DEVELOPING STUDENTS’ ORAL SPEECH THROUGH AUDIO-VISUAL MATERIALS IN THE PROCESS OF LEARNING FRENCH

Samarkand State Institute of Foreign Languages
Philology and Language Teaching (French)
1st year student
Eshpo’latova Khilola Davron kizi
0009-0005-9329-4347

Annotatsiya: Mazkur maqolada fransuz tilini o’rganayotgan talabalarning og’zaki nutqini rivojlantirishda audiovizual materiallarning tutgan o’rni va samaradorligi tahlil qilinadi. Bu tilni o’rganishda audiovizual vositalar talabalarning muloqot kompeteniyasini rivojlantiradi va bu til egalari bilan bo’lgan amaliy suhbatlarga tayyorlaydi. Tadqiqot davomida audiovizual materiallar, xususan, videoroliklar, filmlar, podkastlar, television ko’rsatuvlar va video ma’ruzalardan foydalanishning afzalliklari ko’rsatib beriladi.

Keywords: audiovisual materials, oral speech, pronunciation development, speech activity, educational effectiveness, authentic materials

Аннотация: В статье анализируется роль и эффективность аудиовизуальных материалов в развитии устной речи студентов, изучающих французский язык. При изучении языка аудиовизуальные средства развивают коммуникативную компетенцию учащихся и готовят их к практическому
общению с носителями языка. В ходе исследования будут
продемонстрированы преимущества использования аудиовизуальных материалов, в частности видеороликов, фильмов, подкастов, телевизионных шоу и видеолекций.
Ключевые слова: аудиовизуальные материалы, устная речь, развитие произношения, речевая активность, эффективность обучения, аутентичные материалы

Abstract: This article analyzes the role and effectiveness of audiovisual materials in developing oral speech in students learning French. Audiovisual aids in learning this language develop students’ communicative competence and prepare them for practical conversations with native speakers. The study highlights the benefits of using audiovisual materials, particularly videos, films, podcasts, television shows, and video lectures.

Keywords: audiovisual materials, oral speech, speech development, speech activity, educational effectiveness, authentic materials

INTRODUCTION
Today, due to the growing interest in the French language in many parts of the world, the use of modern methods is required in the process of learning this language. Especially one of the pressing issues is the development of speaking skills, which is the main way of communicating in a foreign language. Therefore, a number of studies are currently being carried out on improving the ability to speak orally. However, we are facing several problems in their practical application.

The main purpose of this article is to improve the ability of spoken speech among students with a particular specialty of young people studying French, to adapt them to live communication and to analyze the effective aspects of the use of audiovisual materials in the formation of the skills of not only speaking French but also thinking. The results of this study provide an opportunity to develop oral speech in the process of learning French by using audiovisual tools correctly and purposefully.

RESEARCH METHODOLOGY
This study was conducted in a practical and experimental direction, using audiovisual tools to improve students’ oral skills and develop their ability to speak independently, as if they were native speakers of the language. First of all, to analyze theoretical approaches to the topic.

Important scientific articles such as Karimov’s “The Role of Video Lessons in the Educational Process” and Jo’rayeva Mohina’s “Linguodidactic Foundations of Developing Students’ Oral Speech” were collected and studied. At the same time, international experiences were summarized based on the article “The Use of Audio-Visual Materials as Strategies to Enhance Speaking Skills among ESL Young Learners”, prepared under the global collaboration of Keeth Kthirvel and Harvati Hashim.

In the practical stage, pedagogical observation, comparison, and experimental methods were widely used. During this experiment, audiovisual materials (video clips, films, podcasts, and subtitled videos) were used in French language lessons. Changes were
observed and analyzed in depth during the lessons and exams. The methods chosen based on these observations are fully consistent with the main goal of the study and serve to determine the importance of audiovisual materials in developing the oral
speech of students learning French.

In the final stage, the useful and harmful aspects of these methods were fully studied and suggestions and recommendations
were developed for the purposeful use of the above tools.

REVIEW OF LITERATURE USED

Today, the use of audiovisual materials in modern pedagogy and education is one of the most important of the issues that is at the center of current and heated discussions. In recent years, many practical and theoretical studies have been conducted on this topic,
confirming the usefulness of these tools (audiovisual materials) in the learning process, especially in developing speaking skills.

