Hazel Haiku
Me? Adopt from a
shelter? Never. Then I saw
Hazel. Fell in love.
Frances, the bloodhound,
drags her owner on walks. Yikes!
Love my Chihuahua.
Cute dog toys two for
five dollars at Petco. I
lose my mind. Buy ten.
Hazel eats too fast.
A silverware tray is her
new food bowl. It works.
Puppuccino time!
I spoil her. I know. But she
deserves it. She does.
Laura Stamps is a poet and novelist and the author of over 60 books. Most recently: THE GOOD DOG (Prolific Pulse Press, 2023), ADDICTED TO DOG MAGAZINES (Impspired, 2023), and MY FRIEND TELLS ME SHE WANTS A DOG (Kittyfeather Press, 2023). She is the recipient of a Pulitzer Prize nomination and seven Pushcart Prize nominations.
USE OF MODERN TEACHING METHODS IN PRIMARY EDUCATION
Rejabova Dildora
Rejabova Dildora Ergashali qizi
Namangan State Pedagogical Institute Faculty of Pedagogy
Primary educatio 1student
+998948939203; E-mail: rejabovadildora@gmail.com
Abstract: This article describes the use of modern teaching methods in primary school classes of general education schools, their importance in increasing the effectiveness of classes
Today, our country is rapidly developing in all fields. At the core of all fields, of course, is education. In particular,primary education lays the first foundation stone. Currently, our state has to ensure that teachers have a creative approach to lessons, widely introduce advanced pedagogical and information and communication technologies in their work, and is the foundation of students’ initial knowledge acquisition. necessary measures are being developed and implemented in order to increase their interest in mastering all subjects. The concept of “Development of the public education system of the Republic of Uzbekistan until 2030” defines the main directions, including:
– By 2030, the Republic of Uzbekistan will enter the ranks of the first 30 advanced countries of the world according to the PISA (The Program for International Student Assessment) rating of the international student assessment program;
-Qualitative updating of the content of the continuing education system;
-Improving the teaching methodology, gradually applying the principles of individualization to the educational process.[1]
One of the great sages said, “…if you don’t worry about the future, give your children a good education and teach them.” As our grandfather Yusuf Khos Hajib said: “Where there is intelligence, there is greatness, where there is knowledge, there is greatness.”
Today’s time puts great demands on the teacher and the student, the main of these demands are the effectiveness and quality of the lesson, the knowledge and skills of the students in various educational activities in schools, their organization and through it It is the students’ acquisition of various knowledge and skills. The role of modern information technologies in the organization of today’s demanding lesson is incomparable. Because through themthe use of multimedia, animation, graphics, slides, video films helps to make the lesson process more interesting.
The teacher uses modern computer technologies can perform several tasks:
– by using multimedia technologies in primary classes students develop interest in science;
– this method of education activates students’ thinking abilities and increases the efficiency of learning material;
– provides an opportunity to model and visualize processes that are difficult or complex to demonstrate;
– assimilation of educational materials not only according to the level, but
effective according to the level of logic and acceptance of students;
– students are given the opportunity to search for and find materials and find answers to problematic issues through independent research;
– conditions are created for students to master a new topic, solve examples, write essays, statements, get acquainted with educational materials, select and analyze information and data quickly [2]. In previous traditional teaching methods, students were taught to acquire ready-made knowledge, but today, students have the opportunity to search for, collect, and familiarize themselves with information through modern media. they eat
Now the question is, what can be taught to students through these information technologies? First of all, it is about teaching methods, teaching methods are the teacher anddetermines students’ directions and actions. These methods include a set of methods used by the teacher to master knowledge, skills and abilities. working using some elements of the second teaching method together with the main teaching method used in the teaching. The tool is the auxiliary teaching materials necessary for the implementation of the teaching methods – tools, weapons, apparatus and the like. [3] Today, based on the requirements of the times, it is appropriate to put the word “modern” in front of the term “teaching methods”. Because if we don’t modernize our teaching methods, the effectiveness of the lesson will drop sharply. Because this does not satisfy the needs of the students and the time. The mental development of the current students is stronger than the previous ones, the children of the 21st century. For this reason, if it is passed by simple methods, the interest in the lesson will be lost.
Currently Designing, Problem Situation, True-False, Self-Assessment, Reading Comprehension, Brainstorming, Sinkwain , “BBB”, “Brainstorming”, “Fifth plus”, “6x6x6”, “Debate”, “Working in small groups”, “Snowball”, “Zigzag”, “I have the last word” technologies are used. In this process, the center of the lesson is not the teacher, but the students. The main task of the teacher in the process is to create conditions for personal development, learning and upbringing, and at the same time performs the task of management and direction.
About the effectiveness of the above methods. “Self-assessment” method, as we can know from the name, the student is assessed by himself, not by the teacher. The advantages of the method are that it takes less time, all students at the same timeit is evaluated by completing tasks. It helps the student to understand what kind of knowledge he has and does not lead to bad attitudes towards the teacher. He sees his mistakes with his own eyes and tries to correct them.
“Find the fifth” method. This method is of particular importance in students’ acquisition of logical thinking skills. When using it, the following is done:
– formation of concepts that serve to reveal the subject being studied;
-achieving the placement of four (five, six…) related concepts and one unrelated concept from the resulting system;
– assign students the task of identifying one concept unrelated to the topic and removing it from the system;
– to encourage students to interpret the essence of their actions, that is, they need to know why they left out a word and how the rest of the words are logically connected with each other.
For example, a series of words: book, pen, pencil, window.
Redundant word: window.
Educational tools: book, pen, pencil.
New pedagogical technologies are of great importance in making primary school students interested in lessons, mainly visual aids, various interactive games are used to make lessons interesting and easy.
If we combine the modern methods we use with modern media, it will fully meet today’s requirements. Rather than working with handouts on plain paper, that’s itif we show the materials on the screen and perform the tasks, students will develop the skills of working with information technologies. This will serve as a great foundation for their future activities. At the same time, they will have the competence to work individually and in small groups, to act as a team with their friends. The lesson will be interesting, high-quality and productive, and there will be an opportunity to acquire more knowledge. By posting videos on a topic based on real events, it opens a wide way for students to understand the world faster.
