Inspired by a lesson learned in a Language Interpreter class. Miscommunication is not only the speaker’s fault but may be of the listener’s as well. Cultures, Emotions, Knowledge level and Situational Factors have ways of hindering one’s perception and interpretation.
Patience, Trust and Love are important factors in communication.
Lilian Dipasupil Kunimasa was born January 14, 1965, in Manila Philippines. She has worked as a retired Language Instructor, interpreter, caregiver, secretary, product promotion employee, and private therapeutic masseur. Her works have been published as poems and short story anthologies in several language translations for e-magazines, monthly magazines, and books; poems for cause anthologies in a Zimbabwean newspaper; a feature article in a Philippine newspaper; and had her works posted on different poetry web and blog sites. She has been writing poems since childhood but started on Facebook only in 2014. For her, Poetry is life and life is poetry.
Lilian Kunimasa considers herself a student/teacher with the duty to learn, inspire, guide, and motivate others to contribute to changing what is seen as normal into a better world than when she steps into it. She has always considered life as an endless journey, searching for new goals, and challenges and how she can in small ways make a difference in every path she takes. She sees humanity as one family where each one must support the other and considers poets as a voice for Truth in pursuit of Equality and proper Stewardship of nature despite the hindrances of distorted information and traditions.
Karin knew the drill. She got in line behind all the other girls in Mrs. Lowenstein’s fourth grade class and awaited her turn to be observed, measured and judged. At the front of the line, near the blackboard, Mary Ann approached the towel arrayed across the floor, knelt on her knees and allowed Mrs. Lowenstein to gauge the distance between the hem on her skirt and the floor with a wooden yard stick. It was a rather primitive ritual, but this was 1964 and there was little room in the educational system for progressive thought, so-called. “You’re good to go, Mary Ann,” commented the teacher. “Good girl.” Mary Ann, her cheeks red, took her seat among the other students, who were all the boys in the class. “Next!” snapped Lowenstein.
Next up was Kay, the class tomboy, who always dressed in denim jeans. Objections from some school board member mandated that Kay conform to the dress code, however, so she was forced to wear a skirt over her dungarees. This didn’t get her out of the measuring ritual, however, and down on the towel Kay went. “Kay,” said Mrs. Lowenstein reprovingly, “you’re more than an inch too short.” Kay’s mouth opened incredulously, then closed. “You know the rules,” her teacher reminded her. Kay’s mouth opened again but no words came out. Her face perceptively darkened. “Now, get on home and put on a decent skirt so you can fit in with the rest of the girls!” directed Lowenstein. Kay left the classroom without a word. Students had learned from hard experience that there was no negotiating with Mrs. Lowenstein. Kay slammed the door as she left. Mrs. Lowenstein’s mouth formed a hard, straight line, but she said nothing. And so it went, till nearly every girl had been suitably appraised ahd humiliated. There was but one girl left.
“Karin,” said Mrs. Lowenstein with relish. “You’re next.” Karin could almost imagine the sadistic teacher licking her lips, salivating to bring the brunt of her authority to bear on the nine year old student. Karin stood before her teacher. “Well, get down on your knees,” ordered Lowenstein. Karin could hear some of the boys giggling across the room. Karin felt heat on her face, but complied with the directive. Lowenstein stuck her damnable yard stick against Karin’s knee and measured. “Aha!” she yelped gleefully. “You’re fully an inch and a half too short, you naughty girl!” Karin rose to her feet, shrugged. “Get home and get a decent skirt, or maybe a dress–that’s what proper young women should wear!” Lowenstein was ungracious in victory.
“And just how am I going to do that, Mrs. Lowenstein?” asked Karin wearily. “Huh? What?” spluttered the teacher. “What do you mean?” she demanded. “I live two miles from school; I take the bus here,” said Karin, as though explaining a simple arithmetic problem to a slow child. “How do I get there and back? Both my parents work.” she explained. “Your mother…works?” asked the teacher, scandalized. “Well, you work, don’t you?” her student asked. “Don’t be impertinent,” snapped the teacher, frustrated at confronting the truth.
Mrs. Lowenstein thought hard for a moment before snapping her thumb and forefinger and announcing, “I’ve got it: go down to Miss Washburn, the Home Ec teacher and have her let the hem out of that skirt.” Karin rolled her eyes but complied with her teacher’s wishes. A few minutes later, Miss Washburn appeared at the door of the four grade classroom and motioned Mrs. Lowenstein to join her. “Yes, Wanda, is there any problem with Karin?” “I couldn’t let the hem out because there wasn’t but about a half inch left. But I found a quick fix.” “What is it?” the other teacher asked.