In the scientific article of Karimova “the role of video cameras in the
educational process”. Videodars and presentations have scientifically substantiated the development of independent thinking and talkative skills. Also, in her article “Linguodidactic Foundations of Developing Students’ Oral Speech” by KarSU doctoral student Jo’rayeva Mohina, she emphasizes the use of audiovisual materials as an effective method of developing oral speech.

At the global level, Keeth Kthirvel and Harvati Hashim conducted a study on the use of audiovisual materials as strategies to enhance speaking skills among ESL students and young learners in their article “The Use of Audiovisual Materials as Strategies to
Enhance Speaking Skills among ESL Young Learners.” The article provides a scientific basis for the use of videos, podcasts, and audio-video tasks to improve students’ oral communication skills.

Studying the above studies, we can see that although the importance of audiovisual materials has been thoroughly analyzed, there is a lack of methodological approach to using these tools. This article examines this issue.

ANALYSIS AND RESULTS
The results of the experiments conducted showed that the regular and purposeful use of audiovisual materials is important in improving students’ oral speech. And it came to my stop taking into account the percentage indicators of the following experiment.

In the first stage of the experiment, two groups of New simple and experimental groups were formed from 1st year students with a homogeneous level of knowledge. In normal gruhs, classes were held in the traditional style of Experimental while in gruhi, classes were held using audiovisual materials. In 2 months of favomi, changes in these groups were monitored and deeply observed. 2
months later, an examination was carried out and their level of knowledge was assessed. According to preliminary results, 30% of students in ordinary Gruh satisfactorily underestimated the skills of oral speech.48% showed an average of while 22% of students performed low. In the case of experimental gruhi, the results
were significantly improved. Specifically, 50% of students returned satisfactory grades, 35% returned average grades, and 15% returned low grades.

According to the results obtained, the learning effectiveness in the group using audiovisual materials was higher and more effective than in the control group. In particular, students who achieved satisfactory results were 20 percent higher, while those who achieved low results were 7 percent lower. These percentages are clear evidence
that audiovisual materials are useful in developing oral speech.

This study showed that audiovisual materials are extremely necessary and useful for every student studying French. The above figures are a clear proof.

In a typical group, a large proportion of students (58%) reported a low average of 22%. This result suggests that traditional teaching methods are inadequate in the development of student oral speech. This situation was mainly explained by the limited opportunities for real-world and auditory-visual learning during the lesson.

In the experimental group, the proportion of students who showed satisfactory results reached 50%, indicating that audiovisual materials increased students’ speech activity. Through video materials and audio recordings, as well as various films and podcasts, students can better master the pronunciation, speaking style, and speed of speech in French. Furthermore, the 15% reduction in the proportion of students who performed poorly in the experimental group showed that audiovisual materials are an important pedagogical factor in the development of oral speech.

CONCLUSION
In conclusion, audiovisual materials are important in studying the natural world because they demonstrate the pronunciation, speaking style, and cultural characteristics of the French language.
Through video materials, podcasts, films, and shows, students’ vocabulary and pronunciation improve. From the results of the study, we can know that the use of audiovisual materials in the course of the lesson increases the interest of students in relation to the lesson and forms the skills of free communication. This serves as an
important foundation in tending them to a real-life environment.

It is also worth noting that these methods are an important guide in the process of interactive learning and an important factor in the development of students’ communicative skills and competencies. Pedagogical research has shown that each student should use
additional materials on the language they are learning, which will be beneficial to their perspective and their ability to communicate freely in that language. In addition, each language that needs to be learned requires regular development and work on itself. If every student uses advanced methodologies such as audiovisual materials on a regular basis, they will make great progress in this field. This is the main goal of the study.

LITERATURE USED

1. Karimovan B. Y. Videodarslarning ta’lim jarayonidagi o‘rni // Zamonaviy ta’lim muammolari. – 2022. – №3. – B. 45–52.
2. Jo‘rayeva M. Talabalarning og‘zaki nutqini rivojlantirishning lingvistik asoslari // Til va adabiyot ta’limi. – 2021. – №4. – B. 33–39.
3. Khirivel K., Hashim H. The Use of Audio-Visual Materials as Strategies to Enhance Speaking Skills among ESL Young Learners // International Journal of Language Education. – 2020. – Vol. 4, №2. – P. 120–128.
   4.TV5 Monde. Apprendre le français avec des vidéos [Elektron resurs]. – Kirish rejimi: https://apprendre.tv5monde.com (murojaat sanasi: 25.12.2025).
   5.RFI Savoirs. Le français par l’audio et la vidéo [Elektron resurs]. – Kirish rejimi: https://savoirs.rfi.fr
4. YouTube platformasi. Fransuz tilini o‘rganish uchun autentik audiovizual materiallar [Elektron resurs]. – Kirish rejimi: https://www.youtube.com

blotted pen

i use grief as my ink,

now I got abundant ink

and my pen is ruined.