The use of computer game capabilities together with didactic games makes the teaching process even easier. Most of the knowledge, skills and abilities acquired in the lesson are still not used by young students in activities outside the classroom, their practical value is lost and the power is significantly reduced. Put the acquired knowledge and skills in the gaming computer environment. learning leads to their mastery and mastery, motivation. The high level of emotionality of young students is significantly limited by the strict framework of the educational process. Computer training allows to partially eliminate high emotional tension and revive the educational process .[4]
In conclusion, the use of modern information and communication technologies and modern teaching methods in primary classes helps students to think independently, to expand their creative research and logical thinking, to connect what they learned in classes with life, and to increase their interest in the lesson. . The effective use of conditions created by teachers based on such modern requirements and the organization of classes based on advanced pedagogical and information communication technologies guarantees the quality of the educational process.
List of used literature:
1. Decree of the President of the Republic of Uzbekistan dated April 29, 2019 “On approval of the concept of development of the public education system of the Republic of Uzbekistan until 2030”.
2. Ismatova.Sh.B. “Advantages of using modern information technologies for teaching in primary grades.” – “Science and education” scientific Journal, 2020. www.openscience.uz.
3. “Education” complex.
4. Umarova, M.R. “The importance of using ICT in primary education.” – “Interpretation and research” scientific journal, 2022.
It’s hard for students to read and understand a text if they don’t know what the words mean. A solid vocabulary boosts reading comprehension for students of all ages. The more words students know, the better they understand the text. That’s why effective vocabulary teaching is so important, especially for students who learn and think differently (Charly Lyon Mat). “Vocabulary size is a convenient proxy for a whole range of educational attainments and abilities – not just skill in reading, writing, listening, and speaking, but also general knowledge of science, history, and the arts (“A wealth of words, by E. D. Hirsch Jr).
In this article I will emphasize several ways of teaching vocabulary to A1 level students in the classroom and explain many techniques used by English teachers as well as my own personal view of them and also I will offer some tips for calculating result of pupils in teaching .
Key words : Vocabulary , acquire , enrich ,implicitly ,mean , median , mode ,range
1 Introduction
Vocabulary is something we continue to learn and develop throughout our entire lives – an unconstrained skill. While some vocabulary is acquired implicitly through everyday interactions, it’s important to teach more complex and technical vocabulary explicitly (Mark Ankucic 11 November, 2019). Vocabulary has both print and speech forms. Beginning readers use their knowledge of the spoken form of a word to recognize the print version of that same word (Reading Horizons ,printed by google in February 2022).
Vocabulary is the main part of language , learning and teaching . Why? Imagine , you should make something that may be paper home you have a glue and some paper . Paper is the vocabulary , glue is the grammar and when you have paper you may make or create something but when you have glue but no paper you can not create anything . So , that’s why teaching vocabulary is the main phase of procedure of teaching .
2 Methods
Teaching English Vocabulary to A1 level students
Commonly, there are several techniques concerning the teaching English vocabulary . Considering the number of new words students have to learn per course, this means us teachers have our work cut out for us. We all know that although it is important for students to use correct grammar and structures, words are the main carriers of meaning. This means that the more words students are able to handle accurately, the better their chances of understanding English and making themselves understood .
To effectively acquire English vocabulary, students must be learnt four essential stages that first, they notice a new word with help. Secondly, they recognize the word at first with help. Then, they recognize it later on their own. Lastly, they are able to both recognize and produce the word ( (Busy.Teacher.org)
Teachers , furthermore , suggested that we should know the levels of students . It is previous that you, as the teacher, make use of activities that target each of these stages because you should teach words and phrases and you should know level of students and then choose the words and methods for teaching it when you have a clear information about your student you may easily achieve your goal . Moreover , create situations that they use the vocabulary which have gained while the lesson. It helps to fix pupils’ mind and they may utilize them freely in the situation that they need.
We should pay attention one thing that if we are teaching A1 level students we should find easier and funnier way to teach them because they can not acquire or gain high level words and also they are difficult to take in to them .
Here are some techniques of teaching vocabulary as stated by some teachers that I have learnt :
a) Using real -life objects
It is the most easy and remarkable way of teaching vocabulary because while teaching procedure we may easily use it , for example , introduce everything in the room or body parts or something that on the picture of students’ clothes and extra. For instance , we want to teach body parts to our students we may use our body parts instead of pictures of them by showing them our actions.It helps to develop students’ memory and also speaking skill.
b) Using Visuals to Enhance Understanding
In this technique, we use the visuals that helps to students understand new concepts. For example ,we were in a social studies classroom in which the teacher was presenting geography terms such as equator, latitude, and longitude. She or he drew a circle on the board to illustrate the Earth, and then she wrote the word equator across the center. She wrote the word latitude horizontally from west to east where the latitude lines go across the Earth. Finally, she wrote the word longitude from north to south to clearly illustrate the meaning of the word. She or he provided visual context for her students as they encountered the terms for the first time.
Teaching vocabulary is the magic thing if you have a will to creating someting.
3 Result and Discussions
If we want to know our students results there are some techniques for finding out them. We use the Pre and Post tests , mean , mode median , and range for compering and calculating pre and post reults’ of students .
Firstly , we use the Pre test when the beginning of the course or semester . Our tests should be baesd on vacabulary and find out all results and write them on the sheet :
Student’s name
Mark / Pre test
Abdullayeva E’zoza
78
Olimov Jamshid
87
Ulug’bekova Farangiz
80
Then we find out Mean .
The Mean is the average result of group . The Mean has two section pre and post . For calculating it we add all of tge marks of students to each other and divide it into numbers of students in the class . For example , all gathered mark is 1609 , number of students are 20 . Pre mean : 1609 : 20 = 80.45%
It is clear from that , 80.45% of students do well and pass an exam . Post mean also is calculed as the same.
Mode is the repeated marks in pupils result that they got pre or post tests.
For finding out mode we look through all students’ results and point some of them that are repaeted . For instance, we have 20 students in our group and some of them get the same reults : 80 , 82 , 88, 87 ,82 88, 83 80 ,5 ,83 ,80 …… may be five students get 88 point or some of them get 82
Pre mode : 80 , 82 , 83 ,88 …… and Post mode is calculated also as the same .
Median is tge result of one pupil in the class . For clarifying median , we write all results of pupils in sequence that 80, 88, 78, 90 ,86, 78, 91 ,89… and we count sequence marks in line then we choose average of them . For example , we have 12 sequenced marks : 80,81, 82 ,84, 85, 86, 87, 90, 93 ,96,97, 99 . Average points of them are 86 and 87 and add them to each other and divide the reult to 2 . Pre median: (86+87) : 2 = 173 :2 = 86.6%
86.6% is the result of one pupil in the class .
