarchy and misogyny.
Sylvia Plath’s “Lady Lazarus” and “Daddy” are conical works of transcendentalist American feminism posthumously anthologized in the poetry collection Ariel in 1965. American poetesses’ egotistical individuality and romanticist fantasy of selfhood quest crusading the forces of sublimity is universally foreshadowed by the phenomenal poems. Gloom and doom, dark humour and black humour engender the motifs of revenge and memory through mythologization, poeticization, psychologization, romanticization and/or fantasization in these quasi-confessional and quasi autobiographical elegies.
“Lady Lazarus” is a vindication of the temptation of fate as implied in the poetical rhetorics: “Herr God, Herr Lucifer”/ “Beware/ Beware”. Epiphanic voice of the romanticist egomaniacal heroine of femininity is reflected in the biblical figuration of the transformative poetess. The resurrectionist figuration is an avenging phoenix that transcends the contemporary recalcitrant barriers of race, class, ethnicity, gender, nationality and culture[al] stereotyp[ical]es expectations of the hackneyed microcosm. This overarching feminist emancipation salvages herself by historicizing in the hyperbolic figurative tropes foreshadowing: “Out of the ash/ I rise with my red hair/ And I eat men like air.” Etherealism and surrealism surmounts in the reincarnation and resurrection impresarios of “Lady Lazarus”.
On the contrary, “Daddy” was merely the first jet of flames from a literary dragon, who in the last years of her life breathed a burning river of bale across the literary landscape. “Daddy” is a subversive indictment of overarching feminism harbouring cantankerousness and obstreperousness against patriarchal dominance. “Daddy, daddy, you bastard. I’m through…” is the culmination of a matriarchal feminist stance of the woman poet in accord with the second and third wave of feminism epochs. American poetess Sylvia Plath’s invocation of fascism and nazism is entwined in the impresario that she envisions witnessing renderings of holocaust Nazi cremation of the extermination in concentration camps and the associated violence and trauma of survivialhood. This documentary testament bears antisemitism as projected by the figurative tropes: “my skin/bright as a Nazi lampshade” and “my face…/… Jewish linen”.
Quintessential poetry of the grotesquery of suffering and vulnerability are starkly evident in both the poems. In comparison, both of these poems are embodiments of empowered femininity through canonical works of women writing. “Lady Lazarus” fictional character and poetic personae reawakens and resurrects the graveyard tombed femininity in avenging the suicidal despair—-”It’s a theatrical comeback in broadway” echoes and resonates the revenge fantasy of impulsive and ironwilled “Lady Lazarus’s” femininity—a noteworthy exploration of second and third wave feminism. In contrast, “Daddy” disempowers patriarchal subjectivity of the object of male gaze, which views womanhood and femininity as commodities of objectification and fetishization.
“And a head in the freakish Atlantic/ Where it pours bean-green over blue/ In the waters of the beautiful Nauset”. Elegiac diatribe imperils the fatherly figure’s imperious and domineering spirits: closure of relationship; association to racism of antisemitism: furtherance to the testament of burgeoning and full fledged feminist movements. In a nutshell, “Daddy” is a melodramatic treasure hunt of communion of torture, trauma, massacre, sacrifical martyrdom and survivalist victimhood. Cultural appropriation of the imaginary Plathian canonical homeland casts a role as the subversive counter cultural feminine speaking back to the dominant masculinist authoritarianism and hegemony. Moreover, obituary and elegy of the electra complex critiquing the fascist vampiric perpetrator’s predatoriness as morbidly entrenched within the masculinist domain. Perceptive subjectivity of being deported to the Holocaust concentration camp is envisioned and foretold by the metaphors of apocalyptic gloom and doom as embodied by the wretchedness and viciousness of fathers and husbands in general. Despite the heritage of the dictatorial regime and patriarchal misogyny, “Every woman adores a fascist” … “And get back, back, back to you.”
“Lady Lazarus” and “Daddy” voices puritanical spirits of protest against rigidified and terroristic visions of male power and masculinist authority. These poems canonize themselves as transgressive dialects transforming invisibility to visibility and private as public.
