Who is there? A shadow. Who is here? A simple shadow. Who is in my heart? A complex shadow. Who is in your heart? A compound shadow. Who is all around us? Shadow, shadow and shadow! Where is man? He is absent in everywhere. Where is woman? She is absent in………. . Where is humanity? It was buried before civilization. Where is conscience It was killed before dawn. Where is property? It is in our breath. Where is life It is always past. Where am l? I don’t know. Who am l? A mummy of time.
This interview with Sudhakar Gaidhani has been conducted by internationally published Chinese poetess Yang Yujun. The Chinese version of this interview has been previously published by China’s WeChat’s Poetic Platform. The world-renowned Chinese poet Yongbo Ma has taken the initiative for this interview.
Q.1). How did Devdoot the angel strike as image of your Epoch?
Sudhakar–
First of all, I would like to thank you and dear poet Yongbo Ma for arranging this interview. To answer your question, I would like to tell you something different please.
As a child, I used to dream that I was a bird and flying. As soon as the dream broke, I would often fall off the bed. Later, I depicted this bird as Devdoot in the poem “Devdoot the Angel”. There is also an idea that an angel is a messenger of God. God is also a beautiful concept created by humans. Another thing is that there is a belief that God and His angels also free people from suffering. “Devdoot” is a the main heroine image of the family of images of this epic poem. By the way, this angel is also like a hero in this epic poem. This bird, based on the wisdom of many previous lives, communicates with the people of this era and tries to show them the path to the supreme happiness of life. This giant bird also mentions that it was with them in the era of Buddha and Christ. He warns them against the so-called spiritual preachers who frighten the naive people by spreading man made religious differences among humans. Because all religions are creations of humans.
Now let me add in short about of my epic poem Devdoot. The prologue of this epic poem contains the story of the creation of Devdoot.
The first Marathi canto of this Devdoot was published in 1981. The second canto was published in 1999 and the next three together, an epic poem of 555 pages, was published in 2004.
Some Marathi critics tried to make fun of this bird by calling it surreal. But 6 years after the creation of Devdoot the angel, the American National Museum of Natural History Smithsonian Institution, Washington, discovered that a bird like this sea bird was alive on Earth. This news came in newspapers all over the world. This is the incident of November 1987.
News was like this – “A fossil excavated from a rock formation in southeastern United States has been identified as history’s largest flying seabird, an extinct and previously unknown species that has a wing span of more than 5.5 meters”. After reading this news, one of the readers of my poem Devdoot immediately wrote a letter in the same daily, saying- “I am glad to state here that a visionary Marathi poet from Nagpur-India Mr. Sudhakar Gaidhani has depicted a similar bird in his poetry book Devdoot published in 1981”. After this my enthusiasm increased. I immediately sent the translated parts of Devdoot and the prologue of the poem along with a clipping of the reader’s published letter to the Smithsonian Institute.
Then I received two positive letters from the Smithsonian Institute’s Department of Paleobiology Museum Specialist. The first letter is dated 28th March 1988.
Second letter is dated 10th June 1988. Some of its lines are like this–
It is a rare occasion when science and poetry can meet with such a magnificent blend of serendipity. Under the matter of both letters is the signature of Raymond T.Ray II.
Now what I am telling you here that is wonderful and true. After the publication of the entire Devdoot, the 16 incidents depicted in it have actually become true. This is recorded in a Marathi book published on Devdoot.
Q.2). What role should a poet play in the contemporary society? I mean, was a poet born with a mission (obligation)?
Sudhakar–
In contemporary society, the role of a poet should also be linked to the feelings of the society. Because he is an integral part of the society.
Once a poem is expressed,
it is no longer the poet’s personal matter.
Rather, it becomes a part of the collective human mind.
Because the poet is also
an integral part of the social brain.
A poet who says he writes and publishes only for his own pleasure is deceiving himself.
Poetry is also an art of communication. And the poet communicates with the society through his poetic expression. With this social consciousness, he can also communicate freely with nature.
ii – Although no poet is born with a goal, later his inner mind keeps suggesting him to take up the flag of a goal. And he can take a definite role as the need of the society, the world. Because basically a real poet is a prophet, a philosopher. Poets who perform only for stage entertainment are performing artists.
Que-3) Your poems remind me of EI viejo con las alas enormes by Gabriel Garcia Marquez (The Old Man with Enormous Wings) What do you think of this story?
Sudhakar–
Sorry, I have never read this story. My reading of English literature is limited. The relationship of the bird in my epic poem The Angel is deeply moving to me. I had listened to the entire epic Mahabharata as a child. In it, the great warrior Bhishma, who fights for the Kauravas and falls wounded on the battlefield, touches Devdoot in the first canto, that’s all. There is nothing much beyond this. Because the giant bird in Devdoot is wounded by a hunter’s arrow and falls on a deserted island.