Range is productivity of our teaching procedure or methods.
For finding out it , we choose the highest mark and lowest mark of pupils and subtract from each other : 96 – 76 = 20 %
Pre range is 20 % . And we calculate post range results by the help of post test . Again , choose highest and lowest marks of pupils that they get from post test : 99 – 86 = 14 % . Post range is 14% . It shows that our lesson is productive .
Conclusion
This piece of work aims to highlight the importance of teaching vocabulary learning as an essential part in foreign language learning. Vocabulary in any classroom brings a range of benefits. It adds variety to a lesson, which can be fun and motivating for students by using some kind of extraordinary and interesting , fun techniques or methods It broadens the possibilities for language production by taking students beyond their own lives and experiences. Vacabulary it is the base of learning and teaching language as E. D. Hirsch Jr said ” Vocabulary size is a convenient proxy for a whole range of educational attainments and abilities – not just skill in reading, writing, listening, and speaking, but also general knowledge of science, history, and the arts”.
4 References
Vocabulary words: An evidence-based literacy strategy Charly Lyon Mat https://www.understood.org/en/articles/how-to-teach-vocabulary-words
Teaching vocabulary https://m.busyteacher.org/
Everything Teachers Need to Know About Teaching Vocabulary Effectively Mark Ankucic https://www.3plearning.com/blog/how-to-teach-vocabulary/ 11 November, 2019
Teaching vacabulary
readinghorizons.website was first indexed by Google in February 2022
3 Strategies for Teaching Academic Vocabulary By Barbara R. Blackburn
Activities of Jan Hus in the Czech Republic in the XII- XV centuries
Madaminov Tulqinjon Mamayunusovich
Kokan State PedagogyAssociate professor, teacher
Mirzaliyeva Zarinakhan
Student of the Kokan State Pedagogical Institute named after Mukimi
Annotation . This article analyzes the activity of Gus Jan, the national hero of the Czech people, the ideological leader of the Reformation, against the violence of the Germans in the Czech Republic, against the corruption of the upper-class Catholic clergy, and in spreading the church’s land ownership to an extraordinary extent.
In the Czech Republic, Jan Hus, a priest and professor at the University of Prague, was a representative of the advanced classes of Czech society in the spirit of religious and national reformation. Jan Hus was born in 1369 in the village of Husinets in a simple peasant family. Of course, every mother wants her child to grow up mature. Therefore, at the age of 13, Jan Gus’s mother took her son to another city to study in Prachatice, where he studied for 4 years. Later, in 1386, Jan Hus went to Prague and in 1390 he became a student of the universities there. In 1402, the most important period in the life of Jan Hus begins – he becomes the priest of the Bethlehem church. His responsible attitude, his desire to convey the truth to the people was manifested in everything, combining work at the university with teaching, he gained momentum in his work. Thanks to his zeal, the Czech king Vaclav changed the charter of the University of Prague in 1409, giving Jan Hus the role of leading the university. Jan Hus’ socio-political and religious views grew up under the influence of the famous English reformer John Wyclef. In particular, in Wyclef’s vision, he promoted the virtues of Christianity, the existence of the papacy, the local church and their luxury. Thus Wyclef’s views in the Czech Republic through Jan Hus manifestation be starts [1]_ In this period in the Czech Republic oppression and exploitation of the Catholic Church increased. During the Hundred Years’ War, the popes transferred their tyranny to Germany, Poland, the Czech Republic, and Hungary. Each year, the Czech Republic sent taxes in various formats to the papal court. There were especially many priests selling indulgences. Most of the taxes collected in the Czech Republic were sent to the papal treasury. At this time, most of the clergy in the Czech Republic were not native Czechs, but immigrant German priests and monarchs who owned land in the Czech Republic. In a word, the peculiarity and complexity of the revolutionary struggle of the Czech state at the end of the 15th century and the beginning of the 16th century came from this. In fact, this social movement was directed at the medieval Catholic Church, which was to a large extent the embodiment of foreign tyranny. This movement is related to the work of Jan Gus. But he surpasses Wyclef in several matters. He understood that the church was tormenting the people. Just as our ancestors did not want to enlighten our people. Just as Jan Hus fought against the Russian Empire, he also fought against the Church’s rules in the Czech Republic. Gus’s relationship with the papacy becomes strained and irreconcilable. He comes out with a sharp criticism against the trade in indulgences, against the expansion of the church by landowners, and against the increasing extortion of money by priests. The professor said that the prayer should be performed in the native language, in Czech, and the land should be used by the state to spend promote does [2]_ He did not call for the overthrow of the feudal system. Basically, it limited the oppressive tyranny of the church on the population. The activity of Jan Gus was aimed at exposing the shortcomings of the clergy, condemning the luxury and wealth of the church.
The work of Jan Hus was opposed by the archbishop of Prague, and then by the pope. Gus is forbidden to worship, deprived of the positions of rector and professor. The Church accused him of blasphemy and summoned him to the court of Constantine in 1414. Emperor Sigismund gives Hus the label of “protector” to protect him from the Church. But Gus is imprisoned as soon as he arrives in Constantinople. The Church does not even want him to speak, and condemns him to be burned at the stake as a heretic. And Sigismund did not want to go back and help Gus, betraying his word. Because at that time the prestige of John Hus was higher than the emperor and the papacy. Thus, on July 6, 1415, Jan Hus was burned at the stake in one of the squares of Constance.
The death of Jan Hus caused deep anger in the Czech people. The “heretical communities” that emerged deepened Gus’s teachings and began to see him as a reformer of the church. Punishments by the government begin to be applied against these Huschilars. In this regard, the Huschis revolted in Prague on July 30, 1419. Prague to this uprising priest Jan Zhelivskyi[3] leadership did _ As a result of the uprising, King Wenceslaus is effectively deposed and he flees the country. In his place, his younger brother, Emperor Sigismund, will become the heir to the Czech throne. Sigismund crushed the Guschilars. But because of Sigismund’s wicked behavior, his open hatred of Gus, and his open communication with the German feudal lords, the Czechs did not even hear his name.