the excess ink made my pen blot.

the blotted pen irreparably 

ruined the pages of my book.

rumi once said, “where there is ruin, 

there is hope for a treasure.” 

i wish I could ask him if it also

included these messed up pages. 

i sincerely hope it does.

insomnia

lately, my night blurs into day

and hardly can I tell one from the other.

sleep? It barely ever comes by my abode.

and when it does, 

it hangs around the door briefly 

just like the mailman, it never comes in.

mind travel

My legs hurt from bearing these weights in constant travel but my mind is not yet at peace, it still hasn’t found home.

My fearful heart,

When will you learn:

that it’s okay to start scared…

that no guru started out a guru…

that it’s okay to start small, make 

mistakes, fall and learn from them…

that being unsure, experimenting and

failing is a part of the learning process…

Learn, my heart, never to be scared to put

yourself out there, try new things, experiment

your ideas, fail, fall but never remain on the floor…

My restless heart,

When will you learn that every man is:

writing his own story…

a bearer of his own cross…

walking in his own time zone…

writing his story on how he bore his

cross with the time he has to stay here…

Learn, my heart, that no man should be an

an extra weight to another, seeing that every

man has his own weight to bear and story to write…

PEDAGOGICAL ASPECTS OF DEVELOPING PROFESSIONAL CREATIVITY IN FUTURE TEACHERS BASED ON COGNITIVE APPROACH

ABSTRACT

This article analyzes the issues of guiding future teachers to acquire cognitive activity experience, developing their pedagogical thinking and professional creativity, and preparing them to design cognitive education and upbringing processes.

Keywords: cognitive pedagogy, future teacher, pedagogical education, professional creativity, education, upbringing, design, knowledge, method, cognitive-pedagogical activity.

The development of professional creativity in future teachers is directly related to the human cognitive process. The cognitive process reflects the systematic manifestation of mental processes. These are expressed in the future teacher’s perception of professional knowledge, retention in memory, recollection, processing, and interpretation. Methods and techniques that activate these processes in education began to be systematically studied by specialists by the end of the last century.

The formation of professional creativity in future teachers, the use of productive methods and technologies in this process, and ensuring creativity among future teachers have been studied in the works of R.G. Safarova, Kh.I. Ibraimov, B. Adizov, N. Muslimov, B.S. Abdullaeva, O. Tolipov, Sh. Sharipov, B. Mamurov, G. Ibragimova, and G. Nafasov. The technological stage is of great importance in helping future teachers acquire skills to design cognitive education and upbringing processes. At this stage, future teachers must master the principles of student development when designing all stages of the educational process.

It is crucial that future teachers acquire the ability to anticipate pedagogical tools, technologies used, and guaranteed educational outcomes. They should understand the principle of integrating their personal experiences into the content of education and training while designing cognitive education processes. Additionally, they must gain experience in collaborating with their future students through dialogue. The effectiveness of the cognitive education process depends on how accurately the teacher can design and organize it purposefully. For this, future teachers must also master the skill of using varied forms of work. These skills manifest clearly when future teachers select and design educational materials effectively.

Future teachers must also master the skills of monitoring the educational and cognitive activities of their students. Only then can they accurately design assessment materials and scenarios, which enables the efficient organization of the educational process. To equip future teachers with advanced pedagogical technologies, the following steps should be observed:

Analyze the lessons and professional outcomes of subject teachers during pedagogical practice to study their professional skills through mentorship.

Teach future teachers to identify and address potential challenges in cognitive pedagogical creativity and organization during their future professional activity.

Ensure future teachers can analyze and control their professional activities, relying on knowledge about designing and organizing the education process.

Enable future teachers to effectively select educational tools and use them in designing education and upbringing processes.

Allow future teachers to determine ways to improve their pedagogical creativity and organization based on concrete scientific and practical evidence.

To prepare future teachers for designing the education and upbringing process, they must initially:

Conduct regular consultations and discussions with mentor teachers during pedagogical practice.