Q.4). Numerous literary works can be traced back to the Bible, how about your poems?
Sudhakar–
I have already said that the message of compassion conveyed by the great human beings like Buddha and Christ awakens the consciousness of humanity in humans. The martyrdom of Jesus impresses me more than the Holy Bible. The Jaataka stories in Buddhist literature or the miraculous short stories in the Bible are like a crutch to help ordinary devotees understand the truth.
Since these stories are related to faith, they do not take away the faith of the devotees. I think that even a mature scholar should not snatch these faiths of ordinary naive devotees. If they do so, their ignorance will increase and they will become aggressive. Because both Buddha, who denies God, and Jesus, the only son of God, are very necessary for those who try to live a normal life happily. Most of the short stories about Jesus in my Devdoot are inventions of imagination.
Q.5). Is the identity of Character of Devdoot change with the unfolding of the five cantos?
ii – Do you yourself grow (feel elevated) with your own works in the process of writing?
Sudhakar–
Devdoot gradually reached five cantos quietly. The first canto in 1981, the second in 1999 and the other three cantos together, the entire Devdoot, was released in 2004. It is because of these five cantos that Devdoot angel’s own identity and personality have been realized.
ii—The poet’s mature poetry creation gives him the joy of inner satisfaction. As the seed of poetry blooms in his state of contemplation, he forgets the sense of his own normality and, as he unites with an extraordinary state, he himself experiences the creation of a poem. Like a pregnant woman and the fetus in her womb. This is the elevated state that the poet gains from the process of creating poetry.
Q. 6)–. How did Ramayana and Mahabharata influence you and your writing?
Sudhakar–
There is no such thing as the influence of these two mythological epics on my poetry creation. But some of the characters in my epic poem Devdoot and my second epic poem “Shadows of Yoginis’s Dreams” are useful for expressing new content and beauty of thought. That’s all.
Q.7)— It seems that your five cantos are written from God’s perspective, that view of a philosopher than simply a narrator of world events?
Sudhakar–
Your question is about the principle of God related to the human world on earth. In the fifth canto of Devdoot, the solution to this question is in the dialogue between the Awadhoot-pilgrims who has reached heaven. God himself says that I am also the caring guardian of this world on behalf of the Creator. When these Awadhoots actually come before the Creator of the world, the Creator explains to them,
O Awadhoot-pilgrims on earth, all the gods and all the religions on earth are the creation of you humans.
Even God also says that God is just a beautiful concept.
Let it be beautiful. Anyway!
In all these five cantos, Devdoot gently explains this formula to the collective consciousness of human. If materialism tries to snatch the concept of God from humans, the common people will be very hurt. The world has experienced this fact. I have used to refer some how the basic thoughts of Buddha and Jesus in connection with the previous question. Anyway, now world events, even if they are temporary, can have some impact on the world. But a poet or artist does not consider them as a means of creation, but only as an occasion, and is in the contemplation of eternal creation, taking note of them. Everyone has two minds. One is the inner mind and the other is the outer mind. The inner mind is pure, it is not muddy like the outer mind. This inner mind easily entwines the poet’s poetry in the thread of philosophy. That is why an ascetic poet is a philosopher. Poets who only entertain on stage are artists.
Q.8)— Was there a particular event/incident in your early life that motivated/triggered you to start writing or you just naturally picked up writing?
Sudhakar–
To speak in this context, this inheritance from my mother must have flowed into my genes to some extent. This arrangement exists in the genetic system. Our genomes travel through human sperm for thousands of years with the memories of past lives. During this journey, the memories of some are destroyed, while those who do not, continue to travel through the capsule of genes, taking with them new memories. It is said in Jaataka stories that Lord Buddha had the memories of five hundred such births. We bury a grain seed in the soil and see later the same seed sprouts on its grave. The formula of birth, death and rebirth is also applicable to animals, birds and plants. My insufficient practice from my past life must also be attached to this birth.
Q.9) Do you normally start writing with a plot as with a novel or you just write on pouring out what pops out from your mind?
Sudhakar–
No. Not at all like a novel. While writing Devdoot the Angel, as I mentioned earlier, I took as a basis a small story hint in my mind. Later, as the journey of contemplation began, some small mythological stories got into the poem as needed. Something similar happened in the case of my other epic poem Shadows of Yoginis’ Dreams. You yourself are a deeply contemplative poet. Therefore, I do not think it is appropriate to say anything more. Here I am giving a recent poem of mine as an example.