In conclusion, it should be said that, despite the defeat of the Husci, their war was important in the history of the Czech Republic. The largest peasant movement at the end of the Middle Ages, foreign Germans, the first church reformation in the Czech Republic was the activity of the Hussars, an uprising against the medieval Catholic Church. Our ancestors Russia to the empire as he fought , Jan Hus also fought against the church’s order in the Czech Republic . He is a person who reformed the church and society in the Czech Republic as to the tarikh sealed.
References
Gutenberg VI People dvijeniya v gorodax Italii v XIV- early XV century . M.- L. 1958
History krestyanstva v Yevrope . Epoxa feudalism . T. 1.2. M. 1985 -86 g.
Kotelnikova LA ” History average vekov “V 4- t.-M., 1968 g.
Lozinsky ST – ” History Papacy “-M., 1986.
[1] Semyonov VF ” Middle centuries history “-T. 1973
[2] Semyonov VF ” Middle centuries history “-T. 1973
[3] Gutenberg VI Narodn y e dvijeniya v gorodax Italii v XIV- early XV century . M.- L. 1958
Write a note on historical sense in the light of T.S. Eliot’s “Tradition and the Individual Talent”.
Or
Summarize Eliot’s attack on the romantic theory of literature as revealed in his Tradition and Individual Talent.
Or
In many ways, Eliot has proved himself to be the most important critic of our century. Elucidate.
Or
Critically examine T. S. Eliot’s Coleridgean theory of imagination.
Or
Write a brief note on I. A. Richards’ disagreement with Aristotle’s belief that the command of metaphor: “cannot be imparted to another; it is a mark of genius, for to make good metaphors implies an eye for resemblances.”
Or
Evaluate I. A. Richards’ contribution to literary theory.
Or
Briefly explain I. A. Richards’ application of impulses in literature.
Or
Explain the main difficulties of sensitive criticism as pointed out by I. A. Richards.
Or
Drawing on the work of at least three critics prescribed for this course, discuss the principal changes in theoretical orientation in twentieth century literary criticism.
Or
For Coleridge fancy is the drapery attiring the poetic genius while imagination is its soul, which forms all into one graceful and harmonious whole. Coleridgean theory of imagination is distinguished as literary aesthetics: literary theory abstracted as impressionistic criticism. Sensations and impressions from the external world coalesce and merge with the faculties of the soul—-imagination, perception, intellect and emotion to undergo the creative process of artistic creation through formerly selection and ordering, and latterly being reshaped and remodeled as “esemplastic phenomenon” to endow entirely new finished product in the form of a chemical compound from the elements of mechanical mixture.
In literary aesthetics of Biographia Literaria, Coleridgean rhetoric of the Wordsworthian poetic theory and poetic diction stipulates the faculties of the imagination as either primary or secondary with greater depth, penetration and philosophical subtlety. Primary imagination is universalized as unconscious and involuntary perception of the sensations and impressions of the external world with the internal mind as the living power, and prime agent of all human perception as a repetition in the finite mind of the eternal act of creation in the infinite I am. Secondary imagination is more active, more conscious and more voluntary, and a result of volition than the primary imagination.
With this distinct and peculiar imagination the poet’s the soul of the faculty of imagination possess magical synthetic power in order to synthesize or fuse the various faculties of the soul—-imagination, perception, intellect and emotion ie, the internal with the external, the subjective with the objective, the spiritual with the physical and material. By the conscious effort and volition of the will and intellect, the secondary imagination selects and orders the raw materials and reshapes and remodels it into objects of beauty. It is esemplastic ie. A shaping and modifying power by which its plastic stress—reshapes objects of the external world and steeps them with glory and dream that was never on sea and land. The secondary imagination is a reechoing of the former [primary imagination], coexisting with the conscious will, yet still as identical with primary in the kind of its agency, and differing only in degree and the mode of its operation. It dissolves, diffuses, dissipates, in order to recreate, or where this process is rendered impossible, yet still, at all events, it struggles to idealize and to unify. It is essentially vital, even as all object[as objects] are essentially dead and fixed. In terms of fixities and definites, fancy dwells as a memory emancipated from the order to time and space.
Write a note on historical sense in the light of T.S. Eliot’s “Tradition and the Individual Talent”.
Or
Summarize Eliot’s attack on the romantic theory of literature as revealed in his Tradition and Individual Talent.
Or
In many ways, Eliot has proved himself to be the most important critic of our century. Elucidate.
T.S. Eliot
Cleanth Brook’s rewriting of literary history in Modern Poetry and the Tradition traces back to revisit “deep, hidden connections” of metaphysical aesthetic culture essayed by T. S. Eliot. Eliot and Brook’s unity and community have theological implications that signified God-terms implied in the semantic lexis of their works: modernist poetics and new critical practice. Eliot’s advocacy as a spokesman in the preservation of educational communities and European civilization as a whole within the cloister against anarchy, mutability, decadence, futility, contamination and dehumanization from the deluge of barbarism or savagery: rehabilitation of a system of beliefs known but now discredited. “Literature should be unconsciously, rather than deliberately and defiantly Christian—-ethical and theological standpoint of literary criticism finds fullest expression in the New Criticism of Cleanth Brooks; paradox and tensions resolve themselves into pure orthodoxy. The end of civilization was the temptation of being marketable to scientism and secularism: “I am using art in the sense of a description of an experience which is concrete where that of science is abstract, many sided where that of science is necessarily one sided, and which involves the whole personality where science only involves one part, the intellect. These are qualities which are essential to a worship, and a religion without worship is an anomaly.
T. S. Eliot emphasizes the immortalization of impressionistic works of art brimming by the period of full maturity within the coalescence of the living past with the timeless and temporal together. Essayist distinguishes retelling and revisiting, rewriting and rethinking through distinction between the present and the past is that the conscious present is an awareness of the past in a way and to an extent in which the past’s awareness of itself cannot show. Continual self-sacrifice and continual self-extinction of personality ought to be the verdict in modernist literary criticism. The mind is a filament of platinum—the catalyst that is inert, neutral and unchanged; passions are raw materials to be transmuted and the mind becomes the receptacle for a combination of feelings, images, phrases, emotions as instanced in the Voyage of Ulysses, the murder of Agamemnon and the agony of Othello. T. S. Eliot’s disapproval of Wordsworthian poetic formula “emotions recollected in tranquility”; since there is neither emotion nor tranquility, nor without distortion of meaning turning loose of emotion; not the expression of personality but that of escape from personality.