Attend and analyze lessons of experienced teachers in detail.

Seek guidance from experienced teachers to organize the educational process effectively.

Participate in discussions, seminars, conferences, and training sessions on designing and organizing education and upbringing processes.

The practical training of future teachers in designing educational processes should be regularly analyzed by professors and instructors, highlighting achievements and shortcomings and recommending ways to address them. Future teachers should understand:

The individual characteristics of students in a particular class and the enhanced requirements during lessons.

How the teacher’s behavior in the educational process contributes to the personal development of students.

The structural components of the cognitive education process and what drives it.

The achievements and shortcomings of a specific teacher in organizing education.

To ensure effective design of the education process, the following measures are recommended:

Enrich the content of lesson topics and educational materials, aligning them with students’ personal development.

Create a supportive environment for students’ success and assist them in mastering the material.

Consistently support students’ interests and aspirations.

Future teachers should be able to select and design educational materials in harmony with students’ personal experiences and knowledge. Designing the educational process aligned with learning objectives is essential for its effectiveness. For this:

Educational materials should reflect students’ achievements, creative analysis, potential, experiences, and cognitive development.

Ensure the balance between the educational objectives and students’ abilities to master the material.

In designing educational situations within the cognitive education process, future teachers should consider creative thinking, communication engagement, and activity-oriented approaches, as these require mastery of professional knowledge. They must prioritize students’ personal development, facilitating interaction and dialogue between teacher and students, as well as among peers. The focus is on achieving outcomes important for students’ personal growth. Future teachers should gain experience in developing lesson plans that direct the learning process toward student-centered goals, ensuring lesson effectiveness through appropriate tasks and methods.

Collaboration among professional teachers, sharing and creatively utilizing each other’s experiences, is essential for ensuring the effectiveness of the education process. Future teachers should learn from experienced teachers during pedagogical practice. In addition to studying the conceptual foundations of cognitive education, they should understand methods for continuous educational activity, develop independent organizational skills, and recognize the significance of classroom situations in personal development.

All these requirements for future teachers must be reflected in the curriculum and textbooks designed for higher pedagogical education.

REFERENCES:

Mirziyoyev Sh.M. Strategy for the Development of New Uzbekistan. – Tashkent: Uzbekistan.

Safarova R.G. Theoretical Approaches to Cognitive Pedagogy: Monograph. – Tashkent.

Ibragimov Kh., Abdullayeva Sh. Theory of Pedagogy: Textbook. – Tashkent: Science and Technology, 2008. – 288 p.

Ibraimov Kh.I. Creativity as One of the Characteristics of the Personality of the Future Teacher // Science, Education and Culture. – 2018. – No. 3 (27). – P. 44-46.

Ibraimov Kh.I., Quronov M. General Pedagogy: Textbook. – Tashkent: Shaffof, 2023. – 416 p.

Narrative Structure and Artistic Construction

The novel opens with a shocking scene resembling a crime scene: the body of a young man named Yam is found in the square of Bran Castle in Germany, pierced by a metal rod engraved with the symbolic phrase: “You have water, but you do not have the soul.” The author uses this opening scene as a reverse introduction, beginning the narrative from its end before moving back to the past of the protagonist Yim and her struggle. Events unfold through a temporal overlap between past and present, as information about Yam (the transgender character) is gradually revealed through Yim’s memories, diary-like narration, mobile phone entries, and messages.

The narrative relies on a stream-of-consciousness technique (internal monologue), immersed in the free flow of the protagonist’s thoughts. Memories and reflections move non-linearly through Yim’s consciousness, shifting at times to her childhood in the Ghouta region of Syria, and at others to her migration or transition experience in Europe. The text highlights the tension between childhood memories (the absence of the mother and family disintegration) and present challenges (war, displacement, and integration into Western society). Thus, time and space intersect: the setting shifts from “traditional Syria” to “liberal Europe,” and time oscillates between the era of war and the era of exile. Critics have noted that this technique powerfully conveys the protagonist’s inner alienation, as Yim/Yam’s character gradually unfolds through narratives of travel and the hardships of asylum.