WHEN THE POET IS GUILTY
In the abyss of the poet’s inner self,
the seeds of memory flutter
and fly like angelic butterflies.
When they settle down peacefully,
the embryo of poetry gradually
takes shape from their divine eggs.
The poet has to wait for the natural birth
of this new creation.
But when, due to the poet’s excessive enthusiasm,
the poem is born by cesarean section
before it is mature –
The poem constantly blames the poet
for its unnatural birth.
I also agree that poetry does not come out of the inner contemplation like an object coming out of a machine. It has to be shaped in a state of contemplation. For example – even if it is a diamond, it becomes brighter and more valuable because of its shapes. Every poet must be the first reader and critic of his own poetry. It takes penance to master all the arts.
Q. 10) Is writing part of your day- to-day life or something special or a project that you focus on?
Sudhakar–
I often spend late nights thinking about what new things I can think of and in the morning it takes on the body and life of poetry. Every poem has its own personality and character. A noble poem also stand nude before her ingenious devoted reader.The needle weaves the clothes to cover the naked but it itself remains nude still no one objects it for its nudity. The poetry is also similarly.
Lately I have been more lost in poetic contemplation. Sometimes in this contemplation, the thread of new creation is found, of course this is very useful for a long-term poem. These days I am meditating more on Buddha. Mahayogi Buddha, that is, Epic Yogi Buddha.
Q. 11). Do you have much interaction with your readers?
Sudhakar –
Literature is a communicative art. There must be communication between the writer and the reader. But this is not mandatory. Still, one thing is very important. Speaking of poetry, the poet’s poem should communicate with the readers. Poem can be obscure but if it is self-obscure? Then it can be counted as mad poetry. And the self-centered poet wanders in the mist of self-sorrow searching for own tears; and beg before himself for it.
The love of the readers is a very important issue for a poet. This is the respect that the poet receives from the readers for their creation. Therefore, every poet should treat his readers with great respect. One issue is that my low budget books were released easily, but I had to wait a long time for a six hundred page book. Today, for the new edition of my “Mahavakya” i.e. the complete Devdoot the angel, my friends, Marathi poetess and writer Mrs. Dr. Manjusha Sawarkar and Mr. Sunil Sawarkar, who love my poetry, came forward. They started a publishing house in Nagpur metro city under the name ‘Kusumaee Publication International’ and made my Devdoot epic available to English and Marathi readers around the world. Because other publishers did not dare to spend 5 lakhs (0.5 million) rupees. A poem can remain in the news due to positive or negative reviews, but it survives only because of the place it has found in the hearts of the readers.
Q.12). When did you start to take writing seriously ?
Sudhakar–
I started writing since my school days. But I really started writing poetry seriously from 1968. My first collection was published in 1973, which I later had to study in the M.A. Marathi course from Nagpur University.
Q.13) What would you call your style?
Sudhakar –
For me this question is not easy to answer. In the Marathi poetry world, free verse is considered a type of style today. But in my opinion, instead of free verse, it is a type of verse free style. In my opinion, poetry is a beautiful outburst resulting out of deliberation of innermost thoughts. It becomes the nucleus of the poetry. It balances the surface, middle and bottom of the poem. I consider such an invention as an easy but free, with depth and beautiful style. In short.that style is philosophical and mystical
Q.14). Do you think the identity of a poet affects your relationship with other people, especially your family?
Sudhakar—
No, I don’t think so. But in this poetic penance, my family is a little neglected. But Mrs. Gaidhani takes care of me. A few years ago, a leading daily newspaper used to have a column of my poetry. The honorarium I received for that gave me some support. In 1991, I lost my postal job to contest the parliament elections. I was defeated in the elections. In the later days, I had the support of my wife. At that time, the writing of the next part of the epic Devdoot was delayed. My readers love me along with my poetry. In 2004, when I had two major heart attacks, these friends helped me a lot. These friends collected the subscriptions and published the Marathi version of Devdoot. My birthplace Khapa is adjacent to the metropolis Nagpur. There, with the cooperation of the people of the village and the municipal council, a public garden has been opened in my name on two and a half acres of land.
Q.15) Do you normally write on schedule or write only when you feel like writing?
Sudhakar—
I have also mentioned this earlier. However, let me mention about a farmers movement I was also part of. Three decades ago farmers in Vidarbha region (of 11 district in Maharashtra state) were committing suicide due to debt burden and poverty. And the peasant leaders were doing politics. These pictures were disturbing me. In that mindset, I started a daily poetry column on behalf of farmers in a major daily in Nagpur. That column continued for more than two years as it became a reader favorite. During that time I wrote almost 12000 lines. And an unexpected incident greatly affected my later life.