Further Reading, References, Endnotes and Podcasts
Stripped Cover Lit Lady Lazarus by Sylvia Plath Poetry Discussion: Summary, Analysis, Interpretation, Review
A Lecture on Sylvia Plath’s “Lady Lazarus” and “Daddy” John Pistelli
American Literature | Sylvia Plath: analysis of “Daddy” | Poem analysis Ad Maiora
83.7K subscribers
Lady Lazarus by Sylvia Plath in 8 minutes Simon Andrew
1.23K subscribers
Daddy by Silvia Plath Simon Andrew 1.23K subscribers
Review – Lady Lazarus (Sylvia Plath) – Patron Poem
Stripped Cover Lit
14K subscribers
Sylvia Plath, Cliffs Notes on American Poets of the 20th Century Mary Ellen Snodgrass, M.A. University of North Carolina, Greensboro, Lincoln, Nebraska, pp. 211-217, 2000.
“Daddy” Jacqueline Rose, Bloom’s Modern Critical Views: Sylvia Plath (2007), Bloom’s Literary Criticism, pp. 38-51
Chapter Title: Plath’s Bodily Ego Restaging the Sublime, Book Title: Women Poets and the American Sublime, Joanne Feit Diehl, Indiana University Press (1990) pp. 1-32
J.J. Campbell (1976 – ?) is a 3 time Best of the Net nominee and a recent Pushcart Prize nominee. He’s been recently published at The Beatnik Cowboy, The Dope Fiend Daily, Disturb the Universe Magazine, Horror Sleaze Trash and Yellow Mama. He is currently working on a yet to be titled book of new poems. You can find him most of the time on his mildly entertaining blog, evil delights. (https://evildelights.blogspot.com)
Wael Elouny, star bridge between Egypt and Hollywood
Wael Elouny, 42 years old, is an Egyptian star, born in the cultural capital Alexandria, home of the legendary Bibliotheca Alexandrina. Wael Elouny is making his debut in Europe and the USA with the film “Ancient taste of Death …on mother pearl floor” by Antonello Altamura, a film with new philosophical aspects. Wael has a spontaneous character, a very lively spirit, a volcano of creativity. Wael, in addition to cinema, has experience in theater and television and is the winner of many film awards.
Walking with Wael through the streets of Cairo, everyone recognizes him and stops to ask for his autograph, because people like Wael and he does not want to have the mask of the star. Wael works with big film productions, but is attracted by indie productions, overflowing with creativity and certainly a faithful mirror of current customs. For all this I introduced him to the Italian director Antonello Altamura, 50 years old, for “Ancient taste of Death” an indie movie of the Hollywood Art Film Production, based between Hollywood and San Francisco, so the production is Californian in cooperation with an Italian production.
It is a film that links the dramas of the Hollywood golden age with the enigmas and dramas of ancient Egypt at the time of Cleopatra VII. It is a film where the world of the invisible and the metaphysical acts on reality, which, elusive, never, really allows itself to be fully identified. The scene I shot with Wael is totally immersed in this context. The character of Wardal, who has two souls, goes to the oracle of Siwa to meet Bayed (Wael Elouny), since he is opposed by Ottavio-Ottaviano (Antonello Altamura in his debut as an actor). Bayed advises Wardal against eliminating Ottavio. Wardal rebels against Bayed’s advice, which he takes as an insult to his power, which he sublimates by saying: “I am history”, while Bayed interrupts Wardal’s abstraction-delirium, who points a gun at Bayed, but Bayer’s charisma prevents his assassination and Wardal, consumed by the drama, falls at Bayer’s feet.
Wael and I wanted to shoot the scene in Arabic, under the supervision of the great political journalist of “Akhbar El Youm” Ph.D. Ahmed Elsersawy. On that day in December 2024 Wael was busy with two films and I with a television recording. We both wanted to shoot that scene which in the film will be called: “I am history”. We repeated it several times and each time we enriched it with a new idea, in five hours of work, pressed by our other work commitments. There was a perfect harmony between me and Wael, a great professionalism. Then, from Cairo, we made a video call to Antonello Altamura in Turin. Wael and I were very satisfied with our work and Altamura likes a lot that scene.
Here is a true story of our world of cinema, here is an important step of cooperation between Californian and Egyptian cinema and the Arab world. There is a project to create a solid bridge between Hollywood cinema and Egyptian, Saudi and Arab Emirates cinema through a colossal film festival. Fingers crossed.