“Well, I’ll show you.” Signaling behind the door, Miss Washburn beckoned Karin to join them in the classroom, which she reluctantly did. The rest of the class immediately burst out laughing uproariously. There, appended to the hem of Karin’s skirt, was a four-inch band of gold-colored fabric, stretching all around the circumference of the skirt. Mrs. Lowenstein frowned at first, then perked up, determined not to make a bad situation worse. “There, that’s fine, thank you, Miss Washburn.” She turned to the little girl. “You see, Karin, you’re quite presentable now. Don’t you think your father would see the improvement in your apparel?” “I agree, Mrs. Lowenstein,” said Karin with surprising enthusiasm, her green eyes flashing. “And I believe my father would love it.” “Really?” asked her teacher, skeptical. “Yes! During World War II my father had one just like it, only in a Star of David; I’ve been pictures. He wore it at Auschwitz!”
Teacher evaluation is a systematic process designed to assess the performance and effectiveness of teachers. Its primary purpose is to enhance teaching quality, improve student learning outcomes, and support teachers in their professional growth.
Evaluation identifies teachers’ strengths and areas needing improvement. Through classroom observations, student feedback, and performance reviews, teachers receive actionable insights to refine their methods.
Enhanced teaching strategies that lead to better student engagement and achievement. Teachers need continuous growth to adapt to changing educational needs.
Evaluations highlight specific skills or knowledge gaps, guiding teachers toward targeted training and development opportunities.
Teachers stay current with best practices and new teaching techniques. Schools are responsible for delivering quality education. Teacher evaluations provide evidence of their contributions to student success and adherence to school standards. Greater trust among stakeholders, including students, parents, and administrators.
In essence, teacher evaluation is a collaborative tool for growth, accountability, and educational excellence, benefiting both educators and learners alike.
Methods of teacher evaluation.
Teacher evaluation involves various approaches to assess teaching effectiveness. These methods provide a well-rounded understanding of a teacher’s performance and impact on student learning.
Classroom Observations–Administrators, peers, or instructional coaches observe teachers during lessons to assess their teaching practices. Observers use a rubric or checklist to evaluate aspects like lesson delivery, classroom management, and student engagement. Feedback is provided based on what was observed. Direct insights into real-time teaching. Can be subjective if not standardized.
Self-Assessment-Teachers reflect on their own practices and evaluate their strengths and weaknesses. Teachers complete self-evaluation forms or write reflective journals. Often combined with professional development plans. Encourages personal accountability and growth.
3.Student Feedback-Collecting input from students about their classroom experiences. Surveys or questionnaires are given to students, asking about teaching effectiveness, clarity, and engagement. Provides a perspective from the primary beneficiaries of teaching. May not fully capture a teacher’s effectiveness, especially with younger students.
4. Peer Review-Fellow teachers review each other’s teaching practices. Peers observe lessons, review teaching materials, or collaborate on instructional improvement. Promotes collaborative learning among teachers. Can be influenced by personal relationships or biases.
5. Student Performance Data- Using student test scores, grades, or other metrics to evaluate a teacher’s impact on learning. Data is analyzed to measure student progress over time. Often combined with other evaluation methods for context. Provides measurable evidence of teaching effectiveness. Factors beyond the teacher’s control can affect results.
6. Parent Feedback-Gathering insights from parents about their perception of the teacher’s effectiveness and communication. Surveys or meetings allow parents to share their views.
7.Teaching portfolios-A collection of materials that showcase a teacher’s work and achievements. Portfolios include lesson plans, student work samples, assessments, and reflections. Demonstrates a teacher’s planning, creativity, and impact.
8.Standardized Evaluation Tool-Using structured frameworks like the Danielson Framework or Marzano Teacher Evaluation Model to assess performance. Teachers are rated on specific criteria like instruction quality, professional responsibilities, and classroom environment. Provides consistency and clear benchmarks.
Best Practices for Teacher Evaluation
Use multiple methods: Combining methods ensures a fair and comprehensive evaluation.
Provide constructive feedback: Focus on growth and actionable suggestions.
Ensure transparency: Clearly explain the process and criteria to teachers.
Foster a supportive culture: Make evaluation a tool for improvement, not judgment.
By leveraging a mix of these methods, teacher evaluations can effectively support both individual development and overall educational quality.
Challenges in teacher evaluation.
