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”.
PODCAST IS THE MOST BENEFICIAL WAY OF LEARNING ENGLISH
Shamuratova Shoira Fayzulla qizi
Student of Foreign Language and Literature: English, Department of Urgench State Pedagogical Institute
ANNOTATION: In this article, l am going write about podcasts and their benefits in learning English, l hope that it will be beneficial for all of the people who are learning English or interested in learning English by listening to songs, music, especially podcasts.
The main purpose to write this article to give more information about podcasts and also giving tips to improve listening skills and to find the best podcasts on the lnternet.Furthermore,l really want to help learners to make easier learning English by making fun.
PODCAST-a radio programme that is stored in a digital form that you can download from the Internet and play on a compeuter or on an MP3 player.
History of the word: This word came from the combination of two words iPods and Broadcast.
When learning English many people choose listening various podcasts in order to improve their English skills.Some people believe that listening Podcasts only help us to enhance our listening skills, however, it has proven that, Not only we can improve our listening skils but we can also easily improve our other skills including, Reading, writing, speaking,communicational skills and social skills that is the most essential part of English and our everyday life.So, maybe the number of listeners icreased significantly over the past 3 years.For inctance, studies show that the number of active podcast listeners was about 464.7 million around the world (in 2013), that makes up around 22% of all Internet users.These numbers have been increasinf by over 40 milion years and maybe it will be a more higher in the future as the interest for listeninf to podcast are increasing day by day. It is predicted that it will be around 504.9 million al around the globe by the end of 2024.
Here, l am going to write a number of key benefits that help us to understand the importance of podcasts.
1.Podcast can stimulate the mental imaginary, it means we know that podcasts include various topics which is interesting and full of meaningful information when we listen the podcast automatically, we imagine or think abour the topic in our mind in order to understand completely.In this process the brain start to work to build pictures and enhace our visual process so that we can easily comprehend what we are hearing.
2.Listening to podcasts will be helpful for the brain.ln other words, they enhance the essential parts of the brain that cause to increase the levels of empathy, relationships and boost compassion. Moreover, hearing the podcast can lead to the brain to release neurotransmitter called oxytocin that is also called ‘love hormone’. This hormone help us to reduce anxiety and stress which cause to improve our attention span when doing their work, this might be only one example that the right genre of podcast to nourish our brain.
3.Podcast as an educational tool.Another major benefit of listening podcast is learning new information cause they help us to take an important data as excellent source of educational material.We can find various podcasts that is always freely available for everyone on some platforms like Youtube and Spotify.Moreover, the topics of the podcast will be different.It also might be other advantage of them
4.Podcast can enhance our concentration and attention span.Many people prefer listening crime-scenes of podcast that causes to release adrenaline in some listeners.It is the main reason to the adrenaline rush that activatate this process and it leads to flight or fight response it means that our body will be more active and alert and also try to engage with our surroundings that support to absorb more information.When we hear the podcasts For instanse, it is about “Environmental problems” we only focus on our attention to the environmental issues (effects, causes, solutions) namely we only think about one issue that help us to improve our attention span.
5.Listening to podcasts give a chance to know others opinions and to change our outlook.One of the main reasons of listening to podcasts to expand our mind, horizon by listening new ideas, opinions and to listen about different experiences that we never normally face in our real life. Thet give an opportunity to see or meet with some people who has similar ideas or interests and also the same job as we.However, live in other country or different corner of the world it means that we can easily find like-minded people within a second without any problem or any difficulties.
Now, l am going to give information about a number podcast apps on Android in 2023.By downloading these apps you can easily find and listen them in everywhere at any time.But, some of them is online.Therefore, l will try to give offline apps also.
1. Pocket casts- is a simply yet multi-faceted podcast app, making it our pick for the best podcast app.lt offers hand-curated podcast suggestions to make it simple matter to discover new podcasts and episodes.ln this app there are different kind of podcast episodes, both new and old, with easy management of our favourite podcasts, we can access them that much faster.Benefits of this app: a) have extra tools to switch dark to light background b)have different modes like split view, slide over
2.Podbean-This app helps us to earn money by creating, promoting and monetizing our podcast.Therefore, we can easily say that Podbean is an easy and powerful way to create, promote and monetize our podcast.Everything is available that we need in this app.Nowadays, more than 600.00 podcasters trust Podbean in order to create podcast and this app is very important to start our podcast and to achieve goals.This app provides IAB- certified podcast analytics and intuitive charts to help us to measure our success and get insights into our audience.