Q.16). Of course once appear in the form words, all works have broad orientations. However, do you have a particular reader in mind when you begin writing (the so- called reader consciousness)?
Sudhakar—
I do not write with a particular reader in mind. It cannot be kept in mind in the creation of poetry. We don’t say the gold is beautiful, we say the jewelery is beautiful.
Poetry is not an easy – accomplishment. It require to bear the scorching of the meditation -energy, only then the picture language of the letters(syllables) possesses the essence with immortality. Using broken bricks of words,one cannot build castles of poetry.
In case of music,sculpture, painting, dance and acting it takes a considerable time to assimilate the minute delicacies of of arts. After that the flowers of those arts blossom.But about poetry, No! It’s very easy. Something enters the mind, oozes through pen and is mixed with words. That is called poem (for some).
YANG YUJUN
Yang Yujun, born in Beijing, now lives as an English teacher in Guangdong. Her poems and prose first appeared in 1986 and her own collections of Poetry Garden In Winger and The Hand On The Mouse Is Turning Cold have been published in Chinese and English. She has translated work of more than 5 million words including collections by thirty Chinese poets and two collections of short stories by Alice Munro. Also she has translated Sudhakar Gaidhani’s entire Epic Poem “Devdoot The Angel” from English to Chinese. Her poems have been translated into English, Arabian, Spanish, Japanese, etc.
Problems and Analysis Methods of Translation Practice in the Exercise
Student of Andijan State Institute of Foreign Languages Abdullajonova Rayhona Arabjon qizi Abdullajonovarayhona874 @gmail.com +998886630603
Supervisor: Kadirova Nargiza
Annotation.In diesem Beitrag werden ein breites Spektrum von Problemen in der Übersetzungspraxis, die Gründe für ihre Entstehung und die Methoden der Analyse ausführlich diskutiert. Insbesondere die grammatikalischen, lexikalischen, stilistischen und kulturellen Unterschiede zwischen der usbekischen und der deutschen Sprache beeinflussen den Übersetzungsprozess und welche wissenschaftlichen Methoden zur Überwindung dieser Unterschiede eingesetzt werden sollten. Ausgehend von den Leitgedanken der Übersetzungstheorie werden praktische und theoretische Ansätze analysiert, die für den Übersetzer notwendigen Qualifikationen, Fähigkeiten und Strategien diskutiert.
Annotation. This article discusses in detail a wide range of problems in translation practice, the reasons for their origin and methods of analysis. In particular, the grammatical, lexical, stylistic and cultural differences between the Uzbek and German languages affect the translation process, and what scientific methods should be used to overcome these differences. On the basis of the leading ideas of translation theory, practical and theoretical approaches are analyzed, the qualifications, skills and strategies necessary for the translator are discussed.
Keywords. Translation practice, translation theory, German language, Uzbek language, methods of analysis, grammatical differences, lexical differences, cultural differences, pragmatic differences, linguistic approach, cultural approach, functional equivalence, transcription.
Translation has been one of the most important tools of intercultural communication throughout human history. Today, the role of translation is becoming more and more important as global connections in science, technology, literature, politics, and other fields increase. Translation has become not only a means of transferring information
between languages, but also of transferring spiritual and social values from one culture to another. The structure of the Uzbek language and the German language, the style of expression, and the cultural basis differ significantly. These differences create many difficulties in the translation process. A translator must translate not only literally, but also correctly convey its meaning, style, cultural context, communicative purpose. The article comprehensively analyzes the problems encountered in translation practice and proposes solutions based on modern scientific methods.
The main problems of translation practice. Lexical problems. There are significant differences between the vocabulary and lexical structures of the Uzbek and German languages. Whereas in Uzbek a word often has many meanings, in German there is a specific expression for each meaning. For example, the Uzbek verb “to see” denotes a general action and is used in different contexts: to see (with an eye), to see (to experiment), to see (to meet). In German, various verbs are used for these cases, such as sehen (to see with the eye), erleben (to experiment), sich treffen (to meet). The translator should analyze the context in depth and choose the appropriate option. Problems are also common in the translation of phraseological units. Phraseologisms often have a cultural basis in German and appear strange or incomprehensible in German when translated directly. For example, expressions such as “Heartbreak” should be conveyed in translation with an appropriate equivalent or annotation.
Grammar problems. Differences in grammatical systems create many problems in the translation process. Uzbek language is an agglutinatable language, and grammatical meanings are expressed by suffixes. In German, there are genders of nouns (masculine, feminine, neutral) and are designated by the articles. In Uzbek, the basic structure of a sentence is simple (I went to school), whereas in German the word order is based on a strict rule (Ich bin zur Schule gegangen). Secondary verbs and auxiliary verbs are used a lot in the sentence. In German, the form of nouns and articles change (der Tisch – den Tisch, dem Tisch and so on) if more pronouncements are indicated in Uzbek. Such discrepancies require structural adaptations and grammatical transformations in translation.