While student feedback is a valuable method for assessing teacher effectiveness, it comes with specific challenges that educators and administrators should consider:
1.Student Bias-Students may base their feedback on personal likes or dislikes rather than objective teaching effectiveness. Example: A teacher who enforces strict discipline may receive lower ratings from students, even if they are effective at teaching.
2.Lack of Maturity- Younger students may lack the maturity or understanding needed to evaluate a teacher’s skills fairly. Example: Elementary school students may focus on how “fun” a teacher is rather than the quality of instruction.
3. Influence of Grades- Students’ opinions may be influenced by the grades they receive. Example: Students who receive poor grades might rate a teacher poorly out of frustration, regardless of the teacher’s competence.
4. Limited Understanding of Teaching Practices-Students may not understand the complexities of effective teaching or why certain methods are used. Example: A teacher’s emphasis on critical thinking might be undervalued because students find it challenging or unfamiliar.
5. Pressure to Please-Teachers might feel pressured to prioritize popularity over effective teaching to receive positive feedback. Example: A teacher might avoid giving challenging assignments to keep students happy, which can compromise educational quality.
6. Cultural and Contextual Factors- Cultural or contextual factors may shape how students perceive and rate their teachers. Example: In some cultures, students may hesitate to provide honest feedback about their teachers out of respect or fear of repercussions.
To make student feedback a meaningful part of teacher evaluation, schools can:
Use age-appropriate tools: Design feedback forms suited to students’ maturity levels.
Provide guidance: Educate students on how to give constructive and focused feedback.
Combine with other methods: Use student feedback alongside classroom observations and other evaluation tools for a balanced view.
Focus on patterns: Look for consistent trends in feedback rather than isolated comments.
Ensure anonymity: Allow students to provide feedback confidentially to promote honesty.
By addressing these challenges, student feedback can become a valuable, fair, and actionable tool in teacher evaluation.
Feedback and professional growth.
Feedback is essential for professional growth, especially for teachers and professionals in education. It helps identify strengths, areas for improvement, and strategies for development.
Feedback is information or guidance provided about your performance. It helps you understand what you are doing well and what can be improved. Example: A principal might tell a teacher, “Your lessons are engaging, but try to ask more open-ended questions to encourage critical thinking.”
Feedback highlights what you’re good at and what needs improvement. Example: A teacher learns their classroom management is excellent but needs to improve lesson pacing.
Constructive feedback encourages learning new skills and improving existing ones. Example: After receiving feedback, a teacher attends a workshop on integrating technology in lessons.
Positive feedback boosts confidence, while constructive feedback inspires growth.
Example: Being praised for creativity motivates a teacher to explore innovative teaching methods.
Feedback helps set realistic and meaningful professional goals. Example: “Focus on differentiating instruction for diverse learners this semester.”
Professional growth is the continuous process of improving skills, knowledge, and performance in your career. It involves learning new techniques, adopting best practices, and staying updated in your field.
Tips for Using Feedback for Growth.
Be Open: View feedback as an opportunity, not criticism.
Ask Questions: Seek clarification to fully understand the feedback.
Set Goals: Focus on specific, achievable goals based on the feedback.
Take Action: Implement changes and continuously evaluate your progress.
Feedback is a powerful tool for personal and professional development. When used constructively, it helps identify areas to grow, build confidence, and enhance skills, ultimately leading to success and career advancement.
Teacher involvement in the process.
Involving teachers in the evaluation process is essential for making it fair, effective, and meaningful. When teachers actively participate, they feel more ownership and are more likely to view evaluations as opportunities for professional growth rather than as judgment.
Builds Trust: Involvement ensures that teachers understand the process, reducing anxiety and fostering trust between teachers and evaluators.
Encourages Professional Growth: Active participation allows teachers to focus on areas of personal and professional development.
Promotes Fairness: Teachers can share insights about their unique challenges, ensuring evaluations are context-sensitive.
Strengthens Collaboration: Teachers and administrators work together to improve teaching practices and student learning outcomes.
Teachers reflect on their own performance and identify strengths and areas for improvement. Teachers set personal or professional goals that align with their development and student needs. Example: A teacher might set a goal to improve student participation through more interactive lessons.
Teachers can contribute to developing or refining evaluation tools and rubrics.
Teachers engage in discussions with evaluators to review feedback, clarify concerns, and develop action plans. Example: Discussing specific steps to address classroom management challenges highlighted in the evaluation.