3.Castbox – This app is availableb on IOS and Android, supports 50 million podcasts, on demand radio programs, and audiobooks in 70 languages from 175 countries.This app helps us to download and listen to our favourite pocasts(such as The daily) radio and audiobooks.This also give a chance to earn money by creating podcast channels and apply premium channel on Castbox
4.Stitcher- is the easiest way to listen, download and discover podcasts for free across iOS, Android, Web and more. The free version of stitcher gives us access to over 65.000 shows from almost every genre imaginable.Stitchers are pieces of code that are used by different network manager processes.They take information from database, place the information and process it and send the information from one to another.
Here, There are some student’s and teacher’s perceptions towards the use of podcast in learning English.
The topic of podcasts could help educators excite students’ curiosity and interest and eloborate connection between new and previous materials or difficult concepts( lstanto&lndrianti 2011, Ogott & Odera, 2012).
Podcasts help to us to improve our listening skills and our overall language skills( Chen, 2005).
Listening to podcasts give a chance to enhance our concentration skills.(Adler & Lucas, 2013, Hullbert, 1989).
When listening to podcasts atmospheric condition also affect to the listening performance and how the stimuli were perceived(Zaman&Sidhu, 2013).
There are definetely exact reasons why many people , nowadays, prefer listening to podcasts and they made it a part of their daily routine.lf we want to improve our English skills (IELTS,CEFR) we should listen to more podcast instead of doing other activities and In this article l gave some apps and programs’ names that we can find podcasts easily without any distraction.l think they will be helpful and encourage us to listen more podcast and learn English by listening to music by making fun.
REFERENCE: 1. Buzzsprout Platform Statistics.(How to start a podcast: Complete step-by- step guide)(2023)
2.Vulture( Podcasts are always the next big thing).
3.Brain and life Magazine( The role of Podcasts as an alternative Media for learning).
4.Articles written by national Institutes (Podcasts:accessing, choosing).
This article was written by Shamuratova Shoira who is the first year student of Urgench State Pedagogical Institute
The role of psychological characteristics in the development of a person as a person
Karakalpak State University
Uzakbaeva Venera Abatbaevna
Individuality as a personality trait. The essence of individuality is that an individual has his own existence, remains himself, and carries out independent activities in another integrated system. Human individuality is the uniqueness of each individual. A person does not lose his independence even if he belongs to a group in the social existence around him, he remains as a subject with his own identity.
The individual identity is reflected in all the signs of individuality. However, the essence of the uniqueness of individuality is not only related to the external appearance of the individual, but also manifests itself in unique ways as a subject of activity. Individuality can be called a special form of a person’s way of life in society. When we compare the concepts of person and individuality, they cannot be put together, because individuality is a characteristic of a person.
The concept of personality reflects the socially important characteristics of a person as a separate individual. However, if the essence of a person is the personification (personalization) of his social relations, then a separate person manifests his social essence in the form of individuality. In individuality, he creates his own image, becomes the “author” of his own behavior. “If a person is the highest “peak” of the composition of human characteristics, then individuality is the deepest structure of a person and a subject of activity. A person without individuality and identity cannot exist abstractly and realistically.
Thus, a person is social by nature and individual by way of life. It embodies the unity of sociality and individuality, essence and existence.The concepts of person and individuality are not only interrelated, but also mutually support each other. The formation of human personality qualities is interconnected with self-awareness. The behavior of an individual, his attitude to his social roles and duties depends on his individual consciousness, level of development and individual characteristics. Thus, individuality is not only associated with a person, but also constitutes his most important characteristic.
Therefore, it should also be included in the definition of a person. The concept of individuality does not fully correspond to the concept of a person. If the concept of a person expresses the social aspects, social content of a person, reflects his social status and values, the concept of individuality reveals the forms and methods of his life. Natural characteristics do not form individuality by themselves. In order for a human individual to become an individual, he must cease to be a “unit”, a “copy” and gain independence in his existence. Individuality is an important formed feature of an individual, it is a unity of natural and social properties, consciousness and activity.