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Characters

The novel centers on the main character Yim, who embodies the core conflict, surrounded by secondary characters, most notably: her deceased Syrian husband (the initial motive for migration), the German woman Ferdwald, who encourages her transition, the Lebanese friend Elena, and the emotionally absent and abusive father who traumatized her childhood. Through these characters, the novel dramatizes the dichotomy between the conservative East and the open West, between the “original conscience” and the “acquired self.” This character construction reinforces the idea of a triple identity: the protagonist exists as a blend of an Eastern woman, a Western man, and a lost child, locked in a continuous struggle with a fragmented self.

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Core Themes and Issues

The novel fundamentally revolves around questions of identity in both existential and gendered senses. It portrays Yim’s suffering in her search for a stable self and a meaningful life, followed by her gender transition into Yam as an attempt at psychological healing from inner conflict. The work highlights the tension between her original identity and her acquired one: Yim experiences alienation from her new body and contradictory thoughts, caught between what her Eastern culture shaped in her and what the liberal West promotes. One critical study notes that the novel “examines Yim’s experience and interactions while crossing into a third gender, and how individual identity is formed and shaped by social conditions,” presenting gender transition as a decisive choice that confronts the protagonist with conflicting identities and leads to profound psychological turmoil.

The inner conflict is closely linked to external circumstances: life trials—parental loss, war, and patriarchal oppression—push Yim toward radical choices. Critical analysis suggests that these surrounding conditions drove her toward gender transition as a fateful option, yet the narrative demonstrates that this decision did not bring inner peace but instead intensified her sense of alienation and non-belonging. The protagonist’s opening testimony reflects this fracture: “I am merely the ghost of a lost man… living in a body that does not belong to him…”, underscoring the duality of gender and the impossibility of harmony between its poles.

The novel also addresses sexual liberation and homosexuality. It presents Ferdwald, a lesbian German woman who supports the transition, alongside other lesbian female characters, while criticizing sexual stereotyping in Arab societies. At the same time, it emphasizes that Western “enlightened” practices—encouraging homosexuality and transition—do not prevent the protagonist’s tragedy, but rather intensify her conflict. A journalist remarks that the novel shows how “the alleged freedom of the West quickly reveals its hidden complexities when the protagonist confronts the tragedy of integration and the exploitation of migrants,” placing the work in a critical position toward both Eastern and Western behaviors.

Additionally, the novel incorporates political and social entanglements such as asylum, smuggling, and addiction. It sheds light on refugee hardships, including the dangers posed by smugglers, and criticizes cultural fragility and the absence of social support. Although the plot centers on an individual tragedy, it ultimately projects a broader human catastrophe: the search for identity within constantly shifting environments.

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Symbolism and Significance

The novel employs powerful symbols that deepen its thematic dimensions. Foremost among these is water, which recurs at pivotal moments (Europe, transition, death) as a dual symbol: on one hand, life, fluidity, and hope for freedom; on the other, drowning, destruction, and fear of collapse. Water emerges as a witness to the bleeding and fragmentation of the soul; the engraved phrase “You have water, but you do not have the soul” unites hope with tragedy, turning water into a symbol of contradiction between survival and loss.

Another prominent symbol is the number three. The title “Third of Three” suggests fragmentation and disintegration, implicitly pointing to a triangular identity (masculinity, femininity, and lost childhood) and the imbalance between them. Critics argue that the number three in the novel “indicates a state of fragmentation between past and present, self and other, and between beautiful dreams and bitter reality.” Each transformation or decision by the protagonist thus reenacts this fragile triadic condition, where the desired harmony remains unattainable.

Overall, the novel employs these symbols with expressive eloquence, suggesting that the battle over identity unfolds on rich symbolic ground. Tattoos, slogans, and blood recur in a dense network, turning each dramatic scene into a direct reflection of the inner struggle.

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Style and Language

The language of the novel leans toward clear analytical narration with occasional lyrical descriptiveness. Some critics have praised Al-Mismar’s engaging style and adherence to narrative structure, combining dialogue, description, imagination, and internal monologue (including writings and mobile messages) within a cohesive plot. The protagonist’s narrative voice is personal and dynamic, marked by strong metaphors—such as “a raging sea whose depths cannot be reached”—and an intense expression of femininity and inner violence.

However, some observers note that the novel allows ample space for direct social commentary. At times, its style tends toward explicit didacticism, reinforcing its message through repetition and moral emphasis. One critic argued that the narrative structure lacks the familiar artistic complexity of tightly plotted novels, occasionally approaching a socially motivated discourse clothed in fictional form. Conversely, many readers believe that the open, poetic, and descriptive language—driven by the rhythm of stream of consciousness—draws deeply into the protagonist’s psyche, granting the text emotional authenticity.