Based on evaluation results, teachers work with administrators to create tailored growth plans. Example: A teacher might enroll in a workshop on using technology effectively if that was identified as an area for growth.
Teacher involvement in the evaluation process transforms it into a collaborative effort that fosters trust, encourages growth, and ultimately improves teaching and learning outcomes. When teachers actively participate, they take greater responsibility for their development and feel more valued as professionals.
Self-study materials for practical lessons:
1.Test:
What is the primary purpose of teacher evaluation? a) To determine teacher salaries b) To identify teacher weaknesses c) To improve teaching effectiveness and student outcomes d) To rank teachers
Answer: ___
Which of the following is NOT typically included in teacher evaluation? a) Classroom observations b) Student test scores c) Peer and student feedback d) Personal financial records
Answer: ___
What is a commonly used tool for classroom observation during teacher evaluation? a) Rubric-based evaluation b) Open-ended interviews c) Anonymous surveys d) Informal chats
Answer: ___
Which method of teacher evaluation is most likely to provide immediate feedback? a) Annual performance reviews b) Peer observation with discussion c) Student satisfaction surveys d) Reviewing student grades
Answer: ___
Why is feedback considered a critical component of teacher evaluation? a) It provides evidence for dismissal decisions. b) It helps teachers align with administrative goals. c) It offers actionable insights for professional growth. d) It eliminates the need for student assessments.
Answer: ___
What is the key benefit of involving students in teacher evaluations? a) It holds teachers accountable for student failures. b) It provides insights into the teacher’s instructional effectiveness. c) It allows students to influence curriculum design. d) It reduces administrative burden.
Answer ———–
Which of the following is a critical ethical consideration in teacher evaluation? a) Publishing teacher evaluation results publicly b) Ensuring evaluations are based on objective criteria c) Only evaluating experienced teachers d) Using only quantitative measures
Answer: ___
How should evaluators address biases during teacher evaluation? a) Focus solely on student test scores b) Use multiple sources of data for a balanced perspective c) Avoid observing classes personally d) Ignore feedback from students and parents
Answer: ___
Which of the following is a recent trend in teacher evaluation? a) Relying exclusively on annual reviews b) Using AI-based analytics to analyze teaching effectiveness c) Eliminating self-assessment processes d) Disregarding peer reviews
Answer: ___
What is the significance of professional development plans in teacher evaluation? a) They replace the need for formal evaluations. b) They help in aligning teachers’ goals with institutional objectives. c) They prioritize teacher weaknesses over strengths. d) They limit teacher autonomy in planning.
Answer: ___
2.TRUE/FALSE question.
Teacher evaluation is primarily conducted to identify ineffective teachers and terminate their employment. (True/False)
Classroom observation is one of the most common methods used in teacher evaluation. (True/False)
Student feedback should never be considered in teacher evaluations as it is subjective. (True/False)
A good teacher evaluation system includes both formative and summative assessments. (True/False)
Using multiple measures, such as peer feedback, student outcomes, and self-assessments, reduces biases in teacher evaluations. (True/False)
Teacher evaluation results should always be made public to ensure transparency. (True/False)
One purpose of teacher evaluation is to help teachers identify areas for professional growth. (True/False)
Student test scores are the only reliable metric for evaluating teacher performance. (True/False)
Ethical teacher evaluations should focus on both teacher accountability and professional development. (True/False)
Self-assessment is a useful component of a comprehensive teacher evaluation process. (True/False)
“We do not learn from experiences; we learn from reflecting on experiences.”—John Dewey
As I walked along the
Cracked city sidewalk
A fall leaf fell before my feet
My eyes followed it to its fall from grace
I bent over picked it up and held it to my nose
Just then the exhausts of car engines rose
I felt a pang within than sang a voiceless song
Replete with frustration
I closed my eyes and breathed wishing a rush of wind
Would sway my fragmentation
Wishing the backdrops in the back of my head were
Orange sunsets and undulating silhouetted mountains
and soaring creatures….
But sounds of car horns opened my eyes and
And an android with a cell phone
Pounded into me
Ignorant of the flamboyant fall leaves flirting with alacrity
I know, I know….
Alluding to ANYONE as anything other than a “human being”
Is reductive and divisive,
But I must NOT dissemble in moments when “truth” can heal the victimizer
And unite a cooperative of victims
I read a decisively severe literary shellacking that wreaked havoc on
The paradoxical and philosophical and inhumane ambiguities
Protruding from our bungling orifices
Why must we identify with
How we look
What’s between our thighs
Who we sleep with
What we do and
How much we do it for?