Stylistic problems. Uzbek literary style is characterized by softer, more emotionally rich expressions. In German, on the other hand, the emphasis is on expressing clearly, concisely, and logically. It takes great skill to find their functional equivalent when translating into German poetic metaphors, exaggerations, means of expression, which are often used in Uzbek literature or in everyday speech. Otherwise, the translation may look dry and artificial. Also, many expressions used in the Uzbek language as part of respect and manners are divided into formal or informal forms in German (via the forms Sie and du). Choosing the right level will ensure the accuracy of the translation and its appropriateness to the context.
Cultural and pragmatic issues. Fundamental differences between Uzbek and German cultures are often noticed in the translation process. For example, in Uzbek culture special respect is given to adults and requires a lot of care in speech. In German society, however, the principle of equality is stronger, and this is also noticeable in the tone of speech. Since religious and national realities (for example, “iftor”, “savob”, “Sufi”) often found in Uzbek are not exactly equivalent in German culture, the translator must interpret these concepts or translate them with cultural adaptation. Pragmatically, what is acceptable and acceptable in one culture may have negative connotations in another. In such situations, the translator should use the method of adaptation (localization), taking into account the purpose of the text and the audience.
Translation Analysis Methods. Linguistic analysis. Linguistic analysis is a method of in-depth study of the interaction of language systems and elements in the translation process. It is carried out at the level of grammatical structures, syntax, morphology and phonetics. For example, differences such as the adaptation of the free speech order in Uzbek to the strict order of free speech in German, or the manner in which tenses are expressed (in Uzbek language the most accurate tense is clearly defined, then in German tenses are often understood in context) are determined by linguistic analysis. Cultural analysis. Cultural analysis involves the analysis of the cultural codes, values, traditions of the translated text. The translator identifies the differences between the source culture and the receiving culture and develops adapted options. Cultural analysis is especially important in translating national concepts, holidays, religious terms, and everyday customs. Functional Analysis. Functional analysis is a translation technique that takes into account the communicative purpose, audience, and context of a text. In this way, the translation is done not only verbatim but also while maintaining the overall effect of the text. For example, when translating ad text, you need to remember that its goal is to sell the product, so it will be more important to maintain an impactful focus on your audience, rather than translating the words correctly.
The practice of translation is not a simple language change, but a complex cultural and stylistic process of transfer. Translation work between Uzbek and German should study in depth the grammatical, lexical, stylistic, and cultural differences and apply the appropriate analysis techniques to each gap. The use of a harmonious combination of linguistic, cultural and functional analysis methods in overcoming translation problems is a key factor for improving the quality and effectiveness of translation. A translator should always expand his language skills, cultural knowledge and be aware of modern translation methodology. Translation is a process that requires not only knowledge, but also art, patience, experience and a creative approach.
References
1. Baker, Mona. In Other Words: A Coursebook on Translation. Routledge, 2018. 2. Newmark, Peter. A Textbook of Translation. Prentice Hall, 1988.
3. House, Juliane. Translation Quality Assessment: Past and Present. Routledge, 2015.
4. Hatim, Basil; Mason, Ian. Discourse and the Translator. Routledge, 1990.
5. Nord, Christiane. Text Analysis in Translation: Theory, Methodology, and Didactic Application. Rodopi, 2005.
6. Venuti, Lawrence. The Translator’s Invisibility: A History of Translation. Routledge, 1995.
7. Kadyrova, M. Comparative grammar of Uzbek and German languages. Tashkent, 2015.
8. Shukurov, B. Fundamentals of translation theory. Tashkent, 2010.
9. Snell-Hornby, Mary. Translation Studies: An Integrated Approach. John Benjamins, 1995.
10. Schäffner, Christina. Translation and Intercultural Communication. Routledge, 2012.
Anmerkung. In diesem Artikel werden die Arten von Sprechaktivitäten und die Methoden ihres Trainings analysiert. Grundsätzlich wird der Unterrichtsprozess des Sprechens auf Deutsch mit der usbekischen Sprache verglichen. Der Artikel analysiert eingehend Möglichkeiten zur Entwicklung des Sprechens, des Hörverständnisses, der Lese- und Schreibfähigkeiten, methodischer Ansätze und des kommunikativen Ansatzes im Sprachunterricht. Jede Art von Sprechaktivität ist eine wichtige Phase des Sprachenlernens, und sie entwickeln sich in gegenseitiger Abhängigkeit
Annotation. This article analyzes types of speech activities and methods of their training. Basically, the teaching process of speaking in German is compared with the Uzbek language. The article analyzes in depth ways to develop speaking, listening comprehension, reading and writing skills, methodological approaches, communicative approach in language teaching. Each type of speech activity is an important stage in language learning, and they develop interdependently.