Afterall the formulated phraseology of the ceremonial celebration in Tradition and Individual Talent is of impersonalization and multiplicity of narrative perspectives “only those who have personality and emotions know what it means to want to escape from these things” as in “We are glad to be scattered. We did little good to each other.” Eliot’s silence of the relation of present in the future text is revelatory of the anxiety over his own place in the critical tradition—-a lack which await to be supplemented by appearance of future texts through comparison and contrast to a greater or a lesser degree.
T. S. Eliot emphasized the aesthetic and appreciative arguments or statements revealed in the personality of the poet implied through the characters actions and behaviour in the form of a “projection of personal qualities”. Eliot’s theory of depersonalization or impersonalization is a spontaneous artistic process: theory of indirect self-expression. The famous catalyst “filament of platinum” emblematizes the poetic mind detached, the materials of the poem—-the “feelings” [sulfur dioxide] related to images and “emotions” [oxygen] related to situations are internal; the poem is created by a process of “fusion”, which occurs under intense pressure. The fusion depends upon the following characteristics: [1] the emotion of the “man who suffers” [2] the transforming power of the creative process [3] the fortunate critical moment —- the “concentration” that produces the right combination of elements. Unlike Longinian tradition of “inspired passion” the “intensity of the imaginative pressure” is of paramount value in the artistic process of fusion to produce the “newly formed” art work [sulfurous acid]. E.M.W. Tillard suggest that T. S. Eliot’s theory of depersonalization/ impersonalization is in fact a disguise of the self- expression: “The more the poet experiences this abandonment, the more likely the reader to hail the poet’s characteristic, unmistakable self.”
Eliot’s concept of the poetic mind as the filament of platinum catalyst has similarities to the Romantic analogue of the Lamp, discussed by Abrams in Mirror and the Lamp. Both Eliot and the Romantics emphasize the qualities of the external [images and situations] as a reflection of the internal [emotions and personal characteristics]—that is the personal expression of the poet, as opposed to the representation of the world in which he lives. The catalyst, however, is not projective, the mind of the poet remains outside of the “newly formed” art. Objective poetry and objective equivalents to the characters emotions, motivated by the situations and images which correlate to suffice to those emotions, must be closely if not necessarily the same and this empirical philosophy is evidenced in objective poetry “everywhere the feelings of the author penetrating even in the innermost depths of the poet’s most intimate individuality —-gleams through.
It is a sense of the timelessness as well as that of the temporality that makes a writer traditional; tradition cannot be inherited but worked through the “historical sense” based on “his own generation in his bones” and “the whole of the literature of Europe from Homer and within it the whole of the literature of his own country”. Eliot disfavours a subjectivist or individualistic ground of poetic activity and rather privileges the relational and collectivist groundwork of creative activity; abnegating Wordsworthian perspective “emotion recollected in tranquility” but appreciating” a continual self surrender” in the vein of “a continual self-sacrifice” and “a continual self-extinction of personality”. Eliotic memorabilia associative theory of depersonalization traces the analogy between the poetic mind and the “filiated” platinum shred that makes possible the creation of new chemical compounds through artistic or creative process of fusion. “The life of our heritage of literature is depended upon the sustaining continuance of literature”, a suggestion positing that there is an organic relation between the poetry past and the present. Hence, the youthful passion of the living young poet in recollection for the dead should be preserved in commemoration as “bearer of tradition” alluding to the beneath latent meaning that “contemporary poetry is deficient in tradition”. “The Transhistorical English mind” relates to the doctrine philosophizing “the mind of Europe as to be in the light of eternity contemporaneous”.
T.S. Eliot
Further Reading
John N. Dunvall’s Eliot’s Modernism and Brook’s New Criticism: Poetic and Religious Thinking, The Mississippi Quarterly, Winter 1992—–93, Volume 46, No. 1, pp. 23-37 [Memphis State University]
T.S. Eliot’s Tradition and the Individual Talent, Perspectiva, 1982, Volume 19, pp. 36-42, The MIT on behalf of Perspecriva
John Steven Child’s [Sam Houston State University] Eliot, Tradition and Textuality, Texas Studies in Literature and Language, Fall 1985, Volume 27, No. 3, pp. 311-323, University of Texas Press.
Allen Austin’s [Indiana University] T. S. Eliot’s Theory of Personal Expression, PMLA, June 1966, Volume 81, No. 3, pp. 303-307, Modern Language Association
Peter White’s “Tradition and the Individual Talent Revisited, The Review of English Studies, June 2007, New Series, Volume 58, No. 235, pp. 364-392, Oxford University Press
Write a brief note on I. A. Richards’ disagreement with Aristotle’s belief that the command of metaphor: “cannot be imparted to another; it is a mark of genius, for to make good metaphors implies an eye for resemblances.”
Or
Evaluate I. A. Richards’ contribution to literary theory.
Or
Briefly explain I. A. Richards’ application of impulses in literature.
Or
Explain the main difficulties of sensitive criticism as pointed out by I. A. Richards.
I. A. Richards is ubiquitiously a major presence and influence into the history of literary criticism and theory as well as composition and rhetoric. I. A. Richards was so deeply influenced by Coleridge to study I. A. Richards is to see Coleridge through the lens and filter of a scholar-teacher relation who believed profoundly in the utopian potential of science, thus paradoxically embodying the romantic belief that all knowledge is personal and subjective as well as the modernist faith in the objective empirical science. We are reminded of the following problems in reading poetry in view of classical literary theory: making the plain sense, difficulty with sensuous apprehensions, difficulty with imageries, mnemonic irrelevancies, stock response, sentimentality, inhibition, doctrinal adhesion, technical presupposition, general critical preconception. From Coleridgean theory of imagination —-the hegemony of both composition and “literature of fact” posit in the historical sense of composition has been on the fringes or the ghetto of the humanities and this alludes to biography, critical interpretations, autobiography, essays, non fiction, memoirs, and histories as peripheral in literary studies. Richards does not explain how the mind bridges the gap supplied by the print and the meaning derived therefrom. The mind organizes the perception and the object now becomes a projection of our sensibility and in this sense is knowable. Richards claims that the wealth of scholarships including dictionaries, concordances, critical commentaries and biographies as scholarly aids that “does not lift our heart as it should do”. Richards indoctrinates that contiguity is reproductive leading to stultification and conformity, while similarity “extends and develops” leading to resourcefulness and constructiveness.