Less you want to create the illusion of knowing anyone
If you know where they come from,
This tells you nothing of their humanity
It’s time for someone to address the mundanity in questions like
“Where are you from, what do you do, where’d you go to school?”
All nonsense questions to create the illusion of a meaningful conversation
when I’d much rather talk about my study of the pragmatic stoics like
Hellenistic philosopher and founder of the Stoic school of philosophy Zeno of Citium or
Epictetus another Stoic philosopher best known for his works
The Enchiridion (a handbook I possess in my library actually) and his Discourses,
Both foundational works in Stoic philosophy, etc… His most famous quote was:
“It is impossible for a man to learn what he thinks he already knows”
Is that you? Is that me? Is that we?!
Broom away the dirt from your soul to reveal what you probably “think” you knew all along…
How can giants sometimes speak so gently amidst the grandest calamities?
When thoracic arteries with sublime complexities sees humdrum atrocities
in that moment of clarity
see the grandeur around you
And surrender to its glory
J’aime mes livres (I love my books) for they are the map to my soul
Books that I wrote myself for posterity
That my literary art would serve as an
Edification to usher the future to find and know me
For what I was and will forever be in infinity…
Disease of the spirit is when you fail to recognize
Your own growth
Entombed in barking and carping at your failures
You fail to listen to gentle songs of wisdom
From the herds of insanity!
There will come soft rains
Pure and clean as a bucolic silver spring
To wash away the pain
There will come soft rains
Attired in metallic grey and
Be it be a cloudy day,
Brings in the rainbow
To keep the clouds at bay
There will come soft rains,
Run naked and carefree in the torrent
Rediscover forgotten moments of juvenility
Wash away those strains of merging maturity
There will come soft rains
Like a melodic refrain
As I board the regressive train
Back to a place where
Pain no longer reigns
Remember that surrender is
The key to letting go
Remember that surrender is
The key to personal freedom
Remember that surrender is
The key to personal power
I surrender
Jousting childhood memories
I surrender
Pungent adulthood discrepancies
I surrender
Mounting life adversities
I surrender to the divine
All those who are maligned
May they (and I) find the peace and serenity
Of the pious and the holy…
Jacques Fleury
Jacques Fleury is a Boston Globe featured Haitian-American Poet, Educator, Author of four books and literary arts student at Harvard University online. His latest publication “You Are Enough: The Journey to Accepting Your Authentic Self” & other titles are available at all Boston Public Libraries, the University of Massachusetts Healey Library, University of Wyoming , Askews and Holts Library Services in the United Kingdom, The Harvard Book Store, The Grolier Poetry Bookshop, amazon etc… He has been published in prestigious publications such as Spirit of Change Magazine, Wilderness House Literary Review, Muddy River Poetry Review, Litterateur Redefining World anthologies out of India, Poets Reading the News, the Cornell University Press anthology Class Lives: Stories from Our Economic Divide, Boston Area Small Press and Poetry Scene among others…Visit him at: http://www.authorsden.com/jacquesfleury.
Jacques Fleury’s book You Are Enough: The Journey Towards Understanding Your Authentic Self
Time is like the smoke within moments flew away out of sight
Time deals with the power in one
Time plays tricks to the others
Time is certain
Time is uncertain
Time opens the door to enter
Time stands as bar for more
How can I say ‘Good Bye’ to my dear ones?
We are bound to abide by the moment we depart from
Though the sky is so high
Time takes us higher than the starry sky
O time, can you tell me where I would be
After thousands of years?
I know you can’t because you are dumb and dull
I have the answer from your boss
We are always on our journey to reach Him.
Chapainawabganj, Bangladesh
12 January, 2025.
Md. Mahbubul Alam is from Bangladesh. His writer name is Mahbub John in Bangladesh. He is a Senior Teacher (English) of Harimohan Government High School, Chapainawabganj, Bangladesh. Chapainawabganj is a district town of Bangladesh. He is an MA in English Literature from Rajshahi College under National University. He has published three books of poems in Bangla. He writes mainly poems but other branches of literature such as prose, article, essay etc. also have been published in national and local newspapers, magazines, little magazines. He has achieved three times the Best Teacher Certificate and Crest in National Education Week in the District Wise Competition in Chapainawabganj District. He has gained many literary awards from home and abroad. His English writings have been published in Synchronized Chaos for seven years.
First of all, an announcement from contributor Chimezie Ihekuna, who is seeking an investor/executive producer for the project, One Man’s Deep Words. It is set in the US.