Thus, individuality is manifested in the object world, nature, and personal society. According to the most important definition of individuality, it reflects the identity of an individual. If the concept of person represents the social content of a person, the concept of individuality reflects his lifestyle and forms. The concept of individuality is closely related to the formation and development of a person’s individuality and uniqueness. In general, the individuality of a person is acquired in the society during his life, provides a goal in the hierarchy of values, can control his behavior during the struggle of motives, is manifested in the process of communication and activity, in others and in himself. is a set of meaningful relationships and guidance.
The Swiss psychologist J. Piaget (1896-1980) recommends to study the development of a person in several periods: 1. Child – external environment – data processing. 2. Thinking: a) before the social era; b) social period.3. Intellect (mind); a) sensorimotor – up to 2 years; b) operational period – up to 2-7(8) years; c) period of obvious operation – up to 7(8)-11(12) years; g) officially (formal) operation period – 11(12) – 15 years old.
American psychologist J. Bruner says that there is a two-way relationship between the formation of a person and education, and if the human’s striving for perfection increases the efficiency of learning, the improvement of education He claims that it accelerates the process of his socialization. In this way, the science of youth psychology has gone through several stages of development and reached its current level.
Scholars of Central Asia, psychologists from near and far abroad contributed to its development. The aforementioned theories, practical and scientific data, methods created by researchers retain their importance. Theories of the classification of age periods in psychology There are a number of independent theories on the classification of age periods into periods, they approach the study of the human personality from different points of view and illuminate the essence of the problem in different ways.
They can include biogenetic, sociogenetic, psychogenetic, cognitivist, psychoanalytic, behaviorist theories. A person is a member of a certain society, he is psychologically developed, distinguished from others by his characteristics and behavior. In the national model of personnel training, a person is defined as the main subject and object of the personnel training system, as a consumer of educational services and as a provider of them.
The state policy in the field of personnel training envisages intellectual, spiritual and moral education of a person, and his manifestation as a comprehensively developed person. The implementation of this social demand guarantees the right of every student to get knowledge, to show his creative abilities, to develop intellectually and to work in a specific profession. In order for a person to become a person as a social being, social environment conditions and upbringing are necessary. Under the influence of these, a person develops as a person and becomes a person. Age and specific characteristics of development. Anatomical, physiological (physical) and psychological characteristics characteristic of a certain age period are called age characteristics.
Education and training work is organized taking into account these young characteristics. Then the influence of education on the child’s development will be strong. It is important to know and take into account the characteristics of the different age periods of the child’s development in order to have a proper approach to the education of children and to teach them successfully. Because the growth and development of the child’s organism, as well as mental development, are different at different ages. Abu Ali Ibn Sina, Yan Amos Comensky, K. D. Ushinsky, Abdullah Avloni also emphasized the need to educate the child. It is very difficult to take into account the unique characteristics of the child.
Because even children of the same age can be different mentally. For example, their ability to see and hear, their activity, their quick perception, their slow thinking, their calmness or restraint, their eloquence or lack of speech, their enthusiasm or lack of enthusiasm, their laziness or diligence. . and it is important to know the methodology of studying the child’s unique characteristics. Temperament (lat. “temperamentum” means “relation of parts to each other”) is a set of individual psychological characteristics of a person.As we have already said, a person is not born as a person, but is developed over time, and most psychologists agree with this.
Maklakov in his book “General Psychology” states that “there are different views on the question of what laws the development of a person is subject to.” These inconsistencies arise as a result of a different understanding of the importance of society and social groups in the development of a person, as well as the laws and stages of development, crises in the development of a person, opportunities to accelerate the development process, and other issues. There are different theories of personality, each of which deals with the problem of personality development in its own way. For example, psychoanalytical theory understands development as adaptation of human biological nature to social life, development of certain defense mechanisms and ways to satisfy needs.