The enlargement of the mind and the widening sphere of human sensibility is brought about through poetry. I. A. Richards claims that imaginal actions and incipient actions … are more important than overt action. Since attitudes are these actions embodied by resolutions, interanimations and the balancing of impulses…that all the most valuable effects of poetry must be described.” “It is not the intensity of the conscious experience, its thrill, its pleasure or its poignancy which gives it value but the organization of impulses for freedom and fullness of life.” Meanings are produced organically from our adaptations of the past experiences to the needs of present life… “as representations does not encroach upon our present; it inhibits as the very conditions of its experiences.” Richard Forster argues, “changes in language mean changes in the colouration of the thought which they embody—-changes, that is, in “sensibility”. I. A. Richards theorizes the pseudo statement in which intellectual references is a mere-condition for the expression of the emotive impulses. “The facts of mind” are in opposition to doctrines and formulations, parallel closely the emotive impulses which are opposed to references. Richards’s theory of Creative Imagination and by extension of the nature of poetry—-“projective-realist synthesis”—–a reconciliation of the “realist doctrine—-the mind perceives the objective reality in nature——with the projective doctrine—-the mind perceives only a projection of its “feelings”, “aspirations” and “apprehensions”. Richards synthesis of realist and projective doctrines is the effect of synchronization with harmony of Richards’s own materialism and Coleridge’s idealism—-emotive assertion incapable of conflicting.
I. A. Richards indoctrinates that the “Good Sense” is “representative and reward of our past conscious reasonings, insights and conclusions.” Poetry should not merely live moral adhesion towards religion, ideology or tradition rather we should consider the aftereffects the capacity to organize and govern life as the organic whole of the being, the perfection of the self and the judgement of aesthetics ;ie, the self-completion of the humanity within individuality. / “And all things may live from pole to pole/ Their life the eddying of their living soul”…Richards language laboratory encapsulated in the workshop criticism that adopts technological advancement in the new modernism cover such instruments such as radio, cassettes, films, slides, video and computers in the vein of much Shelleyan Prometheus Unbound: “And arts, though unimagined, yet to be”, which he would not return to the old routine in Frost’s “knowing how way leads on to way”. History and tradition are the seamarks and lighthouses —–sometimes wise counsellors, but like Dante or Virgil we turn them in a final moment of choice, we discover we are alone. Richards new workshop criticism and formalist tradition might be implicated as Janus faced —in one direction the linguistic object and the way of looking toward the reader’s imaginative response, judgement, sincerity and modification in the self, and the other in the direction —–the way of looking toward the imagination and normality of the artist, the aesthetic value of society and the state of affairs of the culture. “Its nature is to be not a part, nor yet a copy of the real world [as we commonly understand the phrase], but a world in itself independent, complete, autonomous.”
Further Reading
W. Ross Winterowd’s I. A. Richards’s Literary Theory and Romantic Composition, Rhetoric Review, Autumn 1992, Volume 11, No 11, No. 1, pp. 59-78, Taylor and Francis Ltd.
Jan Cohn’s [Carnegie Melon University] The Theory of Poetic Value in I. A. Richards’s “Principles of Literary Criticism” and Shelley’s “A Defense of Poetry”, Keats-Shelley Journal 1972/1973, Volume 2, No. 21/22, pp. 95-111
Louis Mackey’s Theory and Practice in the Rhetoric of I. A. Richards, Rhetoric Quarterly, Spring 1997, Volume. 27, No. 2, pp. 51-68, Taylor and Francis Ltd, University of Texas at Austin.
G. A. Rudolph’s The Aesthetic Field of I. A. Richards, The Journal of Arts Criticism, March 1956, Volume 14, No. 3, pp. 348-358, Wiley on behalf of The American Society for Aesthetics.
Gerald E. Graff’s The Later Richards and the New Arts Criticism, Summer 1967, pp. 229-242, Wayne State University.
Examine New Criticism in the context of Cleanth Brooks’s Canonization: The Language of Paradox and the hearsay of paraphrase.
The reading of Brooksean “The Canonization” espouses a sense within commonplace American New Criticism in which paradox is the language appropriate and inevitable to poetry. Cleanth Brooks recurrently deplores the deadening effect of cliches, stereotypes, odds and ends of the rhetorical junk on the mind. Brooks states that the function of literature is to keep the language alive —–to keep the blood circulating the tissues of the body politic. Cleanth Brooks examines Wordsworth’s Intimations Ode not merely as a historical document of spiritual autobiography, but as an independent poetic structure, even to the point of forfeiting the light which his letters, his notes and his other poems throw on difficult points. The Well Wrought-Urnism alludes to a rigid, static shape contrasting fluid and dynamic nature inherent in poetic structure catalyzing the poet and the reader. John Donne’s “half-acre tomb” metaphorical paradox is analogous to William Wordsworth’s ante-chapel, cell, oratories, sepulchral recesses and edifices of gothic cathedral. The core meaning and valuation of a literary work; interpretation and evaluation shouldn’t be focused on the readers’ psychology and the history of taste; literary biography and literary history are peripheral or secondhand [hearsay] evidence presented by the text itself. Close reading becomes the hallmark feature of the spectacle of New Criticism since platonic concept of readership transcends flesh and blood intoned around critics assertion of quality and value.
Cleanth Brooks indoctrination of the organic dramatic conception of poetry is implied in the reconciliation of discordant feelings, attitudes and impulses through unification and harmonization of tensions, conflicts, incongruities, ironies, subtleties and paradoxes, resulting with coherence, sensitivity, depth, richness and tough-mindedness of drama and fiction. Cleanth Brooks’s ceremoniously and sanctimonious receptivity of the well-wrought urn consecrates the imagined funerary urn for commemoration and memorialization in loves’ martyrdom and sainthood: “The poem itself is the well-wrought urn which can hold the lovers’ ashes and which will not suffer in comparison with the princes ‘half-acre tomb’.” The inscriptional qualities that Brooks familiarizes of the New Criticism that poems are integrated and isolated texts which survive their authors, addresses, contexts as acclaimed in the lapidariness that entails epigraphic and epitaphic rather than being Orphic dialogue of the humanist and antiquarian interests in inscriptions. The metaphorical object is the memorial urn that proves to be an analogue for the ordered structure of the poem; a figure of remembrance, reflection and /or recollection. Brooks’ contribution is to endorse the form as the uniquely poetic achievement of versification in fashioning a memorabilia souvenir for the deviser through its enduring well-wrought urn form alone.