Produced By Vincent Turner, Developed By Robert Sacchi, 115 pages. Phase: Pre-production/Development, Budget Estimation: $23,000-314,000. Pitch deck and budget list available, please email synchchaos@gmail.com if interested.
Charles Griffin, a philosophy professor, is challenged by Adam, one of his students, over his unruly behaviour while lecturing. Though Charles is unhappy lecturing by the books, Adam’s challenge becomes the inspiration behind his nascent philosophy.
The first issue of 2025 presents a Lazy Susan of Ideas. This phrase comes from Desiree Richter, author of The Presence of Absence, about the accidental death of her young son and her journey out of rigid religious fundamentalism, out recently from the University of New Orleans Press.
In a recent interview on the podcast I Was a Teenage Fundamentalist, Richter describes reading a wide variety of books in her time of grief and being exposed to a whole “lazy Susan of ideas.”
This month’s contributors present a whole turntable of thoughts as well. Some, like Richter’s, are in response to personal or larger griefs, while others are philosophical or introspective or academic or celebratory.
Jack Mellender travels on a lyrical romp through many decades of wild living in California. Shahnoza Ochildiyeva celebrates her educational and personal accomplishments. Ashraful Kabir conveys the journey of self-discovery with a metaphor of a boat ride as Abeera Mizra renders personal awakenings through determined verse and Nick Gunter laments that a person doesn’t recognize his capacity to change. Shukurillayeva Lazzatoy Shamshodovna outlines some pathways towards building new and positive habits while Robiya Ismailjonova brings a spiritual perspective to her call for moral accountability and repentance.
Nathanael Johnson highlights the internal struggles of a boy as he figures out how to grow into a man. Jessica Hu illustrates the self-destructive urges that can come with moments of despair.
Linette Rabsatt’s poetry prepares us for comfort, then joggles our mind with clever contradictions. Marc Frazier’s introspective poetry probes childhood, memory, desire, mortality, and our search for meaning. Noah Berlatsky humorously explores the sometimes-vague boundaries between whimsy and reality. Mark Young’s postwoman pieces frame the world’s many random offerings as gifts to be opened and explored. Susie Gharib speaks to the stories we take from history, mythology, literature, and science. Peter Cherches’ humorous story highlights the wonder, curiosity, and humor that emerges as very different beings meet each other.
Eva Petropoulou Lianou interviews Jeanette Eureka Tiburcio, president of a women’s intellectual organization, on how her new book is a fulfillment of a childhood dream and on her wishes for the world.
Yahia Lababidi’s book What Remains to Be Said shares aphorisms and blurbs of his wisdom. Gulsora Mulikboyeva reflects on the impact of a teacher who inspired her to better write in her native Uzbek language.
Farangiz Abduvahidova outlines the life and literary works of Uzbek poetess Mohlaroyim and her importance to Uzbekistan’s literary heritage. Maftuna Bozorova honors the cultural legacy of Uzbek poet Alexander Feinberg. Aziza Burkhonova discusses various pedagogical techniques for language learning. Olimova Shahina explores creative ways to teach English. Eva Lianou Petropoulou outlines the accomplishments of Italian Naive panter Nino Camardo. Mamazoirova Rayhona regales us with poetry on the beauty of the colorful Uzbek flag. Federico Wardal interviews Dr. Ahmed Elsersawy on his renewed efforts towards cultural partnership between Egypt and the United States.
Rachida Belkacem’s bilingual poetry evokes a transcendent spiritual companionship. Gabriela Peinado Bertalmio elucidates the beauty of the love between a mother and child. Rahmiddinova Mushtariy pays tribute to her wise and caring father. Duane Vorhees explores sensual intimacy from a variety of angles and perspectives. Lan Qyqalla jumps ahead to Valentine’s Day and autumn in his metaphoric and mythical love poems. Graciela Noemi Villaverde, within intricate verse, compares her love to a sunset and to the dawn.
Kassandra Aguilera illuminates the exquisite agony of unrequited love. After losing love, Taylor Dibbert finds unexpected comfort in solitude.
Don Edwards’ poetry deals with themes of love, loss, uncertainty, and the corrosive nature of domination and control on love. David Sapp’s poems critique the ease and sexiness all too many people have given to forms of violence and domination. Daniel De Culla lampoons dictators, and those with the ambition to become such, from around the world, including the U.S. Pat Doyne mourns the recent U.S. presidential election by parodying a famous poem about a loss in baseball.