Aesthetically, the work relies on the repetition of key terms (water, soul, loss) and figurative imagery (simile and suggestion) to reinforce its message. The title itself—“a ghost of a lost man”—functions as a poetic metaphor, infusing the text with lyrical tension throughout the protagonist’s internal expressions. At the same time, the author presents events in accessible, readable language, avoiding explicit sexual scenes and instead focusing on the psychological and existential struggle of identity, rather than sensational description.

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The Novel within Contemporary Arabic Literature

“Third of Three: Fragments of the Self” occupies a distinctive position in contemporary Arabic literature, as it addresses issues of sexual and gender identity with unprecedented frankness. The novel belongs to a small body of Arabic works that tackle such sensitive themes, surpassing the customary limits of the local literary canon. Critics have observed that Al-Mismar does not follow Western writers (such as Leslie Feinberg or Jeffrey Eugenides) in affirming a “third identity” as a final resolution; instead, he adopts an opposing approach that exposes the psychological fragility of such identities. In this sense, the novel is bold in its proposition and has been described as “a daring literary work that addresses issues of identity and gender transition.”

The importance of the novel lies in its call for the Arab East to reconsider assumptions about imported notions of freedom and openness from the West. It urges Arab readers to confront inherited stereotypes about gender and migration, and calls institutions and societies to engage with these dilemmas realistically. From this perspective, the novel represents a qualitative shift in the treatment of gender issues in Arabic literature, moving beyond traditional debates about women’s roles to delve into the deeper contradictions between masculinity, femininity, self, and other.

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Critical and Popular Reception

Third of Three received multiple critical readings following its publication. Critics wrote extensively about its boldness and psychological depth, with Al-Mayadeen describing it as one of the “daring literary works” addressing identity. Detailed analyses appeared in newspapers and literary platforms such as Al-Ra’i, Nakheel Iraqi, and Radar Al-Arab, examining its structure, themes, and style. The author also participated in book signings and literary discussions (in Beirut and Hermel, for example), attended by audiences and activists concerned with human rights and gender issues.

At the popular level, the novel attracted attention on digital reading platforms, with approximately 9.9 thousand readers on Kotobati and a high rating of 5.0/5, reflecting strong engagement with the text. Despite criticism of its direct style, the novel sparked debate and discussion in cultural forums and gained a reference status among Arabic works attempting to engage with gender identity issues.

In sum, reception indicates that Third of Three has been described as an exceptional and significant novel. Through a skillful blend of narration, psychological analysis, and symbolism, Ashraf Al-Mismar raises sharp questions about selfhood and belonging. Despite differing opinions about its style, the novel has undeniably left its mark on the contemporary literary scene by pushing the boundaries of subject matter and narrative courage.

Portrait of Rosa Schapire

The woman sits unwilling and blue

Boxed into a corner by a chair and a red wall

Implicating you in her afflictions

Worn sharp and clean resting

In a pensive position: poised as if ready to leave

At a moments notice she is encircled with wrought waves

Gold curves just short of crossing

The sun past set on the water

She is the only bright moment left

Before you are engulfed

The only thing holding back darkness

She is dressed in bridal white

Suits adorned in a rose and strung beads

Everything that is hers emanates dark

She is your mother dressed up and dolled up

To be young again for a night that dwindles

Four red clouds watch you from behind

The sun is dripping away

And you are stuck painting a woman

That is not your mother

About Rosa Schapire:

Rosa Schapire used her ground-breaking career in art history to advocate for socialist, feminist, and anti-fascist ideals across Europe in the twentieth century. Her family and education in her hometown of Galicia, Poland, introduced her to such ideals, and her studies took her around Europe. Schapire’s contributions to the art world were many, ranging from reviews and critiques to translations to amassing an impressive collection of German Expressionist work. She edited several journals and, along with fellow art patron and suffragette Ida Dehmel, helped to form the Women’s Society for the Advancement of German Art. After the rise of the Nazis and the death of many family members, Schapire fled to England, where many pieces of her collection are still housed in museums. 

NOTHING IN RETURN!