Further Reading
Cleanth Brooks’ New Criticism, Fall 1979, Volume. 87, No. 4, pp. 592-607.
Herbert J. Muller and Cleanth Brooks’ The Relative and the Absolute: An Exchange of Views, The Sewanee Review, Summer 1949, Volume. 57, No. 3, pp. 357-377.
William N. West’s Less Well-Wrought Urns: Henry Vaughan and the Decay of the Poetic Monument, ELH, Spring 2008, Volume. 75, No. 1, pp. 197-217, North Western University
Discuss the theory of modernism with references to and illustrations from T. S. Eliot and Virginia Woolf.
“Moments of being” marks the hallmark adage of referencing past lives in contextualizing the present(ness) in modernism epoch by Virginia Woolf—the pioneer of stream of consciousness movement. Both Eliot and Woolf have strongholds of advocacy as curators of tradition, culture, history and time, mimesis, repetition, mirroring the present back to itself through a hybridized prism of form that acknowledges the past through revisions and refinements, dismantlement and preservation of literary and cultural artifacts in the affinity of shifting cultures, traditions, histories, topographies, desires and textualities. T.S. Eliot’s languishing lamentable mourning severance in time from experiencing the past with direct apprehensions of what the past craves, but that it involves both the past and the present times as simultaneous and interdependent, that repetitions denote change, and that our existence in time is a constant oscillating reflux between obscurity [oblivion] and memorialization [reminiscence], being conscious of the uniqueness of the present in correlating the awareness from past(ness).
Eliot misunderstood tradition as [a]tradition in a way that operates as a trump for temporality, a foil for time and offering itself to the present by way of an encounter with the eros of the past. “The past should be altered by the present as much as the present should be directed by the past. Elisa K Sparks states that in “Tradition and the Individual Talent” Eliot conveys “absolutist aura of authority” in a system that constructs “imaged in figures that stress hierarchy and rigidity”. Eliot’s analogy of both literary history and cultural memory is in fact, radically dialogical; there is no order of absolutes, but rather an everchanging arrangement of “combinations”: past should be altered by the present as much as the present is directed by the past. Sandra Gilbert and Susan Gubar have misunderstood the theory of impersonality or depersonality implicated by the insistence of: “the Eliotian theory [propounded in Tradition and the Individual Talent] that poetry involves ”an escape from emotion” and “an escape from personality” constructs an implicitly male aesthetic of hard, abstract, learned verse as opposed to the aesthetic of soft, effusive, personal verse written by women and Romantics. Thus in Eliot’s critical writing women are implicitly devalued and the Romantics are in some sense feminized.”
Further Reading
Modernism, Memory and Desire T. S. Eliot and Virginia Woolf, T. S. Eliot: Writing Time and Blasting Memory
Examine in detail of Hume’s ‘Of the Standard of Taste’.
Hume’s ‘Of the Standard of Taste’ theory embodies the judgement of ideal critics in the light of prima facie worth or value of the masterpiece, canon and masterwork’s intrinsically worthy or valuable experiential affording potentiality or capacity that transcends temporal and cultural barriers to the test of time. These viewpoints of critics verdict might differ because of humour, temperament, cultural outlook, sensibilities, beliefs, customs, practices, traditions and institutions. These rules of art, rules of composition and laws of criticism encapsulated as the general observations tend to the ‘true standards of taste and beauty’ irrespective of countries, ages and environments.; these ideal critics verdict ought to delicacy of taste, are practiced, have made comparisons, are unprejudiced and possesses strong will.
Humean aesthetics “Of The Standard of taste’ jargons the prospect of the perennial question of objectivity of the judgment of taste as exemplified in the paradox between common sense and empiricism. Beauty is literally in the eye of the beholder and the faculty of perception in the mind of connoisseurs and critics; beauty is a feeling or sentiment and not something in the fabric of the artwork. Perfection of the serenity of mind, recollection of thought and attention to the object are prerequisites of the delicacy of tastes and of passion; influencers of the triggering stimulus response behind approbation and opprobrium of the diversified artworks and canon of literature. Pleasure and pain are the core essence of beauty and deformity; therefore painful situations would be perceived as pugnacious and deformed; while qualities evocative of serenity, cheer, calm and so on are associated with situations which are pleasurable and hence are perceived as beautiful. Taste is the metaphor epitomizing all the virtues of human nature through lofty and universal thought and imagination, profound and exquisite feelings—-whether pathetic or sublime. David Hume’s “Of The Standard of Taste” is the foreshadowing of personal and historical fallacies in the Arnoldian poetic tradition. “Mirth or passion, sentiment or reflection, whichever of these most predominates in our temper, it gives us a peculiar sympathy with the writer who resembles us.”
Further Reading
Jerrold Levinson’s Hume’s Standard of Taste: The Real Problem, The Journal of Aesthetics and Art Criticism, Summer 2002, Volume. 60, No. 3, pp. 227-238, Wiley on behalf of The American Society for Aesthetics
James Shelley’s Hume’s Double Standard of Taste, The Journal of Aesthetics and Art Criticism, Autumn 1994, Volume. 52, No. 4, pp. 437-445, Wiley on behalf of The American Society for Aesthetics
Noel Caroll’s Standard of Taste, The Journal of Aesthetics and Art Criticism, Volume. 3, No. 2, pp. 181-194, Wiley on behalf of The American Society for Aesthetics
Carolyn W. Korsmeyer’s Hume and the Foundations of Taste, The Journal of Aesthetics and art Criticism, Winter 1976, Volume. 35, No. 2, pp. 201-215, Wiley on behalf of The American Society for Aesthetics
Ralph Cohen’s [University of California Los Angeles] David Hume’s Experimental Method and the Theory of Taste, ELH, December 1958, Volume 25, No. 4, pp. 270-289
Examine Edmund Burke’s philosophy of the Sublime and the Beautiful in detail.