Fayowole Benjamin’s poetry laments the toll of war on civilians and families. Mesfakus Salahin reflects on how some of the world is still reeling after the two world wars of the past century. Mykyta Ryzhykh evokes wartime and unanswered calls for love. Through his tale of violation and self-defense, Bill Tope highlights the ubiquitous problem of sexual violence. Christopher Bernard explicates and excoriates the violence inherent within neoliberalism manifested through healthcare systems, showing how organizations and procedures can be more destructive than thugs on the street.
Mirta Ramirez’ piece highlights how true romantic love can inspire artistic and intellectual creativity. Abigail George expresses her poetic hopes for peace in the Middle East as Lidia Popa highlights how artistic creation and the sharing of ideas can be noble pursuits bringing people together across cultures.
Z.I. Mahmud digs out the psychological and sociological and spiritual themes embedded within Samuel Beckett’s play Waiting for Godot, the tale of two “everymen” condemned, or blessed, with eternal anticipation. Arjun Razdan probes our obligations to each other in his short story “The Misanthrope” and questions what we owe each other and the best ways to do good.
Peter J. Dellolio’s novel The Confession elucidates the psyche of a condemned man who may or may not be guilty. J.J. Campbell’s poetry emanates from the lingering effects of childhood abuse, memories particularly acute around the holidays. Jake Triola’s poetry troubles itself with the state of the world and the speaker’s perceived personal failures, yet finds solace in walking outdoors.
Jumanazarov Zohidjon ponders the calming beauty of rain while Sayani Mukherjee celebrates a beautiful day on the green earth. O’tkir Mulikboyev pays homage to snow, trees in winter, romance, his home country, song, cheer, childhood, and the holidays. Brian Barbeito reflects on nature and his childhood on a still, snowy day. Jacques Fleury revels in a woodland dawn and the diversity and richness of the natural world. Corey Cook’s new haiku chapbook heads held low hallows a sacred moment when a cardinal bird sings in an empty church.
Isabel Gomez de Diego’s photography illuminates the glory of a city lit up at night for Christmas. Marc Frazier’s photography spotlights moments of intersection among nature, urbanity, and the human imagination. In Mahbub Alam’s piece, a couple watches a thunderstorm from indoors through a window, captivated by the effects of the wind. In contrast, Sodiqova Adolatxon’s poetic speaker gets tired of staying inside through a rainstorm and longs to go back outdoors.
Nurmurodova Gulsoda explores elements of trigonometry in her piece, reveling in the beauty of mathematics as one of the languages of nature. Jasur Mulikboyev celebrates the way a gifted chemistry teacher makes the material come alive for students. Ruxshona Toxirova presents some methods for better diagnostics and treatment for children with type 2 diabetes.
Maftuna Mehrojova outlines the need for and progress towards sustainable and green economic development in Uzbekistan. Alisher Muhtarjonov issues a strident call for people of the world to protect nature.
Eva Lianou Petropoulou encourages us to choose care and respect for others in the face of life’s personal and global struggles. Zuhra Ruzmetova celebrates the New Year and the dawning of renewed hope. Lilian Dipasupil Kunimasa reflects on the meaning of the nativity scene and on starting afresh to choose kindness and a compassionate attitude in the New Year.
Photo is of a young Central Asian woman with dark hair, brown eyes, and a gray pant suit over a white collared top speaking at a podium.
Abduvahidova Farangiz
2nd stage student of Samarkand State University named after Sharof Rashidov.
Abduxalilboyev Alisher 3rd stage student of the Tashkent University of Information Technologies named after Muhammad Al-Khorazmi. Uzbekistan.
Artistic arts found in Nadirabegim’s life path and ghazals.
Abstract: In the article, we have mentioned the life path and literary heritage of our poetess Mohlaroyim, who made a great contribution to the development of Uzbek poetry. Also, we will get acquainted with the explanation of the artistic tools used in her ghazals and the sentences that are the basis for the creation of this art.
Our talented poet Mohlaroyim, who wrote ghazals in Persian and Turkish under the pseudonyms “Komila”, “Maknuna” and “Nadira”, was born in 1792 in the family of Andijan governor Rahmonqulbi. He was not only a teacher, but also an enlightener and a statesman. In 1807, Nadira was married to Omar Khan, governor of Margilan. Nadira plays a major role in shaping the literary atmosphere in the palace. The reason is that her husband Omar Khan also created under the pseudonym Amiri. Nadira meets Uvaisi and invites him to the palace as a teacher. In 1810, Amir Olim Khan dies and Umar Khan comes to the throne. From this year, Nadira will continue her work in Kokon. Due to the tragic death of Amir Umar Khan in 1822, his son Madali Khan took over the throne. During Madali Khan’s rule, many madrasahs, mosques, caravanserais were built and served to improve the creative environment. Nadirabegim and his family were executed by Amir Nasrullah, the ruler of Bukhara Emirate in 1842.