Speech activity is a means of satisfying basic communicative needs of a person. In any language learning process, four main types of speech activities are distinguished: listening comprehension, reading, writing, and speaking. These skills are seen as complementing and reinforcing each other. In modern language teaching methodologies, the integrated training of these four skills is required. The same is true for the study of German. This article examines each type of speech activity separately and analyzes the differences, similarities, methodological approaches in their teaching in Uzbek and German. In addition, the types of exercises used in the formation of each skill, the structure of the lesson, the role of the teacher, and methods of working with students will be extensively covered.
1.Listening comprehension skills. Steps of Teaching Listening Comprehension in GermanTypes of Listening Material (Audio Recordings, Video, Live Speech)Exercises: Global, Selective and Detailed Comprehension. Phonetic differences in the Uzbek language and German, problems of pronunciation. The role of context in listening comprehension. Listening comprehension is one of the core skills in language acquisition. It not only supports oral communication but also helps internalize pronunciation, intonation, rhythm, and syntactic structures of the foreign language. In German language learning, listening plays a particularly crucial role due to the language’s phonetic complexity and sentence structure. Steps of Teaching Listening Comprehension in German.
The teaching of listening skills generally follows a three-phase structure: 1. Pre-listening phase – This phase prepares learners by activating prior knowledge, introducing key vocabulary, and setting the context. It may include prediction exercises, discussion questions, or vocabulary brainstorming. 2. While-listening phase – During this stage, learners engage with the audio material. The teacher may focus on: Global comprehension: understanding the general meaning or topic. Selective comprehension: identifying specific information (e.g., numbers, names, dates). Detailed comprehension: analyzing and understanding all elements of the text.
3. Post-listening phase – This involves reflection and integration of the content through follow-up tasks like summarizing, discussion, role-play, or writing a response. Types of Listening Material. A variety of materials should be used to expose students to different accents, speaking speeds, and contexts: Audio recordings: radio broadcasts, podcasts, dialogues, songs. Video materials: TV programs, films, vlogs, documentaries. Live speech: conversations with native speakers, guest lectures, interviews, or teacher-led storytelling. These materials should be both authentic (real language use) and didactic (adapted for learners’ levels), depending on the objectives of the lesson.
Exercises for Different Comprehension Levels. Global comprehension tasks: identifying main idea, mood, or theme of a recording. Selective listening: finding specific data (e.g., price, time, place). Detailed comprehension: understanding cause-effect, opinions, or implied meanings. Matching tasks, true/false questions, gap-filling, sequencing events, and answering open-ended questions are effective formats. Phonetic Differences: Uzbek vs. German . Uzbek and German differ significantly in phonetic structure: German includes umlauts (ä, ö, ü), the ‘ch’ [ç] and [x] sounds, and the glottal stop, all of which are absent in Uzbek. Stress patterns in German are more variable, whereas Uzbek generally follows a more regular stress system. German consonant clusters can be challenging for Uzbek speakers (e.g., Strasse, Frühstück). Vowel length (kurz/lang) in German can change word meaning, a phenomenon not present in Uzbek.
2. Speaking skills. Basic principles of the development of conversational speech in German. Practicing forms of dialogue and monologue. Exercises aimed at expressing free expression on social topics. Ways to improve speech flexibility and vocabulary. Role plays, interactive lessons in language teaching. Conversational competence in German is considered one of the central goals in foreign language acquisition. To master spoken German, learners must develop not only correct pronunciation and intonation, but also the ability to spontaneously produce context appropriate responses, use appropriate vocabulary and grammatical structures, and maintain coherence in longer dialogues or monologues.
Developmental Principles of Conversational Speech in German. One of the basic principles in developing speaking skills is communicative orientation, meaning that learners should use the language not for rote repetition but for authentic communication. Language teaching should therefore simulate real-life situations, where learners have to interact spontaneously and meaningfully.
The development of speaking skills follows a spiral model: initial basic speech patterns (greetings, self-introduction) gradually evolve into more complex communicative tasks (debating, expressing opinion, storytelling). Another key aspect is automatization – learners should be exposed to a sufficient amount of practice to internalize language structures to the point where speech becomes fluid and automatic. This involves repetition, but always in communicatively meaningful contexts.