Elegantly rhetorical and philosophically investigator, Edmund Burke’s A Philosophical Enquiry Into The Origins of Our Ideas of The Sublime and Beautiful [1756], exemplifies the theatrical state polarization effect of a sublime associated with a masculine terror and a beautiful linked to a feminized erotic hedonism is replaced by the realignment of beauty with the feminized chivalric virtues of honour and reverence. Burke’s observation of Marie Antoinette in the Reflections on the Revolutions in France [1790] characterizes feminine qualities with beauty in terms of softness, smoothness, subtle variations, mild colours, roundedness, fragility, delicacy, weakness and even counterfeit weakness. The impetus of this argument envisages delicacy and weakness with the passions that arouse love and desire. Frances Ferguson notes that “recent discussion of the sublime, remarkably, all but delete the beautiful and present the sublime as functioning in supreme isolation from its companion and counterpoise, the beautiful.” Epicurean strains and hedonistic frivolities of the female ought ot be languorous allusiveness to despair, melancholy, dejection and self-murdering in the light of the woman’s body taken to the spectator’s or lover’s amorous gaze; “that quality or those qualities in bodies which cause love, or some passion similar to it,” unfolding that erotic fictions are transposed into facts ; readers are intrigued by philosophical truth rather than succumbing to temptations of romance and erotic enchantment.
Shaftesbury’s argument to Longinus insistence that, “a well timed stroke of sublimity scatters everything before it like a thunderbolt, and in a flash reveals the full power of the speaker” […] Burke’s enquiry exposes the harsh landscape of sublimity as opposed to the realm of beauty—a lush domain of birds, small animals, and variegated flowers —beauty is feminine weakness and delicacy is accompanied by the contention that “these virtues which cause admiration […] are of the sublime kind” and “produces terror rather than love: fortitude, justice, wisdom and the like”. These masculine like virtues do not evoke compassion, kindness, liberality and tender-heartedness—which “engages our hearts” and “impresses us with sense of loveliness.” On the contrary, sublime objects remain impervious to the human agency and efforts of conquering, domesticating and exploiting the natural environment. Take for instance, “How fearfully and wonderfully am I made!”—David’s exclamatory sentence is of sublime significance in interiorizing the act of making but not that of the self-exaltation in the product; we are not so much empowered by sublime contemplation of the divine; we are overwhelmed by the superior agency of the sovereign. As we encounter the vast natural phenomena we are privileged with such “occasions as the removal of pain […] found the temper of our minds […] in a state of much sobriety […] impressed with a sense of awe […] a sort of tranquility shadowed with horror.”
By sublimity we shrink in the minuteness of our very nature, in a manner, as if we are annihilated by the supremacy and sovereignty of the majestic force. The sublime enlarges or diminishes the existence of human beings; heightening the state of being through affirming identity or overpowering to dominate the self. “The passions caused by the large and sublime in nature, when those causes operate most powerfully is astonishment, and astonishment is that state if the soul, in which all its motions are suspended with some degree of horror.” Burke describes the paralysis of the rational capacity by fear as exemplary reaction to the sublime [ie; expansion and elevation of the soul].
Further Reading
Charles Hinnat’s [University of Missouri Columbia] Shaftesbury, Burke and Wollstonecraft’s: Permutations on the Sublime and the Beautiful, The Eighteenth Century, Spring 2005, Volume. 46, No. 1, pp. 17-35, University of Pennsylvania Press.
Susan L. Humphrey’s Trollope on the Sublime and Beautiful: Nineteenth Century Fiction, September 1978, Volume. 83, No. 2, pp. 194-214, University of California Press.
Vanessa L. Ryan’s [Yale University] The Physiological Sublime: Burke’s Critique of Reason, Journal of the History of Ideas, April 2001, Volume. 162, No. 2, pp. 265-279, University of Pennsylvania.
You Are Nobody
#####
Now you are nobody
No one
The name is also past
The world has given permission
You have no right
You are now a corpse.
Now you are nobody
You are nobody's father
You are nobody's child
You are nobody's husband
You are nobody's brother
No one is yours
You are dead now.
Now you are nobody
Dr. or doctor
Rich or poor
Employed or unemployed
Friend or foe
You are now an emotionless corpse.
Now you are nobody
You are not yours
A few pieces of new clothes,
A little perfume to make the air heavy,
The scent of sandalwood,
Both the eyes will have the same color
Your travel companion
Now you are nobody
Everyone is busy seeing you off
Soap foam
Plum leaf hot water
The special Palki
Green bamboo planks
waiting for you.
The call to prayer was given to your ears at the time of birth
Today is his last prayer
Many will come in groups
Two handfuls of earth to hide you
Everyone will go back, everyone
Today you are nobody's business
Now you are nobody.
What you thought was yours for so long Today are others
The ones you thought were yours for so long Today they are not yours
You have nothing
Without deed.
Time will mock pride's vanity.
When I say the moon, they say there is a spot on the moon.
They hung me in the sky of bad!
Put the wine of bad in my cup,
They poisoned my tongue with longing
I’m patient again so that they don’t talk
He told me to go to my grave without you!
I took what I knew to what I didn’t know
I’m sorry I didn’t see you
When you’re far away from me
I felt like I understood, the suffering of bad!…
What a feeling, what a passion,
When I miss you when I can’t speak
If I open up from the rocks like tulips,
I’m sorry if I can’t reach you.
If they cut it off, oh, foreign hands,
Are the roads blocked for you!
These deserts were bright,
Loneliness tormented those ways…..?
Is there a thorn in the flower you stretched out?
Are you as strong as me?
My hair is torn, I sleep in bad,
Is my heart so hard for your love…?
I can’t find my way to you
I cried because of longing,
I took the letter I wrote in my hand,
They threw me into the sky of longing.
I didn’t know what love was,
Don’t you love me more than life
If you love, why did you leave me alone?
If I am the moon, you are my sun!
They said don’t talk, they cut my tongue.
They hung in the sky of longing,
They blocked my way to you
They blocked my way to you
They wrote that love is a burden!!
They cut my tongue saying don’t talk.
Without you, my heart and soul have died..!
Mavluda Ruziyeva was born On June 19, 1967,Samarkand region
She was born in the village of “Honaqa” in Ishtikhan district.
Member of the Writers’ Union of Uzbekistan since 2006, admitted to the Creative Union of Journalists of Uzbekistan in 2022.
She is the author of poetry and prose works, books of essays such as “One Love Fate”, “Bring My Mother Back Stars”, “Unrecognizable From Words”, “Double Rivers”, “Meeting in a Dream”, “The Night the Moon Laughed”.