Although the poetess did not live long, her works of about 10,000 verses were inherited. In addition to ghazals, he also penned mukhammas, rubai, and fard genres. In his ghazals, separation and grief are sincerely described and he continued the traditions of famous poets such as Navoi, Bedil, and Fuzuli. There are 19 (328 verses) ghazals under the pseudonym “Komila”, and one divan with 333 ghazals under the pseudonym “Maknuna”. Under the pseudonym “Nadira” 180 poems are collected, 136 of them are in the Uzbek language, 44 in the Tajik language. Among them, there are 11 muhammas, 2 musaddas, 1 muhammas, 1 translation, 1 table of contents and 1 statement.
Nadira’s radiative ghazals “Vasl uyin obod mem…”, “Marhabo”, “Dahrni examinet ke te”, “Sogindim” are very popular. A number of artistic arts were also used to make the ghazals more subtle.
I improved the house, but it was destroyed by the emigration
Unfortunately, this building was destroyed.
In this verse, the art of tazad was created by means of the words prosperity and destruction. Tazad is an art created by imitating things. Seli ghamdin is used in the meaning of a flood of sorrow and was the basis for the creation of the art of Mubolaga. Exaggeration is the art of exaggerating beyond belief.
He did it until the piraham stain revealed my tongue,
I don’t have any more love hidden in my heart.
The words love, heart, and soul created the art of harmony, and the words open and hidden created contrast. Contrast is an art created by contrasting things. Proportion – Many art forms rely on the spiritual association of words in poetry. It is the poet’s use of words that are logically related to each other and require each other.
Zahida, forgive the people of love,
What happened to Sheikh San’an in Yor Bay?
This verse describes the art of talmeh. Sheikh San’an used this art by mentioning his name. Ishq, love, asceticism are the basis of the art of relationship. The art of proportion is formed from cognate words and synonyms in linguistics. Talmeh is one of the widely used art forms in classical poetry. In this, the poet summarizes his thoughts by referring to a famous story, event or work, person.
Although there was a special order of the giants,
After all, Suleiman died in a bad way.
Mor is the art of dev tazad, Sulayman is the art of talmeh.
Because the jewel of my heart is blood instead of love,
Tears dripped from my eyesThis verse uses the art of tashbeh, the gem of love – the gem of love. Allegory is one of the most productive poetic arts widely used in literature. It can be said to make it into Uzbek. In metaphor, things, signs, and actions are described by analogy and comparison. In addition, another art was involved in this very verse. It emphasizes the tears through the word necklace. This art is called metaphor. Istiora is an Arabic word that means “borrowing”. One thing is called by another name.
My figon, the collar of my son,
I am very sad, my heart, you are not aware of it.
In this verse, the word “heart” is used as an exhortation. From the fine arts, it was the basis for the art of exclamation. Nido is distinguished from other poetic arts by its ability to openly and powerfully describe the feelings and emotions of the human heart. In this case, the thought is focused on a person or an object.
If you want to repair the Kaaba,
Turn the broken heart into a prosperous one.
In this verse, the word Ka’ba is contrasted with the words talmeh and abad – ruin. In our linguistics, the words that form the art of contrast are called antonyms – words with opposite meanings.
The work of the poetess is a great heritage for us. Despite being the wife of the king, Nadirabegim did not stop her creativity. He worked to make people and people intelligent and enlightened people. He managed to unite the intellectuals of that time around him. Life at that time was a little easier. The work of the poet began to be studied during her lifetime and works dedicated to her were created. For example, “Tuhvatut-tawarikh” by Avazmuhammad Attar, “Muntahabut-tavarikh” by Hakim Khan Tora, “History of Fargana” by Ishaq Khan Tora, “Haft Gulshan” by Nadir-uzlat. We saw the poetic arts in the analysis of the poet’s ghazals and analyzed them. We will continue the analysis in our next work.
List of used literature.
1) 10th grade literature part 1. “National Encyclopedia of Uzbekistan” state scientific publication.: Tashkent – 2017
2) 6th grade literature part 2. “Spirituality”.: Tashkent – 2017.