You filled up my life of failure and futility

You didn’t decry my slightest deficiency

You never took away your riches from me

I hardly crowned your copious empathy

I crashed them with my abashed apathy

Yet you pour your unconditional kindness

When I crazily race ahead in utter vain

Desirous yet destitute in soul in entirety

It’s you who offer me everything I need

Never to get anything back in return

You always try to bind me with your love

I get away from your embrace once again

When I think of you I do lose you though

I see you right behind me as I look back

DON’T KNOW WHY!

I cannot either tell or keep mum

Something is burning in our hearts

Under the showery rain or hot sun

You robbed my heart at first sight

In the very confession of longing

I know not why I’m in joy and grief

I feel the night in broad day light

The dawn and the dusk are new

As I turn, your shadow appears

And my passions speak volumes

PEACE!

I would hope for things

That peace could bring

There will be no hate and war

But peace all over the world

Looking for opening new doors

Expecting no surprise

But peace of mind and harmony

Until the day is gone to horizon

A new desire will born

Life teaches both good and bad

Let evils be buried in the past

Leading our life to way of sublimity

Looking forward to embracing hope and peace

SILENCE OF THE NIGHT!

The earth under the sky hangs like a ball

Over the classic blue the night descends

And the earth falls asleep in a rush

I doubt you‘ve heard the silence of the night

That hushes so, hovering in the wind

The dense darkness does engulf our life

And its very mundanity keeps increasing

The night stays awake under the sky-blue

With our shattered dreams here and there

But our trifling hopes do keep us alive

Sahitya Ratnakar Dr Prasana Kumar Dalai.(DOB 07/06/1973) is a passionate Indian Author-cum- bilingual poet while a tremendous Asst Professor of English by profession in the Ganjam district of Odisha.He is an accomplished source of inspiration for young generation of India .His free verse on Romantic and melancholic poems appreciated by everyone. He belongs to a small typical village Nandiagada of Ganjam District, the state of Odisha.After schooling he studied intermediate and Graduated In Kabisurjya Baladev vigyan Mahavidyalaya then M A in English from Berhampur University PhD in language and literature and D.litt from Colombian poetic house from South America.He promotes his specific writings around the world literature and trades with multiple stems that are related to current issues based on his observation and experiences that needs urgent attention.He is an award winning writer who has achieved various laurels from the circle of writing worldwide.His free verse poems not only inspires young readers but also the ready of current time.His poetic symbol is right now inspiring others, some of which are appreciated by laurels of India and across the world. Many of his poems been translated in different Indian languages and got global appreciation. Lots of well wishes for his upcoming writtings and success in future.He is an award winning poet author of many best seller books.Recently he is awarded Rabindra nath Tagore and Gujarat Sahitya Academy for the year 2022 from Motivational Strips . A gold medal from world union of poets France & winner Of Rahim Karims world literary prize 2023.The government of Odisha Higher Education Department appointed him as a president to Governing body of Padmashree Dr Ghanashyam Mishra Sanskrit Degree College, Kabisurjyanagar.Winner of ” HYPERPOEM ” GUNIESS WORLD RECORD 2023.Recently he was awarded from SABDA literary Festival at Assam.Highest literary honour from Peru contributing world literature 2024.Prestigious Cesar Vellejo award 2024 & Highest literary honour from Peru.Director at Samrat Educational charitable Trust Berhampur, Ganjam Odisha.Vicedomini of world union of poets Italy. UHE awarded him prestigious Golden Eagle award for the contribution of world literature 2025.Completed 256 Epistolary poetry with Kristy Raines U SA..Bharat Seva Ratna National award 2025,International Glory award from Manam Foundation Hyderabad Telengana. On the eve of 79 Independence day got Rashtra Ratna award & Maa Bharati seva Sammana. 2025.Received Doctorate in Humanity and literature from Theophany university Haiti with UNESCO, AEADO and leaders of autonomy international. The prince of crimea and the Golden Horde from the house of Genghis Khan given prestigious “Honorary Bey”Received Sahitya Ratnakar from New Delhi 2025, Honorary Doctorate from RMF University collaborated with east and west university Florida United States Of America on the eve of International peace Day.Prestigious THE CONDOR OF ANDES from UHE Mexico 2025.INTERNATIONAL BOOKS1.Psalm of the Soul.2.Rise of New Dawn.3.secret Of Torment.4.Everything I never told you.5.Vision Of Life National Library Kolkata.6.100 Shadows of Dream.7.Timeless Anguish.8.Voice of Silence.9.I cross my heart from east to west . Epistolary poetry with Kristy Raines published in USA..