Practicing Forms of Dialogue and Monologue. In language classrooms, both dialogue and monologue forms of speech are essential. Dialogues foster interactive communication and help learners react to partners’ input, while monologues encourage organized, extended speech such as presentations or storytelling. For dialogue practice, some effective strategies include: Information gap activities, where students must communicate to complete a task. Interviews and peer questioning. Structured role-plays simulating everyday scenarios: shopping, asking for directions, making appointments.
For monologue practice, learners can be tasked with: Describing pictures or experiences. Giving short presentations on familiar topics. Narrating a story or summarizing a text. Exercises Aimed at Free Expression on Social Topics. These tasks not only build linguistic skills but also promote critical thinking and intercultural awareness, especially when comparing perspectives from the target language culture (German speaking countries) with the learners’ own.
3. Reading skills. Strategies for working with text. Types of texts taught in German: Informative, Fictional, Formal Style. Development of reading technique: speed reading, selective reading. Understanding the meaning of a word based on context. Comparative analysis with Uzbek language teaching
4. Writing skills. Stages of formation of writing competence in German. Types of written speech: essay, letter, formal appeal. Correct application of grammatical structure, spelling and punctuation. Creative Writing Exercises: Story Making, Screenwriting. Criteria for evaluating written works
5. Integration of types of speech activities. Methods of joint use of speech activities in the classroom. CLIL (Content and Language Integrated Learning) training. Task based learning and Project-based learning methods. State Technologies in German and Uzbek language teaching: online platforms, multimedia tools
Training of speech activities is at the heart of every language teaching system. An integrated development of listening, speaking, reading and writing is important for mastering a German language. Each type of speech is related to a different type and reinforces each other. Therefore, emphasis should be placed on a comprehensively integrated approach to lesson planning. The effectiveness of the language teaching process increases through a communicative approach, interactive exercises, the use of autistic materials. For teachers, this means the need to update their knowledge and skills, to use modern methods.
References
1.Bimmel, P., & Rampillon, U. (2000). Learning and working techniques German as a foreign language. Langenscheidt.
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Using English fluency formula to improve student’s speaking skill
Olimova Shahina Botirjon qizi
Students of Uzbekistan State World Language University
Scientific advisor: Kaljanova Gulmira
Teacher of Uzbekistan State World Language University
Abstract: Speaking is a crucial skill for English learners, especially students who intend to study at international universities. Unfortunately, most students come across challenges with speaking skills. Mainly, the cause of the problem is lack of English practice. In social media, many videos and podcasts try to give secret methods and new ways to learn English, but the principles are quite simple and mostly nothing new. Students get a bit confused about which is the best, but nobody explains to them how to practice. The English fluency formula is one technique that provides a special way to improve speaking skills.
Аннотация: Умение говорить является важнейшим навыком для изучающих английский язык, особенно для студентов, которые собираются учиться в международных университетах. К сожалению, большинство студентов сталкиваются с трудностями в умении говорить. В основном, причиной проблемы является отсутствие практики английского языка. В социальных сетях множество видео и подкастов пытаются дать секретные методы и новые способы изучения английского языка, но принципы довольно просты и в основном не являются чем-то новым. Студенты немного путаются в том, что лучше, но никто не объясняет им, как практиковать. Формула беглости английского языка — это одна из методик, которая обеспечивает особый способ улучшения навыков разговорной речи.
Annotatsiya: Ingliz tilini o’rganuvchilar, ayniqsa xalqaro universitetlarda o’qish niyatida bo’lgan talabalar uchun gapirish juda muhim mahoratdir. Afsuski, ko’pchilik talabalar nutq qobiliyatlari bilan bog’liq qiyinchiliklarga duch kelishadi. Asosan, muammoning sababi ingliz amaliyotining etishmasligi. Ijtimoiy tarmoqlarda ko’plab videolar va podkastlar ingliz tilini o’rganishning yashirin usullari va yangi usullarini berishga harakat qiladi, ammo printsiplar juda oddiy va asosan yangilik emas. Talabalar qaysi biri eng yaxshisi haqida bir oz chalkashib ketishadi, lekin hech kim ularga qanday mashq qilishni tushuntirmaydi. Ingliz tilini ravonlik formulasi nutq ko’nikmalarini yaxshilashning maxsus usulini ta’minlovchi usullardan biridir.
Keywords: English fluency formula, speaking skill, practicing English communicative skills.
Ключевые слова: формула беглости английского языка, навык говорения, отработка навыков общения на английском языке.
Kalit so’zlar: Ingliz tilini ravonlik formulasi, so’zlashuv mahorati, ingliz tilida kommunikativ ko’nikmalarni mashq qilish.