The theory of social learning represents the process of personality development as the formation of certain methods of interpersonal interaction between people. Humanistic and other phenomenological theories explain it as a process of becoming “I”. However, in addition to considering the problem of personality development from the point of view of one or another theory, there is a tendency to consider the personality holistically, from the point of view of various theories and approaches. Within this approach, several concepts have been formed that take into account the coordinated, systematic formation and interdependent change of all aspects of a person. These developmental concepts are called integrative concepts. The peculiarity of the socio-psychological approach to the personality problem is that it is considered as a consequence of various forms of interaction with different groups.
That is, Social psychology, first of all, studies what laws the behavior of a person who is a member of a group obeys, how the effects of a person in the communication system are reflected in his mind. The way in which the influence of the group on the psychology of the individual takes place is intrinsically related to the problem of socialization in social psychology, and how these effects are directly manifested in the behavior of the individual is related to the problem of social guidelines. is liq. It is one of the main tasks of social psychology to develop mechanisms for managing individual behavior, determining the qualities that are formed in a person and their manifestation in different types of people.
The concept of socialization is a socio-psychological category, and it is a process that expresses the level of a person’s exposure to the external social environment surrounding him, his tendency to assimilate its norms and rules. A person is born and grows up under the influence of the external environment that directly surrounds him, he is brought up surrounded by this society and this environment.
References:
1. Ghaziyev E. G. General psychology. Tashkent 2002
2. Ivanov P.I. Zufarova M. General psychology T. 2008.
As a kid in nursery and primary schools, I learnt the song:
Parents, listen to your children
Parents, listen to your children
We are the leaders of tomorrow
Try to pay our school fees
And give us sound education
(Song repeats as many times as possible)
This song would be heralded by all pupils present at the assembly ground, after general announcement as made by the head teacher. We will take our matching orders as we sing the song to our respective classes.
I remember as well another song I was familiar with, back in primary school. It was a match-to-your-class. The song is titled
For Learning Is Better Than Silver And Gold
It reads:
We're going to our classes
with clean handsome faces
to pay attention to what we are told
for Learning is better than silver and (2ce)
For Learning.....
Is better......
Than. Silver.....
And gold
(The song repeats for as many times as possible till the pupils all match to their respective classes)
My formative years were characterized by attending the best of schools at the time. My parents, being comfortable, were able to send me to the best of private schools: nursery and primary. They ensured I was like my peers whose parents were also comfortable and richer. I had what could be termed education. My primary three teacher would tell us before the commencement of his class : "If education was expensive, you would have to try ignorance". My formative years was all about education.
That psyche accompanied my to my secondary school days. I was all about my academic pursuit. I was about familiarizing with my type. If we perceived you weren't in our level of intellectual demands, you wouldn't get the chance of mingling with us. I was picky about my association of friends, despite.my facial condition. We actually frowned at those who didn't have the privilege that we did. Some parents in my neighbourhood couldn't afford the children and wards to private secondary schools. They settled for public schools while the rest subjected their children to vocational schools to become artisans. We were groomed to accept that "Education is key to success.'
Years after school, I was in the university continuing the pursuit of my academics while those who did vocational learning 'graduated' to own their businesses. Meanwhile, I was struggling to pay my school fees as my parents fell short of their purchasing power due to unforeseen circumstances.
By the incidence of financial difficulty I encountered and the need to define what my purpose was, I took a U-turn from my agriculture-led mechanical engineering course to just being a writer. That was a burning desire right from my childhood. My colleagues were still in the euphoria I'd graduating from school and becoming job seekers while those of our peers we frowned at, years ago, were successful entrepreneurs, getting married and birthing children. It was done on me what Oscar Wilde once said: 'Education is a wonderful thing but bear in mind from time to time, anything worth learning can never be taught.'
It was in the labor world I realized those childhood songs I was inculcated to sing were for entertainment purposes. Growing up, I watched the leaders on television discharging their duties to the nation. Years later, I still see the same old leaders on TV doing the same old things they did when I was a kid. All my peers are all grown (some are gainfully employed, others are still searching while the rest have been retrenched from their places of work) watching the same leaders we knew when were children deciding the future of we, children-turned-grown-adults! Our contemporaries who learnt being artisans are on the same boat but this time, comfortably watching those leaders recycle themselves over the years.
This leaves me with the question: "Are Nigerian children really going to become leaders of Nigeria's tomorrow?'
Word Count: 800 (Approx)