Introduction: English is an international language that is mainly used in social media networks, and most information on websites is given in English. Apart from that, English is the main communicative language across the world that can help students to build strong relationships with international students. Effective speaking skills improve social interactions and help build relationships and built confidence. The English fluency formula could help them not only to improve their speaking skills but also to enhance their language source. This formula consists of 3 parts, including studying, practicing, and time, which result in fluency.
Formula: (S+P) x T=F
S=study
P=practice
T=time
How to study
The study part of the formula has two main secrets. Firstly, students need to try to study in context and avoid word lists. For example, if learners use a grammar book, they need to utilize it as a reference; they should not study the whole book.
Study steps:
1.Know current level.
Students could know their level through online tests or ask teachers to check their knowledge.
2. Choose the text at a suitable level.
It can be an audio text, video, or written text. It has been suggested that the chosen text or video should be above the learner’s level. If it is appropriate for the learner, it will be more engaging for them to learn English. Students could find their own resources, or even better, they can choose a coursebook. The coursebook is a great way to boost speaking skills because it’s all in one place.
3. Read, listen, and watch.
In that place, students need to watch English content for enjoyment instead of analyzing it. They should just read, look, listen to the video or film, and not overcomplicate the process. Because if they watch videos for only academic purposes, they can get bored with studying, and they will not be motivated to carry on.
4.Analyze the text.
In this part, students do a deep analysis of selected text and try to find new vocabularies as well as grammar structures in the text. After that, they search for new knowledge on the internet to know the exact meaning and learn how to use it.
How to practice
The main concern among students is how to practice speaking during the learning process. As technology is developing day by day, students have more options for practicing with other learners. One of the best ways is using ChatGPT. In that program, they can choose one topic to discuss, and they convey ideas, and ChatGPT asks questions to facilitate a discussion. Additionally, students may engage in structured debates on various topics that allow them to articulate their ideas. It not only helps to improve their speaking skills but also broadens their horizons and improves critical thinking.AI programs could help students with pronunciation practice. Students read passages aloud and ask to give feedback on pronunciation and suggestions. Most importantly, after speaking, ChatGPT gives feedback on areas for improvement, such as vocabulary usage, sentence structure, and pronunciation. Through this, students know their mistakes and can correct them with enough practice.
There are two main ways to practice:
1.Alone.
In that case, students can efficiently use YouTube for improving their speaking ability. While watching one video, students can pause and repeat the sentence that they hear. Sometimes they can change words, tense, or even the structure of sentences. It is like a shadowing technique that helps students to boost their speaking skills.
2.Practicing with others.
Students can speak with people who intend to learn English. In this method, they need to choose a person who has the same level as them. They can use Google to find topics, and they should have 20 minutes of talk a day.
For alone practice, there are kind of three good ways:
1.One of the controlled ones, where students should just repeat sentences in the video.
2.Semi-controlled.
In this way, students may change the structure, vocabulary, and words. While they are repeating, they can change a word, or they even can add some new information.
3.Free practice.
This way is wider as compared to others. Students need to find some phrases that they have not seen before. After that they will make a story, trying to use those phrasal verbs. It is always a good idea to record when they are practicing alone. They have a chance to listen back and find mistakes. This method is helpful for lone learners because they can not get feedback from others.
Research and discussion:
The English fluency formula is one of the effective techniques that helps students to develop improved communication skills. The research was conducted in a university class. For observation, first-year students were taken during 2 weeks. Every lesson, teachers tried to teach using the English fluency formula. In the first week, they selected one interesting YouTube website and started to watch one video every lesson. The video was about educational theories; students independently chose it based on their interest. In the second week, they began to analyze the video and found new vocabularies as well as grammatical structures; they wrote all of them down. Additionally, students imitated characters with gestures. Teachers requested to learn deeply what they had written. Finally, when teachers got interviews from students to check their speaking ability, improvements were seen in vocabulary, pronunciation, grammar, and fluency.
Conclusion:
Speaking is a vital skill in learning English that needs to be mastered by students. Most students have problems with lack of practice with others, which makes students levels low. The English fluency formula aimed to help learners improve their English language skills and enhance fluency. Based on research given above, it is proven that the English fluency formula can help students to improve their fluency, pronunciation, grammar, and overall ability to speak. During research, students were able to learn new knowledge and find more information on topics they were interested in. Lastly, with the imitation technique, students can speak more like a native speaker and learn more phrases that are usually used by natives.
References:
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2. Nation, I.S.P., & Newton, J. (2009). Teaching ESL/EFL Listening and Speaking. Routledge.
3. Lazaraton, Anne. (2001). Quantitative and Qualitative Approaches to the Study of Language Learning Strategies. In Language Learning Strategies in Independent Settings (pp. 25-50). University of Michigan Press.
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